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The Guide
that followed in its wake. Modernization and industrialization,
INTR
INTRODUCTION
ODUCTION in addition to colonialism, led to tensions over deeply-ingrained
traditional social and cultural hierarchies such as caste, a severe
BRIEF BIOGRAPHY OF R. K. NARAYAN system of social stratification rooted in the Hindu religion. In
Born in the south Indian metropolis of Madras (now Chennai), the aftermath of independence, trends such as modernization
R. K. Narayan spent most of his childhood in the city under the and industrialization continued to accelerate. Narayan’s
guardianship of his grandmother, who looked after him because novels—and the The Guide in particular—touch on many of
his father’s occupation as headmaster necessitated constant these upheavals and transformations, although obliquely. Nods
moves between locations. From a young age, Narayan to the great changes wrought by industrialization and
developed a taste for literature, and after a short stint as a modernization, for instance, can be perceived in the novel’s
teacher following his university studies, he decided to devote depiction of the railway line that comes to the town of Malgudi.
himself to writing full-time. His early career, however, was a Conflicts between tradition and modernity can also be
struggle: in spite of the patronage of one of the most important glimpsed in the tensions that exist between the characters over
writers of the time—the British author Graham Greene, who caste, as well gender. Finally, in the figure of Raju, the
had read his work and recommended it to his charismatic and (ultimately) self-sacrificing holy man, one can
publishers—Narayan’s early novels did not sell well, and he see a playful and somewhat ironic evocation of Gandhi, the
faced financial difficulties. However, he continued writing, and great “guide” of the Indian independence movement who led
by the late 1940s began garnering a wide readership as well as his people to deliverance.
more financial stability. As his reputation grew, he also traveled
more, visiting Australia, the United States, and England, where
RELATED LITERARY WORKS
he finally got to meet his patron Graham Greene in person.
Settling in the city of Mysore in southern India, Narayan Narayan’s The Guide—as well as his larger body of
continued publishing into old age. His fictional work—almost work—represents part of the emergence of Anglo-Indian
entirely set in the fictional town of Malgudi in southern literature in the first half of the twentieth century, under what
India—often reflects a comic-ironic mode in its treatment of was then British rule in India. During this period, a number of
themes such as the conflict between tradition and modernity, Indian writers, most notably Raja Rao and Mulk Raj Anand, in
materialism, family, and Hindu mythology. By the time he died addition to Narayan, began writing and publishing works in the
in 2001, his status as one of India’s most important English- English language which would go on to find a wide readership
language writers was firmly established. both within India and outside of it. The themes with which The
Guide grapples—including the conflict between tradition and
modernity, as well as the theme of transformation and
HISTORICAL CONTEXT
redemption—find echoes in the work of Narayan’s two
Born at the beginning of the 20th century and living through to contemporaries. While Rao’s 1939 novel Kanthapura is more
the end of it, N. K. Narayan experienced many of the major explicitly political in its content, it nonetheless grapples with
upheavals that shook Indian society during that time. Most the issue of social and cultural upheaval brought upon a small
notable among these events was the Indian movement for village in southern India as a result of the teachings of
independence, which sought the end of the British Raj (or rule) Mahatma Gandhi (1869-1948), the nonviolent freedom fighter
in India. The Raj had been established in 1858 as a continuation who led India to independence from British rule. Like The Guide,
and further entrenchment of British commercial and colonial Kanthapura touches on conflicts over caste relations, feminism,
interests in the subcontinent. Although commencing as early as and the liberation of women in its examination of the larger
the mid-19th century, the Indian movement for independence transformations brought about by modernity. Likewise, Mulk
reached its peak in the first four decades of the 20th century. Raj Anand—the third of the trio considered to be the founding
The rise of Mahatma Gandhi, the activist and proponent of fathers of the Anglo-Indian novel—also documented the
nonviolent civil disobedience who became a leader of the conflict between tradition and modernity, particularly in
movement beginning in the 1920s, portended the end of the relation to caste, in novels such as Untouchable (1935) and
British Empire in India. In 1947, shortly after the end of the Coolie (1936). All three writers often focused on small Indian
Second World War (1939-1945), India gained its towns and villages (sometimes fictionalized, as is the case with
independence. The first half of the 20th century was the town of Malgudi in The Guide), through which they could
consequential not only because of the widespread political dramatize, in miniature, broader changes taking place in Indian
upheaval, but also because of the cultural and social upheaval society at large. Through their collective body of work, these

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three authors established the Anglo-Indian novel as a force to academic of ancient civilizations who arrives in Malgudi to
be reckoned with, and laid the groundwork for the future of research the cave paintings and temples scattered around the
Anglo-Indian literature. town’s surroundings. He engages Raju’s services as a tourist
guide to navigate these many sites. Raju’s impulsive dislike of
KEY FACTS Marco Polo—who is haughty and domineering—is further
reinforced when he meets his young, beautiful wife Rosie, who
• Full Title: The Guide arrives in the town shortly after her husband. Raju is
• When Written: 1956 immediately taken by Rosie, who, in spite of the foreign name
• Where Written: United States she goes by, is an Indian woman trained in the art of Indian
classical dance. When Raju takes Rosie to visit a snake charmer
• When Published: 1958
and watches her as she imitates the snake’s movements in a
• Literary Period: Modern fleeting dance, he is thunderstruck: she is, he realizes, the
• Genre: Literary Fiction greatest dancer he has ever seen.
• Setting: Malgudi (a fictional town in India) Seeking to get closer to Rosie, Raju devotes himself to her and
• Climax: Raju sees rain coming over the hills her husband’s care. Soon, it becomes clear that all is not well in
• Antagonist: Marco Polo the marriage. The couple is liable to bouts of quarrelling, which
• Point of View: Third person and first person narrative
come to a head at Mempi Hills, an area outside of Malgudi in
which cave paintings are located that Marco, accompanied by
his wife and guided by Raju, goes to examine. At Peak House,
EXTRA CREDIT
where the party lodges during the expedition to Mempi Hills,
Communicating with the Dead. Narayan was so devastated Raju learns that Rosie is dissatisfied with her
after his young wife, Rajam, died of typhoid in 1939, that he husband—primarily because he has banned her from pursuing
sought the help of a psychic medium to help contact her in the her passion, the art of classical dance that has been practiced
world of the dead. by members of her family for generations. Taking advantage of
Rosie’s dissatisfaction, Raju flatters and compliments her,
A Pen Name. Graham Greene, who would become the young praising her dancing abilities, and soon, they strike up an affair
author’s patron, advised Narayan to shorten his full name, behind Marco’s back.
Rasipuram Krishnaswami Iyer Narayanaswami, to N. K. With Raju’s encouragement, Rosie again tries to talk to her
Narayan, so as to be more palatable to English-speaking husband about commencing a career in classical dance, but she
readers. is rebuffed, and inadvertently reveals that she is having an
affair with Raju; a man, she tells her husband, who appreciates
her talents. This leads to a crisis between husband and wife.
PL
PLO
OT SUMMARY When Raju goes up to visit Marco and Rosie at Peak House,
Moving between present and past, and narrated alternately in however, neither Rosie nor Marco reveal exactly what is going
third-person and first-person, The Guide tells the life story of on, and instead, Rosie commands Raju to leave them alone.
Raju. Born to a modest shopkeeper and his wife in the (fictional) Raju returns to Malgudi, where, depressed by Rosie’s absence,
town of Malgudi, India, Raju grows up at a time of great he has a difficult time picking up his old life—the shop at the
changes: most notable among them the construction of the railway station, and his work as a tourist guide. One day, a few
railway line that comes to town in his childhood. The railway weeks after his trip to Peak House, Rosie appears with her
changes the family’s fortunes and Raju’s life forever. As a result luggage at the house that he shares with his mother. Raju’s
of a second shop that Raju’s father opens in the railway station, mother, a traditional woman, is surprised by the appearance of
the family prospers, and, after Raju’s father’s sudden death, the single young woman, but accepts her presence in the house
Raju takes over the rail station shop to continue his father’s for the time being. Raju learns from Rosie that Marco has left
enterprise. her.
However, Raju doesn’t remain a shopkeeper for long. Soon, he Raju is thrilled by Rosie’s reappearance, and is encouraging and
takes to showing the many visitors who arrive at the railway supportive of her reawakened devotion to dance: she takes to
station the sites of Malgudi. In re-inventing himself as a tourist practicing everyday in his house. However, trouble soon begins
guide, Raju often resorts to exaggerations and fabricated tales to brew with his mother, who has heard rumors that Rosie is a
to impress his customers. His reputation as a guide grows to married woman, and has realized, moreover, that Rosie is a
such an extent that he comes to be known as “Railway Raju,” dancer who belongs to a lower caste. Financial troubles also
sought out by tourists from far and wide. escalate: Raju’s creditor, the sait, a merchant from whom he
Raju meets his match in Marco Polo, a serious, studious buys wholesale supplies for the railway shop, begins pursuing

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Raju in the courts to pay back his debts. Raju’s negligence of the expenses is a burden. She takes to dancing again to pay for
railway shop also leads to the loss of the business. Problems Raju’s expenses, which include fees for an expensive lawyer
further escalate when Raju’s uncle, his mother’s brother, that she hires to defend Raju in the court case against him. The
appears in the house, insults Raju and Rosie, and, along with his lawyer, however, fails to get Raju off. Raju is convicted of
sister, demands that Rosie leave. Raju defiantly takes Rosie’s forgery and sentenced to two years in prison. Although he
side, and in response his mother packs up her things and comes across reports of her continuing rise to stardom in the
departs with her brother. newspapers he reads in jail, Raju never meets Rosie again.
Throughout, Rosie, unaware of the extent of Raju’s financial Uncertain of where to take himself after his release from
straits, continues practicing her art. One day, she declares that prison, Raju sits on the banks of a river near a small village. A
she is ready to perform publicly, and, after settling with Raju on stranger approaches him, and stares up at him reverently. Soon
the more traditional and captivating name of “Nalini” as an the stranger, a villager by the name of Velan, confesses that he
appropriate moniker for her public debut, Raju sets to work is having trouble with a younger half-sister who refuses to
arranging her first public performance. accept the marriage match he has arranged for her. Although
From the moment of her debut, Rosie is a huge success. Raju, Raju is disconcerted by Velan’s unwarranted respect for him, he
who takes credit for orchestrating her astronomical rise to tries to help. After Velan brings his sister to visit Raju, the sister
fame, re-invents himself once again as the “manager” of the accepts the match arranged for her by her brother. Velan and
alluring and captivating Nalini. Nalini is asked for everywhere, his family credit this success to Raju.
and Raju’s role in managing Rosie’s career transforms him into Raju’s success in pacifying Velan’s rebellious half-sister leads
a man of wealth and influence. Still pursued by the sait for the the villagers to believe in his powers as a holy man, or spiritual
debts he owes for the railway shop, and finding that his father’s guide. Raju, considering that he has nowhere to go and that the
home is now under mortgage to the sait, Raju and Rosie move offerings of food brought to him by the villagers on a daily basis
to a larger, more luxurious house, where Raju takes to hosting provide him with free nourishment, decides to play the role
important visitors and hobnobbing with politicians, bankers that the villagers have given him. He grows his beard and takes
and rich merchants—all men who seek access to Nalini through up residence in the temple by the river, all in a bid to play the
Raju. role of “holy man” more convincingly. Each day, a congregation
Keeping Rosie to a relentless schedule of engagements and of villagers arrive to listen to him discourse on various topics.
performances, Raju nonetheless starts growing jealous of the Although he often feels like an imposter, Raju continues with
artist friends that she likes to spend time with, and seeks to the charade.
limit her contact with them. He does this, in spite of sensing When a severe drought afflicts the village, Raju is unwittingly
that a dangerous dissatisfaction is developing in Rosie. One day, drawn into undertaking a two-week fast on behalf of the
he receives an unexpected parcel in the mail. It is the book that villagers to bring about rains. Realizing the enormity of the
Marco, Rosie’s husband, has published on his research on the sacrifice that the villagers expect him to undertake, and afraid
cave paintings in Malgudi. Raju hides the book from Rosie. for himself, Raju finally discloses his full life story to Velan,
Nonetheless, news of the publication reaches her: she becomes including his history of deceit and imprisonment. Raju hopes
excited when she reads about Marco’s book in a magazine. Not that Velan will see that he is just an ordinary man after all,
only that, but Rosie quarrels with Raju when she discovers that devoid of the powers which the villagers have invested him
Marco’s book has been sent to them, but that Raju has hidden it with. However, after hearing Raju’s story, Velan’s view of him
from her. remains unchanged. He speaks and looks at Raju with the same
Increasingly jealous of Rosie’s preoccupation with her husband, reverence and respect he had on that first day they met by the
Raju also hides a letter which arrives for Rosie from Marco’s river bank.
lawyers shortly after the arrival of the book. The letter Astonished, but also moved, that Velan should still continue to
concerns a box of valuable jewelry that Marco wants to release respect him as the “swami” in spite of his shameful past, Raju
to Rosie. Instead of sharing the letter with Rosie, Raju forges decides to undertake the fast in earnest, as a way of repaying
her signature on the form sent by the lawyers, hoping to Velan’s—and the villager’s—faith in him. News of the swami’s
acquire the box of jewelry without Rosie’s knowledge. fast spreads far and wide—people come to the village by the
Before long, Raju’s deceit is exposed: a police superintendent thousands to meet the heroic holy man, and journalists and
shows up at one of Rosie’s performances with a warrant for news people arrive to report on the developments. On the final
Raju’s arrest for forgery. Raju is forced to disclose all to Rosie. day of the fast, Raju is so weak that that he is unable to descend
She is devastated, particularly upon discovering that, in spite of to the river on his own to hold vigil, as he has done every day
her tireless dancing, Raju has been reckless with the immense throughout the fast. With Velan’s help, however, he musters the
wealth they’ve accumulated through her engagements. They energy to reach the depleted river. On the brink of
are now so poor that even meeting the cost of Raju’s legal unconsciousness, he looks to the horizon, and tells Velan that

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he feels rain coming over the hills. free-spirited, and a brilliant artist, her artistic and feminine
powers are such that, by the end of the novel, she has discarded
the chains that both men have sought to confine her in, and is
CHARA
CHARACTERS
CTERS outshining both as a free and independent woman, successful
beyond measure.
MAJOR CHARACTERS
Marco P Polo
olo –The husband of Rosie, Marco is a serious,
Raju – The protagonist and part-narrator of The Guide, Raju is a studious, reticent scholar of ancient civilizations whose only
trickster-charlatan whose greatest talent lies in re-inventing passion is for his work. His research into the sites of ancient
himself. With roots in a modest household in the town of civilization has turned him into an eternal tourist, as evidenced
Malgudi in southern India, Raju knows how to make the best of by the traveler’s clothes that he always wears. Arriving in the
opportunities—as evidenced, for instance, in the way that he town of Malgudi on the railway one day to examine cave
takes advantage of the railway that is newly constructed in paintings, Marco hires Raju to show him the sights. His
Malgudi to create a career for himself as a tourist guide. insensitivity and callousness towards everything other than his
Articulate and persuasive, Raju has no qualms about twisting work is reflected in his neglect of Rosie during their visit to
facts—and even reality—to suit his interests, a skill which he Malgudi. Marco’s controlling and dominant nature is also
deploys relentlessly in his role as host to tourists in Malgudi. reflected in the ban that he imposes on Rosie, forbidding her to
Raju’s penchant for duplicity is also evidenced in the affair that pursue the passion for classical dance which she nurtures.
he commences with Rosie behind the back of her husband, Marco’s rigidity and cruelty become apparent when, upon
Marco, who also happens to be one of Raju’s customers. Driven discovering that his unhappy and dissatisfied younger wife has
by a desire for wealth, Raju’s greed is apparent in the way that commenced an affair with his tourist guide, he completely
he exploits Rosie’s immense talents as a dancer to enrich ignores her for three weeks, and then abandons her at the
himself once he again reinvents himself as her manager. railway station of Malgudi as punishment. And yet, although he
Jealousy and a desire for control are the other hallmarks of his leaves his wife, Marco is clearly unable to let her go entirely, as
character, qualities which, along with his deceitful tendencies, suggested in the communication that he attempts to
ultimately land him in prison. And yet, as low as Raju may go, he commence with her, via his lawyers, once she establishes
seems always able to rise again. In his final reinvention as a holy herself as a famous dancer managed by Raju.
man or spiritual guide on the riverbank near a small village after
Gaffur – A rather grumpy taxi driver, who is often hired by Raju
his release from prison, Raju comes to fulfill the destiny of “a
to act as driver on the tours on which Raju takes the many
guide” in the highest sense. Although initially playing the role of
tourists arriving in Malgudi on the railway. In his role as driver,
“swami” so as to exploit the villagers’ generosity, Raju ultimately
Gaffur is the first to notice Raju’s designs on Marco’s wife,
lives up to the villagers’ faith in him by risking everything to
Rosie. Gaffur is an honest, upright man with principles, as
save them.
evidenced in his repeated warnings to Raju to leave Rosie
Rosie / Nalini – The young and beautiful wife of Marco, and alone.
love object of Raju, Rosie’s most striking quality is her immense
Raju’s Father – A modest shopkeeper in the town of Malgudi,
genius for dance—most clearly manifested in the “serpent
Raju’s father is by turns soft and severe with his son, whom he
dance” she performs only on rare occasions. Descended from a
takes shopping with him at times, and whom he threatens with
poor, lower-caste family who have traditionally devoted
violence at others—particularly when Raju misbehaves or fails
themselves to the art of temple dancing, Rosie, in spite of her
to learn the lessons that his father attempts to teach him. He is
own passion for dance, attempts to escape the constraints of
a social man who likes chatting with the customers who stop at
her caste and poverty by marrying a wealthy, educated, upper-
his shop. When he opens a second shop in the railway station
caste man. And yet, rather than providing Rosie with
that is built across from his house, he prospers. However, Raju’s
deliverance, the men with whom she becomes entangled
father doesn’t survive long—taken ill during the rainy season
inevitably attempt to repress her creativity and independence.
one year, he dies before his son reaches full adulthood.
Not only does Marco condemn and ban Rosie’s pursuit of
dance, but Raju, with whom she commences an affair soon after Raju’s Mother – An uneducated, traditional woman, Raju’s
she arrives in Malgudi with her husband, also lets her down. mother is a devoted wife and mother, who barely leaves the
While Raju genuinely supports and encourages Rosie’s pursuit immediate vicinity of the house that her husband has built in
of her art at first, once she achieves fame as the dancer “Nalini,” Malgudi. Although she seems to be a meek, pliant woman, she is
he begins to exploit her success in his role as her manager to in fact strong-willed. She frequently butts heads with her son,
enrich himself. Not only that, but Raju repeatedly lies to and particularly after he ruins the railway shop business that her
deceives Rosie, and attempts to control her contact with others husband had built before his death. She also rebels against the
because of his jealousy. And yet, try as they might, the men in presence of Rosie in her house when Raju invites her to live
Rosie’s lives ultimately fail to contain and control her. Forceful, with him and his mother. Clinging fast to her principles relating

