A BRIEF SUMMARY OF THE MAN-EATER OF MALGUDI

The Press of Natraj

The press of Natraj is situated in the Market Road in Malgudi. The press consists of
two rooms. The inside room is the press room and the outside room is the press
parlour. Closely situated to it, is the Star Press with a German machine Heidelberg. A
Curtain divides the two rooms of the press. It is a sacred tradition that nobody, except
Natraj and Shastri breaks. There is only one man on the press Sastri, Sastri, though,
as Natraj plays the ventriloquist, the impression given is that many persons are
working in the press. The owner of the Star Press is the bosom friend of Natraj. The
press of Natraj is so popular that rarely do the customers go to the Star Press. As
there is almost no work in the Star Press, its workers sit for most the time in the
parlour of Natraj. This gives to the persons the impression that Natraj is the owner of
the Star Press as well. The nameless poet and Sen the journalist are the friends
of Natraj. For most of the time they sit in the parlour of Natraj. They are civilized
enough to vacate the chairs when the customers visit the press. Sen dwells on the
weaknesses of Nehru's third Five Year Plan. The poet is writing an epic, Radha
Kalyan. The neighboring shopkeepers wonder why Natraj does not let the attic for
financial gain. They cannot peep into the spiritual heart of Natraj. The world is not
too much with Natraj.
The Family of Natraj
Natraj leads a happy life with his nameless loving wife and little son, Babu. He
resides in his ancestral palatial house. This house is situated in Kabir Street at the
distance of five minutes’ walk from the press. This house had come to the share of
the father of Natraj at the time of the property partition and distribution.
The Advent of Vasu
Order prevails in Malgudi. With the advent of Vasu disorder reigns supreme. Vasu is
M.A. in English, History and Economics. He had taken part in the national movement
for freedom, had courted arrest and bad gone to jail several times. He was in
Junagadh when he got interested in the art of taxidermy. He learnt taxidermy from
the taxidermist Suleiman. He is a huge man of six feet. Though he is slum, his bull-
neck and hammer fist reveal his stature. When he came out from jail. he found
himself in Nagpur. There in Nagpur he was immensely impressed by the wonderful
facts of a Pahelwan. He became his disciple, and himself become a Pahelwan who
could snap chains, twist iron bars and break granite into dust. He gave his first show
in Lucknow and impressed the mammoth crowd. His master earned a lot of money
from the shows of Vasu. One day the master insulted him by calling him ungrateful
dog. Vasu hit him with the edge of has palm and left him forever. And now, he has
come to Malgudi in the hope of some game in the Mempi Forest. He asks Natraj to
print his note papers and visiting cards, five hundred each.
Usurps the Attic
When he visits the press next, he sees a moslem waste paper buyer haggling with
Natraj about the sale price of the waste paper and all the junk stocked in the attic. He
puts an end to the market fluctuation by fixing the purchase value to twenty five
rupees. The poor moslem gleefully brings a Jutka and takes away all the abandoned

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material, depriving the mosquitoes of their sweet home. Vasu ascends the attic,
examines it and then tells Natraj that he will like to reside in the attic till the time a
bungalow is allotted to him in the New Extension. As Natraj does not say 'no' to him,
he gets the attic scrubbed, cleaned and washed and starts residing there.

Natraj Stranded in the Mempi Village

One day Vasu asks Natraj to go for a pleasure trip in his jeep. When Natraj tells him
that he is awfully busy, Vasu asks him if he cannot Spare even five minutes for his
friend Natraj reluctantly agrees. Vasu drives his jeep recklessly fast. He is in a jovial,
jolly and high-spirited mood and takes Natraj to the Mempi village. Natraj is
extremely hungry but he is buttonless and purseless. He demands from Vasu some
loose money, but Vasu is lost in the inquiry about the tiger. When he moves to the
Mempi jungle, he tells Natraj : "Stay here, Il be back" But the words of Vasu, "So
you think we are going back home, ch ? terrify Natraj, Natraj fears that Vasu has
abducted him and reflects foolishly like a terrified child. He reflects that Vasu will
demand a ransom of fifty thousand rupees. He becomes concerned about his wife’s
troubles in the offing, and wonders how she will manage the large amount of money.
He introduces himself to the tea-shopkeepers, Muthu. Muthu narrates to him his life
story and emphasizes the fact that he is a self-made man.
The food stuff on the shop is dirty. The flies are swarming over the sugar and the dust
raised by the Lorries and the buses has settled over the buns. Even then Natraj is so
extremely hungry that he casts a longing looks at the buns. When Muthu knows that
Natraj is a printer, his joy grows boundless. He wants to get his one thousand notices
printed for inviting persons for a religious function. He wants to celebrate the
construction of the temple on a grand scale, carrying the goddess in a procession
whom he wants to instal. When Natraj requests Muthu to ask the bus-conductor to
take him to Malgudi and charge the fare at the other end, Muthu tells him that he
should wait for Vasu. Natraj' regards him as an accomplice of Vasu. Later, pleased
with Natraj as a printer, he offers him tea and buns. When Natraj tells him that his
daughter should be married to a graduate, he gets so thrilled that he treats him to tea
and the third bun. When Muthu requests the bus-conductor to
take Natraj to the town and charge the fare at the other end, the bus-conductor refuses
to do so. Natraj regards him as another accomplice of Vasu in conspiracy with him.
But later, when the conductor learns that Natraj's friend owns a Morris car, he readily
agrees to take him to the town. Narayan flings like Chaucer, his sly, subtle and sweet
irony at him in the following words : "He was a compassionate conductor, who filled
his pocket with the wayside fare, never issuing a ticket." When Natraj reaches at
home late at night, his wife snubs and nags.
The Visit of the Adjournment Lawyer
Early in the morning next day the Adjournment Lawyer comes frowning and sulking,
and threatens to go to some other press for getting his marriage cards printed. He
expects Natraj to beg pardon for not printing the cards on time. But when Natraj tells
that he (the lawyer) is a free man of the independent country and has the right of
going anywhere for printing, he, like the chameleon, changes colours, recounts his

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marriage misery, his marriage expenditure of ten thousand rupees, begins to shed
tears and cries humbly: Oh, no, oh no * even if it means stopping the marriage, 1 will
not go anywhere else for my printing"

Vasu Again
Late that evening Vasu's Jeep drawn up before the press. He shows him the dead tiger
he has hunted and killed bravely. He takes him to his attic. Natraj now learns from
where the foul smell comes. Vasu tells Natraj not to feel repulsive and seek because
taxidermy is more clean than the kitchen material. He tells that the whole process of
work is more hygienic and clean than paring the skin of vegetables in your kitchen,
A Charnel House and a Sadist
Natraj has had a surfeit of the freshly killed animals which Vasu brings almost every
day. The press of Natraj has become a stinking charnel house. Natraj cannot gather
courage to ask Vasu to quit along with his museum and suffers from the impotent
rage. He fears that Vasu may rattle his bones. He finds himself dwarfed in his
presence. Ultimately he sticks the following note on the attic-door :"MayI have a
word with you when you have the time ?" When Vasu comes Natraj
asks timidly, "Have you been able to secure a house ? When Vasu asks the reason,
Natraj says, that his guest is coming and he wants to live by himself. To this Vasu
replies: Then why should he seek solitude in this noisy press ?" To this Natraj has no
answer, and Vasu departs angrily. Incensed, he complains against him to the House
Rent Controller from whom Natraj receive a letter, summoning him to the court for
explanation. Natraj meets the Adjournment Lawyer. The lawyer tries to avoid him
and when caught feels guilty because he has not paid Natraj as yet the bill for getting
printed the marriage invitation cards of his daughter. But when he learns that Natraj
is involved in a legal case, he changes color like a chameleon. He asks Natraj to come
to his office which is infected with a fluffy atmosphere. Whoever goes there sneezes,
catches cold and has to stand for hours. He is a sadist, and seems to delight in
punishing whoever comes to see him. Even though he has not paid the bill for the
cards, he does not even adjust the amount. He does not behave in mixing money. He
conjoins on Natraj to send ten rupees as fee at his residence.
The Sanitary Inspector : The Forest Officer and The Jingling of
Bangles
One day a Sanitary Inspector visits the press of Natraj with a complaint against
him. He takes out an application form, written to the Municipal authorities, signed by
half a dozen neighbors. The application reads that the tanning of the skin should be
prohibited in the residential area as it causes bad odour and diseases. The Sanitary
Inspector advises Natraj to shift the carrion business to some far off place, outside the
residential area. When Natraj assures him of doing so, the Inspector tells that he has a
printed form, which will go to the neighbors to say that the matter is receiving
attention. After gulping several glasses of water the Inspector departs.
Sastri asks Natraj how he can work with a wolf staring at him", and a python
hanging down the stairs. Natraj tells him that when the cloth is caught in the thorns of
a bush, one has to extricate the dress gently and little by little, otherwise one will

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never take the cloth whole. Sastri being a semi-scholar of Sanskrit, sets this sentiment
off with another profounder onc in Sanskrit which says that to deal with a rakshasa
one must possess the marksmanship of a hunter, the wit of a pundit and the guile of a
harlot. Then he narrates the mythological tales of Ravan, Bhasmasur and Mahishasur
who swelled with ego and talked of invincibility but were ultimately destroyed.
The Forest Officer visits the press of Natraj. He wants to gather from Natraj
some information about Vasu. Natraj refuses point blank to give any information.
The Forest Officer regards Natraj as an accomplice of Vasu, and himself goes to the
attic. He charges Vasu with hunting animals in the Mempi jungle. He asks about the
hyena and other animals in the attic. Vasu says that he is not bound to reply his
questions. When the Forester asks Vasu from where he got the animals kept in his
attic, Vasu replies that they are not from the Mempi Forest, and asks the Forester if
there is a trade mark on his animals. After saying this, he unceremoniously drives
away his jeep.
One day Sastri hears the jingling of bangles and sees Rangi the temple dancer
descending down the attic of Vasu. Rangi is seductive. She is overloaded with
jewelry, the jasmine flowers stuck in her hair are crushed, and her clothes are
rumpled. Other loose girls also visit Vasu. Sastri fears that if the prostitutes continue
coming, the name of the press will be tarnished.
Mempi Village Again, Kumar and the Agreeable Vasu
It takes time for Natraj to recognize Muthu when the latter comes to meet the
former. And when Natraj recognizes Muthu, he gets thrilled. What assails Natraj is
last Muthu should ask him to take him to Vasu. But he gets exulted when he learns
that Muthu is not on speaking terms with Vasu and that Vasu is no longer liked by
Muthu. Muthu tells Natraj that he has come to seek his help in finding the veterinary
doctor to treat and cure the elephant, Kumar. It clicks him that Sen the journalist must
be in the know of such a doctor. So he visits him at the Lawley Extension. Sen
Rummages out a newspaper which gives the description of the foundation of the
veterinary hospital and veterinary college. Natraj meets Joshi, the concerned doctor.
The doctor tells him that it is due to party politics that the hospital and the college
have not been constructed. He tells that the Leagues of Nation has sanctioned a
veterinary doctor and the instruments for diagnosing the patient diseases of the
animals. When Natraj tells him about the sickness of the elephant, the doctor says
that, as the instruments are available only at his place, the elephant will have to be
brought there. When Natraj tells him that Kumar, the elephant does not get up, he
says that the mahout can bring him by prodding and pricking him. Natraj goes to the
Mempi Village. The affair causes a sensation. The village elders gather together in
front of the tea-shop. A debate starts over the question of the elephant going to the
town. Great efforts are made to see Kumar stand up. Ultimately the garrulous mahout
makes the elephant stand up. The tailor is not in favor of sending the elephant to the
doctor. He wants the doctor to come to the village. He is propitiated and appeared by
tea and buns being offered to him free of cost by Muthu. Natraj asks the mahout to
meet him at toll gate outside thè city.
When the elephant goes away, a big worry is off the mind of Natraj. As Natraj

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is waiting for the bus, suddenly and dramatically enough there appears the jeep of
Vasu. Vasu asks Natraj to sit in his jeep as he is going to the town. In the beginning
Natraj seems to be declining his offer because Vasu is his enemy. But soon after he
agrees to accept the offer because: (1) he thinks of improving relations with Vasu and
because, (2) as Vasu has informed him the axle of bus is broken. He sits down in the
jeep. Vasu, as usual, drives recklessly. He threatens to smash the bullock carts and
abuses the passers-by. But when the cart men turn round with a frown, he is
delighted. He nudges Natraj and says that he likes his countrymen to be in good
spirit. He speaks slightly of the poet and Sen, the journalist whom Natraj defends.
The Poet's Creation KJ.'s Misbehavior and Vasu's Bullying
The poet is in an exalted mood. He has completed the portion of his poem
where Krishna meets his future-wife Radha and their marriage is to be celebrated.
Natraj has agreed to celebrate the occasion. Enormous preparations begin. An
astrologer has been called to fix an auspicious day for Radha-Krishn marriage
celebration function in then Krishna temple.
KJ. Comes to demand his labels, and behaves oddly, uncourteously. When
Natraj tells him that his Madras ink is not suitable for the labels, he is silenced. When
Natraj informs him about the function on a large scale and talks of his willing
donation of one hundred rupees, he (K.J) gets alarmed. He (KJ.) is an in between type
person. He is not one who gives donation cheerfully or gather's courage to say no'. He
fears as if he is in the presence of an income tax-officer. He begins to fidget and goes
away, saying that he will meet again.
The astrologer selects three dates for the function : (1) good date, (2) not so
good date and (3) half good date. The first and the third dates are rejected. There
remains only "not so good date". This date is four weeks hence when the full moon
comes second time, and coincides with the festival at the temple.
Natraj sends the customers to be served by Heidelberg as neither he nor Sastri
is free to work. He goes out to meet the townsfolk to get their subscription for the
function. This is not an easy job. Most of the persons are like KJ, affluent, afraid to
reject an appeal, but unwilling to open their purse.
Vasu comes complaining that, though he is as good a citizen as anyone else,
he has not been invited for the function. He gives a ten rupees note, as donation but
when Natraj says that he expects from him one hundred rupees, he puts the money in
his pocket. Natraj tells him that he will get about five thousand rupees as donation.
When Vasu asks him if he has already got all this money, Natraj tells him that he will
get this money at the time of function, for he does not want to be burdened with all
this money at present. Vasu throws his purse into the lap of Natraj and goes away.
After three days he comes to claim his purse. He snatches from Natraj the list of the
persons who have promised to contribute. He also snatches the green folder in which
all the important documents are kept. He comes again with a triumphant smile,
flourishes the green folder and says that he has collected donation much more than
Natraj may expect. Persons complain Natraj that he sent such a person for collecting
donation that they would gladly sell their household goods to give him donation
rather than saying no' to him. When Natraj demands the donation amount from Vasu,

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Vasu bullies.
Overwork, Natraj's Meeting with Vasu and the Temple Function
Natraj, Sastri and the Poet are "a grim and silent trio that night."» They are
working desperately because they have to print the poem to be dedicated to the
goddess. As the types are limited, they are working turn by turn. It is now the turn of
Natraj. Sastri has at present no types compose, and the poet nothing for proof
reading. Therefore Sastri and the poet are sleeping. Suddenly there comes a voice,
"Listen to me." He imagines some phantom. He wonders if the stuffed hyena has
come to life. The phantom is that of the living Rangi. Though Rangi is black as
cinder, there is an irresistible charm about her. She has come to give on urgent,
essential information; She tells him that Vasu is talking of shooting your Kumar
tomorrow. She says that as the elephant belongs to the temple, she is also a temple
dancer, and so she loves him (Kumar). She requests him to save the elephant. She
says boldly that if Vasu knows that she has betrayed the trust he may kill her but, she
says, she does not care, and that she wants to save the poor Kumar.
The day of the celebration function has dawned. Every hour of this day is like
a tenth of a second to Natraj. It is compressed and fleeting. He has to perform
hundred and one things. He is at his wit's end and his head is in a whirl. And he has
also to go to Vasu to request him not to shoot the elephant. He fears to meet him. Yet
he has to meet him. In his heart he wishes his jeep not to be there, so that he may
have the excuse of not going to the attic. But the jeep is very much there. He meets
Vasu. He invites him to come to the function to enjoy and grace it. Vasu says that he
does not believe in superstition. Then Natraj comes to the real issue and requests
Vasu not to shoot the elephant. Vasu rejects his request out rightly and even insults
him,
It is four o'clock in the evening when Natraj reaches the temple. Hue and cry,
pomp and show, fanfare and ceremonial joy, colour and fancy rend the air. The
mahout is decorating the elephant, children are feeding him (Kumar) sugarcanes and
coconuts, and Joshi is stroking him lovingly. Natraj's heart sinks at the sight of the
happy animal. The Mayor's speech is drowned in the bebble in spite of a microscope
and a loudspeaker. The god is beautifully dressed. He wears a rose garland. A
diamond sparkles on his head. The priests are worshipping, the poet is reciting the
poem and Rangi is dancing. Shops have sprung up KJ. Is freely plying his trade.
Suddenly and unknowingly Natraj lets out a terrific cry. Everything comes to a
standstill. He invokes Vishnu to save Kumar as he had saved Gajendra. All come to
his help. The poet has his head on his lap. His wife comes running and crying. She
takes him home and serves him tenderly.
Tenderness and Jealousy of Wife, Indignation and Natraj's Last Effort
The wife unrolls a mat, spreads a soft pillow and insists that Natraj should be
down for rest. She turns a deaf car to the pleadings of her husband that he is normal.
After taking refreshment Natraj falls into a sleep. The problem with him is that for
several days he has neither slept nor has taken food properly. To his utter chagrin, his
wife is not going to enjoy the function at the temple. When he requests her to go to
the temple, she replies like a dutiful, real Hindu wife:

