Narayan and Mukherjee express their single comic and tragical visions on every page of their books. In story, characterization and style, the tragic or comic intent of each author is clear. The struggle of Jasmine in Mukherjee's novel is solemn for the majority of the novel, with minimal comic relief. She resists the fate that awaits her from the very beginning of the book, put up the circumstances of her eventual change at the stop overing of the book. Such a struggle and awakening be murder from the experiences of Raju and Margayya, the protagonists in Narayan's novels.
Not only does Jasmine resist the astrologer's forecast, she does so with solemnity, establishing the woodland of tragedy. The dead dog she sees immediately afterwards is mirrored in the references to death at the end of the novel. She assures herself in the opening pages that she wants to distract death, symbolized in the dead dog, but by the end of the novel she has come to accept---with tears---the many deaths she has experienced: "The smell of singed flesh is unceasingly with me. . . . I adjudge seen death up close. . . . I call off into Taylor's shoulder, exclaim through all the lives I've given birth to, cry for all my dead" (Mukherjee 214). The journey from the first meeting with the astrologer to the awakening at the end of the novel is a tragic one, marked equally by suffering and enlightenment. For example, after her economise is killed and dies in her arms, s
Then thither is nothing I can do. Time will tell if I am a tornado, rubble-maker, arising from nowhere and disappearing into a cloud. I am out the door and in the rough and rutted driveway, . . . greedy with wants and reckless from hope (Mukherjee 214).
Raju in The pass and Margayya in The Financial Expert are comic characters in comic novels for the reasons included in the definition above, but also because of the attitude of the author to their adventures. Mukherjee almost forever and a day takes a stern if not solemn view of Jasmine's experiences, but Narayan almost always takes the comic view.
When Margayya "seemed to have suddenly lost all plans in life," it is a bother rather than a tragic situation, because "It was baffling to while away the time" (Narayan Financial 74). Nothing is taken seriously, as opposed to Jasmine's situation. Raju's entire story is a takeoff of sorts---an ex-con is mistaken for a holy man and decides to assume the role. even off though he is in the process of fasting, perhaps unto death, he remains in part the same at the end as he was at the beginning. In the beginning, he is skilful to have somebody "relieve the loneliness of the place" (Narayan take away 3), and at the end he welcomes a stranger as "a novel change in the routine" (Narayan run away 216). This corresponds to one of the major concerns of Margayya---to avoid being bored---a concern verbalized in the final line of the novel when the protagonist says he wants to play with the child: "Life has been too dull without him in the house" (Narayan Financial 218). Whereas Jasmine is concerned with suffering and death---the stuff of tragedy---Margayya and Raju are concerned with boredom, with interest (financial interest), with disguises and pretense. Although it can be argued that Narayan's heroes do have some measure of awakening, it can also be argued that their awakening does not begin to approach that of Jasmine in its solemn tragedy.
Jasmine ability have accepted her fate as the victim of t
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