What is Fantasy?
Narayan writes novels in the Indian tradition of story-telling. Fantasy is a common feature in Indian stories. Narayan has also made use of this element in his stories and novels. Fantasy may be defined as pleasant situation that one imagines but that is unlikely to be happen. It is a product of one's imagination. It is absurd and eccentric. It is as if the novelist gives free reign to his imagination, discards the laws of logic and natural causation and the result is fantastic and absurd. As Uma Parameswaram points out, “Narayan uses both fantasy and realism in eight of his ten novels, but they are not properly balanced. The first half often has excellent realistically drawn setting characterization and action. About half way through there is a distinct break and fantasy takes over.”
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| Blending of Realism and Fantasy in R. K. Narayan’s Novels |
Realistic Heroes - Fantastic Villains:
A novelist employs fantasy in his comedies in order to produce the desired effect. It is considered a legitimate device. In Narayan's novels it serves its purpose within the immediate context, but becomes strange and unsuitable in the larger context which includes realistic persons and realistic situations. With the exception of Swami and Friends and The Dark Room, Narayan has used these factors in his other novels. But realism and fantasy is loosely threaded together. In his novels the hero is realistic and he comes from realistic middle class background while the villain is fantastic and most things about him are fantastic. The two elements could be handled dexterously but Narayan merely places them side by side. The part of life which is affected by the villain is isolated from the rest of his life. For example, Mr. Sampath gets Srinivas involved in the fantastic venture of producing film but we are told of the effect it has on Srinivas' private life. Similarly, Natraj's experience with Vasu (in The Man - Eater of Malgudi) is almost traumatic but only a part of his life is shown to come into contact with Vasu's outrageous behaviour. Even in the Sweet Vendor which is considered one of his best novels the plot is not handled skilfully. The fantasy that does not seem to be in context with the main story is not Jagan's meeting with the sculptor, but Mali's fantastic story - writing machine. Uma Parameswaram writes, “Fantasy is used as an adjunct to satire here, but somewhere along the line Narayan misses the links that would make the plot cohesive. As they are, most of his plots break into the disparate plots, the realistic vein being carried alongside the fantastic and then dropped altogether.”
Incongruous Blending - The Indian Context:
In Narayan's novels realism and fantasy have not blended in a balanced and proper manner. They have been mingled in a mechanical manner. In the later part of the novels, fantasy surmounts realism and strikes one as incongruous in the context of the realism of the first part. In The Dark Room Savitri attempts to commit suicide but she escapes miraculously and returns to home and children. Chandran's renunciation of his home and parents in The Bachelor of Arts, his wandering as a Sadhu, Krishna's communication with the spirit of his deceased wife are all illustrations of such fantasy. These fantasies cannot be considered improbable in the Indian Context but with the realistic content of the novels they certainly appear to be incongruous or out of place.
Conclusion:
However, H. Vasu's death in The Man - Eater of Malgudi is certainly fantastic. He dies in a manner which is hard to believe. His death reminds us of the ancient Hindu myth of the Rakshasa who died as in dancing he puts his hand on his head. His scheme of shooting the elephant is also fantastic and incongruous. In waiting for Mahatma Gandhi and Gandhian politics have been unnecessarily introduced into the simple and realistic love story of Bharati and Sriram. Then there is another fantasy in this novel. An old woman who is supposed to be dead comes to life on the cremation ground. Even The Financial Expert and The Sweet Vendor, two of Narayan's best novels are spoiled by this uneven mingling of fantasy and realism. In Financial Expert, Margayya keeps fast and worships goddess Laxmi to win her favour. His prayer is granted. He enters the business of publication and becomes very rich. All this is certainly fantastic. In The Sweet Vendor as already mentioned, there is the fantastic story - writing machine, besides there are many other eccentricities and absurdities of character and event.