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 “I went there only because you were there ... Not that I care for these crowds."
The wife does not want that anyone should come and disturbs the rest of her
husband. But there come gradually one by one Muthu, Sen, the Poet and Dr. Joshi to
inquire after his welfare. The wife offers them coffee. When they ask him what had
happened to him at the temple, he reveals the secret about the proposed shooting of
the elephant by Vasu. They are all filled with indignation. They are determined to do
something against Vasu. They meet the District Superintendent of Police. The D.S.P.
shows his helplessness for want of any proof, but he rings to the Police Inspector to
look into the matter and helps the sufferers. The four persons represent their case to
Vasu against his proposal shooting of Kumar, to no avail. And then, before the
philosophical discussion of Vasu is concluded, the Police Inspector appears on the
scene. When Vasu insults the Police Inspector, the Police Inspector tries to slap Vasu.
But Vasu defends himself, and dislocates the wrist of the Police Inspector. All of
them leave the attic in disappointment and rage.
Rangi visits the residence of Natraj to get enlightened about her problems.
Natraj, fears his jealous wife and trembles within himself. Rangi is conscious of the
fact that she has betrayed the trust of Vasu, but says that she did it for the sake of the
love for Kumar. She says that though she fears Vasu, yet she is happy because she
has done what she thinks is right. The wife feels so extremely jealous that she, who
had earlier said that she, was at the temple because he was there, now leaves him
alone and goes away with her son to the temple.
Natraj makes a last desperate effort to save Kumar. He thinks of setting Vasu's
jeep on fire so that while he is extinguishes the fire, the procession may pass far
away, beyond the range of Vasu's bullets. He then ascends the attic, and finds Vasu
sleeping. He wants to take hold of Vasu's gun so that Vasu may not shoot. The
distance between him and the gun is twelve feet. He crawls towards it like a panther
stealthily, so that Vasu may not wake up. He shows utmost bravery and courage and
gets hold of the gun. But when the alarm clock screams, stealthily he descends down
the attic.
The Death of Vasu, the Police Inquiry and the Air of Suspicion
Life resumes its normal pace on the Market Road next morning. Sastri is
determined to complete K.J.'s labels. The postman comes to Natraj with a registered
letter in the name of Vasu. When Natraj asks him why he did not deliver the letter to
Vasu, the postman Thanappa breaks the news that Vasu is dead. Natraj warns him not
to speak about this death in his own interest to anyone else.
Natraj goes to the attic to confirm the news. He finds Vasu in the same state in
which he had left him last night. He sees the green folder peeping out of a linen bush-
coat in the trunk. He takes it out, taking care not to leave his finger prints. He
addresses to Vasu in his thought:
"Where is all your bragging?"
While returning he picks up a tiger cub.
The press office of Natraj becomes an extension of the Town Police Station. A
committee of five policemen under the superstition of D.S.P. has been constituted to
find out the cause of Vasu's death. Sastri leaves for Karaikudi to participate in the

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marriage of his wife's niece. All the friends of Natraj are summoned in respect of
Vasu's death. Natraj humorously thinks that they are there for a group photo. Rangi is
standing in a corner, fearing lest the mystery of her pulav offered to Vasu should not
be disclosed by Natraj. But Natraj is very cooperative to her. He gives a breezy and
vague replies to the question, "Where was he getting his food from ?" The tiffin box
is opened and found to be untouched. The D.S.P. makes a note of it.
The Superintendent's writing goes on far into the night. He must have written
several thousand words. He is more interested in completing the formality rather than
in finding out the truth. He frees himself from any responsibility and holds the five
men of the committee responsible for everything. Natraj is happy to see that the
Police Inspector is one of them, an aggrieved party The case is dropped for want of
evidence. During the following days the air becomes thick with suspicion. Everyone
blames everyone for the murder of Vasu. But Natraj knows that all of them are
unanimous in suspecting him as a murderer. Even the wife of Natraj suspects him
when she says:
"You may close the mouth of an oven, but how can you close the mouth of a
town?
She seems to be saying that the suspicion for his being the murderer of Vasu is
universal, and so true.
Loneliness and Consolation
At first Natraj resents the idea of being thought of as a murderer. His confusion
is worst confounded. Gradually the idea begins to seem not improbable. He
remembers having gone to the attic, having crawled to hold the gun and having aimed
it at Vasu. He does not remember having rammed the butt of the gun into the skull of
Vasu. He clings to the hope that Rangi had poisoned her and then smashed his head.
But the Madras medical report annihilates this hope. The doctors had declared that
Vasu had died at 11 p.m. long before Natraj reached the attic. But the doctor might
have hazarded a guess.
Natraj sits in his press parlour alone. He suffers from loneliness consequent
upon separation. Persons seem to be saying, "Here is the murderer going." All the
friends of Vasu desert him. One day he catches sight of the poet. When he asks him
why he does not come o the press, the poet says that he has to teach eight extra hours
a week. He says about Sen that he has a call from Madras Newspaper. As soon as
Natraj presents him the stuffed tiger cub, he runs away as though he has seen a ghost.
Natraj cries:
"Poet ! Poet ! .... This was the greatest act of destruction that the Man-cater
had performed; he had destroyed my name, my friendship, and my world. The
thought was too much for me. Hugging the tiger-cub, I burst into tears."
The joy of Natraj is unbounded when Sastri dramatically appears Natraj shouts
in sheer joy. Sastri consoles him and fills his heart with delight when he removes his
doubts and confusion. He unravels the mystery of Vasu's death. Rangi is witness to
Vasu's death. When a few mosquitoes had settled on his forehead, he had brought the
flat of his palm with all his might on top of them. Two mosquitoes were plastered on
his brow. This was also the death of Vasu Sastri, the most balanced character in the

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novel assures Natraj that slowly the reality of Vasu's death will be revealed to
everyone and his customers will return, especially the customers like KJ. He says that
the demons appear in the world with the boon of indestructibility. But they have a
tiny seed of self-destruction. The novel ends, on the note of realism when Sastri
declares. We must deliver KJ.'s labels this week."

Analysis of the Character of Natraj in R. K. Narayan's "Man Eater of Malgudi"

Exploring Tradition and Progress: The Character of Natraj in R. K. Narayan's "Man-
Eater of Malgudi"
Tradition, Nostalgia, and the Conflict of Progress: Exploring the Character of Natraj
in R. K. Narayan's "Man-Eater of Malgudi"

It is generally seen that the heroes of R. K. Narayan (1906-2001) are broad, reflective
and going back to the past, grown nostalgic. In the "Man Eater of Malgudi" (1961)the
central character Natraj similarly broods, reflects and grows nostalgic. S. R. Ramteke
regards Natraj a timid cowardly person – “he is portrayed as cowardly submissive
and good for nothing fellow”. Natraj plays a significant role in the narrative. Natraj is
the central character and owner of the printing press in the fictional town of Malgudi.
Through Natraj's experiences, the author explores themes of tradition, modernity, and
the conflict between progress and preservation.
Natraj's Journey: Confronting the Clash of Tradition and Modernity in R.K.
Narayan's "Man-Eater of Malgudi"

Natraj is portrayed as an ordinary and unassuming man who is content with his life
and work. He takes pride in his printing press, which serves as a hub of information
and communication in Malgudi. As a character, Natraj represents the traditional
values and customs of the town. He is deeply rooted in the past and resists change,
preferring to maintain the status quo. Natraj is a prosperous seasoned printer of
Malgudi. He has a small, cosy, warm world which there is his loving wife, his pretty
son Babu, his dear friends, the poet sen and his sincere assistant, Sastri, a semi-
scholar. He is some what timid hen pecked, religious, simple, gentle, modest,
sensitive and intelligent. He is a simple, gentleman and the world in which he lives
seemed to be gay and innocent. However, Natraj's world is disrupted when Vasu, a
taxidermist and the titular "man-eater," arrives in Malgudi. Vasu's arrogant and
domineering nature clashes with Natraj's peaceful and harmonious existence. This
conflict between the old and the new, between tradition and progress, forms the crux
of Natraj's character development. It is when he faces with Vasu, he realizes the raw
realities of life. Natraj is temperamentally somewhat becomes timid to Vasu because
he has developed a fear phobia for him (Vasu). He has the weakness and so he

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always take his wife into confidence. It is his weakness which tortures him the most.
His fear of Vasu remains until Vasu dies. His timidness admits his weakness.
Natraj: The Gentle Soul in the Face of Adversity and Celebration
Natraj is unworldly, he is blessed with touch of spiritualism. Though he is cheated by
the lawyer and Vasu, Natraj is so gentle that he does not demand money from them.
He does not find any difference between the employer and the employee and he
works together with them -naturally very co-cooperatively. He helps Mathu in
finding out a veterinary doctor for the treatment of Kumar. He has to undergo many
hardships and hurdles. how amply he neglects his pressure business to celebrate the
marriage of Radha and Krishna based on poem composed by the poet!
Natraj's Unwavering Love: Protecting Kumar and Safeguarding Family in R.K.
Narayan's "Man-Eater of Malgudi"

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Natraj’s love for Kumar knows no bound when he learns that Vasu plots to murder
the elephants, he is consciously concerned. He lives no stone unturned in saving the
life of Kumar. He is even prepared to neglect his business. The thought of murdering
Kumar by Vasu never remain aloof from him. He thinks various plans and finally he
risks his life when he enters in the attic of Vasu for checking him. He picks up the
gun of Vasu so that he may not shoot Kumar. His love for his wife and son is very
much tender and true. He is loveable husband and affectionate father. He always
wants to clear all the ills from the path of his family life.
Unveiling the Struggle Within: Natraj's Journey in Balancing Tradition and Progress
As the story progresses, Natraj finds himself caught between his loyalty to his friend,
Sastri, and his growing unease with Vasu's behavior. He is torn between preserving
the peace and order of Malgudi and confronting the threat posed by Vasu. Natraj's
inner conflict is symbolic of the larger struggle faced by society in the face of
changing times. Throughout the novel, Natraj's character undergoes a transformation.
He evolves from a passive observer to an active participant in the events unfolding
around him. As he confronts Vasu, Natraj becomes more assertive and learns to stand
up for what he believes is right. His journey represents the individual's struggle to
adapt and find a balance between tradition and progress. Natraj's character also serves
as a critique of blind adherence to tradition. Narayan presents a nuanced perspective,
highlighting the importance of preserving cultural heritage while acknowledging the
need for adaptation and growth. Natraj's internal conflict and eventual resolution
reflect the author's exploration of these themes.
The Dualities of Natraj: Religious and Philosophical Reflections in R.K. Narayan's
"Man-Eater of Malgudi"
In spite of his all businesses, he is a religious, spiritual minded. He takes keen interest
in the mythological discussion with Sastri. He arranges a procession with pomp and
fanfare for celebrating Radha-Krishna marriage. His philosophical outlook is noticed
when he utters besides the dead body of Vasu – “Where is all your bragging
…………. How, and all your pushing and pulling and argument? Are you in heaven
or hell? Where ever you are, are you still ordering people around”. Natraj’s sympathy

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for Vasu is well pronounced when he says – “I was depressed to think that a man
who had twisted and burst three inch panel doors with his first was going to do
nothing more than lie still and wait for the doctor to cut him and examines his insides
to find out what had caused his death”.
Conclusion and Critical Comment
P.S. Sundaram regards Natraj as a benevolent person who fears the ruthlessness and
believes in fatalism. To the critics, Natraj thinks that – “What is faled must be
endured and that the good nuist prevail in the end”. To him again …. “Natraj’s
character is all of a piece”.

Natraj’s character appears prominent if we contrast him with that of Vasu. William
Walsh contrasts the “Passivity of Natraj with the violence of taxidermist hunter, Vasu
who is not only a character but also an oppressive and destructive force”. Natraj is
brought up in a family where he is taught never to kill animal, to feet the ants with
sugar, to share his food with the crows and the sparrows, and to allow the squirrel and
the sparrows deplete the granary. But, after Vasu’s coming Natraj’s establishment is
turned into a charnel house.

R. K. Narayan's "The Man Eater of Malgudi": Sketching the character of H.

Vasu

H. Vasu like Iago in Shakespeare’s ‘Othello’, Healthcliffe in Emile Bronte’s

‘Withering Heights’, Voss in Patrick White’s ‘Voss’ “is the prince of darkness and in
darkness his activities are to be conducted”. He has been called ‘man-eater’,
‘terrifying’, ‘unreasonable’, ‘man with the dark halo’, ‘cruel’, ‘rakshasha’, ‘arrogant
by implication’ and one who laughs ‘diabolically’. Vasu, a gigantic ex-circus “trong-
man”, is farther attributed as wild animal hunter and a taxidermist.

Literally Vasu is not a man eater as he does not eat the flesh of persons. Being a
secluded individual, he rather by constantly troubling and terrorizing the human
beings with his demonic strength sucks their peace of mind. He blasts bullies,
aggres­sions and hectors. He beats down the huge strong ‘phaelwah’. His Herculean
strength makes him prepare to knock the tiger down with his hands and ram the built
of his rifle between his jaws if it comes to that when Sen, the poet, Muthu and Dr.
Joshi visit his attic to ask not to shoot kumar. He threatens them to pick up and toss
them down the stairs. He forcibly snatches the green folder and the list of the donors
from Natraj and collects the money from the Malgudians by threatening, keep the
money for his own use. Vasu not only kills animals but kills the name and fame of
Natraj; “he had destroyed my name, my friendship, and my world’. Vasu’s presence

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horrifies and fascinates Nataraj.

Vasu is an intellectual giant who gets his M.A in economics, History and
English from the Presidency College Madras. He knows laws, talks of Vedanta, of
the transmigration of soul and the omnipresence of God. He follows Mahatmaji and
even gets imprisonment for that. Vasu is a taxidermist and therefore, it is very natural
on his part to shoot animals and tan the hides. Had he been employed and prosperous,
he would not have resided in the mosquito-infested attic. Vasu asked Natraj to reside
in the attic and as Natraj agrees it is not Vasu’s fault and remains there as a guest.
Even Natraj admires vasu – “He worked single handed on all branches of his work. I
admired him for it”. The pseudo-philosophy of self-willed and assertive Vasu is
revealed in his speech “we are civilized human beings, educated and cultured and it is
up to us to prove our superiority to nature. Science conquers nature in a new way
every day; why not in creation also? That’s my philosophy, Sir.”

Being a dissolute womanizer when he can no longer hunt the jungle animals
he takes to indulging in sex. His passion for hunting is transformed into the passion
for lascivious lust. He likes to enjoy the inordinate immoral company of as many
loose women as possible. That is why he is very much against the institute of
marriage. He wants to stick to the Mephistophelian concept of enjoying sex. He
freely satisfies his sexual desire with the excessively passionate Rangi and other
prostitutes of the town.

Vasu is open- hearted, vivacious and sometimes appears kind hearted too. If
he takes Natraj to the Mempi village it is not for any harm but out of his high spirits
and playfulness. If Natraj fears that Vasu has kidnapped him, it is Natraj’s nothing
but false fear. When Natraj visits the Mempi village and the axle of the bus is broken
it is vasu who takes him to Malgudi in his jeep. Rangi praises him as brave and
courageous. He fears no one on earth or in heaven. These anilities of Vasu show that
though he has some weakness, he can not be called as man eater.

