Mulk Raj Anand is the first indo- English Novelist to have assigned heroic role to the social marginal or non-entities like Untoauchchables and collies. This paper, propses to evaluate three prominent, though characteristic, traits of Anand's Factional structure; the first Anand's manipulation of narrative structures to secure an intended psychological response from readers. i.e. Anand prepares psychological grounds for reasers' emotional participation, the second, his use of images as a creative Principle of organizing multi referents into a single "whole" and the third, his art of forging terms of relation eeverbal mode and plot Arrangement, forms of characterization and the sociological significance of the themes.

The most of the language activates of Anad's novels range within the reader-reality complex which is finally merged into a single poetic vision in the sense Faulkner uses the term "poem" at one of his lecture-conferences at the university of Virginia (Naval hale . ,1963) he, therefore, propose to discuss the enlisted three qualities of language in order. how ever the over all critical perception remains stubbornaa-Anand exerises language to appropriate it to the sharp edges of reality he "represents'' in his fiction, which includes his notorious literal translation of swear words too but which shall not form any part of elaborate discussion here.

Mulk Raj Anand like Anita Desai presents sequence of events which are distinct from the conventional sequences of light fiction. But unlike Anita Desai he neither deceives his reader hor complicates his lot. As a matter of fact, with modifications here and there Anand ably performs the role of traditional story-trller. His modification, in the main, is his claim [Robert Lowell., 1979] to be a teller of such "real" tales as DELINATE "VULGAR ACTUALITIES" [f.R.Leavis., 1932] which eludes the reader either for his indifference or for his narrowness of attitude of for his uncritical acceptance of cant.

Explanatory intrusion of Mulk Raj Anand should not, as it is usual to be interpreted as a sign of contempt for his reader. It seems, he thinks that his reader is capable of profiting from the explanation. He regards the reader aqs a viction of what Lewels calls "falisim", [K.Kroeber.m,p-48]. i.e. a distorted view of reality passed on by continuing social conventions. And it must be conceded that the moral tilt is a part, a function of the reality it is not an extra-artistic interference. This function, how wver, ever, manifests itself in terms of "the felt" component of reality or experience.

Mulk Raj Anand invariably uses this technique, however this technique registers certain improvements as the novelist matures into a more refined instrument. And still morning face [Mulk Raj Anand., 1970] leans, of course slightly, toward subverting an original illusion of community between reader and author. Anand's here, Krishna, a highly evocative proper Noun, Exists more in terms of differences from the great Krishna of the mythology eventhough Anand informs that "the old myth was dormant in my heart." [Mulk Raj Anand., p-v] However, "Any attempt to visualize Krishna as an incarnation of the LKord Krishna is not likely to Provefruitful [M.K.Naik., 1973].
krishna's gradual emergence from the mythological texts into the Kalyug is ais as a new cintempiorary man is manipu;ated [Mulk Raj a Anand.,p-v]. by reader's vague awarness of having been induced into changing their point of view. Even if it were not tenable, this much, however, is certain that Anand is aware that the very refinement of high civilization is liable to demoan and erode relations between propel of different histories, classes and interests.


Anand's language is a shrew that he tames to the sublet nuances of social reality. The novelist wrestles eith the language which accouts for the interesting, innovative tensions it generates tp create the form of fiction. In over all assessment the languages in the hand of the writer is engaged in aesthetic activity in order to come to grip with reality. His style derive resonance from his extent and depth of faith in reality of his choice.

Work cited:
Navey Hale, The Realities of function (London, 1963), p.139.
Mulk Raj Anand "Why I Write" in Indian writing in English ed., Krishna Nandan Sinha (New Delhi, 1979),p.6.
F.R.Leavis, New Bearings in English Poetry (London,19320,p.6.
Quosted by K.Kroeber, Style in Fictional structure.Ibid, p.48.
Mulk Raj Anand, morning face (Bonby, 1970) Mulk Raj Anand, 'Dedication' to morning face, Ibid, P.V.
M.K.Naik, Mulk Raj Anand(New Delhi,1973) P.113.
Mulk Raj Anand, 'Dedication' to morning face. P.V.

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