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+The Project Gutenberg eBook, Rudyard Kipling, by John Palmer
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Rudyard Kipling
+
+
+Author: John Palmer
+
+
+
+Release Date: March 24, 2006  [eBook #18045]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK RUDYARD KIPLING***
+
+
+E-text prepared by Al Haines
+
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+
+
+RUDYARD KIPLING
+
+by
+
+JOHN PALMER
+
+
+
+
+
+
+
+[Frontispiece: Rudyard Kipling]
+
+
+
+
+New York
+Henry Holt and Company
+First Published in 1915
+
+
+
+
+
+CONTENTS
+
+
+    I.  INTRODUCTION
+   II.  SIMLA
+  III.  THE SAHIB
+   IV.  NATIVE INDIA
+    V.  SOLDIERS THREE
+   VI.  THE DAY'S WORK
+  VII.  THE FINER GRAIN
+ VIII.  THE POEMS
+        BIBLIOGRAPHY
+        AMERICAN BIBLIOGRAPHY
+        INDEX
+
+
+
+
+I
+
+INTRODUCTION
+
+There is a tale of Mr Kipling which relates how Eustace Cleever, a
+celebrated novelist, came to the rooms of a young subaltern and his
+companions who were giving an account of themselves.  Eustace Cleever
+was a literary man, and was greatly impressed when he learned that one
+of the company, who was under twenty-five and was called the Infant,
+had killed people somewhere in Burma.  He was suddenly caught by an
+immense enthusiasm for the active life--the sort of enthusiasm which
+sedentary authors feel.  Eustace Cleever ended the night riotously with
+youngsters who had helped to govern and extend the Empire; and he
+returned from their company incoherently uttering a deep contempt for
+art and letters.
+
+But Eustace Cleever was being observed by the First Person Singular of
+Mr Kipling's tale.  This receiver of confidences perceived what was
+happening, and he has the last word of the story:
+
+
+"Whereby I understood that Eustace Cleever, decorator and colourman in
+words, was blaspheming his own Art and would be sorry for this in the
+morning."
+
+
+We have here an important clue to Mr Kipling and his work.  Mr Kipling
+writes of the heroic life.  He writes of men who do visible and
+measurable things.  His theme has usually to do with the world's work.
+He writes of the locomotive and the engineer; of the mill-wheel and the
+miller; of the bolts, bars and planks of a ship and the men who sail
+it.  He writes, in short, of any creature which has work to do and does
+it well.  Nevertheless we must not be misled into thinking that because
+Mr Kipling glorifies all that is concrete, practical, visible and
+active he is therefore any the less purely and utterly a literary man.
+Mr Kipling seems sometimes to write as an engineer, sometimes as a
+soldier.  At times we would wager that he had spent all his life as a
+Captain of Marines, or as a Keeper of Woods and Forests, or as a
+Horse-Dealer.  He gives his readers the impression that he has lived a
+hundred lives, mastered many crafts, and led the life, not of one, but
+of a dozen, active and practical men of affairs.  He has created about
+himself so complete an illusion of adventure and enterprise that it
+seems almost the least important thing about him that he should also be
+a writer of books.  His readers, indeed, are apt to forget the most
+important fact as to Mr Kipling--the fact that he is a man of letters.
+He seems to belong rather to the company of young subalterns than to
+the company of Eustace Cleever.
+
+Hence it is necessary to consider closely the moral of that excellent
+tale.  When Eustace Cleever blasphemed against his art, Mr Kipling
+predicted he would be sorry for it.  Mr Kipling recorded that
+prediction because he had the best of reasons to know how Eustace
+Cleever would feel upon the morning after his debauch of enthusiasm for
+the heroic life.  Let each man keep to his work, and know how good it
+is to do that work as well as it can be done.  Eustace Cleever's work
+was to live the life of imagination and to handle English words--work
+as difficult to do and normally as useful as the job of the Infant.
+Though for one heady night Eustace Cleever yearned after a strange
+career, Mr Kipling knew that he would return without misgiving to the
+thing he was born to do.  Mr Kipling, like Eustace Cleever, knows that
+though nothing is more pleasant than to talk with young subalterns, yet
+the born author remains always an author.  He knows, too, that even the
+deeds he admires in the men who make history are, for him, no more than
+raw stuff to be taken in hand or rejected according to the author's
+need.
+
+Mr Kipling, in short, is a man of letters, and we shall realise, before
+we have done with him, that he is an extremely crafty and careful man
+of letters.  Tales which seem to come out of the barrack-yard, out of
+the jungle or the deep sea, out of the dust and noise where men are
+working and building and fighting, come really out of the study of an
+expert craftsman using the tools of his craft with deliberate care.
+This may seem an unnecessary warning.  The intelligent reader will
+protest that, since Mr Kipling writes books, it does not seem very
+necessary to deduce that he is a man of letters.  It is true that no
+such warning would be necessary in the case of most writers of books.
+It would be pure loss of time, for example, to begin a study of the
+work of Mr Henry James by asserting that Mr Henry James was a man of
+letters.  But Mr Kipling is in rather a different case.  The majority
+of readers with whom one discusses Mr Kipling's works are sometimes far
+astray, simply because they have not realised that Mr Kipling is as
+utterly a man of letters as Mr Henry James, that he lives as completely
+the life of fancy and meditation as William Blake or Francis Thompson.
+Mr Kipling does not write tales out of the mere fullness of his life in
+many continents and his talk with all kinds of men.  He is not to be
+understood as a man singular only in his experience, unloading
+anecdotes from a crowded life, excelling in emphasis and reality by
+virtue of things actually seen and done.  On the contrary, Mr Kipling
+writes tales because he is a writer.
+
+Mr Kipling has seen more of the scattered life of the world and been
+more keenly interested in the work of the world than some of his
+literary contemporaries.  But this does not imply that he is any the
+less devoted to the craft of letters.  Indeed, we shall realise that he
+is one of the craftiest authors who ever lived.  He is more crafty than
+Stevenson.  He often lives by the word alone--the word picked and
+polished.  That he has successfully disguised this fact from many of
+his admirers is only a further proof of his literary cunning.  Mr
+Kipling often uses words with great skill to create in his readers the
+impression that words matter to him hardly at all.  He will work as
+hard as the careful sonneteer to give to his manner a tang of rawness
+and crudity; and thereby his readers are willing to forget that he is a
+literary man.  They are content simply to listen to a man who has seen,
+and possibly done, wonders in all parts of the world, neglecting to
+observe that, if the world with its day's work belongs to Mr Kipling,
+it belongs to him only by author's right--that is, by right of
+imagination and right of style.
+
+It is true that Mr Kipling is lawless and contemptuous of literary
+formality; and that whenever he talks of "Art," as in certain pages of
+_The Light That Failed_, he tries to talk as though there were really
+no such thing.  But Mr Kipling's cheerful contempt of all that is
+pedantic and magisterial in "Art" does not imply that he is innocent of
+literary discipline.  It is true that Mr Kipling is lawless in the
+sense that all good work is more than a conscious adherence to formula.
+It is not true in the sense that Mr Kipling is more lawless than
+Tennyson or Walter Scott.  Readers of Mr Kipling's stories must not be
+misled by his buccaneering contempt for formal art.  Mr Kipling's art
+is as formal as the art of Wilde, or the art of Baudelaire, which he
+helped to send out of fashion.
+
+A few preliminary words are necessary (1) as to the half-dozen dates
+which bear upon Mr Kipling's authorship and (2) as to the arrangement
+of his works here to be followed.
+
+Mr Kipling was born in 1865, the son of J. Lockwood Kipling, C.I.E.
+His intimacy with India was determined at birth.  He was educated at
+the United Services College, Westward Ho, but was again in India in
+1882, as assistant editor on _The Civil and Military Gazette_ and _The
+Pioneer_.  He remained on the staff of _The Pioneer_ for seven years,
+and travelled over the five continents.  By this time he had learned to
+think of the world as a place rather more diversified than a walk from
+Charing Cross to Whitehall would lead one to imagine; to see something
+of men upon its frontiers, and to love England as men do who come back
+to her from the ends of the earth.  The whole of Mr Kipling's literary
+biography is contained in the fact that Mr Kipling has been a great
+traveller who is now inveterately at home.
+
+Perhaps we should also note that Mr Kipling was a literary prodigy.
+_Plain Tales from the Hills_ appeared in 1887.  Mr Kipling at
+twenty-two had shown his quality and had already mapped out in little
+his career.  In _Plain Tales from the Hills_ there are hints for almost
+everything that their author afterwards accomplished.  As the book of a
+young journalist whose name had not yet been whispered among the
+publishers and critics of London it was a miracle.  If Mr Kipling had
+been able to improve on _Plain Tales from the Hills_ as much as
+Shakespeare improved on _Love's Labour's Lost_, as much as Shelley
+improved on _Queen Mab_, Robert Browning on _Pauline_, Byron on _Hours
+of Idleness_, he would to-day be without a peer.  Mr Granville Barker
+is often cited as a classical modern example of precocity, but he was
+twenty-four when he wrote _The Marrying of Anne Leete_.  Mr Henry James
+was twenty-eight before he had published a characteristic word.  Mr
+Thomas Hardy at twenty-five had only printed a short story, and he was
+more than thirty when his first novel appeared.  Mr Kipling came upon
+the public in 1886 without a preliminary stutter.  Mr Kipling at
+twenty-two could write as craftily as Mr Kipling can write after nearly
+thirty years' experience.  We shall not be greatly concerned in these
+pages to trace the progress of Mr Kipling's craft and wisdom.  He was
+always crafty and always wise.  He had done some of his best work at
+thirty.  He recalls Hazlitt's curious saying that an improving author
+is never a great author.  Mr Kipling is not an improving author.  There
+has been a little moving up and down the scale of excellence; many
+things hinted in the early volumes from _Plain Tales from the Hills_ to
+_Many Inventions_ are developed more elaborately and surely in later
+volumes; the old craft has come to be used with an ease that has in it
+more of the insolence of a master than was possible in the author of
+1887.  But so far as literary finish is concerned, _Plain Tales from
+the Hills_ leaves little to be acquired.  Already Mr Kipling wields his
+implement as deftly and firmly as many a skilled writer who was
+learning his lesson before Mr Kipling was born.  Few authors have so
+surely scored their best in their earliest years.  Authors are
+considered young to-day at thirty.  Mr Kipling at that age had already
+written _The Jungle Book_.