H. M. Williams in his Indo-Anglian Literature observes Vasu as a mighty

force which can hardly be controlled. He is to him, a mighty avalanche or a tempest.
Williams believes that Vasu who is a revolutionary force, despises in his utter
haughtiness and will, all that is established. He regards Vasu as the embodiment of
will. Vasu’s greatest contribution for the Malgudians is that he exposes all the
absurdities of Natraj and his friends. Vasu is certainly not Bhasmasur who brings
doom on himself. However few critics opine the satanic traits in Vasu. Meenakshi
Mukherjee in her book The Twice Born Fiction says: “The Man-Eater of Malgudi”
resorts to the Puranic conflict between Sura and Asura.” K. R. Srinivasa Iyengar too

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in his Indian Writing in English finds in the Man-Eater an absolute evil- “anti-life,
anti-nature, anti-faith.” This theme is implicit in R. K. Narayan himself who cites
Vasu as the modern version of a Rakshasa.

Even though, the death of Vasu is based on the mythology, the death of Vasu due to
the mosquitoes- smashing- hands is not convincing. His death can not be accepted by
reason and logic. No one has ever been killed in this way. The death of Vasu is a
matter of improbable probability. Vasu is not such vicious as he being projected by
other characters; even such a man simply happens as Raju in The Guide. Therefore it
is not always convincing to agree with some critics who observe that the man eater of
Malgudi is a giant of man, a potent, dangerous bully, a wild threat to the norms of
society. What we can only say that Vasu is the dark domain of ours.

Character Analysis of VASU in The Man-Eater of Malgudi

The character of Vasu in the novel the Man-Eater of Malgudi:

R.K. Narayan professes to set forth the eternal conflict between good and evil in ‘The
Man-Eater of Malgudi’. There is no attempt at originality of thought, the novelist’s
aim being mere to reinstate the triumph of good or evil. This he does by drawing
upon a mythological tale in which Bhasmasur destroys himself. Vasu is the prototype
of Bhasmasur who like this demon no wishes the illusion of becoming omnipotent.
The placid world of Malgudi is beset with his deeds. The taxidermist plunge this
world in disorder, as a result, the restlessness is large on his face. There is no respite
in Vasu’s devilish activity until it completes the circle in his self-annihilation.

Vasu is an epitome of Demonic power and mercilessness. His fist is strong enough to
pulverize granite into small pieces. The matchless might and muscular feature of
Vasu is an amazing achievement and a specimen of the skill of Suleiman and
Pahalwan utterly callous to the positive aspects of a virtuous life. Vasu had no
hesitation in kicking his master out. It was brazen ungratefulness but Vasu trampled
all values displayed a wholesome disregard for the goodness of life. The attic of the
press is rented out but no longer does he begin to live these, he back out from paying
any farthing as rent devoid of all moral and ethical consideration, Vasu appears to
personify all that restricts the flow of goodness in life. He is anti-life and anti-faith.
The collection of money to celebrate the religious ceremony is duped by him. He
stuffs dead animals for he rejoices in it. On the other hand, it is a means to quench the
lust for lucre for the sensual excitement he being women of all reputation. Vasu is
evil-incarnate and he is bent on defeating all that supports life.

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Vasu is anti-nature, anti-religion and anti-god. He believes in extinction and this
deserts one and all to serve his purpose. He procures gun-license but betraying the
bond of friendship to kills innocent wild creatures in Mempi forest. He lets loose a
reign of terror in the immediate surroundings. Unfortunately, the world of Natraj is
too good to resist his heartless misdeeds. Thus, Vasu relishes in his trade and there is
anarchy is Malgudi. A foul smell continuously emanates from the attic and the brute
enjoys himself in the suffering of humanity. Being a bully, he reacts menacingly even
at the slightest protest. Not only the law-protector but his benefactors also suffer
humiliation at his hands and at times get thrashed. The blessed soil of Malgudi turns
into a cursed place and the ordinary mortals are reduced to silent spectators. Vasu
through a challenge even to God and kills ‘Garuda’ a mythical bird associated with
Lord Vishnu. On being accosted by Natraj, he shows his blasphemy and says “I want
to try and make Vishnu use his feet now and then.”

Vasu is a wrecker of life, a pitiless messenger of death. On the day of a religious

procession, he makes up his mind to shoot Kumar, the temple elephant. But the
elephant becomes ‘Gajendra’ for bringing about salvation not only for himself or
Malgudi but for humanity at large. To quote Dr. D.V. Raghavacharya, Narayan
schematizes the mythological motif by employing the metaphysical triangle of Gunas
as a model for analyses and projection of human character. It is an asuric strength and
disoriented energy which spring from bethal combination of Tamas and Rajas and
compounded by lack of self-knowledge egotism, like Bhasmasur, he seeks to stay
God and destroys himself by Tamasic logic and punishing casualty of his own drive
for Rajasic power.

He is destroyed by the fetishism of his own strength and his elimination is brought
about by the unvanquishable faith of the traditional community.

Theme of the Novel The Man-Eater of Malgudi

R.K. Narayan weaves the plot of the novel ‘The Man-Eater of Malgudi’ on an ancient
myth of Bhasmasur and Mohini. However, he is not interested in extolling the
spiritual heritage of his land like Raja or planting propaganda in creative art as Mulk
Raj Anand. R.K. Narayan enjoys painting his people with their real hearts and mind.
He depicts the canvas without sounding preachy or cynical. The quiet landscape of
Malgudi provides a suitable background for his fiction. Malgudi is a microcosm, this
is a world within a world.

The conflict between good and evil has been a permanent theme for literary. It
assumes epical significance in some of the great works of art. The Man-eater of
Malgudi has a parallel development to an ancient myth projecting a clash between

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good and evil. The innocent world of Malgudi with her people and surroundings live
pales apart from the attic of the press. Natraj and Vasu are symbols of two different
sides of life. They represent virtue and vice in their true form respectively. Natraj is
too meek to say ‘no’ to anybody. In the company of Sen and Sastri, he leads his life
in the press with nothing much to worry about the world. The life around Malgudi
and far-off Mampi forest run on its orbit. Taking little care of the outer world they
live at peace with themselves. They are true to their environment, their God and their
own selves. The appearance of Vasu rejects the order and crunches the innocence and
purity of Malgudi. He is a danger to the very existence of life there Vasu is a
taxidermist and he rejoices in the killing. The sportive fauna of the forest became the
target of his bullets. He stuffs the dead body and sells them for money.

Vasu is anti-life, anti-nature and anti-god. He is the prince of darkness. Nothing can
survive within his reach. Nature loses its rhythm but finds no way to get rid of this
mighty demon. Gifted with immense strength, Vasu bullies and frightens. The whole
lot seems to be spineless before the demonic creature. The smoldering anger cannot
change into a blaze and Malgudi continues to breathe in-state air coming from dead
life. Natraj along with his company imagines of protesting against his ways and
wishes. But these are plans not to be translated into action. They pin their faith in the
supremacy of goodness and it is the last hope for them.

On a religious occasion, Vasu is determined to shoot the temple elephant dead.

Keeping aside her loyalty to Vasu, the public woman, Rangi informs Natraj about the
heinous scheme of Vasu. The rumor spreads and the festive mood of Malgudi
becomes gloomy. In their own ways, some people try to mitigate the Rakshasa or
destroy him. All efforts go in vain. The classical myth tells of Bhasmasur destroying
himself while dancing at the dictated posture of Mohini. On a fateful night, Rangi
was fanning him to keep off mosquitoes. Vasu was sleeping and Rangi also tells in a
drowse. Flies swarmed around his face and the terrible demon struck himself in the
course of keeping away the flies. The dreadful blow brought his end. As a matter of
fact, every demon keeps within himself the seed of destruction and this is the only
way through which he writes off his existence.

As an allegory “The Man-Eater of Malgudi” has its roots in the classical myth. The
novelist develops his plot in his usual charming style. However, he had a penchant
for delineating, his characters in an artistic way and setting them in ordinary
situations and incidents. Never trying to introduce in the personal lives of his
characters, he makes them grow in their own individualistic way.

‘The Man-Eater of Malgudi’ restores normalcy at the end of the novel. The novelist
watches disorder but life returns and there prevails usual serenity after a duration.
This is a ‘poetic justice’ in ‘The Man-eater of Malgudi’. In fact, Narayan’s novel is a

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pensive comedy where darkness cannot reign forever. Sunshine has to follow the
black shadow of evil.
His vision is essentially a cornic vision. In the moments of sorrow, he doesn’t fail to
look at the brighter aspects of life. The adjournment lawyer in the novel proves his
honesty in taking life in its totality. His style is simple but that does not suit his
characters or environment in the novel.

Significance of the Title The Man-Eater Of Malgudi by R.K. Narayan

The Man-eater of Malgudi is one of the most impressive novels of R.K. Narayan. In
it, all the three important aspects of a novel namely plot, theme, and characterization
have been successfully carried out. Round a somewhat, unusual story, the writer has a
woman a highly serious ethical and spiritual thematic pattern. The choice of a
taxidermist as the central character of the novel is in itself rather unusual. It is on the
surface the story of a simple innocent and passive Natraj falling a victim to the
crookedness and mischief of a deceitful, cunning, ungrateful and even inhuman Vasu.

Natraj runs a press and leads a peaceful life with his wife and his only child Babu. He
is too good to think of doing any harm to anyone. He is also extremely generous,
benevolent, and kind. But his peaceful and harmonious domestic as well as the
profession is infringed by a wayward notorious and ungrateful taxidermist Vasu. He
enters the press of Natraj as a customer, and just by the show of his physical strength
lodges himself in the attic of Natraj’s house much against gradually his evil nature
starts unfolding itself and spoils the name, fame, and peace of Natraj. As Natraj
himself helplessly amidst “Vasu has destroyed my name, my friendship, and my
world”. But the brute physical strength of which Vasu is so proud recoils on him and
destroys him. He strikes his temple with his fist in sleep to drive away mosquitoes so
forcefully that he breaks his skull and dies.

Title significance of ” The Man-Eater of Malgudi” runs around the negative character
Vasu whom, the narrator has drawn in the panoramic vision of a common notorious
person who thinks wrong, does wrong, and accept wrong all along. “The Man-Eater
of Malgudi” a symbolic reference to the negative character Vasu who had entered
into the life of Natraj like a disaster. He had brought an unhealthy atmosphere inter
winded in the life of common novel class people like Natraj, Sastri, Mr. Sen, and
Muthu. He is denoted the Man-Eater only because he always looked spoiling the
sustained peace, quietness, and humanism like a rhetorical demon (Asur or
Rakshasa). Indeed appearance at Malgudi looks like an appearance of the storm in the
peaceful atmosphere of Malgudi. On coming at first he showed his unwanted

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rudeness in the peaceful life of Natraj and his peaceful family. Vasu’s ill-nature grew
day by day ignoring the importance of humanism. At first, his personal occupation as
a taxidermist is enough to entitle him the man-eater yet his ill behavior and spoiling
attitude stubbed this through his ill and anti-humanistic nature. To kill innocent
animals, to kill wild animals without permission, to distract and disturb Natraj and
other gentlemen alone with his lawlessness behavior indicate him a complete man-
eater, suddenly appear in the peaceful atmosphere of Malgudi.

This taxidermist went working with his ill and rude activity in the peaceful
atmosphere of Malgudi. At first, he by force captured the house of Natraj without
paying him any rent for this. The next he started to keep the skin of animals in the
house of Natraj which was spreading dirty smell everywhere. Third, his rude
behavior not only for Natraj and his assistance but also for the coming customer in
the printing press of Natraj. It means all his rude behavior and activities strongly
prove the appearance of Vasu as a man-eater of Malgudi.

R.K. Narayan has designed the title of “The Man-eater of Malgudi” to justify wrong
thinking for a rude man like Vasu. Although the novel begins with a peaceful
atmosphere in the house of Natraj but very soon the track of the novel gets a change
when Vasu brook into the novel with all his negative activities and attitude. R.K.
Narayan design this negative character like a wild behavior of a tiger who lives for
self and acts for self without any emotional feeling for others for normal creatures.
Vasu abnormality is similar to a wild man-eater so monograph of a novel moves
around personage negativity of Vasu as a man-eater.

Character of NATRAJ in THE MAN EATER OF MALGUDI.

Although R.K. Narayan is at his best in the delineation of the characters of rogues
(rude) criminals and scoundrels the character of Natraj shows that Narayan is as deft
in delineating the character of plain, simple and innocent people as that of a hardened
criminal. Natraj belongs to the former category. As he himself says he is so good that
he is “not able to say no to anyone”. He is purely simple and good at heart having
nothing dark and repulsive in his character. He is a typical simple folk living in
complete peace in Malgudi. He himself tells about his past life and his family
background. He belongs to a family which was once proper ores but dwindled into
want due to partition and family discontent. He was rendered done by the death of his
father and mother going to Madras to live with the eldest son. But again Natraj is too
good to quarrel with his lot. He reconciles to his modest living and is content to live
in a partition of the house which is also being used for running a press. The press is
his main source of livelihood.

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But his peaceful life is greatly disturbed by the appearance of Vasu in his press one
day as a customer. On an allegorical level, this signifies the world casting a net of
evil and crookedness around a good soul to entrap and spoil him. Vasu is the epitome
of all evil-selfishness, crookedness, and ungratefulness. Natraj present contrast to
Vasu. He does not know the tricks and wiles of the world. He is intensely benevolent,
non-interfering and non-imposing. He helps others even at the cost of his own
convenience and comfort. He takes a lot of trouble for Mithu’s sake because Mithu
had once helped him in time of need. He also takes the trouble to organize the
function in the temple and to save Kumar, the temple elephant. He is a very good
friend who plays a vital role in materializing the dream of the poet, Sen. He labors
hard and takes great pains to honor the poet.
But Vasu infringes upon his peace and reputation. He takes undue advantage of his
goodness. He enters his press as a customer and then settles in the attic over the press.
The entrance of Vasu opens the gate of hell for Natraj. Natraj loses his business
reputation and family peace. He is too weak to resist the force of evil, trickery, and
deceit epitomized in Vasu. After Vasu’s death in his attic, he is even taken for a
murderer. People stop coming to his press. His business is doomed. Natraj became
the most pathetic figure.

But, despite all these analyses of evil and misfortune, Natraj survives. The force of
evil fails to crush and destroy him. Ultimately, he triumphs. His triumphs uphold the
superiority of good over evil. Poetic justice is done at last. Vasu dies under
mysterious circumstances. The cause of his death is finally revealed by Rangi, the
mist is cleared. His only worker in the press Sastri who had also left him returns.
Things gradually improve and Natraj regains his lost name and position. Thus
ultimately good triumphs over evil. After a prolonged grim battle, for existence
Natraj comes out victorious. Sastri reiterates his faith in goodness when he remarks.
Every demon appears in the world with a special boon of destructibility yet universe
has survived all the rakshasha that were ever born.

Rangi: Character Analysis in - The Man-Eater of Malgudi

Rangi and protagonist Nataraj's wife are two major female characters in the
novel, The Man-Eater of Malgudi. Padma and the adjournment lawyer's wife are
minor ones who appear for a short time in the narrative.

Rangi belongs to a family of temple dancing women who are accorded a low and
disreputable position in the traditional, caste-regimented social hierarchical order in
the Indian society. She lives in Abu Lane. Her mother, Padma, is attached to the
temple of Krishna as a dancer who dances before the idols of the gods. She has lived
as a kept woman for many years in her youth in the house of a wholesale grain-

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merchant named Damodar. The other portion of the same house is occupied by Sastri
who works as a machine-man in the printing press owned by Nataraj. Padma is
described as an exemplary, traditional and dedicated dancer of the temple. But her
daughter, Rangi, lacks all these good qualities of her mother.

Rangi and protagonist Nataraj's wife are two major female characters in the novel,
The Man-Eater of Malgudi. Padma and the adjournment lawyer's wife are minor ones
who appear for a short time in the narrative.
Rangi

Rangi's murky, inferior and immoral social background is borne out by the way
of her mother's life and her own early life. She, after receiving a little bit of education
in a local school, joins a drama troupe and moves from one village to the other
staging dance-performances. During her itinerary through these villages, she has
seduced a number of menfolk. Hence, she is looked down upon as an immoral
woman. Her mother grows too old to perform dance any more in the temple. She,
therefore, retires from her service in the temple. Rangi succeeds her mother as a
temple dancer and gives up her engagement with the drama troupe. Padma, being old
and unattractive now, is no more a cynosure of Damodar's eye. He feels fed up with,
her. She senses her erstwhile paramour's disenchantment with her. She, therefore,
leaves his house exacting from him a hefty sum of money on the threat that she will
expose to the inhabitants of the place that Rangi is his daughter in case he does not
part with the desired amount of money. Damodar has to accede to her demand for
fear of risking his reputation among his own people. Sastri reports all these details
about Rangi and her family background to Nataraj when he notices her,
unexpectedly, one day early in the morning coming down the stairs of the attic of
Nataraj's printing press. The attic is presently occupied by Vasu with a promise of
making monthly payment of rent which he actually never fulfils.