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to caste and family honor to the last, Raju’s mother goes so far Raju in prison.
as to leave her own house with her brother in order to protest
her son’s disgrace. MINOR CHARACTERS
Raju’s Uncle – Elder brother to Raju’s mother, Raju’s uncle The Master – An old man who oversees a pyol school in
arrives in Malgudi to set his nephew straight, once the latter Malgudi, a school in which lessons are held on the old man’s
ruins his father’s railway shop business and takes up with Rosie, stoop. Raju’s father sends Raju to this school to remove him
whom he also invites to live with him and his mother. Strong- from the influence of the construction workers who are
willed, confrontational, and embodying strong principles of building the railway.
caste and family honor, Raju’s uncle acts as a support to his
Joseph – A reticent man who looks after Peak House, the
sister, providing her with shelter once her son refuses to follow
house at the top of Mempi Hills. Raju takes Marco and Rosie to
her counsel.
stay there while Marco studies nearby cave paintings.
Velan – Velan, a local from the small village of Mangal in
southern India, comes across Raju sitting on the banks of the
river one day. Velan is trusting and respectful. Upon setting TERMS
eyes on Raju, he seems to identify something spiritual, and
immediately puts his faith in him as a holy man. It is Velan’s faith Dharma – Dharma is a concept based in various South Asian
in Raju that precipitates the latter’s transformation into a holy religions, including Hinduism and Buddhism, which alludes to
man of renown, as other villagers also begin to put their trust in an order or a law that controls the universe. For an individual,
his powers. Velan’s trust is such that, even after Raju confesses following one’s dharma—in a sense, one’s destiny or fate—leads
to him his life of deceit and trickery, his faith remains unshaken: to spiritual transformation and fulfillment. In The Guide, the
and it is this act of trust that motivates Raju to genuinely try to notion of dharma is closely associated with Raju, who in spite of
help the villagers by undertaking a fast to bring about rains to his various transformations, always occupies a position of guide
end the drought under which they suffer. Velan acts as Raju’s in some form or another—as a tourist guide in Malgudi, a dance
support to the very last, helping him down to the river to hold manager (and hence an artistic “guide” of sorts), and finally as a
vigil on the final day of the fast. spiritual guide on the riverbank of a small village. Thus, a law or
The Villagers – Residents of the village of Mangal in southern a destiny seems to govern Raju’s life, which ultimately leads him
India, located not far from a river bank. The villagers, following to fulfill his destiny, or dharma, in the highest sense—as a holy
Velan’s example, put their faith in Raju as a spiritual guide. They man who sacrifices himself to “guide” others out of their
suffer especially under a severe drought that afflicts them one suffering.
year and puts their livelihoods in jeopardy. Turning to Raju for Caste – A system of hereditary classes in Hindu society, which
guidance, they draw him into a long fast to alleviate the distinguishes between people on the basis of social status in
drought. relation to notions of hereditary purity and pollution. One’s
caste often also determines one’s occupation. For instance,
Velan
elan’s
’s Brother – A rather dull-witted 21-year-old who goes to
inform Raju that his brother Velan has been injured in a fight, Rosie, who belongs to a lower caste in the novel, is a dancer by
which has broken out as a result of a drought that afflicts the virtue of her place in the social hierarchy: members of her caste
villagers. In relaying Raju’s words back to village elders, Velan’s (and of her family) traditionally devote themselves to the
brother muddles up the message, inadvertently communicating temples as dancers. Transgressing caste divides, for instance by
to the villagers that Raju has undertaken to fast until rains marrying outside of one’s caste, is frowned upon in Hindu
arrive. society. This is one reason why Raju’s mother is outraged by
the relationship between Rosie and her son Raju—as Rosie
The Sait – A merchant who acts as Raju’s creditor in Malgudi, belongs to a lower caste than that of her own family.
and from whom Raju supplies the railway shop. When Raju,
busy with Rosie and Marco, fails to repay his debts, the Sait is
relentless in his pursuit of Raju through the courts, eventually THEMES
managing to have the house that Raju’s father had built
mortgaged to him. In LitCharts literature guides, each theme gets its own color-
Mani – Raju’s secretary, who works for him once Raju reinvents coded icon. These icons make it easy to track where the themes
himself as the manager of Rosie/Nalini’s dance career. Raju’s occur most prominently throughout the work. If you don't have
trust in Mani begins to waver once Rosie discovers that Raju a color printer, you can still use the icons to track themes in
has hidden Marco’s book from her. He suspects Mani as the black and white.
revealer of the secret. However, Mani’s loyalty to Raju is
reflected in the fact that he is the only visitor who comes to see

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HYPOCRISY AND DISGUISE villagers’ misguided faith in his spiritual powers means that he
is well-nourished by the offerings they bring him, without him
Raju, the protagonist and occasional narrator of
having to do much, he embraces the role enthusiastically, again
N.K. Narayan’s The Guide, is a character whose
dissimulating his true identity. He changes his appearance
entire life is built upon the sins of hypocrisy and
accordingly—growing his beard and hair long to more
dissimulation. His multiple careers—including his work as a
convincingly resemble a holy man, all the while keeping his past
tourist guide in his hometown of Malgudi, southern India, his
a secret from the villagers. He takes to uttering “mystifying
career as a “dance manager” for Rosie/Nalini (the seductive
statements” to the villagers who gather around him every day,
dancer he begins an affair with when she visits Malgudi with
and in this way manages to project an aura of wisdom and
her husband, Marco), and his final reincarnation as a holy man
sainthood that has no basis in reality.
in a small village in southern India—are all premised on
deceptions and lies. The novel dramatizes the ways in which Raju’s dissimulation and hypocrisy is not only limited to his
Raju’s propensity for deceit leads him into trouble. Ultimately, work, however. This tendency extends to his personal
Narayan suggests that Raju’s deceptions not only lead to his relationships as well. Raju’s hypocrisy in particular becomes
complete corruption, but also to the destruction of everything apparent when he escorts Marco, the scholar of ancient
he holds dear. civilizations who comes to Malgudi to study cave paintings,
bringing along his beautiful wife Rosie. On the one hand, Raju
The various roles that Raju invents for himself—a tourist guide,
plays the part of the consummate tourist guide to Marco,
dance manager, and holy man, respectively—all rely upon the
arranging his travels, showing him the sites, and organizing his
spinning of fabricated stories and illusions. In recounting to
comfortable stay at Peak House, the house at the top of the
Velan, the villager to whom Raju tells his life story, his past life
Mempi hills near Malgudi where Marco spends some time
as tourist guide in Malgudi, Raju emphasizes that he felt no
examining nearby cave paintings. On the other hand, Raju
qualms about spinning tales on a regular basis. Raju tells Velan
deceives and betrays Marco ruthlessly by courting and
that his lectures to the visitors about the sights depended
successfully seducing his beautiful young wife, Rosie. Under the
largely on the mood he was in on the day he escorted clients.
pretence of entertaining her by showing her the sites while
He ascribes different ages to the same site, for instance,
Marco is at work, Raju flatters and courts Rosie, taking
according to his humour. He exaggerates the singularity of
advantage of her dissatisfaction with her husband. Raju ends
some of the sights, contending that a particular spot in town is
up winning Rosie after Marco abandons her upon discovering
“the greatest, the highest, the only one in the world,” when this
her affair with his tourist guide. However, Raju’s inability to
is not necessarily true. He also adjusts his stories and “facts”
reign in his deceitful tendencies ultimately ends up destroying
according to his customers, depending on what he thinks they
his own relationship to Rosie. Jealous of Marco’s reappearance
want to hear. Raju’s dissimulation and consistent
in their lives after the publication of Marco’s book on ancient
misinformation is so successful that his reputation only grows
civilizations, Raju hides news of Marco from Rosie and lies to
as a result, leading tourists, innocent of his deceptions, to seek
her about the correspondence he receives from Marco’s
him out in droves, asking for him by his nickname, “Railway
lawyers addressed to her.
Raju.”
Raju’s hypocrisy and lies ultimately lead to his complete
Raju’s tendency toward deceit and disguise continues when he
corruption and the destruction of his relationships. This is
takes on the role of promoting Rosie’s classical dance career, in
reflected in the criminal act that Raju commits—when he forges
his capacity as her manager. He changes his
Rosie’s signature on a document that Marco’s lawyers send to
appearance—dressing “soberly” for the part of classical dance
Rosie, in order to procure a jewelry box belonging to her
manager and sporting rimless glasses—all to play more
without her knowledge. Ultimately, it is discovery of this deceit
convincingly the new part that he has assumed. Much of his
by the police—and Raju’s subsequent trial and
work managing Rosie’s career consists of creating an illusion of
imprisonment—that leads him to lose everything, including his
importance. Raju takes to sitting in a particular spot at each of
reputation and the love of his life, Rosie.
Rosie’s performances, and he inquires in great detail about the
preparations for each show, so as to create a tension that The Guide takes a critical view towards the failings of its
further supports Rosie’s career. He speaks, acts, and moves as protagonist. While Raju’s deceptions and exaggerations seem
though he is an immensely important man, and even begins to harmless at first, merely a means through which he cleverly
believe in this illusion himself—taking full credit for Rosie’s reinvents himself time and again, his propensity for deceit ends
immense success. It is only later, in retrospect, that he realizes up infecting all aspects of his existence. In this way, Raju not
that Rosie was responsible for her own success. only corrupts himself, but also destroys his most cherished
relationships, and ends up losing everything that he holds dear
After being released from prison for forging Rosie’s signature,
as a result.
Raju reinvents himself once more, this time as a spiritual guide
on a riverbank by a small village. When he finds that the

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TRANSFORMATION AND REDEMPTION to attempt to live up to Velan’s and the villagers’ trust in him. By
finally submitting to the two-week fast, then, Raju acts for the
In tracing the metamorphosis of Raju—the
first time in his life as a “guide” not out of pure self-interest, but
protagonist of The Guide—from shopkeeper to
for the good of others.
tourist guide to stage manager to holy man,
Narayan’s novel delves both into the pitfalls and the Raju’s authentic attempt to “guide” the villagers out of the
redemptive potential of transformation. While Raju’s many drought through the act of fasting not only represents him
guises are framed by deceit and illusion, Narayan suggests that fulfilling his fate in the noblest sense, but it also leads to his
throughout these transformations, Raju moves towards redemption. While Raju has spent much of his life deceiving and
fulfilling his destiny, redeeming himself in his final role as a swindling others under various guises of a guide, this life of
spiritual guide. In this way, the novel also affirms the Hindu deceit is mitigated through the sacrifice he undertakes by
principle of dharma—understood as a law or principle along fasting. Raju’s redemption through this act of sacrifice is
which an individual acts out their fate. suggested in the final image of the novel. A young villager
named Velan helps Raju, who is weakened by the fast to the
Transformation is at the heart of Raju’s journey from
point of being unable to stand in the dry river bed where he
shopkeeper to holy man. Over the course of the novel, he
holds vigil every day on his own. The last scene shows Raju
adopts different identities, slipping in and out of various
thinking that he sees rain coming over the hills. While the
careers, often dishonestly, in his pursuit of money and prestige.
ending of the novel is ambiguous (the reader does not know
Although Raju adopts many different guises, a common thread
whether Raju is hallucinating or whether rain is in fact coming;
underpins his transformations—in one form or another, he
and the reader is also left in the dark about whether Raju lives
always plays the role of “guide,” suggesting that being a guide is
or dies), this image of rain suggests a spiritual nourishment or
his calling. His work showing tourists around Malgudi sees him
reawakening—indeed, Raju tells Velan that he feels the rain
“guiding” visitors through, and to, the town’s sites and
rising in his body. Thus, irrespective of whether or not the rain
geography. This is the role Raju plays in relation to Marco, the
does actually come, Raju’s vision of rain in this final scene
scholar who visits Malgudi to undertake research, and whom
alludes to the great change that has come over him. In
Raju leads to the cave paintings. After Raju betrays Marco by
authentically taking on the role of a spiritual guide by
starting an affair with his young and beautiful wife, Rosie, he
undergoing the fast, he fulfills the role of “guide” in its highest
again takes up the role of a kind of “guide” by managing Rosie’s
sense, and redeems himself in the process.
career as a dancer. In orchestrating Rosie’s performances and
engagements, Raju also contributes to guiding Rosie towards The Guide portrays the journey of a man who, even as he
stardom. transforms himself often dishonestly, moves towards the
Finally, Raju willingly adopts the role of spiritual “guide” foisted fulfillment of his destiny. By finally and authentically taking on
upon him by the locals of the small village in which he ends up the responsibilities of a holy man to help the villagers who have
after his release from prison. Although Raju is far removed sustained him, Raju acts according to the dharma that governs
from spirituality or mysticism, the villagers do not know this, his life: playing the role of “guide” in its most benevolent and
and blindly put their faith in his spiritual powers. Towards the selfless sense. In this regard, Raju not only fulfills his destiny,
end of the novel, an American television producer arrives in the but he also redeems himself through his self-sacrifice.
small village to make a film about the fast that Raju undertakes
to bring about drought-ending rains. The producer asks Raju, GENDER AND FEMINISM
“Have you always been a yogi?” and Raju answers, “Yes, more or The Guide tells the story of Raju, the trickster-
less.” That the role of “guide”—in one form or another—always charlatan who, in his final reincarnation as a holy
frames and underpins Raju’s transformations suggests that man, ends up redeeming himself by undergoing a
being a guide is Raju’s destined vocation. heroic fast to save Indian villagers from a drought. But while
Indeed, through his final transformation into a yogi, Raju seems this male character (and occasional narrator) is at the heart of
to fulfill the destiny or dharma of “guide” in its highest, most the story, it is the brilliant dancer Rosie/Nalini—Raju’s love
noble sense. While Raju is at first reluctant to take on the fast interest—who steals the show. While various men—including
for the rains that the villagers expect him to, he finds that he Rosie’s first husband Marco, and later her lover Raju—attempt
has no choice but to succumb to their expectations—he simply to control Rosie and direct her fate, she proves mightier and
has no access to food. Finding himself cornered, Raju finally more resilient than both, ultimately taking her destiny into her
commits to undertaking the fast genuinely, subjecting himself own hands. While mostly told by a male narrator, Narayan’s
to a great sacrifice and risking his life in the process, all for the novel can in fact be read as a feminist tract that traces a
purpose of fulfilling the villagers’ hopes for rains. Notably, woman’s journey from dependence on men and imprisonment
Velan’s continued faith in him—even after Raju discloses his full within patriarchal constraints to her transformation into an
life-story and shares with Velan his history of deceit—leads him independent woman who assumes her full powers and thereby

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achieves her liberation. ultimately it leads her nowhere with Marco. She rebels further
Rosie enters the story as the wife of Marco, the scholar of against him, however, by beginning an affair with Raju—a man
ancient civilizations who arrives in Malgudi, Raju’s hometown in who, initially at least, conveys an appreciation for her talent and
southern India, and seeks Raju’s help as a tour guide to explore her art. Rosie further defies social conventions by continuing a
the caves around the town. The extent to which Rosie is relationship with Raju in spite of not being married to him. This
constrained by her marriage is revealed in the fact that she is is scandalous by the standards of the society in which Rosie
forced to give up her passion—the classical Indian dance lives, as reflected in the reproach that Rosie experiences from
practiced by generations of women in her family—under her Raju’s mother, who condemns the relationship, going so far as
husband’s orders. Rosie makes this sacrifice in exchange for to move out of her own house in protest. Furthermore, Rosie’s
marrying an upper-caste man who can provide her with a huge success as a dancer is largely due to her own powers and
comfortable life. As such, Rosie is condemned to spend her time talents. While Raju, in his role as her manager, takes credit for
watching her husband pursue his passion—the study of ancient the success of Rosie’s dance career, he himself later comes to
civilizations—while denying her own. Marco’s complete realize and to acknowledge that it is in fact Rosie’s own genius
preoccupation with his research, as well as his ban on her as a dancer and devotion to her art that led to her success.
dancing, leaves Rosie feeling lonely, unloved, and unfulfilled. By the end of the novel, Rosie has proven herself to be an
And yet, as his dependent, she is completely reliant on his independent, resilient, and powerful woman. She is dependent
material support. Consequently, not only is she unfulfilled and on neither Marco nor Raju, instead maintaining and growing
lonely, she is also powerless. her reputation as a brilliant and successful dancer without the
Although Rosie begins to fulfill her dream of becoming a dancer aid or support of any man. As such, the novel can be understood
once she begins a relationship with Raju (who recognizes her as one that traces a woman’s journey of empowerment by
immense talent when he sees her imitating the movements of a following the ways in which Rosie breaks the patriarchal chains
snake one day), her new relationship also ultimately leads to that bind her through hard work, resilience, and independence
her subjugation. At first, Raju’s support of Rosie’s career of spirit.
provides her with opportunity: she begins to perform publicly
as Raju takes on the role of her “dance manager,” organizing and TRADITION VS. MODERNITY
arranging shows and performances for her. But as Rosie Narayan’s The Guide depicts modernization
becomes more successful, Raju increasingly exploits her, taking overtaking protagonist-narrator Raju’s hometown
advantage of her incredible talent and the public’s insatiable of Malgudi in southern India during the early
demand for her performances to enrich himself hugely. He twentieth century. Not only are new technologies associated
subjects Rosie to a cruel schedule of performances that leave with industrialization—such as the railroad—introduced during
her depleted and unhappy. In this way, Raju treats Rosie as this period, but social relations are also upended as hierarchies
though she were his property—using her to serve the impulses of caste and gender are re-negotiated. The novel’s attitude
of his greed. Furthermore, as Rosie becomes more popular, towards the relationship between tradition and modernity is
Raju grows more jealous, seeking to control her contact with complex and ambiguous. These forces are sometimes depicted
others. He is particularly jealous of the artist friends she likes to as in conflict, and sometimes in harmony. As all of the
spend time with, and comes up with excuses to keep her from characters grapple with tradition and modernity, The Guide
them, thus isolating her even further from the few nourishing suggests that both have their merits, though ultimately the
relationships that sustain her. Moreover, he takes to hiding novel implies that there is a particularly special power
letters and correspondence addressed to her from Marco and embedded in tradition.
his lawyers, jealous of the reappearance of Rosie’s husband in
The coming of modernization is indicated in the novel by the
their lives. Raju’s desire to control Rosie grows to such a degree
sweeping changes that overtake the town of Malgudi during
that he commits a serious act of deceit as a result: he forges her
Raju’s childhood. Primary among these changes is the
signature in order to acquire valuable jewelry from her
construction of the railroad. As an emblem of modernization,
husband, Marco, without informing Rosie. As such, Rosie’s
the railroad brings about numerous changes to Malgudi. For
relationship with Raju eventually proves to be as limiting and
one, the railroad opens Malgudi up to a wider world, as people
oppressive as her relationship with Marco. With Raju, as with
from all parts of India and even further afield begin visiting the
Marco, Rosie finds herself an imprisoned woman.
town. The railroad also leads to greater economic prosperity.
While both Marco and Raju attempt to control Rosie and to Raju’s father, who previously made a living from a modest shop,
shape her destiny in different ways, she ultimately challenges grows richer when he opens another shop in the newly built
both men, escaping their clutches to take charge of her own railway station. The family, therefore, benefits from the
fate. Firstly, she challenges her husband on his ban on her developments that overtake the town. Raju’s own move from a
dancing by asserting her right to follow her passion, though shopkeeper (like his father) to a tourist guide after the opening