+
+This does not, of course, imply that all Mr Kipling's stories are of
+equal merit.  On the contrary, we shall henceforth be mainly concerned
+with looking for the inspired author under a mass of skilful
+journalism.  It is not a simple enterprise.  Mr Kipling is so competent
+an author that he is usually able to persuade his readers that his
+heart is equally in all he writes.  Moreover, Mr Kipling has fallen
+among many prejudices, literary and political, which have caused his
+least important work to be most discussed.  For these reasons the
+actual, as distinguished from the legendary, Mr Kipling is not easily
+discovered.  Mainly it is a work of excavation.
+
+Mr Kipling has been writing short stories for nearly thirty years.  His
+tales are too numerous for disparate discussion.  It will be necessary
+to take them in groups.  One or two stories in each group will be taken
+as typical of the rest.  Thereby we shall avoid repetition and be able
+to show some sort of plan to the maze of Mr Kipling's diversity of
+subjects and manners.
+
+
+
+
+II
+
+SIMLA
+
+Mr Kipling's Indian stories fall into three groups.  There are (1) the
+tales of Simla, (2) the Anglo-Indian tales, and (3) the tales of native
+India.  There is also _Kim_, which is more--much more--than a tale of
+India.
+
+Mr Kipling's Indian stories necessarily tend to fill a disproportionate
+amount of space.  They are of less account than their number or the
+attention they have received would seem to imply.  Their discussion in
+this and the two following chapters will be more of a political than a
+literary discussion.  Mr Kipling as journalist and very efficient
+colourman in words has made much of India in his time.  He has
+perceived in India a subject susceptible of being profitably worked
+upon.  Here was a vast continent, the particular concern of the
+English, where all kinds of interesting work was being done, where
+stories grew too thickly for counting, and where there was, ready to
+the teller's eye, a richness and diversity of setting which beggared
+the most eager penmanship.  Moreover, this continent was virtually
+untouched in the popular literature of the day.  Naturally Mr Kipling
+made full use of his opportunity.  He did not write of India because
+India was essential to his genius, but because he was shrewd enough to
+realise that nothing could better serve the purpose of a young author
+than to exploit his first-hand acquisition of an inexhaustible store of
+fresh and excellent material.  India was annexed by Mr Kipling at
+twenty-two for his own literary purposes.  He was not born to interpret
+India, nor does he throw his literary heart and soul into the business.
+When, in the Indian stories, we meet with pages sincerely inspired we
+discover that their inspiration has very little to do with India and a
+great deal to do with Mr Kipling's impulse to celebrate the work of the
+world, and even more to do with his impulse to escape the intellectual
+casuistry of his generation in a region where life is simple and
+intense.  These aspects of his work will be more clearly revealed at a
+later stage.  For the moment we are considering the Indian tales simply
+as tales of India; and from this point of view they obviously belong to
+the journalist rather than to the author who has helped to make the
+English short story respectable.  Mr Kipling simply gets out of India
+the maximum of literary effect as a teller of tales.  India, for
+example, is mysterious.  Mr Kipling exploits her mystery competently
+and coolly, making his points with the precision, clarity and force of
+one to whom the enterprise begins and ends as an affair of technical
+adequacy.  The point is made with equal ability that India is not
+without peril and difficulty ruled and administered by the sahibs; or
+that India has a complicated history; or that India is thickly peopled.
+Mr Kipling in his Indian tales makes the most of his talent for
+observing things, always with a keen eye for their effective literary
+employment.  His Indian tales are descriptive journalism of a high
+quality; and, being journalism, their matter and their doctrine have
+hit hard the attention of their particular day.
+
+This reduces us to the necessity of considering not so much their form
+and quality as the ideas and doctrines they contain--a barren task but
+necessary in order to clear away many misconceptions with regard to Mr
+Kipling's work.  Regarded as literature, Mr Kipling's Indian tales are
+mainly of note as preparing in him that enthusiasm for the work of the
+world which, later, was to inspire his greatest pages; as finally
+leading him in _Kim_ to a door whereby he was able to pass into the
+region of pure fancy where alone he is supremely happy, and as
+prompting in him the instinct to simplify which urged him into the
+jungle and into the minds of children.  But all this has very little to
+do with India.  So long as we are dealing with Mr Kipling's Indian
+stories as in themselves finished and intrinsic studies of India, we
+remain only in the suburbs of Mr Kipling's merit as an author.  The
+Simla tales are not more than a skilful employment of a literary
+convention which Mr Kipling did not inherit.  The Anglo-Indian and
+native tales are the not less skilful work of a young newspaper man
+breaking into a storehouse of new material.  We are interested firstly
+in Mr Kipling's craft as a technician, as one who makes the most of his
+theme deliberately and self-consciously; and secondly in Mr Kipling's
+point of view, in the impressions and ideas he has collected concerning
+the country of which he writes.  Until we arrive at _The Day's Work_ we
+shall be mainly occupied in clearing the ground of impertinent
+prejudices concerning Mr Kipling's temperament and politics.  For
+though the Indian and soldier tales are as literature not impregnable
+to criticism, they can at any rate be rescued from those who have
+annexed or repudiated them from motives which have little to do with
+their literary value.
+
+We will begin with the Simla tales.
+
+Characteristically the author who began virtually at the end of his
+career--proclaiming himself a finished virtuoso at the start--entered
+into prose with a volume of tales, radiating from Simla, which betray
+qualities that are usually associated with the later rather than with
+the early work of an author.  _Plain Tales from the Hills_ number more
+Simla stories to the square page than any other volume of Mr Kipling.
+Now Mr Kipling's Simla stories are the least important, but in some
+ways the most significant of all the stories he wrote.  They begin and
+they end in sheer literary virtuosity.  We feel in reading Mr Kipling's
+studies of the social world at Simla that he had no intuitive call to
+write them; that they are exercises in craft rather than genuine
+inspirations.  Mrs Hawksbee stands for nothing in Mr Kipling's
+achievement save only for his power to create an illusion of reality
+and enthusiasm by sheer finish of style.  She is not a creation.  She
+is only the best possible example of the clever sleight-of-hand of an
+accomplished artificer.  She is in literary fiction cousin to the
+witty, flirtatious ladies of the modern English theatre.  Her
+conversation is delightful, but it belongs to nobody.  It does not even
+belong to her author.  Mrs Hawksbee talks as all well-dressed women
+talk in the best books.  She does it with a volubility and
+resourcefulness which almost disguises the fact that she lives only by
+hanging desperately to the end of her author's pen; but she cannot
+deceive us always.  Mr Kipling does not really believe in Mrs Hawksbee.
+He has no real sympathy or knowledge of the social undercrust where the
+tangle of three is a constant theme.  The talk of Mrs Hawksbee and her
+circle is derived.  Its conduct is fashionable light comedy in an
+Indian setting.
+
+Simla really does not deserve to be known outside the Indian Empire.
+It is a comparatively cool place whither Indian soldier and civilians
+send their wives in the hot weather and whither they retire themselves
+under medical advice.  It is not unlike any other warm and idle city of
+rest where there is every kind of expensive amusement provided for a
+migratory population.  Mr Kipling has failed to make Simla interesting,
+because Simla is Biarritz and Monte Carlo or any place which in fiction
+is frequented by people who behave naughtily and enjoy themselves, and
+in real life is frequented by the upper middle classes mechanically
+passing the time.  Mr Kipling's ingenious pretences regarding Simla are
+amusing, but they cannot long conceal from his readers that these
+tales, apart from literary exhibition, were really not worth the
+telling.  Mr Kipling pretends, of course, even at twenty-four, to know
+of all that passes between women unlacing after a ball; but Mr
+Kipling's pretended omniscience is part of his literary method, and he
+does not quite carry it off in the Simla tales.  He gives us not Simla
+or any place under the sun, but a sparkling stage version of Simla--all
+dancing and delight, a little intrigue, a touch of sentiment, patches
+of excellent fun, and now and then a streak of Indian mystery.  But Mr
+Kipling's heart is not really in this business.  His Simla tales will
+not endure, and they have been given too much prominence in the popular
+idea of his work.  They are not plain tales, but tales very artfully
+coloured.  They fall far short of the standard to which Mr Kipling has
+raised the English short story.  Yet even here we may note the skill
+with which the author has concealed his failure.  Mrs Hawksbee may be
+taken as a symbol of the distinction between the work of an inspired
+author and the work of an author playing with his tools.  Mr Kipling of
+_The Jungle Books_ and _The Day's Work_ is an inspired author.  Mr
+Kipling of the Simla tales, on the other hand, is simply concerned to
+show that he can work a conventional formula of the day as well as any
+man; that he can redeem the formula with individual touches beyond the
+reach of most; and can enliven it with impudent pretences which please
+by virtue of their being utterly preposterous.  Take, for example, the
+pretence that Mrs Hawksbee is a charming woman.  Mrs Hawksbee is really
+nothing of the kind.  She is an anthology of witty phrases.  She is the
+abstract perfection of what a clever head and a good heart is expected
+to be in a fashionable comedy.  But Mr Kipling desires her to be
+accepted as a charming woman.  His procedure, on a high and delicate
+plane, is precisely the procedure to which we are accustomed on a low
+and obvious plane in the majority of popular novels where the hero has
+to be accepted for a man of brilliant genius.  We have to take the
+author's word for it.  The author who tells us that his hero is a
+genius usually requires us to believe it without further proof.  He
+does not show us a page of the hero's music or the hero's poetry, but
+we must believe that it is very fine, even though the hero loves Pietro
+Mascagni and worships Martin Tupper.  Similarly Mr Kipling, presenting
+us with Mrs Hawksbee, nowhere affords us direct evidence that she is a
+charming woman.  He assumes it, gets everyone else in the story to
+assume it, and expects his readers to assume it--his cunning as a
+writer being of so remarkable a quality that there are very few of the
+Simla tales in which the reader is not prepared to assume it for the
+sake of the story.