The ostensible certainty of Rangi's having established illegitimate sexual relations

with Vasu uncontrollably infuriates Sastri - a diehard orthodox believer in the Hindu
mythology and ethical code. He gives vent to his feeling of repugnant disapproval of
Rangi's devious ways in these words:

She was the worst woman who had ever come to Malgudi. She was a subject of
constant reference in Abu Lane, and was responsible for a great deal of the politics
there.! The use of the word 'politics' in the context of Rangi implies the vicious,
immoral manipulation exerted by her upon the inhabitants of Abu Lane. She is also a
source of frequent controversies and quarrels plaguing the residents of the locality.

Rangi possesses average but provocative physical features. She is dark and
seductive and remains overloaded with jewellery. She has big round arms, fat legs

GFGC HANUR 19
and wears a pink saree. She walks in the street non-chalantly with her clothes and
flowers in her hair looking rumpled and dishevelled while returning from Vasu's attic
early in the morning after her night escapade. This indifferent and shame-proof
routine conduct on her part amply casts an unsavoury reflection upon her hardened
disregard of normal public probity. The lecherous temptation exuding from her
personality proves too strong even for Nataraj's equanimity to resist. His imagination
soars high with a burning desire to see her one morning coming down the staircase of
the attic. He is curious to know how she looks like when she comes to Vasu in the
evenings. Rangi's compulsively enchanting physical make-up is given an imaginative
configuration in the over-exercised mind of Nataraj like this:

"I felt curious to know what she would look like in the evenings - perhaps she would
powder her face, the talcum floating uneasily over her ebonite skin."

He ends up the imagined depiction of her physical form saying that every inch of
her proclaims what she is, let it be any hour, " - a perfect female animal."

Interestirngly, Rangi stirs mutually divergent reactions in Sastri's and Nataraj's

mind. Even a casual look at her, according to Sastri's impenetrable conservative
outlook, is a sin. He feels suffocated while working at the printing machine because
the precincts of the place all around have been defiled by her undesirable movements
up and down the attic. On the other hand, the protagonist Nataraj does not consider
her personal presence as horrible and contemptible. Her sudden appearance at
midnight near the grille, which separates the printing press from the passage leading
upstairs to Vasu's attic, evokes irresistible sensual thoughts in the printer. He admits
to himself the sweeping, unnerving and indomitable effect that Rangi's seductive
charms can work upon a person. Her "billowy breasts" like those one sees in temple
sculptures and her "hips also classical", despite her complexion being as black as
cinders, perturb Nataray's emotional equi-poise with such ferocity that he grows self-
circumspect and is apprehensive of his weakress lest he should "succumb to her
charms." She has come there, of course, with an innocent intention on a mission of
charity. This occurrence takes place when the job of printing the monosyllabic poet's
book on Krishna in its complete size has to be finished the same night. That is why,
Nataraj is working indefatigably on the formes at the printing press. The part of the
book that deals with Krishna's marriage with Radha, an occasion of religious cum
spiritual significance in the Hindu thought, is to be celebrated the next day in
Krishna's temple with a dazzling bandobast of fanfare, pipes and drums, lights and
wide publicity.

Rangi is endowed with a charitable disposition of mind. She is humanitarian and

accords equal sanctity to all forms of life i.e. human or animal. This human aspect of
her personality is an ample evidence in her serious and unsparing effort to avoid the
gory scene that will ensue if Vasu's plan of shooting down the temple elephant is

GFGC HANUR 20
successfully carried out by him. Hence, she appears at an odd hour of midnight near
the grille from Vasu's attic for urgently conveying to Nataraj the dangerous and
impious intentions of Vasu to kill the temple elephant, Kumar, with his gun-shot
aimed at it through the window of his attic when the procession of thousands of men,
women and children with the elephant at its head reaches its terminal point, the
Market fountain, at night. She demonstrates boldness and steadfastness to the point of
endangering her own security for a cause. She imparts this bit of information in
whispers to the protagonist leaving Vasu profoundly asleep and at a grave risk to her
own life in case the monstrous fellow, somehow, comes to know about the leakage of
his wilful plan as Vasu has disclosed his mind to her only in confidence.

Nataraj stands exposed in poor light when confronted with Rangi face-to-tace.
Instead of sharing the sense of concern with her about the impending catastrophic
situation, sensuality overtakes him. He gets provoked by her physical form to the
extent of wishful-thinking that the grille, standing as a barrier between the two, may
somehow vanish as a marvel. He has a sigh of relief after a round in the parlour of the
printing press when he finds Sastri and the monosyllabic poet lying in sound slumber.
He thinks of unlocking the gate but fears to take out the keys from the drawer of the
table near which the poet is lying asleep in the Queen Anne chair. He does not want
to undergo the risk of the poet's getting awakened by any sort of audible action at
such a crucial juncture. The blinding desire of going close to Rangi at this hour of
midnight - alluringly impregnated with a rare eerie silence - gets total sway over him.
He is overwhelmed with an immediate, ardent and devilish force of passion for
Rangi. She exists, at the present moment, for him merely as an embodiment of a
seductress woman endowed with God-given tempting physical features of fleshy
legs, bellowy breasts and classically-shaped hips. The overpowering physical
temptation tickled in Nataraj at her sight is given graphic depiction in these words:

"My blood tingled with an unholy thrill. I let my mind slide into a wild fantasy of
seduction and passion. I was no longer a married man with a child and home, I was
an adolescent lost in dreams over nude photograph. I knew that, I was completely
sealed against any seductive invitation she might hold out for me, but, I hoped I
would not weaken..."

It is typical of Narayan that he delineates no character as all good or all bad,

excepting, of course, Vasu who is portrayed as evil incarnate, a monster in human
shape, a transgressor of all cultural, ethical and spiritual values of life, a callous
ravisher of all forms of sanctity of civilized human society and a boastful,
intrinsically aggressive and arrogant rationalist to whom his higher education comes
handy in inventing arguments for the justification of his own acts of omission and
commission. Everyone, according to the author's sensibility, is an average human
being with his or her own share of good and bad points. Rangi fits in very well in this
frame-work of Narayan's art of characterisation. She suffers from her own faults and
short-comings on the moral front. But she has her own good points too which add

GFGC HANUR 21
lustre to her character. She is humanitarian, philanthropic and possesses a woman's
heart - under her "bellowy breasts" - which is pulsating with proverbial noble feelings
of mercy, charity, generosity and kindness towards both human and animal life. She
considers it her moral duty as a temple dancer to save the sacred life of the temple
elephant, Kumar, irrespective of all the dangers and intricacies involved in the
completion of this mission. Indubitably, she is inextricably entangled into the sexual
snares of Vasu but her moral levity has not debased her to the level of insensitivity
and unsusceptibility to suffering of man or animal. In this respect, she stands in
complete contrast with her sexual partner, Vasu. Countless of men, women and
children will get trampled over in the melee following successful execution of Vasu's
evil plan. She is anxiety-ridden as soon as she comes to know of it from Vasu's own
mouth. She feels more convinced about his intention since he suggests to her to keep
away from the procession so that she may not jeopardize her own life. Vasu divulges
to her his further plan that he will take her with him to Bombay where they will live
together as he wants to take home-cooked pulav. The hotel stuff has sickened him.

Rangi is frank, bold, shrewd and straight-forward in revealing to Nataraj, at the

very first available opportunity, the sacrilegious scheme in Vasu's mind. She pleads
with him insistently that the innocent life of the elephant should be saved under any
circumstances. She performs her ritual dance before the images of Krishna and Radha
in the temple in the evening. Just after that, she thinks of nothing but of going to
Nataraj's house in order to explore and to know what he has done thus-far for
averting the imminent doom. Her earnestness and devotedness to this mission of
mercy are abundantly illustrated by her courageous initiative in making a plan by
herself for the purpose of steering clear of the threatened situation unscathed. She
keeps the details of the plan safely close to her heart. She tells Nataraj that Vasu has
visited her house in her absence. Vasu is in unprecedentedly furious mood against her
as he has come to know of the leakage of his game-plan. He has left a message for
her that she should come to him immediately otherwise he will set her house on fire.
She is terrified, especially, because of the prospect of her blind mother getting burnt
in the house on fire in case Rangi is not present there on such an eventuality.

Rangi's candour and boldness becomes more conspicuous vis-a-vis Nataraj's

nervousness and ambivalence. He conceals the truth from her and to keep up a false,
bold posture before her, he assures her not to worry as he will tackle Vasu
successfully in his own way. But in his heart of hearts, he is aware of the fact that the
situation has gone out of control despite the concerted efforts put in by Muthu, the
Veterinary doctor, the poet, the journalist Sen and the Police Inspector who have
been to Vasu in order to persuade or intimidate him with a view to dissuading him
from shooting down the elephant. They have returned without success leaving Vasu
still sticking to his idea as before. Nataraj's nervy disposition of mind holds him back
from divulging this fact to Rangi.

Rangi is astute and shrewd as she thoroughly understands Vasu's mind. She

GFGC HANUR 22
candidly expresses her understanding of Vasu's mind to Nataraj in her meeting with
him at his house, She tells him that Vasu is indomitable and immovable from
executing an action when once he has decided for it. No power on earth can force
him to alter his mind. However, before departing for Vasu's place, she suggestively
tells the protagonist that she will do her best in tackling Vasu in her own way. She
adds that she will apply the cunning methods as "A woman in my position has her
ways." But, she far sightedly avoids mentioning to Nataraj the details of her scheme
at a premature stage.

Rangi plays a key role towards the end of the novel. The unexpected death of
Vasu at that fateful night under mysterious circumstances gives a sudden turn to the
events that follow in the novel. An atmosphere of great suspense and suspicion is felt
on all sides. Doubts are aroused against one another. The D.S.P. and the Committee
of five wise men constituted for the sake of carrying out intensive investigations into
the case fail to reach any clinching conclusion. They are not able to establish
unequivocally the motive or circumstances of Vasu's death or the identity of the
murderer if it is considered a murder at all. The fall-out of the incident of Vasu's
death turns out the worst for Nataraj. His friends like the poet, the journalist Sen and
the adjournment lawyer start deliberately avoiding him. The needle of suspicion in
their mind is obliquely pointed towards Nataraj as the murderer of Vasu. Nataraj feels
terribly isolated and starts being haunted by self-suspicions. He recapitulates the
circumstances on the night of Vasu's death. He had gone stealthily to Vasu's attic.
Finding him lying motionless in sleep in the easy chair, he groped for his gun. He
succeeded in catching hold of his gun and aimed it at him to shoot him down in case
he happened to wake up when the procession was passing by. Suddenly, the gun fell
down from his hands on Vasu as he was startled by the sudden clicking sound of the
alarm clock placed on the table. According to the post mortem report, Vasu's death
was caused by a heavy impact of some blunt thing on his right temple which had
caused no outward injury but had crushed his skull inward pressing a vital vein
leading to his instant death. Nataraj suspects that the gun might have fallen on Vasu's
right temple from his hands. He is, therefore, assailed by a feeling of self-accusation
and self-guilt.

In the context of this dramatic event of Vasu's death, Rangi assumes a crucial role
as she is the only one who knows the exact circumstances of his death. The
suspenseful mystery of the taxidermist's sudden death is ultimately resolved through
Rangi's passing on the vital information to Sastri in the loneliness of his house. She
relates to him that when she reached Vasu's attic at that fateful night, she found him
in the most horrible mood of rage and vengeance. He was so highly upset that he
refused to take the chicken pulav, his favourite dish. She had brought the dish in a
brass vessel mixing with it a sedative drug so that after taking it he might fall into
sleep and the procession would pass away undisturbed. She adds that Vasu lay in his
wooden easy armchair, kept his feet on the stool and placed his gun on the floor
within his easy reach. The delay for the procession to start made him resolve that he

GFGC HANUR 23
would sleep for sometime and hence set the alarm clock at a probable hour when, he
thought, the procession would reach the Market fountain. He would then make a
target at the elephant with his gun and shoot it down. He instructed Rangi to sit by
him in the chair and to fan away the mosquitoes hated by him the most. After
sometime, he fell into deep sleep and she also felt drowsy. In the meantime, the
mosquitoes started hovering and whizzing round his face. He felt highly irritated and
in a half-awakened and half-asleep condition, he struck a powerful blow on his
forehead with the flat of his palm. She noticed two mosquitoes lying plastered on his
eye-brow. He lay in the chair motionless. She was shaken to discover that he was no
more alive. Thereafter, she left the attic unnoticed by anyone. Thus, as the
mythological story of Bhasmasura goes, Vasu is killed by his own invincible might of
fist-power. The circumstances of Vasu's death, as recalled by Rangi to Sastri, read
like this:

"She saw him flourish his arms, like a mad man, fighting them oft as they buzzed
about ears to suck his blood. Next minute she heard a sharp noise like a thunder-clap.
The man had evidently trapped a couple of mosquitoes on his forehead by bringing
the flat of his palm with all his might on top of them. The woman switched on the
light and saw two mosquitoes plastered on his brow."

Rangi's disclosure achieves very significant objectives in the closing part of the
novel. First, the mystery surrounding the death of Vasu is resolved in a way that no
one else is to blame for the calamitous end of his life. Hence the protagonist, Nataraj,
is redeemed from his self-inflicted sense of self-guilt. This spiritual redemption
reinvigorates his urges for resuming his solid, real occupation of running the printing
press. His sojourn into the illusory world of the poet, the journalist and Vasu comes
to an amicable end. He goes back to his world of solid reality and feels at ease with
himself. With the restoration of normalcy and resolution of the conflict, Nataraj
alongwith his dependable man, Sastri, resumes his normal business and starts printing
K.J.'s red labels to be stuck on his bottles of cold drink. The orthodox belief of Sastri
in the legendary myths of Ravana, Daksha and Bhasmasura - all rakshas - gets
vindicated in the mishap of Vasu's death.

Thus, Rangi combines in herself the moral depravity thrust upon her more likely
owing to her origin in an inferior, low class of the tradition-bound Indian society with
her sterling qualities of being large-hearted, philanthropic, conscientiously dutiful,
bold, frank and susceptible to the sanctity of all life whether human or animal. Her
sense of sacrifice to the extent of risking her own life for the achievement of a
philanthropic objective (saving the life of the temple elephant and of hundreds of
men, women and children in the procession) is exemplary and heightens her stature
as a human being.

Nataraj's Wife: Character in - The Man-Eater of Malgudi

GFGC HANUR 24
 The protagonist Nataraj's wife is a homely woman, she sincerely carries out her
routine domestic chores. She does not seem to have much education. She feels
satisfied with her being confined within the four walls of the house. Hence, her
outlook shaped by her homely way of life is orthodox, tradition-abiding and
conservative. The sphere of her activities remains limited to her dutifulness towards
her child and husband. She is a faithful, sincere and considerate woman. She is ever
ready to come to the help of her husband whenever she finds him in trouble. The
following incident testifies to her sense of concern for her husband. Nataraj, under
nervous stress, goes hysterical and raises a loud cry when the function at the temple
of Krishna is in progress. A big crowd of men, women and children has assembled to
join the religious ritual. The Chairman of the Municipal Committe has arrived at the
stage. Nataraj is standing on the outskirts of the gathering. The glee and gaiety of the
occasion makes him feel nervous as in his heart of hearts he is worried about Vasu's
plan of shooting down the elephant through his attic's window when the procession
with the elephant at its head reaches the Market fountain at night. His mind grows
feverish with the imaginative scene that will ensue the stampede caused by the
shooting incident. An immense loss of life of men, women and children will be the
result.

Hence, her outlook shaped by her homely way of life is orthodox, tradition-abiding
and conservative. The sphere of her activities remains limited to her dutifulness
towards her child and husband. She is a faithful, sincere and considerate woman. She
is ever ready to come to the help of her husband whenever she finds him in trouble.
Nataraj's Wife

The prospect of this appalling scene makes Nataraj behave like a mad person and
a cry louder than the babble of the crowd and the Chairman's speech on the
microphone comes out of his throat. Everyone over there is stunned by the shrill cry.
Nataraj is immediately surrounded by sympathisers, the Chairman and his friends like
the poet, Sen and Muthu. His wife forces her way through the crowd to reach her
husband. She feels highly agitated to see Nataraj's condition and appeals to him to go
back to the house with her and their son, Babu. Nataraj resists this move and tells all
the persons over there not to feel disturbed and to resume the normal activities of the
ceremonial occasion. He tries to assure his wife saying, "Why are you behaving like
this? I felt a little choked in there and so came out to sit here." But, she is too shrewd
to be misled by him. Hence, she takes him home alongwith her child. The incident
reveals the depth of sympathetic feeling, she nourishes, for her husband.