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of the railroad reflects the way in which the railroad leads to guide, but he also turns his back on his mother’s wishes for him
greater and more varied opportunities for the townspeople. to marry his cousin, instead allying himself with Rosie. The
Raju’s work as a tourist guide would not have been possible great wealth that Raju accumulates as a result of Rosie’s dance
without the railroad, which brings the visitors who become his career is then used to collect luxuries associated with
clients. modernity. Raju and Rosie move into a larger and more modern
In opening up the town to a wider world, the railroad also house than the modest one built by his father, and they travel
reveals the ways in which modernity leads to the re-negotiation everywhere by car or by train. As they grow wealthier,
of traditional gender and caste hierarchies. One of the people therefore, their lifestyle changes to reflect the luxuries of
who appears in the town thanks to the railroad is Rosie, wife of modern life.
Marco—the scholar who arrives in Malgudi to undertake And yet, Raju’s final transformation into a holy man on the
research. In many senses, Rosie represents the ways in which riverbank near a small village suggests that he is ultimately
gender and caste hierarchies are being upended in modern drawn back into the traditional. While at first Raju is reluctant
times. She is an educated woman, having gone so far in her to take on this role, he ends up adopting it authentically, as
studies as to gain a master’s degree. Furthermore, she is a reflected in the fast that he undertakes on behalf of the
woman who has married outside of her caste—allying herself to villagers in order to bring an end to the drought that has been
Marco, and later to Raju. Although she does not marry Raju, her plaguing them. The spiritual transformation that he undergoes
relationship to him is unusual not only because they are an as a result—one very closely connected with his adoption of the
unmarried couple—which, by the standards of the time and the traditional role of holy man—suggests that the power of
society, is scandalous—but because Raju, like Marco, is also of a tradition is, ultimately, greater than that of modernity.
higher caste. Narayan’s attitude towards the relationship between tradition
The tension between Rosie’s modern identity and the and modernity in The Guide is complex and ambiguous. On the
traditional constraints of the society in which she lives is one hand, the novel depicts the forces of tradition and
embodied in the conflict between Rosie and Raju’s mother. modernity as deeply in conflict. On the other hand, both forces
While Raju’s mother has not left the immediate vicinity of her seem to achieve balance in a figure like Rosie, who deploys the
home in decades, she is surprised to see Rosie appear alone traditional art of classical dance—practiced by generations of
one day on her doorstep. “Girls these days!” she tells her. “In her family—to achieve her liberation as a modern woman. Raju,
our day we wouldn’t go to the street corner without an escort.” however, is drawn back into the traditional in spite of
Indeed, when Raju’s mother realizes the nature of the himself—ending his life as a holy man providing spiritual
relationship between Raju and Rosie, she condemns her son guidance to destitute villagers. The spiritual transformation
and his lover, not only because of their unmarried state, but that Raju undergoes in this traditional role suggests that the
also because Rosie belongs to a lower caste than her son. novel does ultimately privilege tradition (even if only slightly)
Rosie’s embrace of a modern identity and life is ultimately over modernity.
reflected in the fact that she ends up as an independent woman
making a career for herself as a dancer. Unlike a traditional GREED AND MATERIALISM
woman, she escapes dependence on men, leaving behind both Raju, the protagonist of Narayan’s The Guide, is
Marco and Raju. And yet, the art that Rosie practices is the deeply motivated by his desire for material wealth.
classical art of temple dancing—an ancient art form practiced Living in the town of Malgudi in southern India, he
by generations of women in her family. It is through this art that constantly reinvents himself—taking on the role of a tourist
she achieves her liberation. Indeed, her power as an guide and dance manager—in his pursuit of money. However,
independent woman and an artist is associated with the the novel ultimately suggests that it is only when Raju gives up
traditional “snake dance” that she performs only on rare his greed and materialism entirely in his final role as a holy man
occasions. As such, Rosie represents a melding of the that he achieves something of the spiritual fulfillment that
traditional with the modern: she uses an ancestral art—classical eluded him in his previous life.
dance—in order to achieve her liberation as a woman. Through
Raju’s obsession with material wealth becomes manifest when
the figure of Rosie, the novel suggests that tradition and
he leaves behind his father’s railway shop and transforms
modernity are not always in conflict, but can also complement
himself into a tourist guide, taking advantage of the many
one another and work in tandem.
tourists that the railway brings to Malgudi. In recounting his
While Rosie represents the melding of the modern and the career as a tourist guide to the young villager Velan, Raju
traditional, Raju’s own journey reflects his return to, and explains that his primary motivation when seeking out new
embrace of, the traditional. Raju initially rejects the traditions of customers was money. Raju immediately sizes up arriving
his family and upbringing. Not only does he neglect his father’s tourists according to their means, and exploits them
occupation by giving up shop-keeping to become a tourist accordingly to ensure for himself the greatest monetary gain

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possible. the only meaningful values through which one can achieve
Likewise, in taking on the role of Rosie’s dance manager, Raju fulfillment and peace.
becomes obsessed with making more and more money.
Realizing the immense draw that Rosie has on the public, he
exploits her talents, arranging endless performances and shows
SYMBOLS
that enrich him further, completely neglecting Rosie’s own Symbols appear in blue text throughout the Summary and
needs in the process. Raju’s greed corrupts him. He comes to Analysis sections of this LitChart.
treat Rosie as a means to end; she is primarily an instrument
through which he can enrich himself. This is reflected in the
most serious act of betrayal he commits, when he forges Rosie’s THE RAILWAY
signature in order to procure a box of valuable jewelry from her The railway, which comes to Raju’s hometown of
estranged husband Marco. Furthermore, while Raju grows rich Malgudi when he is still a child, represents
from Rosie’s performances, he squanders the money on a large modernization and industrialization. Raju and his family watch
house, servants, and a lavish lifestyle that nonetheless do not in awe as construction workers appear to build the tracks and
bring him satisfaction, given that he continues to be consumed the railway station which is located right across from Raju’s
with enriching himself further. family home. On the day the railway is completed and the
In his final act of reincarnation, Raju reinvents himself as a holy station is officially opened, the town is given a holiday in
man in the small village where he finds himself after his release celebration. Indeed, the construction of the railway line to
from prison, taking on the role imposed on him by a young Malgudi changes the villagers’ lives in many ways. Raju’s family,
villager named Velan. Raju’s motivations in adopting this for instance, grows wealthier as a result of the second shop
persona are initially also motivated by greed. At a key moment that Raju’s father opens in the station. Raju’s own career
in the novel, in which he considers running away from the prospects are transformed by the railway, when visitors who
village, Raju decides that he will play the part of spiritual guide arrive by train become the customers that he leads as a tourist
primarily because it is lucrative: he does not have to work, and guide. The railway not only improves the financial prospects of
can rely on the offerings that the villagers bring to him to Raju’s family; it also opens the family and the town’s inhabitants
sustain himself. In this way, Raju’s greed motivates him to to a broader world beyond Malgudi—exposing them to people
exploit the villagers’ trust in him in order to further his own from all over India, and from different walks of life. As such, in
self-interest. symbolizing modernization and industrialization, the depiction
Ultimately, however, Raju’s play-acting as a spiritual guide of the railway in the novel alludes to the ways in which these
actually compels him to give up his greed and materialism. forces have the capacity to transform people’s material, social,
When Raju finds himself accidentally drawn into a two-week and cultural prospects.
fast by the villagers, which is intended to bring about rains and
relieve them of the drought under which they have been THE SERPENT
suffering, Raju has no choice but to give up even the most basic
necessities, including food. By agreeing to undertake the fast, The serpent, closely associated with Rosie,
Raju thus sacrifices his own comfort and health for the sake of symbolizes feminine power and energy in the novel.
the villagers. While the novel is ambiguous about whether Raju The animal first makes an appearance when Rosie asks to see a
actually survives the fast or not, the image of him on the brink dancing cobra, and Raju, playing the tourist guide, duly locates
of death as he goes to the river to hold vigil at the end of the one for her on the outskirts of Malgudi. Rosie is fascinated by
novel represents the moment in which he achieves his most the cobra as it rises from the ground to the tune of a flute, and
noble and purest identity. By acting out of benevolence imitates its movement. It is at this moment that Raju realizes
towards others, rather than out of self-interest and greed, he that Rosie is amongst the greatest dancers he has ever
seems to achieve something of a spiritual redemption—as seen—Rosie’s imitation of the snake seems to reveal her full
reflected in the vision of rain that he sees at the end of the feminine as well as artistic power, and Raju is completely
novel. captivated. Towards the end of novel, Rosie—now the famous
dancer Nalini—performs her “snake dance” before an
Throughout The Guide, Raju’s actions are largely motivated by auditorium packed with a thousand spectators. She rarely
greed and materialism. These impulses prove to be self- performs the dance, which is special because of the incredible
perpetuating, as they lead Raju only into greater greed and self- dexterity that it requires. Again, as Raju watches her, he is
interest. It is only when he is forced to give up all material completely captivated by the beauty and power of her snake-
comforts and necessities—including food—that Raju seems to mimicry, as are the other spectators in the auditorium. The
find spiritual satisfaction and redemption. In this way, the novel close link established between the serpent and Rosie,
seems to privilege selflessness, generosity, and benevolence as

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therefore, indicates that the serpent represents Rosie’s energy landscape that surrounds it, such as that found at Mempi Hills,
and power not only as a dancer, but as a woman. By the end of where Raju takes Marco and Rosie to look at cave paintings,
the novel, after all, Rosie looms larger than both the suggests the country’s extravagant natural scenery.
men—Marco Polo and Raju—who have tried to contain and
control her. As such, the sliding, dexterous movements of the
snake seem to point to the suppleness and dexterity of Rosie’s QUO
QUOTES
TES
own feminine and artistic powers.
Note: all page numbers for the quotes below refer to the
Penguin edition of The Guide published in 1958.
WATER
Water is an integral part of Raju’s final incarnation Chapter 1 Quotes
as a holy man, or “swami,” in the small village of […] the villager resumed the study of his face with intense
Malgam. He ends up here after his release from prison, and as respect. And Raju stroked his chin thoughtfully to make sure
such the water associated with his new life represents his that an apostolic beard had not suddenly grown there. It was
purification and redemption. It is by the river that Raju meets still smooth.
Velan, the villager who innocently puts his faith in his healing
powers. The significance of water as a symbol of purification
and redemption becomes apparent towards the end of the Related Characters: Raju, Velan
novel, when a drought afflicts the villagers, who then draw Raju
into a long fast in the hope that his sacrifice will bring about Related Themes:
rains. Raju, who at first reluctantly, and then willingly, accepts
the responsibility, stands in the river each day during the fast to Related Symbols:
hold vigil, chanting incantations. For the first time in his life,
Raju acts out of self-sacrifice, on behalf of others, not out of Page Number: 2
self-interest. As such, his immersion in the river signals the Explanation and Analysis
transformation and purification that he undergoes in his final
role as a holy man. The significance of water as a symbol for At the beginning of the novel, Raju sits by a riverbank after
redemption is further reinforced in the final image of the novel, his release from prison. Velan, a man from the nearby village
which depicts a famished and weakened Raju, possibly on the of Mangal, comes up to Raju and sits near him, looking at
brink of death, standing in the river with the help of Velan, him reverentially. Velan’s respectful gaze suggests that he
perceiving rain coming over the hills. Although Narayan doesn’t attributes special spiritual powers to Raju—which is what
confirm or deny whether rain does actually arrive, Raju’s prompts the latter to check whether the “apostolic beard” of
perception of water coming from the sky is significant: whether a holy man has grown on his chin. Indeed, Velan’s view of
real or imagined, he feels as though he is about to be drenched Raju as a holy man is significant, for it portends Raju’s
in rain, and indeed feels the water in his body, coming up his spiritual transformation from a deceitful tourist guide to a
feet and legs. This imagery of rain suggests that, at the climax of spiritual “guide” in the highest sense—one who guides
his act of self-sacrifice, Raju is purified and transformed. others out of suffering.

MALGUDI Chapter 2 Quotes

The fictional town of Malgudi represents India in Where could he go? He had not trained himself to make a
miniature. Like the country of which it is a part, living out of hard work. Food was coming to him unasked now.
Malgudi undergoes tremendous changes, including the arrival If he went away somewhere else certainly nobody was going to
of industrialization and modernization, as symbolized by the take the trouble to bring him food in return for just waiting for
railway line that is newly built there. Furthermore, it is a it.
microcosm of the society at large, as it is home to people who
occupy various social and economic positions. The Sait, for
Related Characters: Raju, The Villagers
instance, is clearly wealthier than Raju and his family, while the
poor people who occupy the huts outside of town, where Raju
Related Themes:
takes Rosie to meet the snake charmer, are much poorer, and
most likely of low caste. Malgudi’s geography also reflects the
Related Symbols:
wider country: the town itself, with its condensed population,
recalls the large urban centers of India, while the beautiful wild

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Chapter 4 Quotes
Page Number: 24 Raju himself was not certain why he had advised that, and
Explanation and Analysis so he added, “If you do it you will know why.” The essence of
sainthood seemed to lie in one’s ability to utter mystifying
After his release from prison, Raju sits by a riverbank,
statements.
reflecting on his future. He must decide on where he will go
and what he will do now. The villagers from a nearby village
have mistaken him for a holy man, and generously bring him Related Characters: Raju (speaker), The Villagers
offerings of food to show their reverence and gratitude for
him. Raju ultimately decides to stay and play the role of holy Related Themes:
man that the villagers have cast him in not out of
benevolence, but out of greed. He considers that simply by Related Symbols:
staying where he is and doing very little, the villagers will
continue to feed him for free. Raju’s motivations here reveal Page Number: 38
the essential greed that defines his personality: he is a
Explanation and Analysis
protagonist who, throughout most of his life, acts out of
self-interest. At the temple by the riverbank, where Raju has taken up
residence as a holy man after his release from prison,
villagers from a nearby village gather around him to listen to
Chapter 3 Quotes his discourse. Raju, who is only playing the part of a holy
man but actually has no idea what he is doing, instructs the
One fine day, beyond the tamarind tree the station villagers to recollect everything they’ve said since daybreak.
building was ready. The steel tracks gleamed in the sun; the This is a nonsensical command. In the above quotation, Raju
signal posts stood with their red and green stripes and their himself wonders why he had advised the villagers to
colorful lamps; and our world was neatly divided into this side undertake this task. This moment reveals Raju in the midst
of the railway line and that side. of his deception and dishonesty. He manages to deceive the
villagers by uttering “mystifying statements” that sound
Related Characters: Raju (speaker), Raju’s Father, Raju’s profound and seem to confirm his status as a wise or holy
Mother, Velan man, but these statements are actually empty.

Related Themes:
Raju soon realized that his spiritual status would be
Related Symbols: enhanced if he grew a beard and long hair to fall on his
nape. A clean-shaven, close-haired saint was an anomaly.
Page Number: 27

Explanation and Analysis Related Characters: Raju, The Villagers

Telling his life story to the villager Velan, Raju recounts the
most sensational event of his childhood: the construction of Related Themes:
the railway line in the town of his birth, Malgudi. The railway
heralds modernization and progress not only for Raju’s Related Symbols:
family, but for the whole town—leading to economic
prosperity and an opening up of the town to the wider Page Number: 39
world beyond. The railway’s transformative effects are
Explanation and Analysis
reflected in the color imagery used to describe it in the
above passage: the tracks that “gleam” in the sun and the After arriving on the riverbank of a small village shortly
signal posts with “their red and green stripes and their after his release from prison, and being mistaken for a holy
colorful lamps” suggest that something vibrant, new and man by local villagers, Raju resolves to change his
dynamic has arrived. appearance so as to look more like an “authentic” holy man.
His decision to do so reflects his penchant for disguise as
well as his hypocrisy—two things that abound throughout
the course of the book, regardless of where he’s living and
what he’s doing. At this point, Raju is a newly released

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convict, and yet he keeps this a secret from the villagers, Explanation and Analysis
exploiting their benevolence (they bring him offerings of
food) by aiding and abetting their misconceptions about Rosie, the young and beautiful woman who has arrived in
him. Malgudi with her husband Marco Polo, asks to see a dancing
cobra. Raju, who has been hired by Marco to guide him
around the ancient sites of the town, duly obliges. He finds a
Chapter 5 Quotes snake charmer in a remote part of town whom he takes
Rosie to visit while her husband is busy studying an ancient
I pointed out to him something as the greatest, the highest, site.
the only one in the world. I gave statistics out of my head. I
This is a significant moment in the novel, for it is the first
mentioned a relic as belonging to the thirteenth century before
time that Rosie’s full artistic powers are revealed. Rosie’s
Christ or the thirteenth century after Christ, according to the
imitation of the snake shows her to be a brilliant
mood of the hour.
dancer—she is so skilled that Raju is convinced she is the
“greatest dancer of the century.” Furthermore, Rosie’s
Related Characters: Raju (speaker), Velan power both as an artist and as a woman is closely associated
with the snake here. Not only does Raju recognize Rosie’s
Related Themes: artistic talents through her imitation of the snake’s
movements, he is also beguiled and seduced by her feminine
Related Symbols: power and magnetism.

Page Number: 43

Explanation and Analysis

Chapter 6 Quotes
Telling the villager Velan about his career as a tourist guide […] he suddenly noticed at the end of the year that the
in his hometown of Malgudi, Raju confesses that he often skies never dimmed with cloud. The summer seemed to
made up facts and stories about the sites he showed continue. Raju inquired, “Where are the rains?”
tourists. Raju’s tendency to resort to lies suggests that he
has neither principles nor integrity—he simply acts Related Characters: Raju (speaker), The Villagers
according to his whims, and is often motivated to take
advantage of clients’ gullibility so as to also exploit their Related Themes:
pockets. Raju’s treatment of the tourists alludes to his
penchant for deceit and hypocrisy, as well as to his greed Related Symbols:
and materialism.
Page Number: 70

Explanation and Analysis

The man pulled out his gourd flute and played on it shrilly,
Many months, or perhaps years, have passed since Raju’s
and the cobra raised itself and darted hither and thither
release from prison. He has established himself as a holy
and swayed…[Rosie] stretched out her arm slightly and swayed
man on the banks of a river, where he is visited and looked
it in imitation of the movement; she swayed her whole body to
after by villagers eager for his spiritual aid. Raju’s realization
the rhythm—for just a second, but that was sufficient to tell me
that the seasonal rains have not arrived that year marks the
what she was, the greatest dancer of the century. beginning of the drought that afflicts the villagers—the
drought threatens their crops and cattle. But the lack of
Related Characters: Raju (speaker), Rosie / Nalini, Marco rains can also be read to indicate the spiritual “drought” or
Polo emptiness under which Raju himself lives: he has led a life of
deceit and greed, and even in his role as a holy man, he
Related Themes: continues to deceive the villagers by not disclosing his true
history, and exploiting their generosity so as to sustain
Related Symbols: himself.

