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G.K. Chesterton

2 Rudyard Kipling (1905) G.K. Chesterton 1 T he first and fairest thing to say about Rudyard Kipling is that he has borne a brilliant part in recovering the lost provinces of poetry. He has not been frightened by that brutal materialistic air which clings only to words; he has pierced through to the romantic, imaginative matter of the things themselves. He has perceived the significance and philosophy of steam and slang. Steam may be, if you like, a dirty by-product of science. Slang may be, if you like, a dirty by-product of language. But at least he has been

in In Time’s eye
George Orwell

3 Rudyard Kipling (1942) George Orwell 1 I t was a pity that Mr Eliot should be so much on the defensive in the long essay with which he prefaces this selection of Kipling’s poetry,2 but it was not to be avoided, because before one can even speak about Kipling one has to clear away a legend that has been created by two sets of people who have not read his works. Kipling is in the peculiar position of having been a by-word for fifty years. During five literary generations every enlightened person has despised him, and at the end of that time nine tenths of

in In Time’s eye
Hugh Brogan

6 The Great War and Rudyard Kipling Hugh Brogan Hope lies to mortals, And most believe her, But man’s deceiver Was never mine. The thoughts of others Were light and fleeting Of lovers’ meeting Or luck or fame. Mine were of trouble And mine were steady So I was ready When trouble came (A.E. Housman1) M any, many years ago, when I was a young academic at Cambridge, I found myself sitting on a sofa having tea with E.M. Forster. It was the season between Bonfire Night and Christmas. He said that, according to his bedmaker, old people hated Remembrance Sunday: it

in In Time’s eye
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Essays on Rudyard Kipling
Editor: Jan Montefiore

This book is a collection of essays on Rudyard Kipling and brings historical, literary critical and postcolonial approaches to this perennially controversial writer. The first and fairest thing to say about Kipling is that he has borne a brilliant part in recovering the lost provinces of poetry. Kipling's morality is the morality of someone who has to prove that God is not responsible for part of the world, and that the Devil is. Kipling's imperialist opinions became more strident after the Boer War he lost the esteem of British literary intellectuals, whom he in turn despised. The book addresses Kipling's approach to the Boer war, his involvement with World War One, his Englishness and the politics of literary quotation. It demonstrates the effects of a Kipling-conditioned world on Edward Thomas, Ivor Gurney and David Jones. The book focuses on Kipling's collection of stories and accompanying poems, Actions and Reactions, which was published in October 1909. It also probes the historical subtext of the children's fable Rikki-Tikki-Tavi and Indian history, Kipling's search for God, and his longest Indian experience of footloose travel in the Native states of North India. Stalky & Co is the text of Kipling's which features the largest number of quotations. Kipling's notion of the ideally masculine 'army man' in relation to contemporary late Victorian discourses and practices of same-sex passion is analyzed. The book also addresses Kipling's views on the question of fascism, anti-Semitism and the 'doctrine of racial superiority'.

Andrew Smith

By exploring how laughter is represented in Kipling‘s ghost stories this article attempts a re-evaluation of how colonial and postcolonial identities can be theorised within the Gothic. Laughter, and the disorientation that it provokes, is accorded a Gothic function that destabilises images of colonial authority.

Gothic Studies
The political and aesthetic imagination of Edwardian imperialists

Some of the most compelling and enduring creative work of the late Victorian and Edwardian Era came from committed imperialists and conservatives. This book explores the relationship of the artists with conservatism and imperialism, movements that defy easy generalisations in 1899. It does so by examining the work of writers Rudyard Kipling, Joseph Conrad, Rider Haggard and John Buchan along with the composer Edward Elgar and the architect Herbert Baker. The book presents an analysis of their mutual infatuation with T. E. Lawrence, or Lawrence of Arabia, who represented all their dreams for the future British Empire. It also explores the reasons why Lawrence did not, could not, perform the role in which his elder admirers cast him, as creative artist and master statesman of British Empire. Haggard's intrusion into Sigmund Freud's dream world at a critical point in the development of psychoanalytic theory suggests a divergent approach to the novels of imperial adventure. Writing imaginative literature about India as an imperialist enabled Kipling to explore a whole universe of perverse and forbidden pleasures without blowing the top off the volcano. Elgar occupies a higher position in the world of classical music than anyone imagined even at the zenith of his popularity in the Edwardian era. John Buchan mixed art and politics to a greater extent than any British writer, especially with his 'The Loathly Opposite'. The real-life political counterparts of the imperial romance were Britain's experiments with indirect rule from Fiji and Zululand to Nigeria and Tanganyika.

Kipling among the war poets
Harry Ricketts

the war-verses for quotation.’ ‘For All We Have and Are’ was, he observed, ‘[g]enerally adjudged at the time it was written as “too serious for the needs of the war” but in 1915 it was realised that it was the truth and was generally used, for propaganda.’6 Kipling among the war poets This rare glimpse of ‘Kipling on Kipling’ needs to be set against a postGardner and Parsons reading of ‘For All We Have and Are’, such as Ann Parry’s in The Poetry of Rudyard Kipling: Rousing the Nation (1992). For Parry, the answer to the poem’s final question, ‘Who dies if England

in In Time’s eye
Abstract only
Jan Montefiore

turned their atten­ tion to his prose.8 Reappraisals of Kipling published around the centenary of his birth focus not on his success or failure as an ideologue but on his achievement as a writer of stories. Randall Jarrell’s preface to his 1961 selection of Kipling’s stories, ‘On preparing to read Kipling’, praises Kipling’s extra­ ordinary imagination and verbal finish, discussing him as an artist comparable Introduction with Chekhov and Goya; the same point was made, less flamboyantly, in the title of J.M.S. Tompkins’ The Art of Rudyard Kipling (1959), and repeated

in In Time’s eye
Dan Jacobson

5 Kipling in South Africa Dan Jacobson T o begin with, a reminiscence. The first piece of verse by Rudyard Kipling I committed to memory – without even knowing I was doing so – was incised in large roman capitals on a wall of the Honoured Dead Memorial in Kimberley, South Africa. During the Anglo-Boer War (1899–1902), Kimberley was besieged for some months by forces from the two independ­ ent Boer republics, the Transvaal (De Zuid Afrikaansche Republiek) and the Orange Free State. Among those trapped in the city during the siege was the arch-imperialist Cecil

in In Time’s eye
Robin Jared Lewis

knowledge which, in Edward Said’s words, dealt with the society ‘by making statements about it, authorizing views of it, describing it, by teaching it, settling it, ruling over it’. 2 Fiction played a vital role in propagating the central imperialist stereotypes of English masters and Indian subjects. The one dominant figure in this period is, of course, Rudyard Kipling, whose

in Asia in Western fiction