This trait of Nataraj's wife's character is further reflected in the devotion, care and
attention she bestows upon her husband at home. She pleads with him not to go back
to the festival but to take rest and food. Eventually, he is restored to his normal state
of mind. She knows that his nervousness is the result of his constant over-work and
the lack of food-intake for the last few days. Her feelings of mirth and pleasure in
serving her husband are expressed through her elaborate preparation of delicacies of

GFGC HANUR 25
food that her husband is habitually fond of eating. She spares no effort in pleasing
him and making him feel at home in the house. Nataraj narrates the enthusiasm and
keen interest of his wife in cooking a variety of food delicacies for him in these
words:

She had prepared a feast for me, she knew all my preferences: potato and onion
mash, rice patties fried in oil, chutney ground with green chili, sauce with brinjal and
grated coconut, cucumber slice, peppered and salted.

When food is ready, Nataraj's wife invites her husband to dinner. She serves him
food in a special way as one does to a guest. She has spread out a plantain leaf and
serves all the delicacies on it. She places a plank for him to sit on. She feels happy to
see her husband eating all these delicacies with relish. Nataraj asks her to put out a
plantain leaf for her also so that they may eat simultaneously. She refuses to do so as
she likes to serve him ceremoniously like a hostess that day. After dinner, she
persuades him to remain at home and to take rest and sleep. She seeks his permission
to allow her to attend the starting ceremony of the procession in the company of her
neighbour and Babu. She promises to come back home immediately after the start of
the procession. She is doing this, especially, in order to appease the curiosity of the
child for looking at the grandeur and fun of the occasion. All these details reveal her
sincerity, faithfulness, love and care for her husband.

Nataraj's wife is a conservative believer in mutual love and loyalty in wife-

husband relationship. That is why, she feels annoyed internally when Rangi comes to
their house at night for the sake of meeting Nataraj in order to know what he has
done in preventing the impending calamitous end of the procession. She does not
express her annoyance explicitly to Nataraj. She becomes sceptical about her
husband's intentions owing to her orthodox outlook. She feels peeved at the fact that
her husband is talking to a socially inferior woman like Rangi. Her inner wrath gets
exposed in the curt reply she gives to her husband in response to Nataraj's reaction
that she is going away whereas he is to stay at home. She summarily dismisses his
enquiry saying, "Stay or go, it's all the same to me." The sudden shift in her mood
from winsome hospitality to one of indifference and intolerance towards him is
strong enough to suggest to him her protest against his familiarity with Rangi. The
feeling of jealously overtakes her. Nataraj, too, is conscious of his wife's probable
reaction of disapproval towards Rangi's visit. That is why, he talks to Rangi standing
in the dark passage of the house rather than inviting her inside as a matter of social
courtesy. He does this in order to give an impression to his wife that he does not have
any serious relations with her. His wife's jealousy, aroused by Rangi's presence, is
expressed by Nataraj thus:

GFGC HANUR 26
"I knew now. My worst fears were confirmed. All the fine moments of the evening,
the taste of exquisite food, everything was turning to gall on my tongue. I knew my
wife. Although I had no occasion to test it. I knew she could be fiercely jealous."

His wife comes to him and suspiciously asks him, "That woman wants to see you.
What's your connection with her?" The influences of the tradition-bound Hindu
society on her do not let her tolerate the spectacle of a person like her husband of
higher social strata talking to a woman of inferior, low position such as Rangi. The
Hindu concept of untouchability is a product of this inflexible social hierarchical
division of the Hindu society based upon caste-system.

Nataraj's wife is a loving, tender-hearted and considerate mother. The maternal

aspect of her personality is evident in her sense of concern and anxiety she
experiences when her husband tells her about his suspicion that Vasu may someday
abduct their son, Babu, in order to seek vengeance on him for his asking the latter to
vacate the attic he is occupying at present. Moreover, Vasu has filed a suit against
Nataraj to the Rent Controller while, in fact, he is paying no rent to him. She keeps a
constant watch on the child and instructs him to come back home by six o'clock in
the evening. She always keeps the front door of the house closed so that Vasu may
not try to intrude into their house arid play some mischief upon the child. She goes to
see the temple procession for the sake of the child who is persistently insisting on
going to the temple for enjoying the fun and gaiety of the occasion. As a good
housewife, she is hospitable to the guests like Muthu, Sen, the poet and the
Veterinary doctor who visit her house in order to enquire about her husband's
condition of health after the inauguration ceremony of the function is over in the
temple. She serves coffee to all them ungrudgingly.

Nataraj's wife is religious-minded. She believes in the sanctity of the temple

festival and misses no chance to join the ceremonial celebration of Krishna's marriage
with Radha. She attends the celebration function not only for the sake of fun and
enjoyment of the bandobast of lights, pipes and drums that have been arranged by the
organisers. Rather it is an occasion of pious faith for her. Participation in these
religious observances, is a sort of fulfilment of duty which has been enjoined upon
her by the long-standing tradition of religious faith: Thus, she possesses all the
typical characteristics of a good homely Hindu woman.

The other women, mentioned in the novel, are the adjournment lawyer's wife and
his son-in-law's mother. Both of them are ordinary women who follow literally the
age-old traditions, customs and conventions of the Hindu society. The lawyer's
observations about women constitute a correct commentary on the custom-bound
Indian woman. He details unhappily the customs which have to be observed on

GFGC HANUR 27
different occassions after one's daughter's marriage. The girl's father is compelled to
go on giving presents, to the son-in-law on different occasions throughout the year in
order to propitiate him as one gives offerings to a god or a goddess for his or her
propitiation. The lawyer expresses his feeling of exasperation thus:

He must be given a present because it is the sixth month after the wedding, because it
is the month of Adi, because it is Deepavali, because it is this or that; everytime you
think of the great man, you must part with a hundred rupees in cash or clothes.

He adds that these are all silly, old customs to the preservation of which "our
women are responsible." He dwells further on this point that for this the youngman
(bridegroom) is not to blame. Rather it is his (bridegroom's) mother who demands
these things and the bride's mother, at once, responds by nagging her husband as
these women know that if a man is sufficiently nagged, he will somehow find the
cash. These observations of the lawyer very convincingly sum up the sway of
customs and rituals that operates in the Indian social set-up. Women are cast in the
role of custodian and defender of the convention-abiding character of the society. An
ambiguous reference is also made to certain girls and women of different shapes and
styles who are seen by Nataraj through the peephole in the bamboo curtain of the
printing press while they come downstairs from Vasu's attic early in the morning.
They have evidently spent the night with Vasu. All this gives a surprise to Nataraj
who does not know earlier that the small town of Malgudi contains such a
bewildering variety of womenfolk. The lawyer's wife, his son-in-law's mother and the
nebulous immoral women who frequent Vasu's attic at night may aptly be placed in
the class of shadowy characters portrayed, at times, by Narayan in his novels. They
are not fully developed characters and are referred to sketchily for the projection of a
certain specific viewpoint.

(i) SASTRI
Among the minor characters of The Man-Eater of Malgudi, Sastri is second only to
Rangi. Though he does not, who like Rangi changes the course of the story, he
consoles Natraj in his gloom by predicting the death of Vasu. Unlike most of the
characters like Vasu, Natraj, Sen and the Poet who are lop-sided, he is balanced.
While most of the important characters are involved, in one way or the other with the
elephant, he has got nothing to do with him. Moreover, unlike most of the characters,
he is not in the fray against Vasu. That is why when, after the death of Vasu, he is
going outside Malgudi and Natraj tells him that
the police may enquire about him, he says with a clarity of logic under the stress of
the present circumstances :
"I have nothing to do with Vasu or the police."
And Natraj says :
"It was true. He had resolutely kept away from contacts with Vasu. While all of us
were running around him. Sastri alone had kept a haughty aloofness. No one could

GFGC HANUR 28
ever associate Vasu with Sastri.
All in One
Sastri is an old man, Brahmin by caste. He is religious. He has gone to Karaikudi
along with his family to attend the marriage of his wife's niece. From Karaikudi he
goes for pilgrimage to Rameshawaram and other holy places. He is well versed in
Hindu mythology. Though he is the employee of Natraj in the press, he does not find
there employee-employer relationship between him and Natraj. Though assistant, he
has maintained friendly relations with his employer. In case of emergency the
employer-employee relations are reversed. Sastri then dictates like a master and
Natraj humbly obeys him. He is all in one. He works as foreman, compositor, office
boy, binder or accountant. Natraj plays the ventriloquist, which gives the customers
the impression that a lot of people are working in the press. Sastri sets up type, prints
the formes, four pages at a time on the treadle, sews the sheets and carries them for
ruling or binding to Kundan four streets off
Sincere
Sastri is a sincere person, devoted and dedicated to his work. He is so much
engrossed in the press work that he even neglects his family. Natraj feels that the
encumbrances of the wife and the children do not exist for him, they exist for lesser
men like him. Sastri's place is at the type board and the treadle. He produces an
incongruous, unconvincing picture as a family man. He is also very proud of the
reputation of the press. He is extremely disturbed when he sees Rangi, the prostitute
descending the staircase of the attic. Who Natraj had never seen him so worried
before. Even the first shock of a hyena beyond the grille had been nothing to what he
seems to face now. He says that if Rangi continues to come, the reputation of the
press will be tarnished.Though Natraj enjoys the discomfiture of Sastri, he is
impressed by his deep and incomprehensive knowledge of Rangi's family and
history.

Dealing with the Customers Sastri helps Natraj so much that the latter cannot imagine
running his press without the former. He has taken. upon himself the responsibility of
dealing with the recalcitrant customers. The cooperative Society reports and ledgers
are overdue because Natraj could not mature enough sharpness of mind to check the
figures. The cash bill of Anand Bhavan Hotel remains half done for the same reason.
It is Sastri who battles with the customers and sends them back with convincing
replies. This seems to Natraj a slight comfort in a world where there is no comfort.
A Sanskrit Scholar
Sastri is well-versed in Sanskrit. He has a ready reply in Sanskrit shloka to whatever
Natraj tells him. Natraj tells him about a proverb that when your cloth is caught in the
thorns of a bush, you have to extract yourself gently and little by little, otherwise you
will never take the cloth whole. Sastri an orthodox-minded Sanskrit semi-scholar,
appreciates this sentiment. He sets it off with another profounder one in Sanskrit
which says that to deal with a rakshasa one must possess the marksmanship of hunter,
the wit of a pundit and the guile of a harlot.! A Scholar of Indian Mythology He
consoles Natraj in his despair, and assures him that he will get rid of the terrorizing

GFGC HANUR 29
Vasu. This he does by narrating the mythological tales of the enormously strong
rakshasas who swelled with ego and boasted of immortality, but ultimately were
destroyed. He tells him the story of Ravana who was blessed with nectar so that his
chopped off head grew again. But ultimately he was killed by Rama. He tells him the
story of the asura Mahisha who was given the boon that every drop of blood shed
from his body would give rise to another demon in his own image. The goddess came
on a lion to kill him. Every drop of his blood which fell on the ground was sucked by
the lion. He told him the story of Bhasmasura who was given a boon by Shiv that
whomever he touched on the head would be scorched. He then ran to touch Shiva
himself on his head. Panic-stricken, Shiva ran to Vishnu for rescue. Vishnu appears
before Bhasmasur as a beautiful lady Mohini. Bhasmasur was enamored of her and
wanted to marry her. Mohini agreed to marry him on the condition that he would
imitate her in her dance. During the dance Mohini put her palm on her head.
Bhasmasura imitated her and was Burnt alıve. These stories console Natraj, assuage
his sorrow and assure his future welfare.

(v) THE WIFE OF NATRAJ

She is and Traditional. The nameless wife of Natraj, like the nameless Poet, is an
ideal woman. Like Savitri in The Dark Room and Susila in The English Teacher she
is simple, modest and loving. She is gentle, dutiful and affectionate. Her love, unlike
that of Savitri, and like that of Susila, is returned. She leads a warm, happy and calm
life with her husband. She is so modest and traditional that she abhors the police
making the press parlour their headquarter, abhors even the name of police. She says
: After all these years of honest and reputable living, we don't want the police
marching in and out. Even in the worst days when the property was partitioned, no
one dreamt of asking the police to come.' She is so modest and shy that she does not
want to appear before the police, atleast doesn't want to approach the police openly :
She preferred to walk across the street when the neighbours were
not looking and slip into my press by the back door and face the police."
A Contented Home Life
She leads a contented happy life. She buys a silk saree, glittering with lace on every
Deepawali besides buying sarees without any occasion. She keeps the pantry well
stocked and the kitchen-fire aglow.She is an excellent cook. Natraj praises her
cooking in the following
words : enjoyed my dinner, and kept payıng her complements on her excellence as a
cook."
Natraj praises the delicious dishes she prepares. He praises the preparation of her
dishes in these words : I might eat all the buns in the world, but without a handfut of
rice and the sauce my wife made I could never feel convinced that I had taken any
nourishment." (pp. 40-41)
She observes etiqucttes and courtesies. When Natraj's friends come to see his
delirious state, she entertains them with coffee time and again. Loving She loves her
husband from the innermost chambers of her heart. She is very much concerned
about him when he suffers in the temple function from an agitated, delirius state. She

GFGC HANUR 30
along with Babu, rushes her husband with agonized cries. She bursts into tears and
remains sobbing. She takes Natraj home away from the loud-speaker mumbo-jumbo
and the babble of the crowd.
At home she unrolls a mat, spreads a soft pillow and insists upon his lying down to
rest. She turns a deaf car to all the pleadings of her husband that he is in the perfect
normal condition. She makes nourishment and coffee for him.
She grumbles :
"Not eating properly, not sleeping, not resting.
God knows why you Wear yourself out in this way ?"
She sits at his side, fanning him. She is very anxious about him. Natraj is depressed
to see that his wife is deprived of seeing the fun of the function. He advises her to go
and enjoy the function. But she ignores the advice. She replied like a dutiful Hindu
wife that she had gone to the temple function only because he was there and not
because she cares for these crowds. She tells that he will do her a favour by avoiding
the crowd, and advises him to sleep. She does not like any visitor to disturb aim. But
when his friends come to see him, she welcomes them heartily
nd offers them coffee. She calls her husband to dinner as a special guest and tries to
pamper him only because he misses the function. All this evidences her deep love for
him.
Her Jealousy
Her jealousy is as intense as her love. She cannot tolerate any other Woman keeping
company with him. When Rangi comes to meet him, she burns in the fire of jealousy.
When Natraj is conversing with Rang, she gets restless and tries to spy both of them:
My wife had finished her dinner and was passing up and down on various minor
errands, casting Sexy, side long looks at the two of us in the dark passage. It is out of
jealousy that she, who did not care for the function, goes alongwith Babu to the
temple, leaving him alone. Natraj says
knew my wife ... I knew she could be fiercely jealous". The moment his wife hear's
of the death of Vasu, their friendly relations are resumned She says to Natraj : You
may close the mouth of an even, but how Can you close the mnouth of a town 9»2
She chides him and says that he could have minded his business. She has a faint
doubt of her husband being the murderer of Vasu. She is far better than the loose
Rangi. But from the point of view of the action of the novel she is far inferior to
Rangi.
(iv) MUTHU
Muthu is a simple, unassuming man. He runs a tea-stall in Mempi village at the foot
of the Mempi forest. He is a man of ordinary means but rich of heart. The buses,
running in between Top Slip and Malgudi, stop at his shop. Then he enjoys brisk
business. He is generous and helps the needy persons. He is a slightly-built man with
“fin-like ears and round eyes."
His Life-Career
Natraj, who is stranded purseless and buttonless in Mempi village and is landed in
trouble, asks Muthu if there is any bus for Malgudi. This is how Muthu is introduced
to Natraj. When Natraj tells him that he is a printer, intimacy develops and Muthu

GFGC HANUR 31
relates to him his life history. He is a self-made man. Leaving his home in Tirunelveli
at the age of twelve he came to Mempi in search of work. He drifted on to the tea
plantation in the hills and worked as an estate labourer. He used to picked tea leaves,
loaded trucks and acted as a hardy man. In 1947 when India gained independence, he
came down hill to look for a new job. He established a small shop, selling betelnuts,
peppermints and tobacco. The shop was expanded into a tea shop. When a new dam
construction started, the place buzzed with activity. His tea shop grew to the present
stature when he had brisk sale. He built two houses, one of them at a distance of five
minutes walk so that he could go there for a nap or a snatch of food.