Page Number: 51

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Did they expect him to starve for fifteen days and stand in
knee-deep water for eight hours? He sat up. town. Raju’s hypocrisy and deceit, therefore, are revealed in
his double-dealing with Marco. Raju has no problem playing
the consummate host and helper to Marco’s face—to the
Related Characters: Raju, The Villagers, Velan’s Brother
point where Marco seems to accept him as “a member of
the family”—while betraying him behind his back.
Related Themes:

Related Symbols:
Rosie was lying on her bed with eyes shut. (Was she in a
Page Number: 85 faint? I wondered for a second.) I had never seen her in
such a miserable condition before. He was sitting in his chair,
Explanation and Analysis elbow on the table, his chin on his fist. I had never seen him so
Velan’s brother has jumbled a message from Raju to the vacant before.
villagers, and this has led to the profound misunderstanding
among the villagers that Raju has accepted to undergo a
Related Characters: Raju (speaker), Rosie / Nalini, Marco
two-week fast so as bring about rains to alleviate the
Polo
drought under which they suffer. Later that day, Raju
suddenly realizes the enormity of the task that has been Related Themes:
placed—accidentally—on his shoulders. Raju clearly does
not want to “starve for fifteen days and stand in knee-deep” Related Symbols:
water for hours a day—after all, he’s maintained his image as
a holy man primarily so that he can enjoy the surplus of food Page Number: 105
the reverent villagers gift him on the daily. His shock and
reluctance in facing the hardship to which he would be Explanation and Analysis
subjected suggest that Raju always thinks about his comfort Raju has been carrying on an affair with Rosie, the wife of
and convenience first. Here, he thinks about his own the scholar of ancient civilizations who has arrived in
suffering, rather than the villagers’, who are, in fact, already Malgudi and hired Raju’s services as a tourist guide. In this
suffering and starving because of the drought. passage, Raju arrives at Peak House—the house at the top
of Mempi Hills where the couple has been staying—and
realizes that something is terribly amiss. The scene that
Chapter 7 Quotes Raju stumbles upon when he opens the door to Rosie and
I was accepted by Marco as a member of the family. From Marco’s room suggests the betrayal that both Raju and
guiding tourists I seemed to have come to a sort of Rosie have participated in has finally brought about
concentrated guiding of a single family. destruction. Raju’s deceitful actions—as well as
Rosie’s—have consequences, something which Raju in
particular seems to be in denial about.
Related Characters: Raju (speaker), Rosie / Nalini, Marco
Polo

Related Themes: “[…] I followed him, day after day, like a dog—waiting on his
grace. He ignored me totally. I could never have imagined
Related Symbols: that one human being could ignore the presence of another
human being so completely.”
Page Number: 88

Explanation and Analysis Related Characters: Rosie / Nalini (speaker), Raju, Marco
Polo
Marco Polo, a scholar of ancient civilizations, has arrived in
Malgudi to study ancient sites, and has employed Raju as his Related Themes:
guide. While Marco accepts Raju “as a member of the
family,” Raju is in fact busy carrying on an affair with Marco’s Related Symbols:
young and beautiful wife, Rosie, who has also arrived in the
Page Number: 118

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Explanation and Analysis Related Characters: Raju (speaker), Rosie / Nalini

Rosie, who shows up alone at Raju’s house one day, tells Related Themes:
Raju about the events that preceded her husband Marco’s
abandonment of her. At Peak House, Rosie revealed to Related Symbols:
Marco that she has been having an affair with Raju, the
tourist guide he has hired to show them the sites of Page Number: 139
Malgudi. Full of of a sense of guilt over the affair, Rosie is
repentant. However, her husband refuses to accept her Explanation and Analysis
repentance, and punishes her by completely ignoring her. Rosie has been practicing her dancing for months in Raju’s
Marco’s silent treatment of Rosie reflects his rigidity and house, where she has taken up residence, in preparation for
cruelty. This treatment also reflects a pattern in Rosie’s life: her public debut as a dancer. To help her, Raju adopts the
in some form or another, she always finds herself oppressed role of her promoter and manager—yet another type of
and treated badly by the men in her life. “guide.” In taking on this new persona, Raju changes his
appearance in order to play the part more convincingly. This
transformation points to Raju’s talent for disguise and
Chapter 8 Quotes dishonesty: just as Raju had bluffed his way into a career as
“You are not of our family? Are you of our clan?” He again the tourist guide “Railway Raju,” here he bluffs his way into a
waited for her to answer and answered himself. “No. Are you of new career as Rosie’s manager.
our caste? No. Our class? No. Do we know you? No. Do you
belong to this house? No. In that case, why are you here? After
all, you are a dancing girl. We do not admit them in our families. Chapter 9 Quotes
Understand?” I silently fretted. I liked her to be happy—but only in my
company. This group of miscellaneous art folk I didn’t quite
Related Characters: Raju, Raju’s Uncle (speaker), Rosie / approve.
Nalini, Raju’s Mother
Related Characters: Raju (speaker), Rosie / Nalini
Related Themes:
Related Themes:
Page Number: 133
Page Number: 149
Explanation and Analysis
Raju’s uncle shows up at the house Raju shares with his Explanation and Analysis
mother, in order to clear out Rosie, who has taken up After her public debut as a dancer, Rosie/Nalini achieves
residence there after being abandoned by her husband enormous success. In his role as her manager (as well as her
Marco. The rhetorical questions with which Raju’s uncle lover), Raju has a strong hand in directing Rosie/Nalini’s
bombards Rosie point to the conflict between tradition and career. But Raju is jealous, especially of the art friends that
modernity in the novel. In pointedly calling attention to Rosie likes to spend time with. Raju’s jealousy—as well as his
Rosie’s low caste and poor economic and social status, attempts to curtail Rosie’s freedom—point to the
Raju’s uncle affirms traditional hierarchies of caste and increasingly oppressive attitude that he takes towards her.
social division. Rosie’s presence in the house violates these Like her husband Marco, Raju also ends up attempting to
traditional hierarchies, and neither the uncle nor Raju’s limit and to constrain Rosie’s freedom.
mother are happy about these transgressions.

It seemed absurd that we should earn less than the

I dressed myself soberly for the part in a sort of rough- maximum we could manage. My philosophy was that while
spun silk shirt and an upper cloth and a handspun and it lasted the maximum money had to be squeezed out. We
handwoven dhoti, and I wore rimless glasses—a present from needed all the money in the world.
Marco at one of our first meetings. I wore a wristwatch—all this
in my view lent such weight to what I said that they had to listen
to me respectfully. I too felt changed; I had ceased to be the old
Railway Raju.

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I found a scrap of paper and made a careful trial of Rosie’s
Related Characters: Raju (speaker), Rosie / Nalini signature. I had her sign so many checks and receipts each
day that I was very familiar with it.
Related Themes:
Then I carefully spread out the application form and wrote on
Page Number: 153 the indicated line: “Rosie, Nalini.”

Explanation and Analysis

Related Characters: Raju (speaker), Rosie / Nalini, Marco
Raju, who has been managing Rosie/Nalini’s immensely Polo
successful dance career, has a discussion with her one day in
which she expresses dissatisfaction over her relentless Related Themes:
schedule. Raju’s greed and materialism is evident in his
conclusion that he and Rosie needed to earn “the maximum Page Number: 164
they could manage.” Of course, it is Rosie doing the actual
Explanation and Analysis
hard work, not Raju, given that it is Rosie who must spend
hours on stage each day and countless more hours Raju, seeking to procure a box of valuable jewelry belonging
practicing her dancing. Raju’s focus on money thus reveals to Rosie from Marco’s lawyers, decides to forge her
the extent to which he has come to view Rosie as a means to signature on the form sent to him by the lawyers, rather
his own financial success. He values her primarily as a than disclose the letter to Rosie. This act represents the
money-making instrument—not someone he loves and climax of Raju’s deviousness. His penchant for deceit has
cares deeply about—and therefore reveals his greed and reached a point where he betrays the love of his life, Rosie,
materialism in the process. and therefore risks destroying his most cherished
relationship. Raju’s obsession with the jewelry also reflects
his longstanding greed and materialism—he does not want
to share news of the letter from the lawyers with Rosie, but
[…] I carried [the book] to my most secret, guarded place in
he does not want to give up the chance to procure Rosie’s
the house—the liquor chest, adjoining the card room, the
valuable jewelry.
key of which I carried next to my heart—stuffed the volume out
of sight, and locked it up. Nalini never went near it. I did not
mention the book to her.
Chapter 10 Quotes
I was now a sort of hanger-on in the house; ever since she
Related Characters: Raju (speaker), Rosie / Nalini, Marco
had released me from police custody, the mastery had passed
Polo
to her. I fretted inwardly at the thought of it. When the first
shock of the affair had subsided, she became hardened. She
Related Themes:
never spoke to me except as to a tramp she had salvaged.
Page Number: 156
Related Characters: Raju (speaker), Rosie / Nalini, Marco
Explanation and Analysis
Polo
Rosie’s long-estranged husband Marco sends a book to
Raju, who is now acting as Rosie/Nalini’s manager. The book Related Themes:
is a product of Marco’s research trip to Malgudi, a trip
during which Raju had acted as tourist guide to Marco, and Page Number: 173
also began his affair with Rosie. Raju, who is afraid that
Explanation and Analysis
Rosie might still have feelings for her husband, decides to
hide the book from her. Raju’s deceit here reveals that his After Raju is arrested by the police for forging Rosie’s
lies and his hypocrisy have begun to infect his most intimate signature on forms sent by Marco’s lawyers, Rosie raises the
relationships, as well. Raju wants to keep Rosie close to him bail necessary to have Raju released from prison. This
by maintaining control over her, and his decision to hide the signifies a turning point in the relationship between Raju
book from her reflects this desire for control—it is a means and Rosie: when he returns home, he realizes that he has
through which Raju hopes to keep Rosie estranged from her lost all of his power—Rosie is now the one in charge. He is
husband and thus kept squarely in his own control. suddenly her dependent. This transformation in their
relationship also marks the beginning of Rosie’s assumption

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of her own power as an independent woman; for the first

Related Themes:
time, she takes complete control of her own affairs, as well
as Raju’s.
Page Number: 181-182

Explanation and Analysis

I felt like telling Mani, “Be careful. She’ll lead you on before In prison, where he is serving a two-year sentence for
you know where you are, and then you will find yourself in forging Rosie’s signature in an effort to obtain her jewelry,
my shoes all of a sudden! Beware the snake woman!” I knew my Raju comes across news of Rosie/Nalini in the newspapers.
mind was not working either normally or fairly. I knew I was Rosie’s increasing success and reputation—which she is
growing jealous of her self-reliance. But I forgot for the achieving without Raju’s help—confirms the fact that she
moment that she was doing it all for my sake. has attained her full powers as an independent woman, one
who is in complete control of her destiny. Moreover, while
Rosie goes from accomplishment to accomplishment, Raju
Related Characters: Raju (speaker), Rosie / Nalini, Mani sits in prison, his reputation and his life in tatters. The
contrasting fates of Raju and Rosie point to the massive gulf
Related Themes: that has opened up between the two characters, as it is Raju
who is now confirmed as weak and impotent.
Related Symbols:

Page Number: 176 Chapter 11 Quotes

Explanation and Analysis Raju asked, “Now you have heard me fully?” […]
After Rosie raises bail to have Raju temporarily released “Yes, Swami.”
from prison, she takes up her dance career again in order to Raju was taken aback at still being addressed as “Swami.” “What
raise enough funds to help Raju contest the charges do you think of it?”
brought against him by Marco for his forgery of her
signature. Mani, Raju’s secretary, now acts as Rosie’s right- Velan looked quite pained at having to answer such a question.
hand man in helping her organize her dance engagements. “I don’t know why you tell me all this, Swami. It’s very kind of
Raju’s thoughts on Rosie’s self-reliance here reveal the you to address at such length your humble servant.”
depth of his selfishness, as well as his lack of accountability.
Raju seems to blame his troubles on Rosie, as suggested in Related Characters: Raju, Velan (speaker)
the warning he wants to give Mani, when in fact he is in
trouble because of his own deceitful and dishonest actions. Related Themes:
In referring to Rosie as a “snake woman,” Raju seems to
attribute a dark, evil power to her. Rosie is indeed powerful, Page Number: 184
as suggested in her self-reliance, but her power is
Explanation and Analysis
benevolent: she works hard so as to help Raju defend
himself against Marco. Raju seems to overlook this, at least Raju has just finished telling the villager Velan the story of
in the moment, forgetting that she is working for his “sake.” his life, disclosing fully his history of deceit and deception.
He expects that Velan will be horrified by his disclosure.
However, Velan’s attitude towards Raju doesn’t change—he
addresses him with the same respect he has always shown
But on Friday and Saturday I turned the last page of the
him, and refers to him with the respectful term “Swami,” or
Hindu with trembling fingers—and the last column in its
religious teacher.
top portion always displayed the same block, Nalini’s
photograph, the name of the institution where she was That the villager’s faith and trust in Raju remains unshaken,
performing, and the price of tickets. Now at this corner of in spite of his discovery about Raju’s past, is significant, as
South India, now there, next week in Ceylon, and another week this suggests that Velan believes that Raju’s spiritual powers
in Bombay or Delhi. Her empire was expanding rather than are so innate that his past misdeeds are irrelevant.
shrinking. Furthermore, Velan’s continued faith puts Raju under
pressure to go through with the fast that the villagers
expect him to undertake. Raju is thus forced to make a moral
Related Characters: Raju (speaker), Rosie / Nalini

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The morning sun was out by now; a great shaft of light
choice: either to live up to the faith and trust that Velan (and illuminated the surroundings. It was difficult to hold Raju
the villagers) put in him, or to break their trust. on his feet, as he had a tendency to flop down. They held him as
if he were a baby. Raju opened his eyes, looked about, and said,
“Velan, it’s raining in the hills. I can feel it coming up under my
“Will you tell us something about your early life?” feet, up my legs—” He sagged down.
“What do you want me to say?”
“Er—for instance, have you always been a yogi?” Related Characters: Raju (speaker), Velan

“Yes; more or less.” Related Themes:

Related Characters: Raju (speaker) Related Symbols:

Related Themes: Page Number: 196

Page Number: 193 Explanation and Analysis

On the last day of the fast Raju undertakes to bring relief to
Explanation and Analysis drought-stricken villagers, he is so weak he can barely stand
As reports of the fast that Raju is undertaking on behalf of on his feet—Velan and another villager have to help Raju
the drought-stricken villagers spread in the news, an reach the river to hold vigil. Raju’s assertion that it is raining
American TV producer shows up at the riverbank where in the hills, as well as his feeling that rain is coming up his
Raju lives to interview him. The answer that Raju gives to body, is deeply significant. While it is not clear whether Raju
the producer’s question is significant, because it suggests is hallucinating or not, his prediction of rain alludes to his
that he has always been a “yogi,” or a guide, in some sense or spiritual redemption and purification. Raju’s journey as a
another. Raju goes from being a tourist guide to a dance holy man has led him, finally, to act out of benevolence for
manager to a spiritual guide—all careers that involve others, rather than out of self-interest. As such, his feeling
“guiding” others in some sense. His answer to the that it is raining alludes to the spiritual transformation he
producer’s question, therefore, suggests that a kind of has undergone, as a result of the sacrifice he makes on
destiny or dharma has governed his life: he was destined to behalf of the villagers. Although this ambiguous ending of
play the role of guide, and has therefore done so, in some the novel doesn’t make clear whether Raju survives the fast
form or another, from the beginning. or not, it implies that his sacrifice has been huge, and that
therefore he is redeemed as a result.

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SUMMARY AND ANAL

ANALYSIS
YSIS
The color-coded icons under each analysis entry make it easy to track where the themes occur most prominently throughout the
work. Each icon corresponds to one of the themes explained in the Themes section of this LitChart.

CHAPTER 1
Sitting on a granite slab by a river, Raju is approached by a That the novel opens on a riverbank is significant, given that the
stranger, who looks up at him reverentially. Slightly river (and water more generally) is used symbolically to allude to
disconcerted by the stranger’s gaze, Raju nonetheless invites Raju’s spiritual state. Indeed, there are already indications that Raju
him to sit. Raju asks where the stranger comes from, and the is undergoing some kind of transformation. The stranger who looks
stranger tells him that he is from a nearby village, Mangal, up reverently at Raju clearly mistakes him for some kind of a holy
located across the river bank. Raju enjoys the stranger’s talk, man, and this foreshadows Raju’s forthcoming spiritual
considering that he has been all alone in this place for a day. transformation into a genuine holy man.
Again noting the stranger’s respectful gaze, he strokes his chin,
wondering whether “an apostolic beard” has sprouted there.

Raju’s musings on his facial hair lead him back to his last visit to This flashback to the haircut at the barber reveals that Raju, in fact,
a barber for a shave, which took place two days earlier. To has a dark secret—he has committed a crime, although the reader is
Raju’s chagrin, the barber, whose shop is located close to the not told exactly what it is. Furthermore, the conversation at the
prison gates, had correctly guessed that Raju had just been barber’s reveals that Raju is at a point in his life where he is
released from prison. He also guessed that Raju had not unmoored and unsettled; after his release from prison, he must find
committed a serious offence like murder or rape, but rather a a new path forward.
petty one of cheating, and that he had not been in prison for a
long time. When the barber asked Raju what he intended to do
next, Raju said he didn’t know—though he must go somewhere.

On the river bank, Raju finds the stranger still seated on the The villager’s attitude of devotion and respect towards Raju is
steps below him, looking at him with devotion. Raju asks him ironic—given that Raju is in fact not a holy man or a saint, but a
irritably why he looks at Raju in this way. Raju is tempted to newly released convict. This disconnect between what Raju appears
confess to the villager that he is here on the river bank because to be, and who he actually is, calls attention to the gap between
he has nowhere else to go, but he is worried that he will offend illusion and reality—a recurrent theme in the novel.
the villager if he mentions the word “jail.” Before he has a
chance to speak, however, the villager tells Raju that he has a
problem. Raju encourages him to share it.

Before the stranger, whose name is Velan, shares his problem, The abrupt jump to Raju’s own life story emphasizes that Raju—like
the narrative jumps forward to Raju telling Velan his life story. Velan, who is seeking his help—has had troubles of his own. In Raju’s
His troubles began, he says, when he met Rosie, a woman who, narration, Rosie clearly plays a very important part, given that Raju
in spite of the exotic name she went by, was an Indian dancer. associates his troubles with her. Rosie’s “exotic” and non-traditional
At the first opportunity he found, Raju told Rosie that she was a name—which is not Indian—alludes to the way that she straddles
great dancer who fostered India’s cultural traditions. the divide between tradition and modernity.

