The Narrative Technique In The Guide

THE NARRATIVE TECHNIQUE IN THE GUIDE

R.k. Narayan’s novel “The Guide” uses the literary technique of a frame narrative –that is, it is a story within a story, as Narayan talks the reader the story of Raju’s life and Raju narrates the story of his past life to relax. This technique of double narrative is full of flashbacks and time shifts. The narrator continuously switches between first-person and third-person narration. The novel can be understood in two parts: one part is set in malgudi and other in mangal, 

and these parts move simultaneously in the novel.

Narayan narrates the story as a detached observing; therefore the story is more descriptive and less analytical. In most of his novels, there is a classical beginning, middle and end, with a succession of chronological events without any deep probing into the mind or sub-conscious. According to Paul verges,” the end of the novel, by solving the problem, achives that completeness towards which the novel has been moving.The end,resulting in which the novel has been moving. The end, resulting in death or a balance of farces is logical. Even character and plot are well-knit, logical and inter-related.’ This logical progression of events makes his novels simple and easy to comprehend.

The use of two locales and two-time frames. While being a structural necessity, lends charm to the novel. In fact, the two streams are so well planned that they do not cut into each other while Raju’s past in malgudi is narrated by Raju himself, his present in Mangal is narrated by the author. Both merits move side by side with the help of flashbacks.

Moreover, as Raju experiences, observe and narrates, we see his character developing out of action,we see his character developing out of action; the events further change his character – he becomes a saint because of the drought and the faith of the people; the change in his character, his growth into a swami, further the plot and thus, character and action progress logically. This technique of narrating on two levels also creates an illusion of depth and highlights the dichotomy in Raju’s character. Through Raju’s narration throws light on his character, we see Raju as he wishes to be seen. There is no one to repudiate what he says.

Thus, the use of flash-back, introspection cinematography and stream of consciousness technique makes the novel fresh stimulating, provocation and interesting. The artistic juxtaposition of the past and the common to both lead to a blend of suspense and inevitability, 

realism and fantasy. The personal point of view of Raju and the omniscient point of view of Raju and the omniscient point of view of the author move simultaneously, without excessive use of chance, emotions or melodrama. In the final analysis, the manipulation of the narrative on two locales, two time frames and two narrators has resulted in a restrained, economical, ironic interesting and successful work of art.