Religious
He grew religious. He began to take interest in the shrine at the confluence of the
mountain and the plain. Even though hundreds of vehicles go up in those summits
and the roads are narrow and twisting, yet, by the grace of the goddess, there has
been no accident. He has built a temple with his own funds. He performs regular puja
there. He is about to celebrate the consecration of the temple on a grand scale
carrying the goddess in a procession with pipes and music, led by the elephant. He
wants Natraj to print a thousand notices so that a big crowd may turn up on the
function day. His Love for the Elephant, Kumar He has a temple elephant. When the
elephant was a six months baby, as big as a buffalo, it had strayed into the village.
Muthu adopted it for the temple. The name of the elephant is Kumar. Children and
elders adore him and feed him with coconut, sugarcane and rice all day long. Muthu
loves Kumar intensely. As soon as Kumar falls sick, he goesnto Malgudi to request
Natraj to find a doctor for him. He says to Natraj : You remember our temple
elephant I spoke to you about, though you couldn't see him that day ? He had gone
into the jungle for grazing. He's sick; and we want your help to see a doctor." When
Natraj discloses the truth to his friends that Vasu plans to shoot Kumar, Muthu
becomes extremely nervous about his elephant. Muthu, along with the others, goes to
remonstrate with Vasu against shooting the elephant. But when Vasu refuses to listen
to them, Muthu jumps up and down in rage.
Generous and Helpful

Muthu is generous of heart and helps the needy person When Natraj, on Muthu's visit
to his residence, tells him that he had entertained Vasu who stood where he (Muthu)
was standing and that he made no distinction between men, Muthu springs up as if he
had occupied the wrong place, and says, “I am not that kind". Natraj says, "I know,I
know....Don't I know ? You are a helpful man."" Muthu treats the tailor to tea and
burns in order to appease and propitiate him so that the latter may not create further
trouble regarding sending Kumar to Dr. Joshi. When Natraj is stranded penniless, he
prepares special tea for him and offers him buns as well. He requests the conductor to
take Natraj to town in his bus and collect the fare at the other end. When Natraj tells
him that the latter's daughter should be married to an educated boy, the latter gets so
pleased that he treats Natraj to a third bun and another glass of tea. As he is religious
he comes to attend the Radha-Krishna marriage celebration function at the Krishna

GFGC HANUR 32
temple, and shows his tenderness to Natraj when he suffers from delirium.
(vil) THE ADJOURNMENT LAWYER
The Adjournment Lawyer is a bad specimen of human kind. He is Given more
corrupt than even the Bus conductor. The Bus-conductor, Even though corrupt, is
atleast open-hearted. The lawyer has something in him because he is a sadist. He is
like also Dickens' Urich Heep. He seems to be humble when he weeps but really
speaking he is a cheat, and at the opportune time changes colours like a chameleon
Seemingly Humble and Chameleon-Like When we first meet him, he threatens Natraj
that he will get his marriage cards printed elsewhere. He says to Natraj "I am printing
my invitation elsewhere." His face is set in frown. When Natraj asks him to sit down,
he says that he has not come to waste his time. He is under the impression that Natraj
will ask for forgiveness and will become humble. But Natraj, contrary to the lawyer's
expectation, tells him that he is a free citizen therefore free to get his cards printed
anywhere. Now when Natraj asks him to go elsewhere for printing, he leaves his
hostile silence, changes colours, describes his problems, the genuine becomes humble
like Urich Heep and begins to shed the crocodile tears. When Natraj says that when a
father marries his daughter, he gives his most precious treasure, the lawyer is so
moved that tears come to his eyes. He sighs deeply and says that he has spent a lot of
money on the education of his daughter. Then when after tete-a-tete Natraj asks Sastri
to return to the lawyer his original invitation copy, the lawyer behaves like one stung,
and cries: Oo Oh no, Oh no Even if it means stopping the marriage, I will not go
anywhere else for my printing." Whenever he meets Natraj, he always talks of his
personal problems so that Natraj may not demand his printing bill money. He tells
Natraj that he has spent ten thousand rupees on the marriage of Susila, his daughter
and spent a lot of money on her education. When he meets Natraj again, he speaks of
the dowry he gave. He says : It's only after a marriage that one discovers how vicious
one's new relatives can be. How many things they demand and keep demanding Oh,
God," That he changes like a chameleon, is evidenced by another example. The
Lawyer has been avoiding to meet Natraj because he has not yet paid the printing bill.
But whenever he meets him by chance, he is meek. But when he knows that he
(Natraj) is involved in a legal case, begins to speak authoritatively. He has not paid
the printing bill even till the end of the novel. The Lawyer hurries on when he sees
Natraj. When one day Natraj accosts the Lawyer at the bend of the street, the Lawyer
pretends not to have seen him. He is flurried and tells thát he did not notice Natraj
and talks of the murder case of Vasu. Natraj asks him to forget it and admonishes him
that the marriage of his daughterwas celebrated months ago but he has not yet paid
his bill of ninty rupees. Earlier he says that since he had his thousand cards he had
been avoiding him. The Lawyer did not meet him now on his way to the Sarayu.
Perhaps he detours and takes a parallel way. But when one day he meets him he looks
panick-stricken and says:Just today I was planning to see you at the press". After
narrating his problems he says :
NOW you know why i could not really come over to see you."
A Sadist
He is cruel like Nero. He does not allow Natraj to come to his office. He summons

GFGC HANUR 33
him at his office and keeps him standing. Without adiusting Natraj's money he
demands fee money. He demands money without even mentioning the printing
money. He does not believe in mixing accounts. He is sadist like Nero. He makes
customers standing amidst the fluff so that they may cough. "He seemed to delight in
punishing people who came to see him."
(vii) K. J.
K. J. is an old type orthodox who wears a red-caste mark on his forehead. He is ill-
mannered, acquisitive and miserly fruit juice-seller, rather the coloured water seller.'
Unlike Vasu, he is not dictatorial, but, like him, he is selfish. Unlike the Bus-
conductor, he is not sprightly, but like him, hẹ is corrupt. Unlike the Adjournment
Lawyer, he is not a sadist, but like him, he is miserly.
Ill-mannered
He behaves ill-mannerly when he enters the press parlour of Natraj for collecting his
labels. As soon as he enters, he calls Sastri loudly. Then he discourteously yells, Are
you delivering the labels or not ?" He goes On cataloging his grievences and the
lapses of the press, and threatens the pressmen with dire consequences. When Natraj
advises him to wait for him for a minute, he remains sitting in a sullen mood. He
impatiently Kicks the floor and clears his throat in order to attract his attention. He
sits Cross-legged in the Oueen Anne chair. His sandals are abandoned On the floor
under the chair. When Natraj satisfies and convinces him with the reasons of the
delay in the printing of his labels, he looks foolish, forlorn, and ignorant.

Miser
When Natraj tells him that Sastri is busy with fixing a suitable date for the Radha-
Krishna marriage celebration function, K. J. fecls eager to know about it. When
Natraj speaks of donation of one hundred rupees From a big person like him, he gets
scared. He is not one who gives donation cheerfully; or musters courage to say no
straight away. He is an in between type. He is exposed as we see here : I went out to
meet the townfolk and get their subscriptions for our function, by no means an easy
job as everyone of our citiznes had the same temperament as K. J., affluent, afraid to
reject an appeal but unwilling to open the purse. Natraj tells K. J. that a few persons
have agreed to pay one hundred rupees and a few others even more. On listening to
this KJ. says that he is not so big a person as to pay one hundred rupees. The reality is
that K. J. makes one hundred rupees every hour. He feels sorry that he has walked
into this trap. He wishes that he hadn't ventured out of his orbit. He looks as if he
were facing the Income Tax Commissioner. He begins to fidget in his seat. He is
eager to get up and get out of sight. When Natraj asks him what exactly he will do for
the function, he says :
"I'm very busy just now. I am going round organizing our sales in the surrounding
country, where we are facing a certain amount of competition, When Natraj tells him
that he wants encouragement from people like him, he becomes panic-stricken. He
gets up suddenly, and dashes out muttering that he will see him again. K. J. has
offered to sell the first hundred fruit juice bottles free of cost. But he takes the
advantage of the lack of specification. Narayan flings, like Chaucer, a snave, sly and

GFGC HANUR 34
subtle irony at him "K. J. had spread out his coloured water on a wooden platform
and was doing brisk business. Since he had not specified when the free drinks would
be supplied, he was freely playing his trade." The irony that Narayan has flung at K.
J. is like the one he has flung at the Bus-conductor :
"He was a compassionate conductor who filled his pockets with the wayside fare,
never issuing a ticket."
Goodbye Party For Miss Pushpa T.S.
Friends,
our dear sister
is departing for foreign
in two three days,
and
we are meeting today
to wish her bon voyage.
You are all knowing, friends,
What sweetness is in Miss Pushpa.
I don't mean only external sweetness
but internal sweetness.
Miss Pushpa is smiling and smiling
even for no reason but simply because
she is feeling.
Miss Pushpa is coming
from very high family.
Her father was renowned advocate
in Bulsar or Surat,
I am not remembering now which place.
Surat? Ah, yes,
once only I stayed in Surat
with family members
of my uncle's very old friend-
his wife was cooking nicely…
that was long time ago.
Coming back to Miss Pushpa
she is most popular lady
with men also and ladies also.
Whenever I asked her to do anything,
she was saying, 'Just now only
I will do it.' That is showing
good spirit. I am always
appreciating the good spirit.
Pushpa Miss is never saying no.
Whatever I or anybody is asking
she is always saying yes,
GFGC HANUR
When I Heard the Learn’d Astronomer
Walt Whitman
When I heard the learn’d astronomer,
When the proofs, the figures, were ranged in
columns before me,
When I was shown the charts and diagrams, to
add, divide, and measure them,
When I sitting heard the astronomer where he
lectured with much applause in the lecture-
room,
How soon unaccountable I became tired and
sick,
Till rising and gliding out I wander’d off by
myself,
In the mystical moist night-air, and from time
to time,
Look’d up in perfect silence at the stars.
The Darkling Thrush
BY THOMAS HARDY
I leant upon a coppice gate
When Frost was spectre-grey,
And Winter's dregs made desolate
The weakening eye of day.
The tangled bine-stems scored the sky
Like strings of broken lyres,
And all mankind that haunted nigh
Had sought their household fires.
The land's sharp features seemed to be
The Century's corpse outleant,
His crypt the cloudy canopy,
The wind his death-lament.
The ancient pulse of germ and birth
Was shrunken hard and dry,
And every spirit upon earth
Seemed fervourless as I.
At once a voice arose among
The bleak twigs overhead
In a full-hearted evensong
Of joy illimited;
An aged thrush, frail, gaunt, and small,
35
and today she is going
to improve her prospect
and we are wishing her bon voyage.
Now I ask other speakers to speak
and afterwards Miss Pushpa
will do summing up.
Snake
BY D. H. LAWRENCE
A snake came to my water-trough
On a hot, hot day, and I in pyjamas for the
heat,
To drink there.
In the deep, strange-scented shade of the great
dark carob tree
I came down the steps with my pitcher
And must wait, must stand and wait, for there
he was at the trough
before me.
He reached down from a fissure in the earth-
wall in the gloom
And trailed his yellow-brown slackness soft-
bellied down, over
the edge of the stone trough
And rested his throat upon the stone bottom,
And where the water had dripped from the
tap, in a small clearness,
He sipped with his straight mouth,
Softly drank through his straight gums, into
his slack long body,
Silently.
Someone was before me at my water-trough,
And I, like a second-comer, waiting.
He lifted his head from his drinking, as cattle
do,
And looked at me vaguely, as drinking cattle
do,
And flickered his two-forked tongue from his
lips, and mused
GFGC HANUR
In blast-beruffled plume,
Had chosen thus to fling his soul
Upon the growing gloom.
So little cause for carolings
Of such ecstatic sound
Was written on terrestrial things
Afar or nigh around,
That I could think there trembled through
His happy good-night air
Some blessed Hope, whereof he knew
And I was unaware.
He drank enough
And lifted his head, dreamily, as one who has
drunken,
And flickered his tongue like a forked night
on the air, so black,
Seeming to lick his lips,
And looked around like a god, unseeing, into
the air,
And slowly turned his head,
And slowly, very slowly, as if thrice adream,
Proceeded to draw his slow length curving
round
And climb again the broken bank of my wall-
face.
And as he put his head into that dreadful hole,
And as he slowly drew up, snake-easing his
shoulders,
and entered farther,
A sort of horror, a sort of protest against his
withdrawing into
that horrid black hole,
Deliberately going into the blackness, and
slowly drawing
himself after,
Overcame me now his back was turned.
I looked round, I put down my pitcher,
I picked up a clumsy log
And yet those voices:
If you were not afraid, you would kill him!
And truly I was afraid, I was most afraid,
But even so, honoured still more
That he should seek my hospitality
From out the dark door of the secret earth.
And threw it at the water-trough with a clatter.
36
 a moment,
And stooped and drank a little more,
Being earth-brown, earth-golden from the
burning bowels
of the earth
On the day of Sicilian July, with Etna
smoking.
The voice of my education said to me
He must be killed,
For in Sicily the black, black snakes are
innocent, the gold
are venomous.
And voices in me said, If you were a man
You would take a stick and break him now,
and finish him off.
But must I confess how I liked him,
How glad I was he had come like a guest in
quiet, to drink
at my water-trough
And depart peaceful, pacified, and thankless,
Into the burning bowels of this earth?
I think it did not hit him,
But suddenly that part of him that was left
behind convulsed
in an undignified haste,
Writhed like lightning, and was gone
Into the black hole, the earth-lipped fissure in
the wall-front,
At which, in the intense still noon, I stared
with fascination.
And immediately I regretted it.
I thought how paltry, how vulgar, what a
mean act!
I despised myself and the voices of my
accursed human education.
And I thought of the albatross,
And I wished he would come back, my snake.
For he seemed to me again like a king,
Like a king in exile, uncrowned in the
underworld,
Now due to be crowned again.

Was it cowardice, that I dared not kill him? And so, I missed my chance with one of the
Was it perversity, that I longed to talk to him? lords
Was it humility, to feel so honoured? Of life.
I felt so honoured. And I have something to expiate:
A pettiness.

POETRY SECTION
POEM: 1
THE DARKLING THRUSH
Thomas Hardy (1840-1928)
The poet was leaning on a gate, on a path leading into a forest. The frost was gray and
looked thin like a ghost. The winter season was drawing to a close, and the scene around him
looked cheerless because of the diminishing light of the sun which was setting. The tangled
stems of climbing plants lined the sky and looked like the strings of a broken musical
instrument. It was cold hour of the evening. So and all the people that lived nearby had gone
to their homes to warm themselves by their household fires.
It was 31st December, 1900 when the poet wrote this poem. Therefore, the poet
imagines that the 19th century has just died and its dead body can be seen in those sharp

GFGC HANUR 37
features of the land. The poet regards the canopy formed by the clouds above as a grave, and
the sounds of the wind blowing over the trees as the lamentation over the death of the 19 th
century. The nineteenth century was ending. The immemorial rhythm of conception and birth
has diminished and slowed down at this time and every living creature upon the earth seemed
to be as depressed as the poet.
All of a sudden, a voice rose up from the leafless branches overhead, singing an evening
song with limitless joy. The song was from an aged, frail, skinny and small, with its feathers
rumpled by the wind. The bird has chosen to sing with all his soul in the increasing darkness
of the evening.
The earthly objects, whether in the distance or nearby, provided no basis for the thrush
to sing such a joyous song at this hour. The thrush’s song was like a happy song bidding a
good night to all the listeners. As there was no cause for such joyful singing of the thrush, the
poet thinks that the bird's happy song carried some hope of joy which was known to the thrush
but, about which the poet I didn’t know.