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Raju flatters and praises Rosie’s talents whenever he finds the Raju’s flattery of Rosie in spite of her status as a married woman
opportunity and whenever they are out of range of her points to his dubious morals; clearly, he has no qualms about
husband’s hearing. Her husband, in contrast to Rosie, is overstepping the bounds of propriety with Rosie behind Marco’s
grotesque, always dressed like a man about to undertake an back. This also points to Raju’s propensity for deceit.
expedition—which prompts Raju, upon meeting him for the first
time in the railway station, to refer to him as Marco Polo.

Raju says that he was fated to become a guide. As a child, he Raju’s statement that he was fated to become a guide points to the
had grown up in a small house opposite the railway station of role that destiny, or dharma, plays in the novel, particularly in the
Malgudi, in a house built by his father long before trains arrived unfolding of Raju’s own life. Raju seems to follow a preordained
in the town. path. Raju’s remark that he grew up in a house before the arrival of
the railway in Malgudi indicates that Raju’s early childhood took
place before the arrival of industrialization and modernization in
the town.

Raju’s father made a living from a small shop he built on the The occupation of Raju’s father as a small shopkeeper suggests that
premises of the house, around which peasants and drivers of the family lives modestly—although all their needs are met through
bullock wagons were always gathered. When his father went the father’s business. Raju’s own childhood seems to reflect the way
inside the house to eat lunch every day, Raju would take his in which the family exists between tradition and modernity. On the
place in the shop. Each morning, after drinking the buffalo milk one hand, even as a child, Raju must already work helping his father
warmed for him by his mother, Raju would find his father at the shop. On the other hand, the father’s insistence on giving
waiting for him on the pyol, or stoop, of the house, ready to Raju morning lessons suggests that education—a marker of
commence giving Raju lessons on the Tamil alphabet and modernity—is also important to the family. Raju’s father wants his
arithmetic. To Raju’s relief, the lessons inevitably ended with son to be educated, but the education he provides him with is
the arrival of the first customer at the shop, and he would clearly rudimentary, as indicated in the fact that Raju is released to
immediately go off to play under the shade of a tamarind tree play with the arrival of the father’s first customer.
across the road.

Back on the riverbank, Velan is seated on the steps that lead In making profound statements to Velan about the universality of
down to the river, telling Raju that he has a problem. Raju has people’s problems, and in referencing the Buddha, Raju seems to be
felt important ever since this man gazed up at him. He tells taking on the part of a wise holy man that Velan is projecting onto
Velan, in a sudden fit of sagacity, to show him a person without him. But the motivation behind Raju’s wise statements seems to be
a problem, and he will in turn show him a perfect world. He self-interest: he clearly enjoys the way that Raju venerates him, and
then tells a story of a woman who went crying to the Buddha, makes him feel important. Raju’s own posture of superior wisdom is
clutching a dead baby in her arms. The Buddha tells her to go also ironic, given that he himself is confronting a major problem for
into every home in the city and find one where death is which he as yet has no solution—he has been released from prison,
unknown. Raju adds that if Velan can show him a single home but doesn’t know where he will go or what he will do.
without a problem, he can show him the way to find a solution
to all problems.

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Velan, impressed by the weightiness of Raju’s statements, tells Velan’s difficulty with a recalcitrant younger half-sister, who refuses
him that the youngest daughter of his late father’s third wife, to accept the match he has made for her, points to the theme of
for whom he acts as a guardian, refuses to accept his plans for gender and conflicts over gender relations as a central theme of the
her marriage—Velan wants her to marry his cousin’s son. He is novel. The rebellious young sister foreshadows Rosie, the novel’s
at a loss over what to do with the girl, and asks Raju for counsel. heroine, who also often acts outside of the bounds of her prescribed
Raju instructs him to bring her to see him. In gratitude, Velan gender role. Raju’s rejection of Velan’s gesture of respect and
reaches down to touch Raju’s feet, but Raju recoils, telling him gratitude suggests that Raju—who is only play-acting the part of a
that it is only God who is worthy of such prostration. wise man, after all—is aware that he does not deserve the respect
that Velan shows him.

After Velan leaves, Raju sits watching the river for a long time Raju’s act of looking at the river is significant, given that water in the
and counting the stars. He has a fantasy that, by charting the novel is a symbol of Raju’s purification and redemption. As such, his
stars, he will become a famous night guide for the skies. preoccupation with the river here suggests the beginnings of this
However, he soon finds himself muddled and exhausted by the process of purification. Furthermore, his fantasy about becoming a
task and lays down to sleep. famous night guide for the skies foreshadows his role, at the end of
the novel, as a spiritual guide who sacrifices himself for the sake of
bringing rains from the skies to relieve the drought-stricken villagers.
As such, by the end of the novel, Raju does become a “a famous […]
guide for the skies” in a sense.

The next morning, Raju awakens to find Velan standing with his Raju clearly has set events in motion without being quite ready to
sister, a fourteen year old girl. Raju, still groggy from sleep, deal with their consequences. Velan’s presence with his sister even
finds that he is not quite ready to take charge of the world’s before Raju wakes alludes to the way in which Raju’s life slowly
affairs, and he directs Velan and the girl to wait for him in the begins to be invaded by others. The food that Velan brings Raju as a
hall of the temple by the river. When he goes to meet them gift of gratitude, however, indicates that Raju can also benefit from
again, he finds that Velan has brought him a basket of food. Velan’s presence in his life and space.
Raju, who can use the food, welcomes this.

Nonetheless, Raju takes the basket and places it at the foot of a Raju play-acts when he tells Velan that they must wait for the god
stone image of a god in the temple, saying that they will eat the to eat his fill. Knowing that Velan believes him to be a holy man,
remnant only after the god has taken his fill. He begins telling a Raju dissimulates in such a way so as to confirm, rather than
story of a man named Devaka who, in ancient times, begged for correct, Velan’s mistaken impression. And yet, Raju’s performance is
alms at the temple gate, but would always put offerings given to not foolproof, as suggested by the fact that he loses the most
him at the feet of a god first. Halfway through the story, Raju important thread of the story that he begins to tell Velan and his
realizes he can’t remember the point or the ending of the story, sister about Devaka.
and he lapses into silence, while Velan waits patiently. Raju
turns and strides to the river step, and Velan and his sister
follow.

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Raju remembers being back in Malgudi, his mother telling him Raju’s memories of listening to his mother tell stories about Devaka
stories as they waited for his father to close his shop. Raju’s evoke the warm, close relationship that Raju shared with her as a
mother would send her son out to see if his father—who child. This vision of closeness both foreshadows, and stands in
enjoyed the company of his late-night customers—could be contrast with the conflicted relationship that Raju will in fact
convinced to turn in. Inevitably, the father would tell Raju to tell develop with her in adulthood. Furthermore, Raju’s memory of his
his mother not to wait for him, but to leave some food out. Raju mother here suggests the way in which Raju continues to be
and his mother would then eat dinner, and Raju would lie down, haunted by his past. Although he is pretending to be, and acting as
cozy with his mother beside him, and listen to her stories about though, he were a new person (a holy man), he cannot reinvent
a man called Devaka, falling asleep before his mother was even himself completely, as fragments from his previous life continue to
through the beginning of the story. bubble up in his mind. This moment also explains why Raju can’t
remember the point of the Devaka story—he always fell asleep
immediately.

On the riverbank, Raju is still sitting on the steps with Velan and Raju’s memory of his mother seems to unsettle him, as indicated by
his sister patiently waiting for him on a lower step. Raju is his sudden irritation with Velan and his sister. The question that
irritated by them; he has his own problems to think about and Raju asks—to himself or to Velan, it is not entirely clear—is both
wishes he were alone. He tells Velan he will not think of his profound and ambiguous. Raju has indeed been in prison, of course,
problems now, but only when the time is right for it. When but his thought that perhaps he has been in some sort of
Velan rises to go, Raju tells him he needs to give the matter “transmigration” alludes to the fact that he feels some profound
some thought. He suddenly finds himself asking, “Have I been in change coming over him. Velan’s statement that the course of things
prison or in some sort of transmigration?” Velan seems relieved is pre-determined in the same way that the course of a river is,
and happy that Raju has spoken so much, and states that the brings attention to the role of water in the novel. As a symbol for
course of things is pre-determined just as the course of a river Raju’s purification and redemption, the emphasis on the river, as
is pre-determined. They gaze on the river. Raju watches Velan well as the characters’ act of gazing on the river in this scene,
and his sister cross it and disappear. suggests that Raju’s process of purification has begun.

CHAPTER 2
Raju tells Velan of the construction of the railway in Malgudi, The beginning of the construction of the railway line in Malgudi
across the street from his father’s house. Construction workers alludes to the coming of modernization and industrialization to the
have begun work on the line, parking their trucks beneath the town. As a child, Raju seems to have no grasp of the significance of
tamarind tree under which Raju plays. Raju is busy among the these changes—approaching the railway construction simply as an
workmen, and he has taken to playing on the red mountain of opportunity to play—and yet, the railway will have profound
earth beneath the tree. consequences for his own life and destiny.

One day, Raju gets into a fight with a boy who encroaches on Raju’s sense of propriety over the red mountain of earth points to
the red mountain of earth by the railway construction site that the fact that, even as a child, Raju had exhibited tendencies towards
has become Raju’s territory. Raju pounces and curses the boy, greed and accumulation, traits that will motivate much of his
who runs to Raju’s father, repeating the curses that Raju hurled actions in adulthood. Furthermore, even before its completion, the
at him. Raju’s father is infuriated and, upon learning from his railway is already changing the environment in which Raju and his
son that he has picked up the words from the railway family live—exposing Raju in particular to foreign (and negative)
construction workers, announces that he will send Raju to influences, and thus motivating his father to remove him to school.
school to remove him from the workmen’s influence.

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Each morning, Raju’s mother makes a fuss over Raju as she Raju’s school attendance marks a new phase of his childhood.
dresses and prepares him for school. He has an endless walk to Although Raju himself has little interest in school, his attendance
school, and is often distracted, dawdling on the way. Raju’s there seems to mark a change in the family’s social status. By
father, proud of his son’s education, takes to boasting about the sending their son to school, the parents seem to attain (or at least
old master who oversees the school. aspire to) a higher social status—as indicated by the fact that Raju’s
father likes boasting about his son’s education, as well as the fuss
that Raju’s mother makes over her son every morning.

The school, in fact, is not terribly sophisticated—it’s a pyol The school that Raju attends is very rudimentary, and as such
school, one in which lessons are held on the front stoop of an reflects the tension between the traditional and the modern in the
old man’s house, who also acts as master. All levels of classes novel. On the one hand, it is an institution of education, but at the
are held there at the same time. The master is abusive, often same time it is no more than an informal, chaotic gathering held on
irritated by his young, clumsy pupils, who like to sneak into his the front stoop of an old man’s house.
house and make fun of him while cooking.

Despite the chaos of the pyol school, Raju makes enough That Raju qualifies for first standard indicates that his rudimentary
progress to qualify for first standard at the Board High School. education at the master’s school was successful, in spite of the
On the day Raju attends the new school, he is accompanied by chaos that characterized the lessons there. The pride that the
the master, who is proud, strutting about like a king. master takes in his students’ success suggests that, in spite of his
irritable and chaotic teaching style, he did in fact fulfill his duties as
a teacher.

By the riverbank near the small village of Mangal, Velan Velan is increasingly convinced of Raju’s spiritual powers—and the
appears, bursting to tell Raju that his sister has admitted her success that Raju achieves with Velan’s sister (without trying very
follies before the family and has accepted Velan’s decision to hard), further confirms to Velan that Raju is spiritually gifted. And
betroth her to their cousin. Velan is clearly incredibly yet, there is a wide gap between Velan’s perception of Raju and
impressed with Raju’s prescience. Raju, on the other hand, is Raju’s own perception of himself, as indicated in the fact that Raju
once again tempted to debunk himself, but once again holds feels tempted to reveal himself for the charlatan that in fact he is.
back.

Grateful to Raju for helping him conclude the affair with his In spite of himself, Raju seems to be achieving good deeds—as
sister, Velan comes to invite Raju to the wedding, which has indicated not only in Velan’s gratitude for his help in dealing with his
been arranged. He offers Raju a large tray of fruit in thanks. difficult sister, but also the whole family’s thankfulness. The tray of
Although Raju manages to avoid the wedding, the wedding fruit that Velan offers Raju points to the generosity of Velan, who
comes to him—Velan and the family, including the girl and her does not take Raju’s help for granted, but attempts to repay him in
suitor, come to pay thanks to Raju by the river. some way by providing him with nourishment.

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After the wedding incident, Raju’s circle begins to widen as Things seem to move in a way that is outside of Raju’s control. He
news of his success with Velan’s sister spreads. Other villagers has not asked for this attention from the villagers, and yet he
begin to come sit by the river steps, stopping there after work receives it. This alludes to the role that destiny, or dharma, plays in
to visit him. shaping Raju’s life and path—here, his reputation grows in spite of
the fact that he has not actively sought for it to do so.

One day, Raju hides himself in the temple. Villagers arrive as Raju’s act of hiding himself indicates that he feels harassed and
usual, wondering where he has gone to. They speak in praise of overrun by the villagers’ unsolicited attention. And yet, he also
him, saying that his presence has changed things for the better. seems to recognize the value of this attention, given that the
Eventually they leave, leaving behind offerings of food, and offerings that the villagers leave him provide him with nourishment.
Raju emerges from his hiding place, grateful for the food, and As such, Raju actions and thoughts here express ambivalence
hopeful that Velan will always offer some to him. towards the villagers.

The next day, Raju wakes up, and contemplates his future. He Raju’s decision to play the part of the holy man that Velan and the
must decide whether he will go back to his hometown of villagers have given him indicates his selfishness and self-interest.
Malgudi, where he will have to bear the giggles and looks of the Raju chooses to remain by the river merely because he does not
townspeople, or whether he will go elsewhere—but he is not know where to go, and does not want to work hard to earn his keep
sure where. Raju thinks that he’s not trained to work hard, and and his food. As such, he essentially decides to exploit the villagers’
that it is unlikely that he will find another place where he will gullibility and their goodwill, as well as their generosity towards him,
have such easy access to the nourishment that Velan and the in order to provide for himself. Here, Raju’s decision to play a role for
villagers provide him. He decides, therefore, to play the role his own benefit represents one of many examples in the book of him
that Velan has given him. He will give guidance to the villagers, acting in such a way.
and he will play his role brilliantly, as the villagers want him to
do.

Having decided on his course, Raju sets up a place in the temple Raju’s mastery of disguise and dissimulation is suggested here in his
beside the river for himself with a better backdrop. However, adoption of a “backdrop” within the temple that would better serve
Velan and the other villagers don’t appear. Raju begins to worry his new identity as a holy man. In sending the boy to inform the
that they may never come. Raju sees a boy bathing in the river, villagers that he has reappeared, he serves his own self-interest, as
and the boy tells him that his uncle has sent him to see if the he is interested primarily in what the villagers can give him
man—that is, Raju—is present. Raju sends the boy back, telling (offerings of food), rather than what he can provide for them.
him to inform his uncle that he is indeed back.

CHAPTER 3
Raju tells of the day that the railway line is finally completed in The completion of the railway line marks an important moment in
Malgudi. Everyone in the town is given a holiday to celebrate. the history of Malgudi, for the railway indicates the arrival of
The railway station is decorated, and important officials of the modernization and industrialization—the railway will change the
town give speeches, hailing the achievement of the railway. inhabitants’ lives, and it is for this reason that it is celebrated by the
town’s officials and inhabitants.

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The railway is good for Raju’s father’s shop, which prospers as a Indeed, the opening of the railway seems to immediately improve
result of the growing population around the railway station. the economic prospects of Raju’s father. As such, as a symbol, the
Raju’s father can now afford to buy a juka (a carriage) and railway suggests the ways in which modernization and
horse, in order to do his shopping for the shop. However, Raju’s industrialization can improve people’s lives and prospects—as they
mother is not impressed by the horse and carriage. do for Raju’s family.

Raju’s father makes a deal with a groom, who hires the carriage While Raju’s father prospers from the opening of the railway, he is
to sell goods in the market when the carriage is not in use by clearly somewhat naïve and gullible. His inability to recognize that
Raju’s father, and with the agreement that he will then pay the the groom is cheating him suggests that he has trouble adjusting to
father a portion of the profit. However, this turns out to be a his new, more prosperous circumstances. His gullibility also
bad deal for the father—the groom gives no money to the indicates the humble, simple life that he has led thus far—one that
family, swearing that he is unable to make a profit. He convinces has been largely sheltered from swindlers such as the groom, who
the father to sell the horse and carriage to him. Only then does clearly exploits the father’s innocence and naiveté to win the horse
it become apparent that the father has been cheated: suddenly, and carriage off him for a low price.
the groom is seen selling his goods up and down the streets.

Raju’s father is given the privilege to run a fancier, bigger shop Although Raju’s father loses money to the groom, who tricks him
at the railway station. The shop is so large that he doesn’t even into selling his horse and carriage, he nonetheless finds another
have enough supplies to fill the shelves, though he follows the opportunity for financial gain in the railway shop. The railway, in
stationmaster’s orders to fill them. other words, creates many economic opportunities for the family.

Raju takes his father’s place at the hut shop—the original shop Raju’s success in overseeing the railway shop suggests his penchant
built on the premises of their home. However, he doesn’t do for flourishing under the new circumstances created by the railway.
well there—his father’s old customers miss chatting with their Furthermore, that his father returns to the hut shop while Raju goes
patron, and so Raju and his father switch places. Raju is charged to the railway shop indicates that, unlike his father, Raju is perhaps
with overseeing the railway shop, and his father returns to the more adaptable to the new circumstances of industrialization and
hut shop. At the railway shop, Raju flourishes, and drops school modernization.
to spend all of his time looking after customers.

CHAPTER 4
Back at the riverbank, the boy whom Raju had sent to his uncle Raju’s insistence that the village boys must learn perhaps suggests
announces the return of the “saint,” and soon the villagers come his own regret over dropping his schooling once he had taken over
en masse to visit Raju. Raju tells the villagers that their boys running his father’s railway shop. And yet, even though Raju offers
must learn, and the next day a teacher appears, to whom Raju the teacher space within the temple to teach, it is Raju himself who
offers the space of the temple to give his lessons. The following ends up lecturing the boys. On one level, this suggests Raju’s
day, the teacher arrives with students, and it is Raju, rather narcissism and conceit—he does not let the teacher do his job, and
than the teacher, who ends up lecturing them, speaking to the instead does it for him. Raju’s self-regard is also indicated in the fact
boys wisely on such topics as godliness and cleanliness. Raju is that he seems to impress himself by his own eloquence. Raju clearly
impressed by his own eloquence. is quite an egoistic “holy man.”

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Raju recalls that, in spite of dropping school, he had continued The death of Raju’s father marks the moment when Raju steps
to read in between serving customers at the railway shop. forward as the “head” of the household. From now on, it is he who
Raju’s father died suddenly during the rainy season of that year. will be making decisions for the family (even if he does so with his
With his mother’s consent, Raju decided to close the hut shop mother’s consent). His decision to close the hut shop indicates that
and focus on the railway shop instead, where he took to selling he immediately takes a step away from his father’s legacy and
magazines and school books. influence, as it was the hut shop that his father had established first.