+
+Mrs Hawksbee is typical of the majority of Mr Kipling's studies in
+social comedy.  His success in this kind is remarkable, but it is
+barren.  Mr Kipling realised this himself quite early, for he quite
+soon abandoned Simla.  There are some sixteen stories in _Plain Tales
+from the Hills_ into which the Simla motive is threaded.  In the books
+immediately following, published in 1888 and 1889, Simla is not wholly
+abandoned, but the proportion of Simla stories is less.  _The Phantom
+Rickshaw_ (1889) is the last story which can fairly be brought within
+the list, and this story can only be included by straining its point to
+vanishing.  Of all the groups of stories in _Plain Tales from the
+Hills_ the Simla group, though it was largest, promised least for the
+future.
+
+
+
+
+III
+
+THE SAHIB
+
+There is another group of Indian tales, a group which deals with the
+governance of India--with the men who are spent in the Imperial
+Service.  The peculiar charm and merit of these tales is best
+considered as a special case of Mr Kipling's delight in the world's
+work--a subject which claims a chapter to itself.  But apart from this,
+Mr Kipling's Anglo-Indian tales--his presentation of the work of the
+Indian Empire, of the Anglo-Indian soldier and civilian--have an
+unfortunate interest of their own.  They are mainly responsible for a
+misconception which has dogged Mr Kipling through all his career.  This
+misconception consists in regarding Mr Kipling as primarily an
+Imperialist pamphleteer with a brief for the Services and a contempt
+for the Progressive Parties.  It is an error which has acted
+mischievously upon all who share it--upon the reader who mechanically
+regrets that Mr Kipling's work should be disfigured with fierce heresy;
+upon the reader who chuckles with sectarian glee when the "much
+talkers" are mocked and confounded; upon Mr Kipling himself who has
+been encouraged to mistake an accident of his career as the essence of
+his achievement and to regard himself as a sort of Imperial laureate.
+The origin of this misconception is not obscure.  Mr Kipling has
+written intimate tales of the British Army: he is, therefore, a
+"militarist."  He has lived in India many years, and realised that men
+who live in India, and administer India, and come into personal contact
+with Hindus and Mohammedans, know more about India than Members of
+Parliament who run through the Indian continent between sessions: he
+is, therefore, a reviler of the free democratic institutions of Great
+Britain.  He has realised that Government departments in Whitehall are
+not always thought to be very expeditious, well informed and devoted by
+men who are often confronted with matters that cannot afford to wait
+for a telegram: he is, therefore, a lover of the high hand and of
+courses brutal and irregular.  He has celebrated the toil and the
+adventure of pioneers and of outposts: he is, therefore, one who
+brandishes unseasonably the Imperial sword.
+
+The grain of truth in these deductions is heavily outweighed by the
+massive absurdity of regarding them as in any sense essential.  Mr
+Kipling brings political prejudice into his work less than almost any
+living contemporary.  At a time when there was hardly an English novel
+or an English play of consequence which was not also a political
+pamphlet it was completely false to regard Mr Kipling as a pamphleteer.
+When most of our English authors were talking from the platform, Mr
+Kipling--with a few, too few, others--remained apart.  He is suspect,
+not because his Anglo-Indian tales or his army tales are political, but
+because they record much that is true of the English Services, which
+fails to square with much that once was popularly believed about them.
+The real reason of Mr Kipling's false fame as a politician is, not that
+he is an Imperial pamphleteer, but that, writing of the Army and the
+Empire, he fails to be a pamphleteer on the other side.  His
+detachment, not his partiality, is at fault.
+
+Mr Kipling's detachment from the politics of his day explains virtually
+everything that has offended his modern critics.  Almost the first
+thing to realise in discussing Mr Kipling's attitude to modern life is
+that Mr Kipling has kept absolutely clear of the political and social
+drift of the last thirty years.  He has been conspicuously out of
+everything.  He has had nothing to say to any of the ideas or
+influences which have formed his contemporaries.  While others of his
+literary generation were growing up amid intellectual movements,
+democratic tendencies and advances of humanity, Mr Kipling was standing
+between two civilisations in India which were hardly susceptible of
+being reconciled till they had been reduced to very simple terms.  The
+instinct to simplify--to get down to something in nature that included
+the East with the West, the First with the Twentieth century, was
+naturally strong in one who was born between two nations; and it was an
+instinct which drove Mr Kipling in the opposite direction from that in
+which his contemporaries were moving.  While Mr Kipling's generation
+was learning to analyse, refine and interrogate, to become super-subtle
+and incredulous, to exalt the particular and ignore the general, to
+probe into the intricate and sensitive places of modern life, Mr
+Kipling was looking at mankind in the mass, looking back to the
+half-dozen realities which are the stuff of the poetry of every climate
+and period--to love of country which is as old as the waters of
+Babylon, to the faith of Achates, and the affliction of Job.  While Mr
+Kipling's contemporaries have been working towards minute studies of
+individuals and groups, Mr Kipling has been content to catch the metal
+of humanity at the flash point, to wait for the passionate moment which
+reveals all mankind as of one kindred.  "We be of one blood, ye and
+I"--the phrase of the Jungle holds.
+
+To find here evidence of a bias merely political, of an attitude
+reactionary and hostile to the progress o the world, is to deny sense
+and meaning to the greatest literature of the world.  Mr Kipling's
+instinctive simplifying of life he shares with the immortals.  It is,
+as we shall see, the immortal part of him.  To write of Mr Kipling as
+though he celebrates the ape and the tiger; extols the Philistine and
+the brute; calls always for more chops--"bloody ones with gristle";
+delights in the savagery of war, and ferociously despises all that
+separates the Englishman of to-day from his painted ancestor--this is
+the mistake of critics who cannot distinguish the cant of progress from
+its reality.
+
+We shall be driven more particularly to consider Mr Kipling's atavism
+in discussing his tales of the British Army.  For the present we are
+dealing only with India and the "Imperialism" which some of Mr
+Kipling's critics have taken for an offensive proof of his political
+prejudice.  Mr Kipling's treatment of the Anglo-Indian, and of the
+dealing of the Anglo-Indian with the Indian Empire, has nothing to do
+with the Yellows and the Blues.  The real motive of Mr Kipling's
+attitude towards the men on the frontier, in places where deadly things
+are encountered and there is work to be done, is no more a matter of
+politics, "progressive" or "reactionary," than is his celebration of
+the Maltese Cat or of .007.  "The White Man's Burden" is the burden of
+every creature in whom there lives the pride of unrewarded labour, of
+endurance and courage.  In India this pride has to be wholesomely
+tempered with humility; for India is old and vast and incomprehensible,
+to be handled with care, to be approached as a country which, though it
+shows an inscrutably smiling face to the modern world, has the power
+suddenly to baffle its modern rulers by opening to them glimpses of an
+intricate and unassailable life which cannot be ruffled by Orders in
+Council or disturbed by the weak ploughing of teachers from the West.
+The task of the Anglo-Indian administrator is, indeed, the finest
+opportunity for that heroic life to the celebration of which Mr Kipling
+has devoted so many of his tales.  This hero has a task which taxes all
+his ability, which promises little riches and little fame, and is known
+to be tolerably hopeless.  It offers to him a supreme test of his
+virtue--a test in which the hero is accountable only to his personal
+will; whose best work is its own reward and comfort.
+
+
+"Gentlemen come from England," writes Mr Kipling in one of his Indian
+tales, "spend a few weeks in India, walk round this great sphinx of the
+Plains, and write books upon its ways and its work, denouncing or
+praising it as their ignorance prompts.  Consequently all the world
+knows how the Supreme Government conducts itself.  But no one, not even
+the Supreme Government, knows everything about the administration of
+the Empire.  Year by year England sends out fresh drafts for the first
+fighting-line, which is officially called the Indian Civil Service.
+These die, or kill themselves by overwork, or are worried to death, or
+broken in health and hope, in order that the land may be protected from
+death and sickness, famine and war, and may eventually become capable
+of standing alone.  It will never stand alone; but the idea is a pretty
+one, and men are willing to die for it, and yearly the work of pushing
+and coaxing and scolding and petting the country into good living goes
+forward.  If an advance be made, all credit is given to the native,
+while the Englishmen stand back and wipe their foreheads.  If a failure
+occurs, the Englishmen step forward and accept the blame."
+
+
+This passage declares the heroic spirit of Mr Kipling's Anglo-Indian
+tales; and many readers will fail to understand how exactly this spirit
+has been found vainglorious.