GFGC HANUR 38
 POEM: 2

SNAKE

D.H. Lawrence

The poem ‘Snake’ gives a detailed description of the moments when the poet
encountered a snake at his water trough. First, the poet talks about how he is fascinated by
the snake but then later fear creeps into him and he did an inappropriate act for which he felt
guilty. He said that his feelings were quite similar to the feelings of the ancient mariner. The
poet describes how a snake came to his water trough to drink water on one hot day. The poet
threw a log at it but the snake escaped into a hole. The poet felt guilty and criticized himself
for his actions. What he says in his reaction is the subject of the poem.
In this poem ‘Snake’, the poet is full of admiration and respect for snakes. He regards
them as a beautiful creation of God but at the same moment, he also fears them because of
the education that he got when he was young.
It was a very hot day in Taormina, Sicily where the poet lived. The poet went to his
water trough in the backyard of his house to fill water in a pitcher. The water trough was
present in the deep and scented shade of the carob tree. There he saw a golden brown coloured
snake drinking water from the trough. For a moment, the poet got scared but he was also very
glad to have a guest. So, he patiently waited for his turn at the water trough. The poet admired
the beauty of the snake, which appeared to be harmless. He realized that the snake had just
come to drink water and quench its thirst. It would return to its home peacefully. The poet
had many conflicting thoughts in his mind. He says that his education in his childhood taught
him that golden brown coloured snakes are poisonous and dangerous. His inner voice was
coaxing him to kill him but at the same time, he was in full admiration of the creation of God.
The snake was unaware of the presence of the poet. It drank water to its satisfaction and
raised its head dreamily. It flickered its forked tongue and licked its lips. The snake looked
like a God. Slowly it turned and moved away from the trough and probably it was on its way
back to his hole. When the poet saw the snake moving away, he was terror struck. To prove
himself that he was not a coward, he picked up a log of wood and threw it at the snake. The
poet missed the target but the snake sensed danger and disappeared hastily inside the hole.
However, the poet stared with fascination at the snake but at the same time, a feeling
of guilt for treating his guest in a dishonored way gripped him. He regretted his act of trying
to hit the snake. In the beginning, he felt honored that it had come to his trough to drink water

GFGC HANUR 39
 but later his fear forced him to kill it. He found his feelings of repentance quite similar to the
feelings of an ancient mariner who had killed the Albatross bird. He considered his action of
hitting his ‘guest’ to be a sin. He started hating himself and his human education.
The poet hoped and wished for the snake to come out of his hole so that he could apologize
and make amends for his mistake. The poet thinks that the snake is actually the uncrowned
king. So it hides in the interior of the Earth in exile. He felt that he missed a chance to crown
and honour the king. The poet ardently wishes to crown the snake.

************************************************************************

The Poems of Nissim Ezekiel

Poem Nissim Ezekiel draws a ridiculed picture of the improper use of the English
language in India. The poem is written in blank verse, with inappropriate use of
grammar. Yet a subtle way of mocking how Indian people literally translate words or
phrases from their native
language, framing incorrect sentences.

The Poems of Nissim Ezekiel Summary and Analysis of

"Goodbye Party for Miss Pushpa T.S."
Buy Study Guide

Summary

In "Goodbye Party for Miss Pushpa T.S.," a friend of Miss Pushpa gives a speech at
her going away party to a group of people. The speaker begins by addressing the
crowd and tells them that Miss Pushpa is "departing for foreign / in two three days"
(lines 3-4). He also reminds the party why they are gathered together: "we are
meeting today / to wish her bon voyage" (6-7).

The speaker moves to remind the crowd of Miss Pushpa's "sweetness" and says that
she is sweet internally as well as externally (9). He recalls how often Miss Pushpa
smiles, "even for no reason," but just because she feels like it (12-14).

The speaker also takes the opportunity to remind the party that Miss Pushpa comes
"from a very high family" (16). He informs them that her father was a diplomat in
Bulsar or Surat, though he cannot remember which one.

The speaker then goes on a tangent about Surat: "Surat? Ah, yes, / once only I stayed
in Surat / with family members" (20-22).

GFGC HANUR 40
The speaker then returns to the topic of Miss Pushpa and says that she is popular with
women as well as men. He praises her for doing everything he asks of her, saying that
her response is always "Just now only / I will do it" (30-31). The speaker believes
this is indicative of a "good spirit." Additionally, Miss Pushpa never says no:
"Whatever I or anybody is asking / she is always saying yes" (35-36).

In the final stanza, the speaker informs his listeners that it is time for him to let others
speak, and then "afterwards Miss Pushpa / will do summing up" (191).

When I Heard the Learn’d Astronomer

Walt Whitman

Summary

The poem When I heard the learn’d astronomer, opens in a lecture hall, where the
speaker is attending a public lecture on astronomy offered by a “learn’d” (Line 1)
expert in the field. The speaker describes how the astronomer is able to map and
measure the stars in the sky with scientific precision, describing how the information
is laid out in “proofs”, “figures”, and “columns” (Line 2) for the audience to view.
The astronomer also displays “charts and diagrams” (Line 3) that bring further order
to the night sky, involving mathematical calculations “to add, divide, and measure
them [the stars]” (Line 3), further bringing the stars under the control of scientists.
The lecture is received enthusiastically by the other people present, as they respond to
the speech “with much applause” (Line 4) that fills the lecture hall. But the speaker
has a different reaction: he complains of feeling “sick and tired” (Line 5) without
really understanding why, calling his emotional state “unaccountable” (Line 5). The
speaker then decides to leave the lecture hall, giving up the communal atmosphere of
the hall in favor of solitude instead: “I wander’d off by myself” (Line 6). Outside,
walking in the dark, the speaker describes the night atmosphere around him as
“mystical” (Line 7), recounting how he spends his walk occasionally glancing up “in
perfect silence” (Line 8) at all the stars in the night sky above him.
Happy
***

GFGC HANUR 41
 UNIT: 2
PRODUCTIVE SKILLS; SPEAKING AND WRITING
SKILLS

1. SPEAKING SKILLS
GROUP DISCUSSION

Group discussion (GD) is a comprehensive technique to judge the worthiness and the
suitability of an individual and his appropriateness for the job. The group will have 8 to 12
members who will express their views freely, frankly in a friendly manner, on a given topic.
In a group discussion, an individual’s thought process is influenced by the views and
opinions of the other members. All members of the group have a chance to speak and express
their own ideas and feelings freely. Topic will be given to judge your public speaking talent of
the participants. The examiner does not interfere once he announced the topic.
Group Discussion provides a deeper understanding of the subject, it improves the ability
to think critically, it provides different approaches to solving a problem, it helps the group in
taking a decision, it gives an opportunity to hear the opinions of other persons, it enables a
participant to put across his/her viewpoint, it enhances confidence in speaking, it can change
your opinion and show you things from a different perspective, provides chance to expose
language skills, academic knowledge, leadership skills, people handling skills, team work
general knowledge.

CHARACTERISTICS OF GROUP DISCUSSIONS

Some of the salient features common to all group discussions are as follows:
(i) Having a Clear Objective: Having a clear objective is one the characteristics of a group
discussion. The organisers and the participants must know the purposr of oragnising and GD
and the participants must also know the purpose of their participation.
(ii) Effective Communication and Interface: A basic feature of group discussions is the
interaction among the various members of the group. They see, hear and communicate with
each other orally by paying attention to each other. Therefore, interaction should be
motivational and the presentation be logical.

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(iii) Leader and Members: Group discussions are effective only when there is a group of
members and a leader. The leader has to summarize facts and information, integrate them,
stimulate thinking and agree to a unanimous solution of the problem. The members of the group
become actively related to each other in their respective roles.
(iv) Participation: The effectiveness and efficiency of a group discussion depend, largely,
upon the active participation of the members. In a group discussion, each participant is free to
speak his views. A successful discussion involves both listening and speaking. For this purpose
the atmosphere must be very cordial.
(v) Interpersonal Attraction: Another characteristic feature of a group discussion is
interpersonal attraction. As long as interaction continues, the likes, dislikes, behavior and
temperament of members are known to each other. Among them, empathy develops and as
such they share each other’s problems.
(vi) Pressure to Conform: In a group discussion, there is always an element of pressure to
conform to norms. The pre-defined and established standards are always enforced and
followed.
(vii) Conflict: A conflict is a difference or disagreement among the members of the group,
which often arise during deliberations and discussions. A conflict is inevitable and usually
develops when alternative solutions are present. It can stimulate the members to find new
solutions to the problem. Thus, conflict is not necessarily bad. But if it arises due to the political
behavior of the members it will have dysfunctional consequences.
(viii) Plat form for sharing ideas: A group discussion is a type of discussion that involves
people to share ideas. It gives room for generating new ideas or new approaches to solve
problem. It is also one of the purposes of GD.
(ix) Generating new ideas: To generate new ideas or new approaches to solving a problem is
one of the purposes of GD.
DO`S IN GROUP DISCUSSION
1. Think before you speak. One should prepare on variety of topics and well aware of
latest happenings around and all over the world.
2. Be appropriate to the issue.
3. Maximize participation. One must try to contribute fully, vigorously & steadily
throughout the discussion
4. Be assertive. An assertive person is direct, honest careful about not hurting others ‘self-
respect’.

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 5. Use right language because words can make friends and right words at the right time
make the best results.
6. Make original points, support them by substantial reasoning, and be analytical and fact-
oriented.
7. Be a patient listener. Listen to the other participants actively and carefully. Listening
to another person is one way of showing appreciation.
8. Pick up clues from the discussion and intelligently add your points.
9. Whatever you say must be with a logical flow, and validate it with an example and with
facts and figures.
10. Make only accurate statements and speak to the point and repetition of points are
repeated.
11. Modulate the volume, pitch and tone and be calm and composed while speaking.
12. Be considerate to the feelings of the others and have respectful attitude towards the
viewpoints of participation.
13. Try to get your turn and be gentle and sure in your presentation of views.
14. Be an active and dynamic participant by listening.
15. Talk with confidence and self- assurance.
16. Body language is important to convey one’s ease of behaviour.
17. When the discussion takes hostile, have the prudence to intervene to make the situation
relaxed. It will show your leadership qualities in solving problem solving skills.
18. Accept criticism.
19. Use GD phrases such as what do you think? I agree I disagree How about you? I feel
the same way. I have a different idea. I think... How do you feel about it? I have the
same opinion as… I don’t think so. Could you tell me...? That’s what I think too.
Really? I’d like to ask (you) about... Same here. No. I think ... I’d like to know… Me
too. That doesn’t make any sense.
20. To generate new ideas or new approaches to solving a problem because it is one of the
purposes of GD.

DON’TS IN GROUP DISCUSSION

1. Don’t initiate the discussion if you are not through with the subject or topic.
2. During group discussion don’t be shy, nervous, and keep isolated from G.D
3. Don’t interrupt another participant before his arguments are over and when they are
speaking.

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 4. Don’t establish your position and stand by it stubbornly.
5. Don’t change opinions about the topic if other participants have opinions different from
you.
6. Don’t make fun of any participant even if his arguments are funny.
7. Don’t engage yourself in sub-group conversation.
8. Don’t repeat and use irrelevant materials.
9. Don’t lose your confidence if the speaker prior to you has presented the points more
effectively than you.
10. Don’t pose yourself as a leader and ask irrelevant questions.
11. Don’t display your personal bias about the topic.
12. Never try to bluff.
13. Don’t give up.
14. Don’t speak continuously for a long time.
15. Don’t be aggressive.
16. Neither raise your voice too high nor speak too softly and slowly.

2. WRITING SKILLS

TECHNICAL SKILLS

COPY WRITING

Copywriting is the act writing text for the purpose of advertising or other forms
of marketing. It is a written content that aims to increase brand awareness and ultimately
persuade a person or a group to take a particular action. Emails, websites,
advertisements,, brochures, catalogs, jingle lyrics, magazine, sales letters, scripts
for television or radio commercials, white papers, website and social media posts, and
other marketing communications are considered copy writing.
What are the elements of copy writing?
The following are the important elements of copy writing.
1. Emphasize Benefits not Features: For successful copywriting, however, the focus is on
emphasizing the benefits. Since consumers want to know how something can benefit them
directly, copywriting must succeed in giving them what they want.
2. Target the Emotions: Emotions play a big role in decision-making. So determining how to
evoke emotion is an element of copywriting. While this may at first sound manipulative, it is
actually meeting a specific need of a subset of consumers out there.

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3. Customer-Focused Copy: Mere boasting cannot connect with the mindset of the customer.
Instead, good copy shows how it is about them and solving a dilemma or problem, they have.
4. Slide One Sentence into the Next: By creating compelling sentences that build
excitement, there is a higher chance your reader will continue to the end of your copy.
5. Create Belonging or Exclusivity: Normally everyone seeks to belong to a group or
community. Finding a brand or business they feel comfortable with can create this for them.
6. Create show-stopping leads: Grab the attention of readers right away with a show stopping
lead. Make your headline impactful and fascinating.
7. Be specific: Be specific in what you write about. Avoid generalities. Look for something
specific about the subject of your copy and use that as the selling point.
8. Use succinct writing: Write succinctly and make every word count. Avoid long or difficult
words and, instead, write clearly and simply. Avoid hyperbole and jargon, and get to the point
quickly.
9. Write conversationally: Write as if you are conversing with the reader. Connect with
readers using everyday language.

10. Incorporate testimonials: If possible, find and incorporate relevant customer

testimonials to build credibility with readers. These testimonials give more trust and
believability in the brand, product, or service and make readers feel more comfortable in taking
the next step.
11. Research: A blog does not become a reference on a particular subject by accident. It takes
a lot of research and dedication, in order to produce the best possible content.
12. Goal: Do not think that the publication of posts should happen indiscriminately. Try to
establish goals and a path for the customer within the sales funnel.For example, editorial
calendar. With it, you will be able to strategically publish content and launch campaigns,
including the use of holidays and anniversaries.
13. Exclusivity: It is useless to produce more of the same basic content that is easily found at
other addresses. To stand out and gain the trust of your reader, one of the essential elements
of copywriting is exclusivity. Be creative, invest in research, and ensure that your content is
unique, with new and relevant information for your persona.
14. Optimization: SEO (Search Engine Optimization) is very important to ensure that your
website has a good position in Google search rankings.
15. Analytics: Just as the relationship with the customer does not end when a sale is closed,
your work does not end when the post is published. Follow the metrics closely, see if the
content is working well, check which tactics should be leveraged, and identify those that need

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to be avoided. By analyzing your results, you will be more informed to make decisions and
make the success of your website or blog possible.

What are the copywriting techniques?

Some techniques must be adopted to ensure that copywriting is a successful strategy.
The following are the most importantcopywriting techniques.
1. Know who your target audience is: Copywriter must know whomhe/she is writing for.
First, define persona. It is important to define age, sex, occupation, interests, hobbies, and any
other type of information that is relevant to understanding the profile and behavior of these
people. In this way, it will be possible to create content oriented to your potential customers,
with a style and approach that come close to their reality, increasing the possibility of
conversions.
2. Set the right tone and language: It is essential to establish the tone and language that will
be adopted in the content. The must be of persuasive nature.

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3. Create catchy titles: The title is the first contact the reader has with the content. There are
several title formats: it can start with numbers, suggest a question, present the topic and then
make a call, make a provocation, among many other ways.
4. Create a connection with the reader: To establish a relationship of trust between the
copywriter and the potential customer, the need is to create a connection with them to show
that one offers exactly what he/she needs through rich content.
5. Use action verbs: In order to make the readers understand the message and know what must
be done, it is recommended that a copywriter must use verbs in the imperative, mainly in the
title, in the subheadings, and in the CTA.
6. Make comparisons: The effort must be used to understand a totally new concept is very
important. However, it is important to avoid direct comparisons with the competition.In
addition to not being ethical conduct; this type of attitude arouses suspicion.
7. Use numbers and surveys: To give even more credibility to what you are saying, quote
data and research.
8. Anticipate objections: One of the main goals of copywriting is to break objections, doubts
that one has about your company or product. These objections must be identified in advance
during the research and persona creation, improved and updated.
9. Work on your persuasiveness: As persuasion is at the heart of a good copywriting strategy,
it is essential to know about some psychological principles to increase your convincing power.
10. Tell stories: Storytelling’s main objective is to create a strong connection with your
audienceand to showing empathy by making people experience the information they
receive.
11. Ask questions that will get positive answers: A question as a statement will make readers
nod their heads in agreement and agree with what you are saying.
12. Write how you speak: Think carefully and write in a way similar to the one you speak. It
allows you to get closer to the reader, helps to tell stories, and even makes reading easier.
13. Emphasize the main topic of the content: Reinforcing the main subject in all its content
is very important. For example, if you need to talk about the health benefits of green tea
introduce green tea in the introduction, develop throughout the text what are its health benefits
of it, and reinforce the importance of the product in the conclusion.
14. Sell the benefits and experience: The important is to explain the benefits and the
experience that the customer is about to acquire. We do not like the idea of being convinced to
buy something, and when we do, it is for emotional, not rational reasons. So make an appeal
only to the rational side.

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 What are the types of copy writing?