At the riverbank, the school children, who have arrived at the Raju’s talent for discourse and talk is reflected in the fact that there
temple for instruction with their teacher, are rapt by the stories is a huge appetite for his stories—even the village pupils’ parents
that Raju tells them. Soon, their parents also arrive to hear come to listen to him.
Raju’s stories.

As the gatherings around Raju grow, he can’t help feeling like an While Raju becomes increasingly successful in playing the part of a
actor. Indeed, on one occasion, he is asked to give a discourse holy man—as indicated in the gatherings that continue to grow
by a villager, and finds himself suddenly lost. Casting about for around him—the gap between others’ perception of him and his
something to say, Raju tells the gathered crowd that all things perception of himself begins to widen. Raju knows—and feels—that
must wait their hour. He also tells the puzzled villagers to he is a charlatan. And yet, in spite of this feeling, he manages to
reflect on their actions. It occurs to him that “The essence of continue deluding the villagers, partly by uttering nonsensical
sainthood” rests in “uttering mystifying statements.” statements that are taken for mysticism.

At the next gathering, Raju chants holy refrains, which the The villagers’ immense respect for Raju is suggested by the fact that
audience repeats. The villagers also decorate the halls of the they follow his example—as indicated in the repetition of the
temple by the river. refrains that he chants, for instance. They also express their
veneration by decorating the temple, the space that he inhabits.

Raju decides to grow his beard in order to look more like an Raju’s decision to change his appearance so as to look more like an
authentic holy man. His prestige is growing. The gatherings “authentic” holy man points to his penchant for disguise and
have grown so huge that the crowds that come to listen to his deception. Furthermore, his growing reputation, as indicated in the
wisdom spill out of the temple halls and reach all the way to the vast crowds that now come to see him, suggests that he is in fact
river. However, in this vast crowd, Velan is the only person that extremely skillful at constructing and projecting identities that trick
Raju knows personally. others into putting their faith in him.

Raju not only chants holy verses in his role as spiritual guide, he Raju comes to play an increasingly central role in the lives of the
also discourses on philosophy and prescribes remedies and villagers, who look to him for guidance and counsel. His position is
medicines to ailing villagers. People also bring him their framed by irony, however, given that Raju’s healing and teaching
disputes, which he helps resolve. He is so busy amidst his activities have no basis in anything—he is simply making things up
various obligations, and is under so much demand that he has as he goes along.
no privacy.

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CHAPTER 5
After his father dies, Raju comes to be known as “Railway Raju.” Raju’s transformation into a tourist guide is the first of many such
Visitors arriving in Malgudi by train ask him for his guidance in transformations that he undergoes throughout his life. Here, his
exploring the sites of the town. With the help of Gaffur, a taxi penchant for disguise and dishonesty becomes apparent, given that
driver in the town, Raju shows them around. In acting as guide, Raju makes up many of the facts and stories that he tells his tourist
Raju often changes facts and stories about the places that he clients—giving no heed to whether these facts and stories have any
shows, or makes up things all together, depending on his mood basis in reality. Furthermore, Raju’s fixation on reaping the
that day, or on what he thinks his customers want to hear. He maximum profit from his clients points to his greed and materialism,
gauges customers according to their means and adjusts his qualities which often drive him to exploit others.
tours accordingly to reap maximum profit.

One day, a girl from Madras, by the name of Rosie, who visits Rosie and Marco are the only two clients that Raju mentions by
Malgudi with her husband, asks to see a dancing cobra. While name in narrating his history as a tourist guide. This indicates that
enchanted by the girl, Raju develops a deep dislike of her they have a special impact on Raju—they are unlike many of the
husband. Her husband had arrived first in Malgudi, seeming other clients that he has shown around Malgudi. Indeed, Raju’s
already to know everything about the town. Because he was feelings towards Rosie and her husband seem to be extreme. While
dressed like an explorer, Raju gave him the nickname Marco. he is clearly enamored with the wife, he expresses a deep revulsion
Shortly after arriving, Marco had asked Raju to take him to the for her know-it-all husband. These extreme feelings do not bode
railway station to meet a train coming from Madras. From this well; they suggest that Raju, from the very beginning of his
train, Rosie had stepped down, beautiful and enchanting. encounter with Rosie and Marco, becomes too emotionally involved
too quickly.

Raju, eager to please Rosie, searches for a cobra. While Marco Rosie’s imitation of the snake’s movement under the shade of a tree
is busy examining an ancient temple one day, Gaffur drives Raju is an important moment in the novel. It is at this moment that Raju
and Rosie to a remote part of Malgudi. There, they meet a not only recognizes Rosie’s immense talent as a dancer, but is also
snake charmer who, under a tree, reveals a dancing cobra. completely captivated by her as a woman. The power of Rosie’s
Rosie is completely fascinated by the snake and suddenly imitation of the snake is also significant because it alludes to the
imitates its movements in a dance. Watching her, Raju is depth of her own artistic and feminine potency. Rosie is a force to be
thunderstruck: her movements are so captivating that he reckoned with both as an artist and as a woman, and this is perhaps
thinks that she must be the best dancer in the world. After the why Raju finds himself so deeply attracted to her. And yet, Rosie has
meeting with the snake charmer, Raju and Gaffur drop Rosie a husband—Marco’s appearance at the end of this scene,
off at her hotel, where they find her husband waiting. Marco, to demanding the prompt arrival of the car the next morning, is a
Raju’s annoyance, demands that the car be ready the next reminder that Rosie is not a free woman.
morning at 10 am.

The next morning, Raju and Gaffur duly arrive at the hotel at The events of the next morning reveal that all is not well in the
the allotted time. Marco emerges without Rosie and wants to marriage between Marco and Rosie. This is to Raju’s benefit, who
set off in spite of her absence to examine cave friezes at Mempi immediately seeks to take advantage of the situation by asking
Hills, a wild area on the outskirts of Malgudi. At Raju’s permission from Marco to approach Rosie. Raju’s hypocrisy is on full
prodding, Marco reveals that he is having trouble with his wife, display here: while he pretends that he is doing the husband a favor
which is why she is not accompanying them on the trip. Raju, by seeking to conciliate his wife, in fact he is only looking for a way
looking for any opportunity to approach Rosie, convinces to get closer to Rosie, at a cost to Marco.
Marco to let him go and speak to her.

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Raju goes to the hotel room and knocks, telling Rosie through Raju deploys all of his powers of seduction to come closer to Rosie.
the doorway that he is not her husband. He flatters and Here, as with the villagers whom he hoodwinks largely through his
compliments her, saying that he couldn’t sleep all night, thinking mystifying statements, Raju reveals his great gifts for eloquence. In
of her dancing before the cobra. Finally she opens the door, and the compliments and the flatteries that he conveys to Rosie, he
he continues with his flatteries, entreating her to join them on seems to deduce exactly what she wants to hear. His hypocrisy,
the trip, telling her that life without her is meaningless. Rosie is however, is further confirmed in his interaction with Marco. The
won over by Raju’s compliments and closes the door to change latter has no idea that Raju has convinced Rosie to join them
for the trip. Raju informs Marco that Rosie is coming, and essentially by attempting to seduce her. In this way, Raju, while
Marco is amazed at Raju’s success. Rosie, having packed a bag pretending to “serve’ Marco to his face, in fact undermines him
for herself and her husband for what is likely to be an overnight behind his back.
trip, joins them in the car.

The party—driven by Gaffur—arrives at Peak House, a lodging Mempi Hills, where Peak House is located, is a wild and beautiful
at the top of Mempi Hills outside of Malgudi, later that area outside of Malgudi. The varied landscape of the town and its
afternoon. Gaffur drops them off and returns to the town. surroundings suggests the broader landscape of India as a whole,
Rosie is in ecstasy over the wild and beautiful surroundings. which is composed of urban centers as well as a vast natural
Joseph, the man who looks after Peak House, lights lanterns as landscape. At Peak House, Raju’s infatuation with Rosie grows. His
night approaches. At dinner, Rosie insists on serving the meal strong response to her accidental touch suggests the depth and the
and accidentally touches Raju, who is electrified and haunted passion of his feelings for her.
by her touch.

After dinner, Marco announces that he intends to spend the The wild setting of Peak House, including the wild animals that
evening reading, and so Raju and Rosie go to sit in the house’s surround it, allude to the wild, animalistic passion that Raju himself
glass veranda, through which they can watch wild animals feels for Rosie. Indeed, in this scene, Raju is so stimulated and
coming and going in the night. Sitting beside Rosie in the excited by Rosie’s proximity that he seems unable even to control his
darkness, Raju is dazzled and excited by her nearness. physical reactions—he breathes so loudly that Rosie asks him what
Suddenly, they see the eyes of a wild animal flashing in the dark. is the matter. Raju’s wild passion and his limitless desire for
Rosie is excited. Raju, unable to contain his own excitement at closeness with Rosie is contrasted with Marco’s coolness and
Rosie’s proximity, breathes hard, and she asks him what is the distance; while Raju and Rosie are busy watching the animals,
matter, but then Marco appears and interrupts them. Marco retreats to his scholarly study.

The next morning, the mood is tense. Marco appears without The troubles that plague Marco and Rosie’s marriage bubble to the
Rosie, and when Raju presses him on her whereabouts, Marco surface again, as, for the second time, Rosie refuses to leave her
says to leave her alone. Raju wonders what has happened room and to accompany her husband on an outing. Raju rightly
between them. He is reluctant to leave without Rosie, but notes that Marco seems to be much more interested in the caves
Marco is impatient to embark on his visit to the caves, and so and the friezes that decorate them than he is in anything
Raju has no choice but to follow him. At the caves, Marco else—including the troubles with his wife, on which is he is silent to
comes alive. He talks to Raju about the site’s history, and he is Raju. Marco’s lack of interest in anything but the caves indicates the
soon busy measuring and photographing the friezes that insensitivity of his character; he is, indeed, more preoccupied with
decorate the walls. Watching him, Raju thinks that Marco is dead and decaying things than with the living.
only passionate about dead and decaying things.

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Looking for an excuse to check on Rosie, Raju pretends he Rosie’s statement that she and Marco disagree about most things
hears Gaffur’s taxi and excuses himself from Marco for a brief reveals that the troubles that plague the marriage run deep. Raju
visit to Peak House. There, he finds Rosie sitting on a boulder again takes advantage of the conflict between Marco and Rosie to
beneath the shade, clearly unhappy. She asks if her husband is ingratiate himself to Rosie. His intention to seduce her is reflected in
still wall-gazing. Raju boldly asks her about her quarrels with the fact that, at every opportunity, Raju resorts to flattering and
Marco, and she informs him that they disagree about most complimenting her in way that appeases her ego—by reassuring her
things. Raju takes this opportunity to again praise her dancing of the brilliance of her dance, and by declaring his feelings. Raju
and to flatter her, going so far as to reveal his feelings for her. behaves boldly, but in a very calculated way.

Rosie, perhaps prompted by Raju’s flattery, opens up about her Rosie’s background reflects her position as a woman at the
conflicts with Marco. She tells Raju that she had married Marco crossroads of modernity and tradition. On the one hand, she
because of his wealth and class. She further shares that she exemplifies a traditional identity as a member of a lower caste of
comes from a family dedicated to the temples as dancers—the temple dancers. On the other hand, she is a woman who pursues
women of their caste are viewed as public women. As a girl and completes her education—this is presumably unusual for a
Rosie had attended school, and had gone so far as to earn a woman, particularly one of her caste. That Rosie, at the prompting
degree in economics. One day, she saw an ad in the paper, of her family, marries Marco because of his wealth and class, also
placed there by an academic in search of a wife. After Rosie met suggests her desire to escape the constraints that are imposed on
Marco, the author of the ad, she was encouraged by her family her as a result of her poverty and low social status. As such, Rosie
to marry him, given that Marco was a man of wealth and class. had clearly hoped that a husband such as Marco would bring her
If necessary, they told her, she must give up the family’s freedom. But this deliverance comes at a price, given that she must
traditional art of dance, particularly as it turned out that Marco give up her family’s ancestral art of dance.
had no interest in her art.

When Raju touches Rosie after she finishes speaking, she does By letting Raju touch her, Rosie begins to collude in the betrayal of
not refuse his touch. Emboldened, Raju again flatters her, her husband. Raju further encourages this impulse on her part by
telling her she is a queen. Later that day, news arrives that taking to flattering and complimenting her again. The development
Gaffur’s taxi has broken down, which means that he cannot of the relationship is indicated in the fact that the physical contact
come to pick them up as planned. Everyone is between Raju and Rosie grows, as he holds her hand that night in
happy—particularly Raju, who sits again with Rosie in the glass the veranda. By this point, the relationship between Rosie and Raju
veranda that night to watch the animals. This time, he holds her has progressed well beyond the bounds of propriety, given that she
hand in the darkness. is a married woman.

Gaffur, having fixed his taxi, arrives at Peak House, but Marco, The taxi driver, Gaffur is, the first to catch on to the fact that
still deep in his cave study, wants to remain at the House to something is not quite right in the relationship between Raju and
continue with his research. After they decide to remain at Peak Rosie. The implicit disapproval that he expresses through his
House, Raju accompanies Rosie back to Malgudi with Gaffur to suspicious gaze suggests that what Raju and Rosie are embarking
pick up more things for the extended stay. As he drives them on is not only inappropriate, but also immoral, given Rosie’s status
back, Gaffur looks at Rosie and Raju suspiciously—gleaning that as a married woman.
there has been some sort of change between the tourist guide
and Marco’s wife.

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In Malgudi, Raju briefly stops at his house, where his mother In becoming so preoccupied with Marco and especially Rosie, Raju
confronts him, full of questions about his disappearance. Raju seems to have neglected the rest of his life back in
avoids his mother’s questions and instead takes the Malgudi—including his mother. Raju’s infatuation with Rosie does
opportunity to show Rosie the sights. Gaffur, who drives them not seem to be having a good influence on him. Gaffur’s explicit
around, explicitly warns Raju that Rosie is a married woman. warning to Raju about Rosie is wise, and yet, Raju’s own ill judgment
Rosie, meanwhile, is excited like a child at the sights that Raju is reflected in the fact that he does not heed Gaffur’s words, and
shows her. One evening, after a long day of sightseeing, he continues his pursuit of Rosie. Ultimately, he gets what he wants:
takes her to her room and follows her inside. once he enters Rosie’s hotel room, the affair commences in earnest.

CHAPTER 6
At the riverbank near the village of Mangal, months or years Raju’s transformation is so thorough that he has managed to keep
have passed. Raju’s hair and beard have grown long; his repute up the façade of a “holy man” for months, or perhaps years. He now
has grown so much that he has come to be called “Swami,” or not only looks the part of a holy man, he has the name of one—as
religious teacher, and visitors come to the temple from afar to indicated in the title of “Swami” that the villagers and other visitors
visit him. He is so inundated by offerings from the supplicants give him. Some deeper changes seem to have taken place in Raju, as
that he has lost interest in accumulation and gives everything well. Raju’s life has hitherto been marked by greed and a desire for
back to his visitors. The temple hall is especially packed during accumulation; the fact that Raju gives back the gifts that he is given
the rainy season, when people shelter within to hear the swami by visitors indicates that his desire for accumulation is perhaps
speak. being tempered.

One year, Raju notices that there has been no rain. The river The lack of rains and subsequent drought have serious implications
has shrunk, and the food offerings of the villagers have grown for the villagers—who rely on the rains for their livelihood of farming
meager. Everyone in the village is thinking about the rains, and and cattle herding. The fact that the villagers turn to Raju for
they ask Raju for explanations for their plight. The drought explanations suggests the esteem that they hold him in; Raju has
worsens; the cattle that the villagers herd are weak, producing become a kind of father figure to whom the villagers turn in times of
little milk, and soon they begin dying. trouble.

One day, Velan asks Raju to go with him to a forest path to Raju’s announcement that the buffalo has died of poison has no
examine a dead buffalo in the hope that Raju will be able to basis in reality—Raju simply says this so as to get Velan and the
determine the cause of the animal’s death. Raju goes with Velan other villagers to stop pestering him for explanations. Raju’s
and tells him that the buffalo has died of poison. This reassures recourse to lying on this occasion suggests that he has not given up
the villagers for a time—but cattle continue dying. his old habits of deceit and dissimulation.

The local shopkeepers, eager to exploit the villagers’ The gravity of the situation occasioned by the drought is reflected in
desperation, raise their prices. Soon, a fight between the the fact that tensions between the villagers and others spill into
shopkeepers and customers engulfs the entire village, leading violence; the scarcity under which the villagers suddenly find
to violence. themselves living leads to huge conflict.

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The day after the fight, Velan’s brother comes to Raju to inform Raju seems to be rather unmoved by the news that Velan has been
him that Velan has been injured. Raju is not sure what he is injured. This reflects his callousness and selfishness—Velan has been
expected to do and doesn’t care much. Seeking to avoid a a good friend to Raju, and yet, Raju doesn’t want to be bothered or
commotion, Raju tells Velan’s brother—a rather dull-witted to act upon this news of his friend’s injury. In his laziness, and
21-year-old who is visiting the temple for the first time—to tell seeking to avoid further trouble, Raju utters one of his mystifying
the villagers not to fight. Uttering one of his cryptic statements, statements—one that is essentially meaningless, which he speaks
he tells Velan’s brother that unless the villagers are good, he’ll only so that he can be left in peace.
never eat.

Velan’s brother finds a gathering of village elders discussing the While Raju’s mystifying statements have often brought him respect
drought and the recent fight with the shopkeepers. Afraid to and prestige from the villagers, in this case they also bring him
tell the villagers that he has mentioned the fight to Raju, he trouble. In muddling up Raju’s message, Velan’s brother gives a
muddles up Raju’s message, suggesting that Raju has meaning to Raju’s words that Raju himself had not intended. That
undertaken not to eat until the rains arrive again. Impressed by the villagers then go on to compare Raju to Mahatma Gandhi
Raju’s readiness to take on such a sacrifice, the villagers suggests the immense respect and gratitude that they accord to
compare him to the great freedom fighter, Mahatma Gandhi. him, as a result of his (presumed) intention to fast.

The villagers decide to visit the swami by the river. At the Raju’s focus on food in this scene indicates that, after months or
gathering, Raju waits for the food offerings that they always years of serving as “holy man” to the villagers, his primary objective
present to him, but no offerings appear. Raju continues to read is still selfish—he simply seeks to secure sustenance for himself.
and discourse to the gatherings on various topics, but still there Thus, Raju is still motivated by self-interest.
is no food.