+
+There is a passage in Shakespeare where a king's envoy comes to claim
+of a high-mettled and sweating warrior the fruits of victory.  The
+warrior grudges less surrendering the fruits of victory to the king
+than he grudges surrendering his anger at being easily and prettily
+addressed on the field of battle by a polite and dainty fellow who has
+no idea how dearly the fruits of victory are purchased.  Mr Kipling's
+heroes are frail enough to feel some of this very natural indignation
+when unbreathed politicians lecture them in the heat of their Indian
+day.  They come into touch with things simple and bitter.  India has
+searched out the value of many a Western shibboleth, destroyed many
+doctrines, principles, ideas and theories.  Phrases which look well in
+a peroration look foolish when there is immediate work to be done, and
+expediency begins to rule.  The first lesson which the Indian civilian
+learns, a lesson which is rarely omitted from any of Mr Kipling's
+Indian stories, is that practical men are better for being ready to
+take the world as they find it.  The men who worship the Great God
+Dungara, the God of Things as They Are, most terrible, One-eyed,
+Bearing the Red Elephant Tusk--men who are set on saving their own
+particular business--have no time for saving faces and phrases.  They
+have small respect for a principle.  They have seen too many principles
+break down under the particular instance.  Hence there is in all Mr
+Kipling's work a disrespect of things which are printed and made much
+of in the contemporary British press; and this, again, has encouraged
+the idea that he is "reactionary," contemptuous of the humanities, and
+enemy of all the best poets and philosophers.
+
+It will perhaps be well to look a little closely at one or two of Mr
+Kipling's Indian series.  They will help us to realise how the charges
+we are discussing have arisen and exactly how unreasonable they are.
+The first of two excellent examples is the story of _Tods' Amendment_.
+_Tods' Amendment_ is the story of a Bill brought in by the Supreme
+Legislative Council of India.  Tods was an English baby of six, and he
+mixed on friendly terms with Indians in the bazaar and with members of
+the Supreme Legislative Council.  The Council was at this time devising
+a new scheme of land tenure which aimed at "safeguarding the interests"
+of a few hundred thousand cultivators of the Punjab.  The Bill was
+beautiful on paper; and the Legal Member, who knew Tods, was settling
+the "minor details."  The weak part of the business was that European
+legislators, dealing with natives, are often puzzled to know which
+details are the major and which the minor.  Also the Native Member was
+from Calcutta, and knew nothing about the Punjab.  Nevertheless, the
+Bill was known to be a beautiful Bill till Tods happened one evening to
+be sitting on the knee of the Legal Member, and to hear him mention
+_The Submontane Tracts Ryotwari Revised Enactment_.  Tods had heard the
+bazaar talking of a new plan for the Ryotwari, as bazaars talk when
+there is no white man to overhear.  Tods began to prattle, and the
+Legal Member began to listen, till he soon realised that there was only
+one drawback to the beautiful Bill.  The beautiful Bill, in short, was
+altogether wrong, more especially in the Council's pet clause which so
+clearly "safeguarded the interests of the tenant."  It therefore came
+about that the rough draft of the Submontane Tracts Ryotwari Revised
+Enactment was put away in the Legal Member's private paper-box--"and,
+opposite the twenty-second clause, pencilled in blue chalk, and signed
+by the Legal Member, are the words, 'Tods' Amendment.'"
+
+The moral of the tale is not obscure.  A baby who runs in the bazaar is
+better able to legislate for India than a Supreme Legislative Council.
+India, in short, is a vast and uncertain land, whose ways are not
+always learned in a lifetime by the men whose business it is.  The
+argument _a fortiori_--namely, that amiable and humane political
+philosophers, well bred in the latest European theories of government,
+are even less likely to be infallible--need not be pursued.
+
+Our second story is the story of Aurelian McGoggin.  Aurelian McGoggin
+had read too many books, and he had too many theories.  He also had a
+creed: "It was not much of a creed.  It only proved that men had no
+souls, and there was no God and no hereafter, and that you must worry
+along somehow for the good of humanity."  McGoggin had found it an
+excellent creed for a Government office, and he brought it to India and
+tried to teach it to all his friends.  His friends had found that life
+in India is not long enough to waste in proving that there is no one
+particular at the head of affairs, and they objected.  They also warned
+McGoggin not to be too good for his work, and not to insist on doing it
+better than it needed to be done, because people in India wanted all
+their energy for bare life.  But McGoggin would not be warned, and one
+day, when he had steadily overworked and overtalked through the hot
+season, he was suddenly interrupted at the club, in the middle of an
+oration.  The doctor called it _aphasia_; but McGoggin only knew that
+he was struck sensationally dumb: "Something had wiped his lips of
+speech as a mother wipes the milky lips of her child, and he was
+afraid.  For a moment he had lost his mind and memory--which was
+preposterous and something for which his philosophy did not allow.
+Henceforth he did not appear to know so much as he used to about things
+Divine."
+
+McGoggin, in fact, was converted; for, as Mr Kipling explains, his
+story is really a tract--a tract whose purpose is to convey that India
+is able to cure the most resolute positivist of his positivism.  Mr
+Kipling's India is a land where science is mocked, and synthetic
+philosophies perish, and mere talk is wiped from the lips.  You do not
+talk of Humanity in India, because in India "you really see
+humanity--raw, brown, naked humanity--with nothing between it and the
+blazing sky, and only the used-up, overhandled earth underfoot."  Mr
+Kipling's Indian administrators are practical and simple men, who obey
+orders and accept the incredible because their position requires them
+to administer India as though they were never at fault, whereas their
+experience tells them that, if they are never to be at fault in India,
+it is wise to be not too original and fatal to be too rigid.
+
+_Tods' Amendment_ and _The Conversion of Aurelian McGoggin_ are printed
+among _Plain Tales from the Hills_.  They look forward to a whole
+series of Anglo-Indian tales which present Mr Kipling's idea of the
+English in India.  Out of his later books we can illustrate a hundred
+times his conviction that in India the simplest wisdom is the best.
+
+But there are two kinds of simplicity.  The one kind is illustrated in
+a tale from _The Day's Work_; it is the right kind of simplicity.  In
+no story of Mr Kipling is the devoted service and practical
+resourcefulness of the good Civilian so movingly celebrated as in the
+story of _William the Conqueror_.  It is the story of a famine, and of
+how it was met by the servants of the Indian Government.  The
+administration of famine relief would seem to be a simple thing when
+the grain has come by rail and only waits to be distributed.  But the
+district served by the little group of English in _William the
+Conqueror_ was a district which did not understand the food of the
+North, and, if it could not get the rice which it knew, was ready to
+starve within reach of bagsful of unfamiliar wheat or rye.  The hero of
+the tale is finally reduced to distributing the Government rations to
+the goats, and keeping the starving babies alive with milk.  It was a
+simple idea, and the man to whom it occurred worked himself to death's
+door, which was no more than another simple idea of what was due from
+him to the district and to his superior officer.
+
+The wrong kind of simplicity is illustrated in a story from _Life's
+Handicap_.  It is called _The Head of the District_, and it has to do
+with a simple idea which occurred to the Viceroy.  A Deputy
+Commissioner who understood the lawless Khusru Kheyel and had put into
+them the fear of English law had died and a successor had to be
+appointed.  The man for the post was a certain Tallentire who had
+worked with the late head of the district and knew the tribe with whom
+he had to deal.  But the Viceroy had a Principle.  He wished to educate
+the natives in self-government; and here was an opportunity--a vacant
+post of responsibility and a native candidate to fill it.
+
+
+"There was a gentleman and a member of the Bengal Civil Service who had
+won his place and a university degree to boot in fair and open
+competition with the sons of the English.  He was cultured, of the
+world, and, if report spoke truly, had wisely and, above all,
+sympathetically ruled a crowded district in South-Eastern Bengal.  He
+had been to England and charmed many drawing-rooms there.  His name, if
+the Viceroy recollected aright, was Mr Grish Chunder De, M.A.  In
+short, did anybody see any objection to the appointment, always on
+principle, of a man of the people to rule the people?  The district in
+South-Eastern Bengal might with advantage, he apprehended, pass over to
+a younger civilian of Mr G. C. De's nationality (who had written a
+remarkably clever pamphlet on the political value of sympathy in
+administration); and Mr G. C. De could be transferred northward.  As
+regarded the mere question of race, Mr Grish Chunder De was more
+English than the English, and yet possessed of that peculiar sympathy
+and insight which the best among the best Service in the world could
+only win to at the end of their service."
+
+
+The principle was sound; but the consequences were such as usually
+follow when ideas which are simple in one continent are applied in
+another.  Any man on the frontier could have told what would come of
+asking the Khusru Kheyel to respect and obey Mr Grish Chunder De.  It
+was not a matter of religion or ability, but of history.  The Khusru
+Kheyel had had relations with the countrymen of their new Head for
+generations and they were not relations of respect and obedience.  How
+there was riot and some rapid blood-letting on the border, and how the
+new Head resigned his office before he had taken it over, is told as a
+warning that there is a wrong kind of simplicity in dealing with India.
+It is fatal to have invented simple and embracing phrases about a
+country which holds more races than all Europe; has had a long and
+private history of its own; has been more often conquered than Great
+Britain; and has had every sort of experience except that of being
+governed according to constitutional law.
+
+This chapter being mainly devoted to rescuing Mr Kipling from his
+political admirers and censors, it may be well to conclude upon his
+vision of the devoted civilian Scott, the hero of a tale already
+quoted, the man who fed the Indian babies from a herd of goats fattened
+on the food which the starving people of the Deccan distrusted and
+refused.  Scott appears in that story at sunset, delectable and humane,
+sneezing in the dust of a hundred little feet, "a god in a halo of gold
+dust, walking slowly at the head of his flocks, while at his knee ran
+small naked cupids."