While all copy writing, to some degree, is persuasive writing, there are different types of
specialists.
1. Ad copywriting: The purpose of ad copywriting is to convince readers to take action
while using as few words as possible. This means every word matters, and those words
will need to target a specific issue or problem succinctly and show how a product or
service is a solution. These ads can have a big impact on your conversion rates.
2. Email copywriting: Emails are still one of the best online methods for reaching
customers and can be highly persuasive. Email copywriting will include compelling
subject lines and engaging text that builds up to a clear, irresistible call to action.
3. Social media copywriting: Social media copywriting involves creating posts with
targeted messages that speak directly to your audience. Each post, however, will need
tailoring to the specific social media platform and its standards.
4. Technical copywriting: Compelling copy that breaks something technical down into
understandable steps, such as how-to articles for product set-up or use, is technical
copywriting. While helpful, it is also encouraging to the reader to take action and make
a purchase.

3. E-CORRESPONDENCE AND CONTENT WRITING SKILLS

(I) APOLOGY LETTER
Explain how to write an apology letter should be written.
An apology letter is a written statement in the form of a physical document or email
that acknowledges wrongdoing, mistake, misunderstanding or misbehaviour and asks for
forgiveness or tolerance.
In the workplace, apology letters are all the more important, as they are documentary
evidence of your attempts to correct a mistake or failure. To say sorry and apologise for a
mistake is sometimes not easy, but employees who own responsibility and show eagerness to
correct their mistakes earn trust and respect and are valuable assets to any professional team.
1. Apologize unconditionally showing honesty: One should not hesitate to apologise. At
the beginning of an apology letter phrases “I’m sorry for . . .” or “I apologize for . . .” must
be used. Expressing remorse upfront shows humility and awareness about how you’ve
affected the other person. Honesty is the key to apology, so ensure that your apology letter
and convey a genuine emotion of regret.
2. Acknowledge the impact: Next, recognize the effect that your actions had, whether on

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 the recipient, a group, or a larger situation. Accepting responsibility for how you impacted
others demonstrates that you understand why they’re hurt, upset, or disappointed.
However, be cautious about making excuses for your behavior.
3. Atone for the wrongdoing: In this part of an apology letter, express your wish to make
amends. Offer suggestions on how you plan to change your actions moving forward. Do
the mental labor by bringing your own solutions to show that you’re coming from a
genuine place of learning and goodwill.
4. Take responsibility and Be unselfish: It is important to take full responsibility for your
actions, even if it may mar your reputation or hurt your ego. Additionally, make it clear
that you are willing to make personal sacrifices if necessary to make things right. Say sorry
and promptly admit that you were wrong. For example, you can say “Since I was late, the
project team could not achieve the daily targets in the given period.”
5. Offer reassurances: Reiterate your desire to rebuild from this experience together. And,
assure them that you’ve learned from your mistake. When you’re finished writing the
apology letter, it should be concise and honest. Importantly, it should demonstrate that you
hear and empathize with the recipient’s experience.
6. Mode of apology: If your mistake was minor and if you and the affected parties are equals
in the workplace, a simple email would probably be sufficient. But, if your mistake affects

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 your boss or your entire team, it would be better to print the letter and deliver it in person
to the boss. Irrespective of the situation, the most important thing to focus on is honesty,
sincerity and humility.
7. Express your gratitude: If you want to, though it is not required, you can acknowledge
all the hard work and good things that they've done for you in the past. This shows them
that you appreciate them and can help show that you really do feel bad about what you've
done.
8. Offer a solution that will lead to change: Just saying that you're sorry isn't really
enough. What really gives an apology some punch is finding a way to solve the problem
in the future. This is better, even, than just saying that it will never happen again. When
you offer a plan for change and how you're going to go about it, this shows the person that
you're really serious about making the situation better.
9. Apologizing Correctly: Don't promise change unless you are 100% sure you can
deliver. Watch what language you use. Watch what language you use. Be sincere and
genuine.Keep expectations and assumptions out of your letter. Wait a day or two before
mailing it.
10. Avoid the following in the apology letter: Assigning blame: Long-winded
explanations: Self-pity: Insincere apologies: Passive-aggressive tone: Passive-
aggressive statements

Examples of Apology Letters

Example 1: An apology letter to a co-worker

Dear Sanjay,

I sincerely apologise for not including you in the company holiday party I organised
last week. I forgot to update my directory. As a result, many of the new employees, including
you, were all left out. The exclusion was not intentional and I am feeling terrible for my blunder.
Being a team player, team spirit is of paramount importance to me at the workplace,
and I usually make it a point to reach out to new employees and make them feel comfortable. I
sincerely apologise for the disappointment caused to you. I have added your contact details to
my address book and I assure you that such a mistake would not happen again.
I sincerely ask for your pardon. I hope this incident has not spoiled our relationship
and I look forward to knowing you better at the next company gathering.
All the best,
Manoj

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(with date)

Example 2: An apology letter to a customer

Mr. Prathap,

Please accept my sincere apology on behalf of Sudeep. We are sorry to know that the
auto parts we delivered fell short of the specifications you sent us. I must admit that our design
and manufacturing teams are required to have examined your request and sought your
approval before shipping the final product.
We accept the fault and would like to replace the wrong parts plus offer you a company
gift card for Rs. 5000, usable in any of our 20 locations and through our online store. We hope
you would accept our gesture of apology. Our technical team would contact you soon to ensure
that the replacement parts meet your specifications.
I want to clarify that customer satisfaction is our top priority and we want to assure
you that this type of issue would not arise again. We have taken up the concern with our
manufacturing team to make sure that more care is taken in case of special orders. We cherish
your business relationship with us and we want to carry our professional relationship forward.
If you have any queries, please contact me directly or any member of our Customer
Service team.
Yours Sincerely,

Rajesh Srivastava

General Manager

Malgudi

(with date)

Example 3: Sample apology letter to a manager

Dear Vishwanath,

I apologize for my rude tone while talking to our client during yesterday’s video call.

Upon further reflection, I recognize that I not only presented myself unprofessionally but also
disrupted the meeting’s productivity by creating tension. I see that I’ve put the team and the
company in a difficult situation.

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 I’ve privately reached out to my team members who were present to personally

apologize for putting them in an uncomfortable spot. I’m committed to doing better in high-

pressure situations and learning conflict-resolution strategies to help me communicate

according to our company standards. I sincerely apologize for my mistake and will, of course,

accept the consequences of my actions.

Yours Sincerely,

Kumara

(with date)

(II) APPRECIATION LETTER

Write a note on how to write an Appreciation Letter.

Or
What are the features of an appreciation letter?

A letter of appreciation is a letter written by one party to another to thank the former
at a personal level. This letter is a valuable one to master writing, and often consider a skillful
piece in professional life, acting as a bridge of stronger future connections.
1. Format the Letter: Your letter’s format depends on the reason why you are thanking the
employee. If you are thanking an employee for any small help, then a casually formatted letter
will do the work, but if you are appreciating the employee for any significant contribution, such
as the employee completing a tough project that led to helping the organization in large amount,
then a formal hand-written letter will be more appropriate.
2. Include Specific Details: The main purpose of this letter is to let the employee know that
their performance on any specific task is appreciated and to encourage them to keep up the
good work. That is why you should begin your letter by recognizing the employee and
explaining them in detail why they are being appreciated by the company. Additionally, explain
to them how their contribution has positively affected the team and organization.
3. Mention Their Unique Skills: While explaining the details about their work and
contribution, mention how their skills and positive qualities have impacted their success. This
will lead them to make feel good about themself and helps them to identify the strengths they
should keep working on.

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4. Be Excited about their Future: In addition to mentioning their contributions and
achievements, add a sentence conveying your excitement for their bright future in the
organization. When the employees are encouraged, they will be more like to be connected with
the company.
5. Be Naturally Sincere and Personal: Addressing the receiver by their name and hand-
signing the letter are two basic ways to give a personal touch to your letter. End the letter with
“Thank You” or “Thanks Again” to give an additional sincerity to the letter.

Write your letter as soon as possible: Try to send the appreciation letter or email as soon as
possible. For example, if you have an informational interview with a contact, send them a
thank-you letter by the next day. You want the person receiving the letter to remember what
you are thanking them for.
6. Explain why you’re writing the letter: Clearly explain what you are showing appreciation
for. Especially if you dropped the ball on writing immediately and it has been a while, the
person might need a reminder.
7. Keep the letter it short and focused: Keep your letter concise. You want to express your
thanks without going on for too long. A couple of paragraphs is typically sufficient.
8. Be sincere: Don’t go over the top in your appreciation. Express your gratitude sincerely, but
briefly. Simply state how much you value the person’s help or their achievement.
9. Edit, edit, edit:Be sure to proofread your letter before sending it. You want to appear
professional and polished, even in an appreciation letter.

Write a note on the structure of an appreciation letter

1. Name, address and contact information.
2. The date.
3. Name and contact details of the recipient. Make sure to address the letter to a specific
person. Appreciating the company or organization as a whole isn’t as effective, but yes
it is to some extent, than not appreciating at all. You should be aware of who helped
you; so there will be lesser hard work in searching for him and hence addressing it to
that kind soul should be easy.
4. A friendly greeting. In most cases, a ‘Hello…...’ does the job. But in more formal
correspondence, ‘Dear ............ ’ is a better option.
5. An introductory line stating that you are writing to thank the recipient for so-and-so task
or help of his. To this, you can add the details of exactly how he put you out of the mess
or how his presence and advice motivated you or influenced you and how much you

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 enjoyed it. General appreciation for the regular, routine things they do are okay, but
being specific makes them feel better of themselves, and will probably be a reason for
them to help others in a similar manner.
6. Be sincere in your appraisal and say what to intend to do further for that help of his. If
he was an advisor to you or the speaker at a seminar, you can express your wish to work
on or further study on topics the spoke about. But remember, appreciation doesn’t mean
flattery. Find out the fine line and steer clear of that.

7. Be grateful for the time they gave for his consideration and help. With a call for contact
in the future to meet up again, or with the wish to get the opportunity to help him in the
future, close and sign off.
8. Include your signature and typed name.

Appreciation Letter Example-HARD COPY

From,

Michael Smith
300 Third Ave, Apt. 3R
Brooklyn, NY 11215
555-555-5555
michael.smith@email.com
October 25, 2021
To,
Jessica Davis
Content Strategist
XYZ Media Company
1400 14th Street, Ste. 14
New York, NY 10018

Dear Ms. Davis,

Thank you again for meeting with me today. I truly enjoyed our conversation and
gained valuable insights into content strategy and building a career in media.
I’ve already investigated the classes you suggested, as well as the writer’s union, and
will continue working on building my own personal brand using your (extremely helpful!)
advice.

As you said during our chat, you really can’t learn everything you need to know about
this industry in school. I’m extremely grateful that you took the time to steer me in the right

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 direction.

Thanks again, and best regards,

Signature (hard copy letter)

Michael Smith

CONGRATULATION LETTER
A congratulation letter is written to congratulate someone, usually of high importance.
A formal congratulation letter is written to celebrate a person who has reached a milestone. It
could be congratulating an individual for getting a new job, finishing a university program,
retiring successfully, or getting a promotion.

 Congratulation Letter should have a polite and professional tone.

 The letter should successfully depict the sender’s emotions. The words and phrases used should
be compelling enough to impact the recipient significantly.

 The letter should be concise and straightforward – no need to include unnecessary details.

 One should be genuine in what he/she says in the letter. Exaggeration must be avoided.

 Appreciating the individuals for their hard work and the impact they have made in one’s and
others lives.

A typical congratulation letter has the following features:

1. Date: the correct date must be written.

2. Address of recipient: The recipient’s name, title, and address must be written legibly.

3. Sender’s address: The sender’s name is important in a congratulatory letter. so the

recipient knows who is congratulating them.

4. Salutation: A formal and professional tone must be used. It must be cordial and
respectful. Greetings like “Dear” ‘Dear Mr/Mrs” with the recipient’s full name must be
used.

5. Body: Mentioning of the accomplishment one is congratulating the recipient is very

important. Inclusion of a compliment on the qualities that one admires in them is also

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 important. The person who extends congratulation should make use of the opportunity
to thank them for their hard work or assistance they have rendered in the past.

6. Closing and sign-off: A complimentary close should follow the body of the letter.
Phrases like “Sincerely,” and “Best wishes,” and “Best regards.” Must be used. And
finally the sender must Sign-off with the name and designation.

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 PROFESSIONAL CONGRATULATIONS E-MAIL
Example Letter: 1

To: suresh22@gmail.com

Subject Line: Congratulations on Your Promotion

Dear Suresh,

Congratulations on your promotion to Front End Manager. I’ve seen the excellent work

you’ve done at Tom’s Groceries over the past three years I’ve been employed; including the

methods you’ve used to reduce staff absences and tardiness. I can wholeheartedly say that

you’re bringing positive change to this company.

I know you’ve worked incredibly hard for this position, and with that being said, I also

know that you deserve the new recognition and responsibility. I look forward to working with

you more closely in the future.

Best wishes for continued success in your career.

Best regards,

Deepu

Human Resources

Rathnavathi Groceries

47, Park Avenue.

Frezer Town, Bangalore

June 4th, 2023

PROFESSIONAL CONGRATULATIONS E-MAIL

Example Letter: 2
To: ramesh123@gmail.com
Subject: Congratulations on Your Well-Deserved Achievement!
Dear Ramesh,
I hope this email finds you in high spirits. I am writing to extend my heartfelt

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congratulations on your recent accomplishment. Your hard work, dedication, and exceptional
skills have led to this well-deserved recognition, and I couldn't be happier for you.
I wanted to take a moment to express my admiration for your outstanding achievements.
Your commitment to excellence and your ability to consistently deliver exceptional results are
truly commendable. On behalf of the entire team, I want to acknowledge the impact you have
made. Your contributions have not only benefited our team but have also positively influenced
the success of our department and the organization as a whole.
As we celebrate your success, I want to express my gratitude for your hard work and
dedication. Once again, congratulations on this remarkable achievement. If there is anything I
can do to support you further or if you would like to share your thoughts on this
accomplishment, please feel free to reach out. I am always here to support you and celebrate
your continued success.
Wishing you all the best in your future endeavours.
Warmest congratulations,
Raghunandan
Senior Analyst

Wipro Pvt Ltd.

thomas22@gmail.com
+91 9876543975
4. SOCIAL MEDIA CONTENT WRITING SKILLS
PODCAST
Podcast is a digital audio file made available on the internet for downloading to a
computer or mobile device, typically available as a series, new installments of which can be
received by subscribers automatically. For example, an episodic series of digital audio files
that a user can download to a personal device to listen to at a time of their choosing.
Podcasts have gained immense popularity in recent years, offering a unique medium
for storytelling and information sharing. Writing for podcasts requires a distinct set of skills to
captivate listeners through the power of audio.
ELEMENTS OF A PODCAST

1. Narrative structure: Podcast writing always demands a strong narrative structure.

Identification of the central theme or topic and outlining the main points that are to be
covered always play a crucial role. A well-structured podcast keeps the audience
engaged from start to finish, utilizing elements like hooks, cliff-hangers, and seamless

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 transitions between segments.
2. Scripts: Focusing on creating compelling scripts is very important in a podcast. Unlike
written content, podcast scripts need to be conversational and natural-sounding. A good
podcast will appeal to its target audience. Considering the target audience podcast
writing demands a tone and style that resonate with them. The language must be concise
and clear. jargon or overly complex terms that may alienate listeners must be avoided.
3. Techniques: To enhance engagement, storytelling techniques must be incorporated
into the podcast writing. The elements such as personal anecdotes, real-life examples,
or interviews will help to establish an emotional connection with the audience, making
the information more relatable and memorable.
4. Sound design: Since podcasts are primarily an audio medium attention must be given
to sound design. Descriptive language creates vivid mental images and set the scene
for the listeners. Incorporate sound effects, music, or ambient noise to enhance the
overall experience and immerse your audience in the story.
5. Pacing: Pacing is crucial in podcast writing. Keep the episodes concise and avoid
unnecessary digressions. Respect the listeners' time and deliver information in a manner
that holds their attention. Be mindful of the natural rhythm of speech, allowing pauses
and breaths for a more authentic listening experience.

6. Edit: The scripts must be always revised and edited. Reading the scripts aloud will
help to gauge its effectiveness in the audio format and make any necessary
adjustments.
7. Authenticity: In a podcast host, authenticity is critical. The audience will easily
understand the lacking of authenticity or passion about the podcast or the topics
discussed within. Authentic episodes will be upbeat, informative, and exciting for the
listeners.
8. Effective Marketing: Every good podcast requires effective marketing. Without
effective marketing, how will people hear about and want to listen to your podcast?
Marketing might include posting on social media, blogging, asking other podcast host’s
to shout you out, billboards, affiliate marketing, commercials, and so on.
Conclusion: podcast writing involves creating engaging and immersive audio
stories. By focusing on narrative structure, conversational scripts, storytelling
techniques, sound design, pacing, and diligent editing, one can produce podcasts that
captivate and resonate with your audience.

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