Velan tells Raju that everyone is hoping for Raju to come Slowly, Raju begins to realize the enormity of the sacrifice that the
through the ordeal safely. The villagers come to touch his feet villagers expect of him. His agitation at the realization that the
and again compare him to Gandhi. Raju, reading into Velan’s villagers think he will fast sets his hypocrisy into relief. He had
words, realizes that Velan and the others think that he is fasting discoursed to the villagers on penance, and yet now, when it dawns
today. Velan says that he will keep watch over Raju—that this is on him that they expect him to undergo a penance through the fast,
the least he can do—and he tells Raju that his brother has told he is alarmed and miserable. As such, the villagers’ comparison of
the villagers that Raju is prepared to fast. Raju remembers that Raju to Gandhi here is ironic; Raju, unlike the great freedom fighter,
he has discoursed to the villagers on penance, and suddenly he is in fact reluctant to undergo any kind of penance or discomfort.
realizes the seriousness of the situation that he is in. Agitated,
he tells Velan to leave him alone until the next night.

Raju, finally alone, attempts to sleep, but finds it difficult. He Raju’s apprehension of the long fast that the villagers expect him to
wonders whether the villagers actually “expect him to starve undertake puts him in a state of crisis. On the one hand, his old,
for fifteen days,” as well as to stand for hours each day in the selfish instincts assert themselves—Raju does not want subject
river’s knee-deep water, holding vigil. He thinks of running himself to the hardship and therefore thinks of running away. On
away, but he is moved by the villagers’ gratitude for the deed the other hand, the fact that he is moved by the villagers’ gratitude,
they think he is undertaking. He eats the few remaining and does not run away, suggests that a new, more noble impulse is
morsels of food he still has. perhaps taking root in him.

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When Velan returns the next night, Raju asks him what makes Raju’s decision to confess to Velan that he is not a saint but only an
him think that Raju can bring about rain. Raju tells Velan that ordinary man is ambiguous. His confession is partly motivated by
he’s no saint, but an ordinary man, and he begins narrating to the hope that Velan will help him “cheat” his way through the fast by
Velan. surreptitiously bringing him food. On the other hand, this confession
represents the first time that Raju has been truly honest with Velan.

CHAPTER 7
Returning to his past in Malgudi, Raju speaks to Velan about The double-life that Raju leads affirms the deceit and dissimulation
how he continued to devote himself to Marco’s care. Marco that characterizes his relationship to Marco. While playing Marco’s
decides to remain at Peak House for a month to explore the helper and guide, Raju betrays him by indulging in a passionate
caves. In the meantime, Raju also looks after Rosie, with whom affair with his wife. Notably, Raju seems to feel no remorse nor guilt
he has become totally obsessed, neglecting his old life to cater over this situation—so long as he has Rosie, nothing else seems to
to her needs. matter.

While Rosie continues her affair with Raju, she also begins to Unlike Raju, Rosie seems to feel some guilt and remorse over the
show excessive consideration for Marco, still up in Mempi Hills. betrayal of her husband. This suggests that she has more of a
One day, at the hotel in Malgudi, she suddenly demands that conscience than Raju; on the other hand, as Marco’s wife, she is
Raju call Gaffur so that he can drive her to Peak House. Raju more closely connected to Marco than Raju. Raju, who seems to
talks to Rosie about her dance, which she has begun practicing, have an instinct for manipulating Rosie, focuses on her
and as he encourages her to teach him more about her art, an dance—which is her passion—as a way to bring her closer to him
intimacy grows between them. He is mesmerized when one day and to distract her from her husband. Sure enough, this works, as a
she performs a dance for him. greater intimacy develops between the two lovers, as Raju wants.

Raju and Rosie go up to Peak House, with the plan that Rosie Although Rosie, in marrying Marco, had consented to give up her
will speak to Marco and once again attempt to convince him to dance, clearly her passion for her art is such that she is unable to
allow her to have a dance career. At Peak House, they find live without it. It is this, along with Raju’s encouragement, that
Marco in a good mood; he has discovered another cave, and he motivates her to speak to her husband. Marco is completely
tells Raju that, when his research is published, it will change oblivious to both his wife’s and Raju’s betrayal—as indicated by the
present ideas about the history of civilization. He says he will fact that he tells Raju he will thank him in his book when it is
thank Raju in the book. published.

Raju leaves Peak House for Malgudi to allow Rosie time to The silent and grave state in which Raju finds Rosie and Marco upon
speak to Marco. He returns two days later. When he arrives, he his return to Peak House suggests that something serious has taken
learns from Joseph (the man who looks after the house) that place, and yet Raju cannot be certain what is going on. Even though
Rosie and Marco are at the caves. When Raju finds them, they he is Rosie’s lover, Raju is still an outsider to the marriage—looking in
are silent and morose, barely speaking to him. Marco enters the from outside.
house and Rosie follows.

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Gaffur, who has driven Raju to Peak House, advises Raju to Gaffur once again reveals himself to be a good friend by counseling
leave Rosie and Marco alone. In retrospect, Raju thinks he Raju to leave the couple alone, and yet again, Raju reveals his
should have followed Gaffur’s advice. Marco exits the house stubbornness by ignoring his friend’s counsel. Raju’s bold act of
again and enters Gaffur’s waiting taxi, informing Raju curtly pulling Marco out of the taxi and demanding answers suggests that
that he will be closing his account at the house. Raju pulls the relationship between Raju, Marco, and Rosie has developed well
Marco out of the taxi and demands that he tell Raju what is beyond the realms of a tourist guide and his clients—the fates of the
happening. three characters are now deeply intertwined.

Instead, Marco goes back into the house and locks himself in Raju’s decision to walk into Marco and Rosie’s room without being
his room. Rosie is also in the room—neither she nor her given permission again points to his boldness—Again and again,
husband emerge to disclose what is going on. Raju goes to the Raju acts well outside the bounds of his position as tourist guide.
room with food and opens the door, only to find Rosie lying The sad state in which he finds husband and wife suggests that the
silently, while Marco sits and stares blankly into space. Rosie marriage has reached a crisis point.
tells Raju to leave them.

Raju returns to Malgudi with Gaffur. In town, he attempts to Raju’s inability to pick up his old life with any satisfaction or
return to his previous life at the railway shop, and he returns to pleasure suggests what a disruptive event Marco and especially
showing tourists around. But his mind is troubled. He feels Rosie’s arrival in his life has been. Raju seems to have no
betrayed by Rosie, who seems to be allying herself with her appreciation for the stability and peace that he had enjoyed before
husband. He is so bored and terrified by the normal life to the couple’s arrival in Malgudi. He seems to feel completely entitled
which he has returned that he even stops taking tourists, to Rosie’s affections, as indicated by the fact that he feels “betrayed”
leaving them to the station porter’s son to show around. by her, which disregards her status as a married woman, and the
difficult position she is in as a result.

A month passes. One day, Rosie appears at the door to Raju’s Rosie’s arrival at Raju’s house catches him off guard. His shame over
house. She is carrying a trunk and a bag. Raju, shocked by his father’s modest house and his own bad dress points to his
Rosie’s reappearance, tells his mother that Rosie will be a guest obsession with appearances, and with material wealth. He seems to
at their home. Raju is ashamed of his modest home and bad misjudge Rosie in thinking that she cares for appearances. Raju’s
dress—as he was unprepared for Rosie’s arrival. His mother, mother’s awe at Rosie’s education sets up a contrast between the
also startled by Rosie’s appearance, asks her many questions two women: Raju’s mother, belonging to an older generation, has
and is impressed when she finds out that Rosie is an educated clearly led a more traditional life, whereas Rosie’s access to
woman. education reflects her position as a modern woman.

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Raju hires Gaffur to take him and Rosie on an outing to the Marco’s complete dismissal of his wife’s passion for dance indicates
beach in Malgudi. There, Rosie tells Raju that Marco has left how callous and insensitive Marco is as a husband. While feeling
her, and she recounts the events of the past month with her perfectly entitled to indulge his own passion for the study of ancient
husband. She tells him that when she had broached the topic of civilizations, he seems to look down on his wife’s art, and forbids her
dancing, Marco had grown hostile, telling her that she had from indulging it. As such, in many ways Marco is an oppressive,
promised never to mention dancing again. Rosie was ready to insensitive husband who seeks to control his wife. Although Rosie
compromise, even ready to give up dancing, but she had asked betrays Marco by cheating on him, his own behavior towards her
Marco to allow her to show him just one bit of dance. When she does not cast him in a good light. Rosie’s disclosure of the affair can
began to dance, he stopped her and dismissed her abilities. In be read as an attempt on her part to shake her husband out of his
response, she told him that Raju liked her dancing—which then rigid rejection of her dance. And yet, the disclosure only serves to get
led Marco to realize that she was having an affair with Raju. her further in trouble, rather than to change Marco’s mind.
After a long night spent questioning her on the details of the
affair, Marco retreated to the caves.

After her disclosure, Rosie felt terribly sinful and sad over her Marco’s behavior towards Rosie after the disclosure of the affair
affair with Raju, and she followed her husband to the caves, reveals the depths of his cruelty. Certainly, he is upset by the
where he proceeded to ignore her for three hours. It was then discovery that his wife has betrayed him, but Rosie is clearly
that Raju had found them at Peak House. Marco continued remorseful and repentant. In spite of her repentance, and in spite of
ignoring Rosie for the next three weeks, and when she making herself abject before him, he still refuses to show any
attempted to confront him, he told her that she was no longer empathy or consideration for her, subjecting her almost to complete
his wife. Finally, Marco packed up, and she followed him down silence for weeks. His act of leaving her at the train station without
to the hotel in Malgudi. At the train station, to which she also a ticket is not only cruel, but vindictive. Clearly, Marco is willing to
followed him, he told her that he had no ticket for her. He go to great lengths to humiliate and punish his wife.
entered the train and shut the door in her face. Having
nowhere to turn, she went to Raju’s home.

After listening to Rosie’s story, Raju comforts her and tells her Raju seems willing to give Rosie what she wants—recognition of and
that he will make the world recognize her as the greatest artist. support for her dance. But the couple’s unconventional relationship
But things, at first, prove to be difficult, especially with Raju’s upsets the traditional hierarchies and boundaries of their
mother, who has begun to hear rumors about Rosie. She tells society—as indicated in Raju’s mother’s objection to Rosie’s
her son that she doesn’t want a dancing girl in the house. She presence in the house. In her view, Rosie, as a married woman,
wants the girl to return to her husband. belongs with her husband Marco, and not Raju.

Totally caught up by Rosie’s arrival at his home, Raju further Raju’s neglect and loss of the railway shop marks the beginning of
neglects the railway shop, which is not doing well under the his destruction of all that his father had built. Just as the opening of
care of the porter’s son, whom he has charged with looking the railway shop had once reflected the family’s prosperity, now its
after the shop. The railway gives Raju notice to quit, and Raju, closure points to a downward turn in the family’s fortunes. The
losing his temper over this new setback, fights with the porter’s violent confrontations that Raju gets involved in also suggest that
son and the porter. But to no avail—a new shopman takes over Raju, under the influence of his infatuation with Rosie, is not entirely
the railway shop. Raju also fights with him, leading to an end to in control of his judgment or his emotions.
his association with the railway.

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CHAPTER 8
Shortly after the loss of his railway shop, the Sait, a wholesale The escalation of the family’s troubles is marked by the arrival of the
merchant at the market who was also Raju’s creditor, arrives at Sait, who demands his money. Raju’s inappropriate laughter during
the house and demands that Raju pay back the 8,000 rupees he the Sait’s visit further confirms that Raju is losing control over his
owes him. Raju, inappropriately, is overcome with a fit of faculties—he seems unable to think or behave in a rational way. The
laughter. The Sait leaves, angry and offended. Raju’s mother deepening rift between him and his mother also points to the fact
has stopped speaking to him, although she is still civil to Rosie. that Raju’s troubles are not only financial. His family relationships
She thinks that her son has ruined everything that his father are also beginning to fall apart as a result of his ill-advised actions.
built.

Within a few days of the Sait’s visit, Raju finds himself involved The continued unraveling of Raju’s affairs suggests just what a
in court affairs—the Sait has brought a criminal case against disruptive effect Marco and Rosie’s appearance has had. As a
him. Raju seeks Gaffur’s counsel, but he isn’t happy to hear consequence of their arrival in Malgudi, Raju has lost the railway
Gaffur tell him that he must send Rosie away. Raju quarrels shop, he is in conflict with his mother, and now he is involved in a
with him, and Gaffur leaves. With the help of a lawyer, Raju court case to repay money he owes. Gaffur again shows himself to
manages to get the case against him adjourned (postponed), be the voice of wisdom when he tells Raju to send Rosie away, and
and he tries to reassure his mother that all will be well. again Raju reveals his stubbornness by quarreling with Gaffur
instead of taking his advice.

Raju’s uncle—his mother’s eldest brother—appears The arrival of Raju’s uncle in the house leads the familial tensions to
unexpectedly one day at the house. The uncle castigates Raju. reach crisis point. The emphasis that Raju’s uncle puts on Rosie’s
When Raju leaves him to watch Rosie practicing her dance, the low caste points to his position as a proponent of traditional
uncle follows him, then insults Raju by telling him he has turned hierarchies. Like Raju’s mother, Raju’s uncle largely objects to Rosie’s
into a dancer’s backstage boy. The uncle addresses Rosie presence in the house not only because she is a married woman, but
disrespectfully, alluding scathingly to her low caste and class. also because of her low social status. Raju’s act of publicly putting
Rosie is devastated, but the uncle doesn’t relent, telling her she his arm around Rosie is shocking to the uncle and mother because it
must clear out by the next train. Raju, flying to Rosie’s defense, represents a complete transgression of traditional social codes. Raju
attacks his uncle. His mother, siding with her brother, is drawn lays claim to a married woman by touching her in public; and in
into the commotion and arrives to tell Rosie that she is a she- doing so, he also transgresses the boundaries of his higher caste,
devil who has ruined her son. Raju’s uncle and mother are which would forbid such contact across caste divides.
shocked when Raju puts an arm around Rosie and tells her that
she is staying in the house.

The next morning, Raju’s uncle renews the fight by saying that The departure of Raju’s mother from the house represents the
the train is arriving in an hour and he asks whether Rosie is complete breakdown of Raju’s familial relations. Raju’s involvement
ready to leave. Raju’s mother, too, asks whether Rosie has with Rosie leads him to lose many of the links to his old
packed her things. Raju responds by saying again that Rosie is life—including his mother. That Raju’s mother leaves her own
not leaving. Raju’s mother announces that if Rosie doesn’t house—a house she has not left in decades—indicates the extent to
leave, she will. Raju’s uncle encourages his sister to pack, and which she is outraged by the relationship between her son and
Raju is saddened as he watches his mother leave the house Rosie, a relationship that violates all of the traditional principles she
with her brother. holds dear.

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After his mother’s departure, Raju and Rosie continue living as Rosie does not allow the upheaval that has taken place around her,
a married couple. Rosie diligently practices her art every day, and in which she is of course at the center, to distract her from her
and, after several months pass, she announces that she is ready art. Indeed, her identity as an artist is reflected in her devotion to
to perform. When she asks Raju what his plans are, he tells her practicing her dance. The new name that she and Raju settle on as
that first, they need to come up with a more appropriate, her stage name suggests that Rosie is about to enter a new phase in
traditional name for her public persona, and after some her life—one in which she casts aside her identity as a wife and takes
brainstorming, they settle on the name Nalini. up her identity as an artist.

Raju begins looking for opportunities for Rosie and approaches Just as Rosie begins to transform herself, so Raju creates for himself
the Albert Mission School. In order to more convincingly play a new identity. The new clothes and glasses that he wears in order
his part as a cultural ambassador of classical dance, he changes to better play the part of cultural ambassador indicate his ability to
his appearance—dressing seriously, and sporting glasses. He shape-shift, depending on his needs. While Raju creates the
invites members of the School committee to view a sample of opportunity for the committee members to see Rosie dance, it is
Rosie/Nalini’s dance. Two committee members duly arrive at Rosie’s own talent that clearly impresses them. Indeed, the
the house on the appointed day, and, when Rosie appears complete awe that overcomes the committee members when they
before them and begins dancing, they are dazzled. Completely see Rosie dance is a further confirmation of her immense genius as a
enchanted by Rosie’s dance, the committee members not only dancer—a genius that has nothing to do with Raju, but which is
agree to include her in the school’s variety show, but to cut intrinsic to her.
down on the other minor entertainments so as to give her more
space in the show. They also agree to provide accompanists for
the dance.

CHAPTER 9
Continuing to narrate to Velan, Raju recalls Rosie’s rise to Raju’s self-importance and self-regard is reflected in the fact that he
stardom. While, in retrospect, Raju reflects that Rosie—by is quick to take credit for Rosie’s success, without considering that it
virtue of her genius and talent—was responsible for her own is primarily Rosie’s own talent, rather than his efforts, that make
success, at the time he had taken credit for her success. Raju spectators flock to her. It is only with time, and in retrospect, that
himself becomes important as a result of his role as Rosie’s Raju develops the humility to understand that in fact, he had very
manager. He arranges and oversees all aspects of her little to do with Rosie’s success. He himself gains importance by
performances, creating an aura of power and mystery around virtue of his association with her, not the other way around. And yet,
Rosie, now known publicly as Nalini. When Rosie expresses in while he accepts Rosie’s thanks as his due, he does not thank her in
private her gratitude to Raju for guiding her career, Raju return for the status that she creates for him.
accepts this as his due.

Raju’s creditor, the Sait, is still pursing Raju in the courts of Raju’s refusal to deal with his pressing financial troubles indicates
Malgudi. Upon learning from his lawyer that he must make his irresponsibility: he risks losing the house built by his father, but
mortgage payments to the Sait to continue to live in his own instead of dealing with the threat immediately, he simply decides to
house, Raju decides to move. Raju’s mother writes to her son move out. Furthermore, his decision to ignore his mother also
telling him that she wants to return to her home but Raju, not indicates his neglect of his responsibilities as a son towards his one
wanting to have her back, ignores her. living parent.

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Raju and Rosie move to a new, large, two-story house in a The new, fancy house into which Raju and Rosie move reflects their
fashionable part of Malgudi. The house is full of servants, ascension to a new social status. Furthermore, the modern house
musicians, and dance teachers. It is also full of visitors—those also suggests that Raju and Rosie’s new status allows them more
who come as supplicants, such as musicians who hope to direct access to the comforts and conveniences of modern life—such
accompany Nalini, and whom Raju treats with disdain. Those as space, which they did not have in the small, traditional house
more important visitors who come with offers of performances Raju’s father built. Raju, in his role as manager, strictly enforces a
for Nalini, Raju treats with more respect and courtesy. A few hierarchy amongst the visitors who come to the house. This points
select groups—the most important visitors—are given to his own obsession with status and wealth, as it seems that he
occasional access to Nalini. Through his role as Nalini’s reserves the best treatment for those visitors who have both status
manager, Raju comes to fraternize with men of money and and wealth.
power—including politicians and bankers.

For her part, Rosie is happy to receive as guests the Rosie does not seem to care about the wealth or the status of her
artists—actors, musicians, and dancers—who come to call on visitors in the way that Raju does; she seems only to care that they
her. However, as her circle of artist friends widens, she and are artists, like her. Raju’s increasing jealousy, and his attempts to
Raju begin to quarrel. Raju is jealous of her friends and seeks to restrict Rosie’s contact with her friends, reveal that he in fact seeks
limit the time she spends with them. to control Rosie, not to liberate her.