+
+Clearly there is something wrong with the popular habit of regarding Mr
+Kipling as essentially concerned with the carving of men to the "nasty
+noise of beef-cutting on the block."  His "god in a halo of gold dust"
+seriously discourages any attempt to brand him with the mark of the
+reverting carnivor.
+
+
+
+
+IV
+
+NATIVE INDIA
+
+From Simla we have come down to the plains and the work of the English
+in Imperial India.  Thence we pass to India herself.  Concerning native
+India Mr Kipling's principle thesis--a thesis illustrated with point
+and competency in many excellent tales--is that for the people of the
+West there can be no such thing as the real India--only here and there
+an understanding that wavers and frequently expires.  Mr Kipling does
+not insolently explain that India is thus and thus.  He allows the
+impression to grow upon us, as once it grew upon himself, that in India
+all the settled ways of the West are insecure, that at any moment we
+may be looking into the House of Suddhu.
+
+
+    "A stone's throw out on either hand
+    From that well-ordered road we tread,
+    And all the world is wild and strange:
+  Churel and ghoul and Djinn and sprite
+  Shall bear us company to-night,
+  For we have reached the Oldest Land
+    Wherein the Powers of Darkness range."
+
+
+It is not for an Englishman to speak of the real India.  Let him stand
+with Mr Kipling between East and West, and allow each thing he sees to
+add to his dark and intricate impression.  India will then assume her
+own uneasy and vast form, will press upon the nerves, and be declared
+mysterious.
+
+There are a few pages in _Life's Handicap_ describing the City of
+Lahore by night.  There is great heat in these pages; there is distance
+also, and the breathless air of streets where the formic swarming of
+India, her callous fecundity, the tyranny of her skies, and her old
+faith, prepare us for the House of Suddhu and the return of Imray:
+
+
+"The roof-tops are crammed with men, women, and children; and the air
+is full of undistinguishable noises.  They are restless in the City of
+Dreadful Night; and small wonder.  The marvel is that they can even
+breathe.  If you gaze intently at the multitude you can see that they
+are almost as uneasy as a daylight crowd; but the tumult is subdued.
+Everywhere, in the strong light, you can watch sleepers turning to and
+fro, shifting their beds and again resettling them.  In the pit-like
+courtyards of the houses there is the same movement.
+
+"The pitiless Moon shows it all.  Shows, too, the plains outside the
+city, and here and there a hand's-breadth of the Ravee without the
+walls.  Shows lastly, a splash of glittering silver on a house-top
+almost directly below the mosque Minar.  Some poor soul has risen to
+throw a jar of water over his fevered body; the tinkle of the falling
+water strikes faintly on the ear.  Two or three other men, in far-off
+corners of the City of Dreadful Night, follow his example, and the
+water flashes like heliographic signals. . . .  Still the unrestful
+noise continues, the sigh of a great city overwhelmed with the heat,
+and of a people seeking in vain for rest.  It is only the lower-class
+women who sleep on the house-tops.  What must the torment be in the
+latticed zenanas, where a few lamps are still twinkling?  There are
+footfalls in the court below.  It is the _Muezzin_--faithful minister;
+but he ought to have been here an hour ago to tell the Faithful that
+prayer is better than sleep--the sleep that will not come to the city.
+
+"The _Muezzin_ fumbles for a moment with the door of one of the Minars,
+disappears awhile, and a bull-like roar--a magnificent bass
+thunder--tells that he has reached the top of the Minar.  They must
+hear the cry to the banks of the shrunken Ravee itself!  Even across
+the courtyard it is almost overpowering.  The cloud drifts by and shows
+him outlined black against the sky, hands laid upon his ears, and broad
+chest heaving with the play of his lungs--'Allah ho Akbar'; then a
+pause while another _Muezzin_ somewhere in the direction of the Golden
+Temple takes up the call--'Allah ho Akbar.'  Again and again; four
+times in all; and from the bedsteads a dozen men have risen up
+already.--'I bear witness that there is no God by God.'"
+
+      *      *      *      *      *      *
+
+"Several weeks of darkness pass after this.  For the Moon has gone out.
+The very dogs are still, and I watch for the first light of the dawn
+before making my way homeward.  Again the noise of shuffling feet.  The
+morning call is about to begin, and my nightwatch is over.  'Allah ho
+Akbar!  Allah ho Akbar!'  The east grows grey, and presently saffron;
+the dawn wind comes up as though the _Muezzin_ had summoned it; and, as
+one man, the City of Dreadful Night rises from its bed and turns its
+face towards the dawning day. . . .
+
+"'Will the Sahib, out of his kindness, make room?'  What is it?
+Something borne on men's shoulders comes by in the half-light, and I
+stand back.  A woman's corpse going down to the burning-ghat, and a
+bystander says, 'She died at midnight from the heat.'"
+
+
+This passage may stand as a fair example of Mr Kipling's method of
+dealing with India.  It is an able piece of descriptive writing.  It is
+marked by a conscious and deliberate resolve that the "effect" shall be
+made.  It shows us the Indian city from a high distance, as it appeared
+to an observer with a knack for vividly delivering his impressions.  It
+is in no sense an inspired wrestle with the reality of India; and in
+that it is typical.  Mr Kipling has never claimed to grasp or interpret
+his Indian theme.  He has stood away almost ostentatiously from the
+material he was exploiting.
+
+It is indeed the chief merit of his Indian tales that he admits himself
+to be no more, so far as India is concerned, than an adventurer making
+the literary most of his adventure.  He has at any rate the sensibility
+to be conscious that often he is in the position of a tripper before
+the Sphinx.  His tales are thrilled with respect and a sense of India's
+power.  She it is who wipes the lips of Aurelian McGoggin, who flouts
+the Greatest of All the Viceroys, humbles the Legal Member of the
+Supreme Legislative Council, and drives the lonely white intruder to
+illusion and death.  She is indifferent to every conqueror.  She feeds
+her multitudes like a mother; and then suddenly her bounty dries and
+there is famine and pestilence.  Always she is a confronting Presence
+dwarfing to one height masters and slaves.  Mr Kipling has followed
+this Presence as Browning's poet followed a more familiar quest:
+
+  "Yet the day wears,
+  And door succeeds door;
+  I try the fresh fortune--
+  Range the wide house from the wing to the centre.
+  Still the same chance!  She goes out as I enter."
+
+
+It is a lawful adventure, and for some it is an absolute duty, to
+follow and challenge the Presence in word and deed.  Englishmen who
+live in her shadow have sometimes for their honour to grasp and defy
+her; to assume that they are bound to question her authority.  India
+for all her unknown terror has to be wrestled with for the blessing
+that England requires upon the labour of the English.  Though the Gods
+of India are sacred, the devils of India, filthy and lawless, must be
+driven out.  When India put the mark of the beast upon Fleete the
+powers of darkness had of necessity to be brought to heel, and this
+story may be read as a parable.  The mark of the beast, wherever it may
+appear, is the Imperial concern of the English in India.
+
+But a warning enters here.  Mr Kipling, celebrating Imperial India, has
+shown us the English at close war with the India of black magic and
+secret murder, of cruelty and fear.  But he has balanced the account.
+There is another set of stories, showing us how the white man comes to
+disaster, who, not content with his exact and simple duty, insolently
+overleaps the breach between East and West--the breach which Mr Kipling
+himself so scrupulously observes.  There was Trajego:
+
+"He knew too much in the first instance; and he saw too much in the
+second.  He took too deep an interest in native life; but he will never
+do so again."
+
+
+His story is entitled _Beyond the Pale_, and is to be found among
+_Plain Tales from the Hills_.  There is also _The Man Who Would Be
+King_.  He, too, neglected the barriers.  India may be ruled by the
+resolute and challenged by the brave; but India may never be embraced.
+
+India, who strikes out of a brazen sky; who poisons with her infected
+breath and is served to the death without reward; who physically cows
+her people with dust and fever and heat, and is possessed with devils
+who must be pacified; where successive civilisations have left their
+bones upon the soil and a hundred religions have decayed, leaving the
+old air heavy with exhalations--this India slowly takes shape in Mr
+Kipling's native stories.  Her physical immensity and pressure is felt
+in stories like _The End of the Passage_ and _William the Conqueror_.
+Her sleepless tyranny, which has made men intricate and incalculable,
+driving them to subterranean ways of thought and fancy, rules in every
+page of a tale like _The Return of Imray_.  Imray was an amiable
+Englishman who incautiously patted the head of his servant's child.
+Bahadur Khan speaks of it thus to Strickland of the Police:
+
+"'Walking among us, his servants, he cast his eyes upon my child who
+was four years old.  Him he bewitched, and in ten days he died of the
+fever, my child!'
+
+"'What said Imray Sahib?'
+
+"'He said he was a handsome child and patted him on the head; wherefore
+my child died.  Wherefore I killed Imray Sahib in the twilight, when he
+had come, and was sleeping.  Wherefore I dragged him up into the
+roof-beams and made all fast behind him--the Heaven-born knows all
+things.  I am the servant of the Heaven-born. . . .  Be it remembered
+that the Sahib's shirts are correctly enumerated, and that there is an
+extra piece of soap in his wash-basin.  My child was bewitched and I
+slew the wizard.'"
+
+
+There is here just that blend of simplicity and incalculable darkness
+found in all Mr Kipling's native tales.  If the premises of life in
+India are tortuous, conduct and reasoning are as naively innocent as a
+problem in geometry.
+
+It follows that, when the devils are out of the story, no story
+breathes more delightfully of Eden than a story of the East.  The white
+side of the black story of Imray Sahib is shown in _Kim_, and in all
+the hints and small studies for _Kim_ that preceded Mr Kipling's best
+of all Indian tales.
