Point of View
The story adopts the traditional mode of third-person omniscience. In other words, the author/narrator relates the entire story to the reader, but since the entire plot is dependent on the revelation taking place at the end, the narrator does not reveal all the aspects of character at the beginning. While the narrator is forthcoming about all the peripheral goings-on in the story, s/he is careful not to reveal to the reader anything more than would be evident to any passerby. The reader sees the plot as it is being enacted, despite the presence of the omniscient narrator. The use of dialogue throughout the story serves the function of providing multiple points of view without altering the overall authority of the narrator. Style
One aspect of Narayan's writing that has been noted time and again is the remarkably simple style he consistently adopts. For those who are familiar with the South Indian Tamil language, his style would come across as a curious mixture of English and Tamil. While the syntax and grammar conform to English conventions, several of the idioms are clearly influenced by Tamil. Particularly in dialogue, as in the exchange between the astrologer and Guru Nayak, the language moves between standard English and dialect. Sometimes, it is evident that what he is providing is a literal translation of expressions in Tamil. The un-selfconscious skill with which he combines the traditions of two languages is yet another reason for his success. Irony
If there is one aspect of Narayan's writing that has been remarked on by all critics, it is the quality of irony that is always present. Whether it is the narrator informing the reader about the past or the characters interacting with each other, the note of irony is consistent and occurs as a result of the distance between what people profess and, what they do. No one, usually, is free from the ironic perspective of the author. But the irony is never malicious or particularly harsh. The...
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