Raju and Rosie, followed by a posse of musicians, travel to Raju’s impulse to control Rosie’s access to others so as to make her
engagements hundreds of miles away, sometimes remaining on entirely dependent on him shows that Raju is in effect adopting an
the road for weeks at a time. On the road, as at home, Raju oppressive, patriarchal attitude towards Rosie. As the man in the
seeks to limit Rosie’s access to others, as he is jealous when he relationship, and as her manager, he seems to feel entitled to set
senses that she enjoys the company of anyone but himself. limits on Rosie’s life.

As a result of Rosie’s popularity and her growing number of Raju’s greed and materialism seems to be insatiable—he is, as a
engagements, Raju begins earning enormous amounts of result of Rosie’s success, much richer than he would have ever
money, spending much of it on maintaining the lavish lifestyle dreamt of being, and yet, he still wants to accumulate more wealth.
that has become a habit for him. Rosie, however, is dissatisfied: His desire for wealth seems to lead him to view and treat Rosie as a
feeling constrained by her relentless schedule, and by Raju’s means to more money. Rosie’s dissatisfaction grows in turn because
over-protectiveness, she asks him what is the use of earning so she begins to sense that Raju is no longer interested in her art, as he
much money if they can’t enjoy it. Although Raju senses that a was at the beginning of their romance, but only in the money that
dangerous dissatisfaction is developing in Rosie, he is obsessed her art generates.
with accumulating more and more wealth.

One day, while Raju and Rosie are in Malgudi, a book arrives Raju’s decision to hide Marco’s book from Rosie shows that Raju’s
from Marco, Rosie’s long-forgotten husband. One section of propensity for deceit and dissimulation is beginning to infect even
the book, entitled “Mempi Hills Pictures,” includes a note of his most intimate relationship. Raju’s keeping secrets from Rosie is
gratitude to Raju. Raju, shaken by the sudden reappearance of simply another means of him attempting to control her. Clearly, his
Marco in their lives, debates showing the book to Rosie, but in desire for control over Rosie is growing.
the end decides to hide it from her.

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Three days later, Marco’s photo appears in a Bombay magazine Rosie’s inadvertent discovery of the publication of the book has
with a positive review of the book. Rosie comes running exactly the effect that Raju had feared—it excites Rosie, and sets her
downstairs to show Raju the magazine. She wants to see to thinking about her long-estranged husband. The picture of Marco
Marco’s book and asks if they can get a copy. Later, to his shock, that she hangs on her dressing mirror is a clear sign that she still has
Raju notices that Rosie has cut out the magazine photo of romantic feelings for her husband.
Marco and has hung it on her dressing mirror.

A few days later, while in bed, Rosie asks Raju where he is The quarrel between Rosie and Raju reveals that Rosie is beginning
hiding the book. Raju guesses that Mani, his secretary, has to realize that Raju not only manipulates her, but in fact seeks to
revealed the secret of the book to Rosie. Rosie wants to know control her fully. Raju’s hypocrisy is apparent in his statement to
why Raju hid it, and Raju says that he thought she wouldn’t be Rosie that he did not share the book with her because he thought
interested. Rosie cries in the dark, saying that Marco was her she might not be interested. This, of course, is a lie—Raju chose not
husband, and that she deserved the way he left her. Unsettled to share the book precisely because he knew that Rosie would be
by Rosie’s sudden longing for her husband, Raju suggests they interested. Furthermore, he pretends that Rosie has complete
take a holiday. He tells Rosie that she can always decline freedom to determine her dance schedule, when in fact Raju is the
engagements, but she points out that he often makes one who sets this schedule, making bookings for her without even
engagements on her behalf without even consulting her. Raju consulting her. Raju’s oppression of Rosie is such that she has begun
points out that Rosie has everything—she is famous, rich, and is to despise the very art form that she has always loved. As such,
pursuing her passion for dance. She retorts that the thought of Rosie’s unhappiness in her relationship with Raju recalls her
dancing now makes her sick; she has become a performing unhappiness in her relationship with Marco. Raju, like Marco,
monkey. In spite of the quarrel, the two make up somewhat and attempts to subjugate and control Rosie both in small and large
go to sleep. ways.

For the next three months, Raju and Rosie continue their Raju indulges in even deeper deceit this time when he decides to
engagements during the all-important season of music and hide a letter that is directly addressed to Rosie. Clearly, Raju has
dance in south India. When they return to Malgudi, Raju, going learned nothing from the quarrel that he has just had with Rosie.
through the mail, finds a letter addressed to Rosie from lawyers Instead of being honest and direct with her, as she wants him to be,
in Madras. Raju opens the letter and reads it. Sent by Marco’s he again deceives her in the hope that doing so will allow him to
lawyers, it concerns the release of a box of jewelry to Rosie. maintain his control over her.
Raju, afraid of Rosie’s reaction to the letter, hides it from her, as
he had Marco’s book. He fears that Rosie might leave him to
return to Marco.

One night, while sleeping beside Rosie, Raju wakes up, thinking Raju’s act of forging Rosie’s signature represents the apex of his
about the letter from Marco’s lawyers. He goes downstairs and deceit. Furthermore, his obsession with acquiring Rosie’s jewelry box
forges Rosie’s signature on the forms that the lawyers have reveals his greed and materialism—Raju is always hungry for more
sent and sends the form back to them. He then obsessively wealth, and Rosie’s jewelry is likely valuable. Thus, greed and
awaits the arrival of the valuable jewelry. When he and Rosie materialism often lie at the root of Raju’s motivations and actions.
are readying to leave for a four days’ engagement, he instructs
his secretary Mani to await the arrival of the jewelry box.

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Raju and Rosie depart for a performance in a city 60 miles away Rosie is never more hypnotic and enchanting than when she dances
from Malgudi. The show, a benefit performance for the her snake dance—which she rarely does. Rosie’s own power as a
construction of a maternity ward, is important. Influential men dancer and as a woman is associated with the snake, and this dance
are present, and the auditorium is packed with a thousand reveals her full magnetism. Rosie’s brilliant execution of the dance
spectators. Nalini, enchanting as ever on stage, finishes the recalls the fact that it is her talent, rather than Raju’s management,
show with her snake dance—a long, arduous and hypnotic that has led to her immense success.
dance which she rarely performs due to its difficulty.

As he watches Rosie on stage, Raju thinks of his mother, to Raju’s almost complete neglect of his mother indicates his deep
whom he occasionally sends a postcard and some money. A failure in fulfilling his obligations as a son. Raju has not allowed his
man approaches him in the middle of the dance to tell him that mother to return to his father’s home, as she wants to do. His
the District Superintendent of Police wants to see him, and deception of Rosie, as well as his neglect of his mother, paint a
Raju tells him that he will find the superintendent after the act picture of a man who has lost all integrity. The arrival of the police
is finished. Finally, Rosie finishes her dance to thunderous indeed indicates that Raju is perhaps about to pay for his sins.
applause.

Outside the auditorium, Raju meets the superintendent, who is Raju’s actions finally catch up with him: his deceit has been
an acquaintance. He is not in uniform. The superintendent uncovered by Marco. And yet, even when he is faced with an arrest
takes Raju aside and tells him that he has a warrant for his warrant, Raju continues to lie and dissimulate, telling the police
arrest—initiated by Marco—for forgery. Raju, trying to cover superintendent that he had signed for Rosie because she had been
for himself, explains to the superintendent that he had signed too busy, when in fact he had signed for her precisely to keep her in
the form sent by Marco’s lawyers because Rosie was busy. Raju the dark about the letters from Marco’s lawyers. Raju’s own position
convinces the policeman to wait until the show is over, and goes as an important man, however, is reflected in the fact that he
back inside the auditorium. After the show, the superintendent manages to convince the policeman to wait for him until the show is
accompanies Raju and Rosie back to Malgudi. over.

At home, Raju pleads with the superintendent to give him more Rosie’s shock at Raju’s action suggests that she had never expected
time to speak to Rosie. When Raju finally confesses his deed to Raju to be capable of such betrayal. Her further judgment that his
Rosie, she is stunned and says that the warrant for his arrest is arrest warrant is karma confirms the implication that Raju’s
karma. deceitful actions are finally catching up with him.

CHAPTER 10
Continuing to tell his tale to Velan, Raju speaks of the two days Just as Raju had ruined his father’s business, so now it seems that
he was forced to spend in lock-up after his arrest for forgery. he has also ruined the empire of dance that he had built up with
Rosie visits him at the jail and cries when she sees him. When Rosie. This is indicated in the empty, silent house that he finds upon
Raju is released and returns home, he finds everything his return from lock-up. That Rosie goes out of her way to find the
different. Mani, his secretary, is silent. Rosie has stopped funds to release Raju from lock-up, even though he is there because
practicing. There are no visitors. As Raju had never been he has betrayed and deceived her, points to her generosity. She still
careful with money, Rosie had been forced to scrape up 10,000 feels attached to and empathetic towards Raju, in spite of his
rupees to secure his bail. Raju suggests that Rosie take up betrayal.
engagements to earn more.

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Back in the house after his two days in jail, Raju realizes that he The trouble that Raju has gotten them into reveals the truth about
is now a “hanger-on,” and “that mastery ha[s] passed” on to his relationship to Rosie. While he had always assumed that he was
Rosie. She treats him with disdain, and Raju, absorbed in self- the powerful one, it is in fact now Rosie—the woman—who emerges
pity, fails to see the predicament he has put her in: they are as the one with power. Raju’s own deceit has rendered him
poor, in spite of all her tireless dancing. powerless, and has moreover severed him from the woman he loves.

Rosie wants to repay their debts. She considers going back to Rosie’s desperation at the predicament in which she finds herself is
Marco. She says that she never wants to perform publicly again, reflected in the wild solutions that she proposes—either returning to
after Raju’s disgrace. She also considers a suicide pact with Marco, or committing suicide with Raju. The trouble that Raju has
Raju, but doesn’t trust that he will carry out his side of the created for her has completely dimmed her passion for and
bargain. Raju tries to convince Rosie to dance again, but she devotion to her dance.
says she is tired of her circus existence. Finally, Rosie says that
she will help Raju, but that when everything is over she wants
him to leave her alone.

With Mani’s help, Rosie busies herself with booking Rosie’s independence and self-sufficiency in managing her own
engagements. Watching her, Raju becomes jealous of her self- career once she decides to help Raju leads to a complete reversal of
sufficiency, realizing that she did not need him, and had never roles. Raju had believed himself instrumental to Rosie’s career, but
needed him nor Marco all along. now it is he who is completely dependent on her for help.

With the money that Rosie raises from her performances, she In securing such an expensive and reputable lawyer for Raju, Rosie
hires a reputable, but expensive, lawyer to defend Raju against shows herself to be a woman of her word—she has committed to
Marco in the upcoming trial. help Raju, and she goes out of her way to procure for him the best
defense lawyer possible.

At the trial, Raju’s lawyer presents the chief villain as Marco, Raju’s public humiliation in the trial, as well as the sentence that he
who, he argues, wanted to drive Rosie mad. It was Raju, the receives, point to the complete destruction of his reputation. Raju’s
lawyer contends, who saved her from her cruel husband. He deceit has led him to the worst place possible: not only has he lost
even goes so far as to argue that it was Marco himself who his power, as well as his hold, over Rosie, he has also lost his face
orchestrated the forging of the signature, but Mani’s testimony before the public. As a man who is obsessed with status and wealth,
about Raju’s obsession with the arrival of the insured parcel, as such a public humiliation is devastating. It is even more devastating
well as the testimony of a handwriting expert, who deduces given that it is Rosie who, through her performances, bears the costs
that the signature is in fact in Raju’s handwriting, seal Raju’s of the trial—Raju is so helpless he must completely rely on Rosie’s
fate. Raju is sentenced to two years in prison. In the meantime, generosity.
Rosie continues her dancing engagements to pay for the
expensive trial.

In jail, Raju is a model prisoner, getting on well with both The prison sentence seems to humble Raju. In jail, he is forced to
warders and prisoners. Raju adjusts himself to life in prison, make do with very little—taking joy in small things such as the
content to take care of the prison superintendent’s garden and superintendent’s garden and prison grounds. His limited, modest
to stroll the 50 acres of the prison grounds. existence in prison marks a departure from his once lavish existence
as Rosie’s manager.

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The prison superintendent transfers Raju to his office to act as The distance between Raju and Rosie is now so vast that Raju can
his personal assistant. While organizing the super’s only hope to get news of her in the papers—there is no hope of ever
newspapers, Raju comes across news of Nalini. He sees photos seeing her in the flesh again. Rosie, clearly, has moved on with her
of her in the papers and reads reports of her engagements. She life. Her growing success as a dancer confirms to Raju that she never
is growing more and more in fame and stature as a dancer, and needed him in the first place; she is more than equipped to manage
he is affronted that she should have managed so well without her life and her career without his aid.
him.

Raju wonders whether Mani, his old secretary, has taken his Raju’s old predisposition towards jealousy seems to reassert itself
place in Rosie’s life. Mani had been his only visitor during his here, as he wonders whether Mani has taken his place in Rosie’s life.
first months in jail. He had given Raju the news that Rosie had The news that Mani brings of Rosie confirms that she has overcome
moved to Madras, and that a huge crowd had gathered in all obstacles and limitations. Once looked down upon by Raju’s
Malgudi to see her off. She had discharged all of the debts that mother as a low caste dancing girl, she leaves the town of Malgudi
Raju had accumulated. Mani further informs Raju that, after the as a celebrated artist and a star. That Rosie has also broken her
trial, Marco and Rosie never met, going their separate ways. dependence on men is indicated by the fact that she does not meet
her husband Marco after the trial, and instead goes her own way.
She seems finally free of the control of men.

On the last day of the trial, Raju’s mother had appeared. She The terrible words that Raju’s mother speaks to her son points to
had refused to let Rosie speak to her, and, directing her fury at the extent of the destruction that Raju has wrought as a result of his
Raju, told him that he has brought great shame on the family, deceit. Not only has he destroyed his own life, but he has also
and that it would have been better if he had died. destroyed his mother’s through his shameful and irresponsible
actions.

CHAPTER 11
Back in the present by the riverbank, Raju has told his story Velan’s unexpected response to Raju’s disclosure takes Raju by
throughout the night and a rooster crows as he finishes. Raju complete surprise. Although now Velan’s knows Raju’s history of
expects Velan to rise in disgust and leave him. Instead, Velan deceit and dissimulation, this does not seem to change his opinion
remains seated in silence. Perturbed, Raju asks Velan whether of Raju: he continues to refer to him by the respectful title of
he has heard him fully. Velan answers, “Yes, Swami.” Raju is “swami.” Velan’s faith in Raju seems to run so deep, and is so
further shocked by Velan’s use of the respectful term “swami,” profound, that nothing can shake it.
and by Velan’s further statement that he doesn’t know why the
swami has told his life story to Velan, who is merely the swami’s
“humble servant.” He tells Raju that he will not speak a word of
what Raju has told him.

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As news of Raju’s fasting penance to end the drought continues Ironically, Raju, like Rosie, is now a celebrity of sorts—as reports of
to spread far and wide, newspaper correspondents arrive in his fast spread in the papers and more and more people arrive to see
the village to report on Raju’s progress. Bigger and bigger him. Raju’s feelings towards Velan at this point are very ambivalent.
crowds congregate in the village to visit the swami. Raju has no On the one hand, Raju blames Velan for the situation he finds
privacy, even to consume the few morsels of food he has left. himself in—after all, his life as a holy man had begun with Velan. On
He blames Velan for his predicament. the other hand, Velan’s complete trust and faith in Raju, even after
Raju discloses his history of deceit to him, seems to provoke a shift
in Raju.

Finally, having run out of any kind of nourishment and Raju’s decision to undertake the fast in earnest marks a deeply
completely lacking any privacy, Raju gives up on food. For the significant moment in his development. Raju, as a result of the
first time in his life, he decides to make an earnest effort on situation he finds himself in (and also likely because of Velan’s as
behalf of others. He acts not out of lust for money or love, but well as the villagers’ faith in him), seems to mature and to grow
out of benevolence. genuinely into his role as a holy man, as he chooses to act in the
interests of others for once, rather than out of self-interest.

An American TV producer arrives in the village, wanting to The American TV producer’s question is more significant than it
make a film about the Swami’s heroic fast. In an interview, the seems—for it alludes to Raju’s destiny, or dharma, as a guide or
American asks Raju, “Have you always been a yogi?” and Raju “yogi.” Raju has, in fact, always been a guide of some sort, but it is
answers, “Yes; more or less.” only in his final reincarnation as a holy man that he fulfills the role of
a guide in its highest sense.

By the last day of the fast, Raju’s condition has worsened Raju’s fame is such that his condition has become a concern of the
considerably. The government doctors who have been sent to national health authorities. The interest and concern that Raju’s
the temple to monitor his health send a telegram to the fast generates is a testament to just how heroic a feat he is
authorities that the swami’s condition is grave. undertaking.

Raju, although weak to the point of being unable to stand Raju’s determination to get to the spot in the river where he has
upright alone, nonetheless wants to go to his spot in the river stood every day reveals his commitment to fulfilling his duty
where he has gone every day during the fast to hold vigil. towards the villagers. Raju does not want to let the villagers down,
Helped by Velan, and followed by a huge crowd of spectators, and so he makes it to the river in spite of his terribly weak condition.
he makes it to the river.

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Supported by Velan in the river, Raju suddenly stirs, opens his Raju’s immersion in the river in this final scene, as well as his sense
eyes. He tells Velan that it’s rain coming in the hills beyond the of rain coming, allude to his spiritual transformation. This final
river; he can feel it welling up below his feet and legs. Before he scene is also ambiguous because, just as it is unclear whether rain
finishes, he “sag[s] down.” actually arrives or not, so it is unclear whether Raju survives the fast
or not. His act of “sagging down” can be seen to indicate death.
Nonetheless, by this point, Raju has been completely transformed
by the fast, and by his commitment to helping the villagers. This is
further reinforced in the sense that Raju has of rain rising in his feet
and legs; it is as if he is being changed from within, and, of course,
Raju has changed drastically—by the end of the novel (and, perhaps,
by the end of his life) he has been transformed into a true holy man,
one who sacrifices himself to aid others in their hardship.

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To cite any of the quotes from The Guide covered in the Quotes
HOW T
TO
O CITE section of this LitChart:
To cite this LitChart: MLA
MLA Narayan, R. K.. The Guide. Penguin. 1958.
Abbas, Fatin. "The Guide." LitCharts. LitCharts LLC, 26 Jan 2019. CHICA
CHICAGO
GO MANU
MANUAL
AL
Web. 18 Oct 2019.
Narayan, R. K.. The Guide. New York: Penguin. 1958.
CHICA
CHICAGO
GO MANU
MANUAL
AL
Abbas, Fatin. "The Guide." LitCharts LLC, January 26, 2019.
Retrieved October 18, 2019. [Link]
guide.

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