+
+But _Kim_ is something of a paradox.  It is the best of all Indian
+tales by virtue of qualities which have little to do with India.  It is
+an Indian book only upon its least important side.  It is true that Kim
+himself is upon one side the most cunning of Mr Kipling's studies of
+the meeting of East and West; but that, for us, is not his final merit.
+It is the final merit of Kim to be first cousin of Mowgli, the child of
+the Jungle.  His first claim to our delight in him is that he is the
+quickest of young creatures, his senses sharp and clean, of a
+conscience untroubled, of a spirit that rejoices in nimble work, of a
+will in which loyalty and courage and the peace of self-confidence are
+firmly rooted.  In a word, he is Mowgli among men.
+
+Here, however, we approach _Kim_ merely as a tale of India--as a link
+artfully used by Mr Kipling to connect and pass in review the whole
+pageant of Imperial India as it is revealed to Western eyes--priests,
+peasants, soldiers, civilians, people of the plains and hills, women of
+the latticed palanquin and the bazaar, Hindu and Mohammedan, Afghan and
+Bengali.  The picture of the Grand Trunk Road in Kim is an almost
+unsurpassed piece of descriptive writing.  The diversity of the picture
+dazzles and bewilders us at first.  Then out of all this diversity
+there gradually comes a conviction that fundamentally India is
+unimaginably simple at heart in spite of her medley of religions and
+conquests and races; that it is precisely this simplicity which baffles
+the intruder.  There is the simplicity of Bahadur Khan, whose child was
+bewitched: _therefore_ he killed Imray Sahib and hid his body behind
+the ceiling cloth.  There is the simplicity of the hunter of Daoud
+Shah, whose house was dishonoured: _therefore_ he killed his wife and
+went upon the trail of her seducer.  There is the simplicity of men who
+starve and are burnt with the sun: _therefore_ they deprecate the wrath
+of devils and put food in the beggar's bowl.  There is, above all, the
+simplicity of clean hunger, thirst, adventure, piety, friendliness and
+love that threads the whole story of the Lama and his _Chela_.
+
+_Kim_ is one of the few really beautiful stories in modern literature.
+The brain and fancy of thousands of readers to-day are richer and
+sweeter by that tale of the Master and his Friend of All the World.  We
+would not leave him and his Wheel of Things, the River he sought in
+simple faith, the trust he had in the charity of men, the message that
+bade him seek release in Nirvana from the importunity of life quaintly
+warring with instinctive gestures of delight and sympathy with all that
+made life precious--we would not leave this exquisite story so soon,
+were it not that it brings forward the imperishable side of Mr
+Kipling's work to which we shall have shortly to return.  _Kim_ bridges
+the gap between the Indian stories and The _Jungle Book_, which means
+that _Kim_ is all but the top of Mr Kipling's achievement.
+
+
+
+
+V
+
+SOLDIERS THREE
+
+Mr Kipling's three soldiers--Mulvaney, Ortheris and Learoyd--are a
+literary tradition.  They are the Horatii and the Curatii, the three
+Musketeers; Og, Gog and Magog; Captains Fluellin, Macmorris and Jamy;
+Bardolph, Pistol and Nym.  That Kipling's soldiers three are a literary
+tradition is significant of their quality and rank as part of their
+author's achievement.  They belong rather to the efficient literary
+workman who wrote the Simla tales than to the inspired author of the
+Jungle books.  Though we have run from the House of Suddhu to the
+barrack-yard, we have not yet lost sight of Mr Kipling, decorator and
+colourman in words.  We shall find him conspicuously at work upon
+Mulvaney, Ortheris and Learoyd.  Where, at first, he seems most closely
+to rub sleeves with the raw stuff of life we shall find him most aloof,
+most deliberately an artificer.  Mr Kipling has seemed to the
+judicious, who have duly grieved, to be in his soldier tales throwing
+all crafty scruples to the winds in order that he may the more joyfully
+indulge a natural genius for ferocity.  Mr Kipling's soldiers are
+regarded as an instance of his love for low company, of his readiness
+to sacrifice aesthetic beauty to vulgar truth.
+
+This is quite the wrong direction from which to approach Mr Kipling's
+soldier tales.  Mr Kipling's ferocity on paper is not to be explained
+as the result of a natural delight in violence and blood.  On the
+contrary, it is distinctively a literary ferocity--the ferocity, not of
+a man who has killed people, but of a man who sits down and
+conscientiously tries to imagine what it is like to kill people.  It is
+essentially the same kind of ferocity in imaginative fiction as the
+ferocity of Nietzsche in lyrical philosophy or of Malthus in
+speculative politics.  When Mr Kipling talks of men carved in battle to
+the nasty noise of beef-cutting upon the block, or of men falling over
+like the rattle of fire-irons in the fender and the grunt of a
+pole-axed ox, or of a hot encounter between two combatants wherein one
+of them after feeling for his opponent's eyes finds it necessary to
+wipe his thumb on his trousers, or of gun wheels greasy from contact
+with a late gunner--when Mr Kipling writes like this, we admit that his
+pages are disagreeable.  But let us be clear as to the reason.  These
+things are disagreeable, not because they are horrible fact, but
+because they are deliberate fiction.  We feel that these things have
+been written, not from inspired impulse, but by taking careful thought.
+Here, clearly, is a writer who writes of war, not because he is by
+nature full of pugnacity, or necessarily loosed from hell to speak of
+horrors, but because war is a good "subject" with opportunities for
+effective treatment.
+
+It is incorrect to say that Mr Kipling naturally delights in savage
+war.  He has been accused of a positive gusto for knives and bayonets,
+for redly dripping steel and spattered flesh.  The gusto must be
+confessed; but it is not a gusto for the subject.  It is the skilled
+craftsman's gusto for doing things thoroughly and effectively.  Mr
+Kipling cannot conceal his delight in his competency to make war as
+nasty as Zola or Tolstoi have made it.  But this has nothing to do with
+a delight in war.  Professors have gloried in blood and iron who would
+probably faint away in the nice, clean operating theatre of a London
+hospital.  Philosophers who cannot run upstairs have preached the
+survival of the physically fittest.  The politest of Roman poets has
+felicitously described how the two halves of a warrior's head fell to
+right and left of his vertebral column.  Mr Kipling's savagery is of
+this excessively cultivated kind.  It is not atavism or a sinister
+resolution to stand in the way of progress and gentility.  Mr Kipling's
+warrior tales, in fact, allow us clearly to realise that Mr Kipling's
+real inspiration and interest is far away from the battle-field and the
+barrack.  They are the kind of battle story which is usually written by
+sedentary poets who live in the country and are fond of children.  Only
+they are the very best of their kind.
+
+Mr Kipling's study of the professional soldier is best observed in
+Private Ortheris.  Mulvaney is more popular, but Mulvaney in no sense
+belongs to Mr Kipling.  He is the stage Irishman of the old Adelphi and
+the hero of many tales by Lever and Marryat.  He is as purely a
+convention of the days of Mr Kipling's youth as are Mrs Hawksbee and
+the Simla ladies.  His chief importance lies in the opportunities he
+gives Mr Kipling for indulging his joyful gift for pure farce.
+_Krishna Mulvaney_ and _My Lord the Elephant_ are farce of the first
+quality, whose merit liberally covers the charge that their hero is of
+no human importance.  Ortheris is in rather a different case.  He has
+just that air of being authentic which is needed for an anecdote or
+narrative.  He is not a profound and original document in human nature.
+There is no such document in any one of Mr Kipling's books.  But he
+stands well erect among the professional soldiers of literature.
+
+We will take one look at Private Ortheris at work:
+
+
+"Ortheris suddenly rose to his knees, his rifle at his shoulder, and
+peered across the valley in the clear afternoon light.  His chin
+cuddled the stock, and there was a twitching of the muscles of the
+right cheek as he sighted; Private Stanley Ortheris was engaged on his
+business.  A speck of white crawled up the watercourse.
+
+"'See that beggar? . . .  Got 'im.'
+
+"Seven hundred yards away, and a full two hundred down the hillside,
+the deserter of the Aurangabadis pitched forward, rolled down a red
+rock, and lay very still, with his face in a clump of blue gentians,
+while a big raven flapped out of the pine wood to make investigation.
+
+"'That's a clean shot, little man,' said Mulvaney.
+
+"Learoyd thoughtfully watched the smoke clear away.  'Happen there was
+a lass tewed up wi' him, too,' said he.
+
+"Ortheris did not reply.  He was staring across the valley, with the
+smile of the artist who looks on the completed work."
+
+
+This passage has been quoted against Mr Kipling as evidence of his
+inhuman delight in the hunting of man.  If we look at it closely we
+shall find (1) an obvious delight in Ortheris as a professional expert
+who knows his business, the same delight which we find in Mr
+Hinchcliffe the engineer or in Dick Heldar the painter, and (2) the
+extremely self-conscious and cold-blooded effort of a competent author
+to write like a professional soldier, and (3) the intrusion of a born
+sentimentalist in Learoyd's little touch of feeling at the close.
+
+The War Office book of infantry training contains some very curt and
+calm directions for getting a "good point" in bayonet exercise.  The
+bayonet has to be correctly driven in, left in the enemy for a
+reasonable time, and extracted with a minimum of effort to the
+practitioner and a maximum of damage to the subject.  Disabling the
+enemy in war is a professional and technical matter, and Mr Kipling is
+always able to be enthusiastic when things are beginning to be
+technical.  Whether it be sighting a deserter at seven hundred yards,
+painting a charge of horse, writing what Dr Johnson would describe as
+the "most poetical paragraph in the English language," or building a
+bridge over the Ganges, Mr Kipling is ready to be interested so long as
+the workman is competent, and the work of a highly skilled and special
+nature.  Naturally, therefore, Mr Kipling has succeeded in getting very
+near to the professional view of soldiering.  All Mr Kipling's soldiers
+take their soldiering as men of business.  This was what so terribly
+astonished and interested Cleever when he met the Infant and heard that
+after he had killed a man he had felt thirsty and "wanted a smoke too";
+and Cleever has been followed in his astonishment by many of Mr
+Kipling's literary critics.
+
+The greatest study in literature of the professional soldier--though he
+is infinitely more than that--is Shakespeare's Falstaff.  It will be
+remembered that Falstaff, after having led his men where they were
+finely peppered, also suffered from thirst; and, being an old
+campaigner, he was not unprovided.  The fate of Falstaff upon the
+British stage for many centuries--where he has actually been played,
+not as a professional soldier, but as an incompetent poltroon!--seems
+to indicate that no figure is more liable to be misunderstood than the
+man whose business or duty it is to fight between meals.  Even Mr
+Kipling, in his anxiety to emphasise that a regular soldier, apart from
+any personal and heroic qualities he may happen to possess, is to be
+regarded as just a skilled practitioner whose work asks for courage and
+resource, fails to take soldiering with the magnificent nonchalance of
+Shakespeare's soldiers.  Shakespeare takes the professional view for
+granted.  But Mr Kipling does not quite do that.  There is a
+continuously implicit protest in all Mr Kipling's soldier tales that a
+soldier's killing is like an editor's leader-writing or a painter's
+sketching from the nude--a protest which by its frequent over-emphasis
+shows that Mr Kipling, not having Shakespeare's gift of intuition into
+every kind of man, has not quite succeeded in identifying himself with
+the soldier's point of view.  It is always present in his mind as
+something novel and surprising, needing insistence and emphasis.
+
+This is equally true of all Mr Kipling's essays in brutality.  His
+ferocity is as forced as his tenderness is natural.  Violence and war
+are clearly foreign to his unprompted imagination.  Only it happens
+that Mr Kipling has talked with soldiers; and, like Eustace Cleever, he
+is prompted occasionally to spend a perversely riotous evening in their
+company.  The literary result is far from being contemptible; but it is
+far from being as precious as the result of his unprompted intrusion
+into the country of the Brushwood Boy, into Cold Lairs and the Council
+Rock.
+
+The soldier tales rank not very far above the tales from Simla.  Their
+interest is mainly the interest of watching a skilled writer
+consciously using all his skill to give an air of authenticity to
+things not vitally realised.  Mulvaney is pure convention, and
+Ortheris, though he more individually belongs to Mr Kipling, is rather
+an effort than a success.  We have not yet got at the heart of Mr
+Kipling's work.  It yet remains to cross the barrier which divides some
+of the best journalism of our time from literature which will outlive
+its author.
+
+
+
+
+VI
+
+THE DAY'S WORK
+
+When we come to _The Day's Work_ we are getting very near to Mr Kipling
+at his best.  We should notice at this point that in all the stories we
+have so far surveyed the men have mattered less than the work they do.
+The great majority of Mr Kipling's tales are a song in praise of good
+work.  Almost it seems as if, in the year 1897, their author had
+himself realised the significance of this; for it was in that year he
+published the volume entitled _The Day's Work_; and it was the best
+volume, taking it from cover to cover, that had as yet appeared.
+
+The first and best story in _The Day's Work_ at once introduces the
+theme which threads all the best work of Mr Kipling.  _The
+Bridge-Builders_ is the story of a Bridge and incidentally of the men
+who built it.  The crown has yet to be set upon a long agony of toil
+and disappointment.  The master builder of the Bridge has put the prime
+of his energy and will into its building.  Now it stands all but
+complete, with the Ganges gathering in her upper reaches for a mighty
+effort to throw off her strange fetters.  The Bridge before the night
+of the flood has passed away becomes the symbol of a wrestle between
+the most ancient gods and the young will of man.  Mr Kipling has put
+the Bridge into the foreground of his picture, has made of it the
+really sentient figure of the tale.  Here definitely he writes the
+first chapter of his book of steam and steel; and we begin to be aware
+of an enthusiasm which is lacking in many of the highly finished proofs
+which preceded it that Mr Kipling could write almost anything as well
+as almost anybody else.  In _The Day's Work_ he passes into a province
+which he was insistently urged to occupy by right of inspiration.
+
+_The Day's Work_ brings us directly into touch with one of the most
+distinctive features of Mr Kipling's method.  He has never been able to
+resist the lure of things technical.  If he writes of a horse he must
+write as though he had bred and sold horses all his life.  If he writes
+of a steam-engine he must write as though he had spent his life among
+pistons and cylinders.  He writes of ships and the sea, of fox-hunting,
+of the punishing of Pathans, of drilling by companies and of
+agriculture; and he writes as one from whom no craft could hide its
+mysteries.  This fascination of mere craft, this delight in the
+technicalities and dialect of the world's work, is not a mannerism.  It
+is not a parade of omniscience or the madness of a note-book worm.  It
+is fundamental in Mr Kipling.  It is wrong to think of _Between the
+Devil and the Deep Sea_ or of _.007_ as the unfortunate rioting of an
+amateur machinist.  To those who object that Mr Kipling has spoiled
+these stories with an absurd enthusiasm for bolts and bars it has at
+once to be answered that but for this very enthusiasm for bolts and
+bars, which the undiscerning have found so tedious, the great majority
+of Mr Kipling's stories would never have been written at all.  A
+powerful turbine excites in Mr Kipling precisely the same quality of
+emotion which a comely landscape excited in Wordsworth; and this
+emotion is stamped upon all that he has written in this kind.  There is
+a passage in _Between the Devil and the Deep Sea_ which runs:
+
+
+"What follows is worth consideration.  The forward engine had no more
+work to do.  Its released piston-rod, therefore, drove up fiercely,
+with nothing to check it, and started most of the nuts of the
+cylinder-cover.  It came down again, the full weight of the steam
+behind it, and the foot of the disconnected connecting-rod, useless as
+the leg of a man with a sprained ankle, flung out to the right and
+struck the starboard, or right-hand, cast-iron supporting-column of the
+forward engine, cracking it clean through about six inches above the
+base, and wedging the upper portion outwards three inches towards the
+ship's side.  There the connecting-rod jammed.  Meantime, the after
+engine, being as yet unembarrassed, went on with its work, and in so
+doing brought round at its next revolution the crank of the forward
+engine, which smote the already jammed connecting-rod, bending it and
+therewith the piston-rod cross-head--the big cross-piece that slides up
+and down so smoothly."
+
+
+This is the method of Homer as applied to the shield of Achilles, the
+method of Milton in enumerating the superior fiends, the method of
+Walter Scott confronted with a mountain pass, the method of the
+sonneteer to his mistress' eyebrow.  Mr Kipling's enthusiasm for these
+broken engines would be intolerable if it were not obviously genuine.
+Unless we shut our ears and admit no songs that sing of things as yet
+unfamiliar to the poets of blue sky and violets dim as Cytherea's eyes,
+we cannot possibly mistake the lyrical ecstasy of the above passage.
+When Mr Kipling tells how a released piston-rod drove up fiercely and
+started the nuts of the cylinder-cover, it is an incantation.  His
+machines are more alive than his men and women.  It is more important
+to know about the cast-iron supporting-column of Mr Kipling's forward
+engine than to know that Maisie had long hair and grey eyes, or to know
+what happened to any of the people whom it concerned.  _.007_, which is
+the story of a shining and ambitious young locomotive, is ten times
+more vital--it calls for ten times more fellow-feeling--than the heart
+affairs of Private Learoyd or the distresses of the Copleigh girls at
+Simla.  The pain that shoots through .007 when he first becomes
+acquainted with a hot-box is a more human and recognisable bit of
+consciousness than anything to be shared with the Head of the District
+or the Man Who Was.  The psychology of the Mill Wheel in _Below the
+Mill Dam_ is quite obviously accurate.  That Mill Wheel, unlike scores
+of Mr Kipling's men and women, is a creature we have met, who refuses
+to be forgotten.  When he is dealing with men Mr Kipling celebrates not
+so much mankind as the skill and competency of mankind as severely
+applied to a given and necessary task.  It follows that Mr Kipling's
+men at their best are most excellent machines.  It follows, again, that
+when Mr Kipling drops the pretence that he is deeply concerned with man
+as man, and begins to celebrate with all his might the machine as the
+machine, we realise that his machine is the better man of the two.
+
+The inspiration which Mr Kipling first indulged to its full bent in
+_The Day's Work_ lives on through all the ensuing books.  It reaches a
+climax in _With the Night Mail_, a post-dated vision of the air.  It is
+one of the most remarkable stories he has written--a story produced at
+full pressure of the imagination which, but for its fatal prophesying,
+would keep his memory green for generations.  The detail with which the
+theme is worked out is extravagant; but it is the extravagance of an
+inspired lover.  To quarrel with its technical exuberance on the ground
+that Mr Kipling should have made it less like the vision of an engineer
+is simply to miss almost the main impulse of Mr Kipling's progress.  It
+is true that unless we share Mr Kipling's enthusiasm for The Night Mail
+as a beautiful machine, for the men who governed it as skilled
+mechanicians, and for all the minutiae of the control and distribution
+of traffic by air, we are not likely to be greatly held by the story.
+But this is simply to say that unless we catch the passion of an author
+we may as well shut the author's book.
+
+This does not imply that we must love machinery in order to love Mr
+Kipling's enthusiasm for machinery.  We have to share the author's
+passion; but not necessarily to dote upon its object.  It is not
+essential to an admiration of Shakespeare's sonnets that the admirer
+should have been a suitor of the Dark Lady.  It matters hardly at all
+what is the inspiration of an imaginative author.  So long as he
+succeeds in getting into a highly fervent condition, which prompts him
+to write, with entire forgetfulness of himself and the reader, of
+things whose beauty he was born to see, it is of little moment how he
+happens to be kindled.  We do not need to be suffering the pangs of
+adolescent love, or even to know the story of Fanny Brawne, to hear the
+immortal longing of John Keats sounding between all the lines of the
+great Odes:
+
+  "Bold lover, never, never canst thou kiss,
+  Though winning near the goal--yet do not grieve;
+  She cannot fade, though thou hast not thy bliss,
+  For ever wilt thou love and she be fair."
+
+We do not need to be the enemy of the Arminians to resolve the music of
+Milton; and we may live all our lives in a city and yet know Wordsworth
+for a great poet.  Shelley does not suffer because philosophic anarchy
+has gone out of fashion; and the poetry of the Hebrews lives for ever,
+though its readers have never lived in the shadow of Sinai.  These
+mighty instances are here intended not to establish a comparison but to
+establish a principle.  The exact source of Mr Kipling's inspiration
+matters not a straw.  We simply know that his machinery is alive and
+lovely in his eyes.  He communicates his passion to his reader though
+his readers are unable to distinguish between a piston-rod and a
+cylinder-cover.
+
+_The Day's Work_ throws back a clear and searching light upon some of
+the tales, Indian and political, which we have already passed in
+review.  As we look back upon these stories of men and women we
+realise, in the light of _The Day's Work_, that machinery--the
+machinery of Army and Empire--enters repeatedly as a leading motive.
+Far from regarding Mr Kipling's passion for technical engineering as
+something which gets in the way of his natural genius for telling human
+tales, we are brought finally to realise that many of these human tales
+are no more than an excuse for the indulging of a passion that
+helplessly spins them.  As literature _William the Conqueror_ and _The
+Head of the District_ have less to do with the politics of India than
+with the nuts and bolts of _The Ship That Found Herself_.  The same
+truth applies equally to a book which has been discussed beyond all
+proportion to its rank among the stories of Mr Kipling.  _The Light
+That Failed_ is often read as the high and tragical love story of Dick
+Heldar; but it is really nothing of the kind.  It really belongs to
+_The Day's Work_.  As the love story of Dick Heldar it is of small
+account.  Mr Kipling thinks very little of it from that point of view.
+He has even allowed it, upon that side, to be deprived of all its
+significance in order to meet the needs of a popular actor.  Mr Kipling
+is not the man to sell his conscience.  Therefore his admirers may
+infer from the fact that he has sold Dick and Maisie to British and
+American playgoers that Dick and Maisie are not regarded by their
+author as of the first importance.  We cannot think of Mr Kipling as
+allowing one screw of the ship that found herself to be misplaced.  But
+he has cheerfully allowed his story of Dick and Maisie to be turned
+with a few strokes of the pen into an effective curtain for a
+negligible play.
+
+This does not mean that _The Light That Failed_ is not a characteristic
+and a fine achievement.  It means that its character and fineness have
+nothing to do with Dick and Maisie or with any of that stuff of the
+story which contrives to exist behind the footlights of Sir Johnston
+Forbes Robertson's theatre.  _The Light That Failed_ must not be read
+as the love story of a painter who goes blind.  It must be read, with
+_.007_ and _The Maltese Cat_, as an enthusiastic account of the day's
+work of a newspaper correspondent.  The really vital passages of the
+story have all to do with Mr Kipling's chosen text of work for work's
+sake.  Dick's work and not Dick himself is the hero of the play.  The
+only incident which really affects us is the scraping out of his last
+picture.  We do not bother in the least as to whether Maisie returns to
+him or stays away; because we do not believe in the reality of Maisie
+and we cannot imagine anything she may or may not do as affecting
+anyone very seriously.  Dick's wrestle with his picture is another
+matter.  He and his friends may talk a great deal of nonsense about
+their work (nonsense which would strictly require us to condemn every
+good page which Mr Kipling has written), but there is no doubt whatever
+that the enthusiasm of men for men's work is the vital and moving
+principle of _The Light That Failed_.  The motive of the whole story is
+the motive of _The Bridge-Builders_.  The rest is merely accessory.
+
+_The Light That Failed_ is full of instruction for the close critic of
+Mr Kipling.  We discover in it three out of the many levels of
+excellence in which he moves.  First there is a cunning artificer
+pretending to a knowledge and admiration which he does not really
+possess--an artificer who tries to impose Maisie and the Red-Haired
+Girl upon us in the same deceiving way as the way in which he tried to
+impose upon us Mrs Hawksbee and the Copleigh girls.  Second, there is a
+clever writer of soldier stories, showing us some nasty fighting at
+close range, with a far too elaborate pretence that he can take it all
+for granted as a professional combatant.  Finally there is an inspired
+author celebrating the world's work--an author we have agreed to put in
+a higher rank than those other literary experts who have quite
+unjustifiably stolen his greener laurels.
+
+
+
+
+VII
+
+THE FINER GRAIN
+
+It has been Mr Kipling's habit all through his career to peg out
+literary claims for himself as evidence of his intention later on to
+work them at a profit.  Thus, writing _Plain Tales from the Hills_, he
+includes one or two stories, such as _The Taking of Lungtungpen_ and
+_The Three Musketeers_, which clearly look forward to _Soldiers Three_
+and all the later stories in that kind.  Or, again, he looks forward in
+_Tods' Amendment_ and _Wee Willie Winkie_ to the time when he will
+write many stories, and, in a sense, whole books concerning children.
+_Tods' Amendment_ promises _Baa Baa Black Sheep_, and _Just So
+Stories_; it even promises _Stalky & Co._, which is simply the best
+collection of boisterous boy farces ever written.  Then, again, there
+is _In the Rukh_, out of _Many Inventions_, which looks forward to the
+_Jungle Book_.  Finally, there is, in _The Day's Work_, clear evidence
+of Mr Kipling's intention ultimately to abandon the hills and plains of
+India and to take literary seisin of the country and chronicles of
+England.
+
+The first undoubted evidence that Mr Kipling, who started with skilful
+tales of India, was bound in the end to turn homewards for a deeper
+inspiration is contained in a story from _The Day's Work_.  _My Sunday
+at Home_ is ostensibly broad farce, of the _Brugglesmith_
+variety--farce which might well call for a chapter to itself were it
+not that broad farce is much the same whoever the writer may be.  But
+_My Sunday at Home_ is really less important as farce than as evidence
+of Mr Kipling's enthusiasm for the stillness and ancientry of the
+English wayside.  The pages of this story distil and drip with peace.
+Moreover, the story is neighboured with two others, all beckoning Mr
+Kipling home to Burwash in Sussex.  There is the Brushwood Boy, who
+after work comes home and finds it good--good after his work is done.
+There is also _An Error in the Fourth Dimension_ wherein Mr Kipling is
+found playing affectionately with the idea that England is quite unlike
+any other country.  There is in England a fourth dimension which is
+beyond the perception, say, of an American railway king, who after much
+amazement and wrath concludes that the English are not a modern people
+and thereafter returns to his own more reasonable land.
+
+Of the miscellaneous stories in which Mr Kipling surrenders utterly to
+this later theme perhaps the most memorable is _An Habitation Enforced_
+from _Actions and Reactions_.  Here we are in quite another plane of
+authorship from that in which we have moved in the tales of India.
+There is a wide difference between _The Return of Imray_--to take one
+of the most skilful tales of India--and _An Habitation Enforced_.  _The
+Return of Imray_ betrays the conscious resolution of a clever man of
+letters to make the most effective use of good material.  But _An
+Habitation Enforced_ is the spontaneous gesture of pure feeling.  The
+Indian stories are ingenious and well managed.  Their point is made.
+Their workmanship is excellent.  Atmospheres and impressions are
+cunningly arranged.  But they very rarely succeed in carrying the
+reader as the reader is carried upon this later tide.
+
+The feeling of _An Habitation Enforced_, as of all the English tales,
+is that of the traveller returned.  The value of Mr Kipling's traffics
+and discoveries over the seven seas is less in the record he has made
+of these adventures than in their having enabled him to return to
+England with eyes sharpened by exile, with his senses alert for that
+fourth dimension which does not exist for the stranger.  _An Habitation
+Enforced_ is inspired by the nostalgia of inveterate banishment.  Some
+part of its perfection--it is one of the few perfect short stories in
+the English tongue--is due to the perfect agreement of its form with
+the passion that informs its writing.  It is the story of a homing
+Englishwoman, and of her restoration to the absolute earth of her
+forbears.  In writing of this woman Mr Kipling has only had to recall
+his own joyful adventure in picking up the threads of a life at once
+familiar and mysterious, in meeting again the homely miracle of things
+that never change.  Finally England claims her utterly--her and her
+children and her American husband.  It was an American who bade Cloke,
+man of the soil and acquired retainer of the family, bring down
+larch-poles for a light bridge over the brook; but it was an Englishman
+reclaimed who needs consented to Cloke's amendment:
+
+
+"'But where the deuce are the larch-poles, Cloke?  I told you to have
+them down here ready.'
+
+"'We'll get 'em down _if_ you, say so,' Cloke answered, with a thrust
+of the underlip they both knew.
+
+"'But I did say so.  What on earth have you brought that timber-tug
+here for?  We aren't building a railway bridge.  Why, in America,
+half-a-dozen two-by-four bits would be ample.'
+
+"'I don't know nothin' about that,' said Cloke.  'An' I've nothin' to
+say against larch--_if_ you want to make a temp'ry job of it.  I ain't
+'ere to tell you what isn't so, sir; an' you can't say I ever come
+creepin' up on you, or tryin' to lead you farther in than you set
+out----'
+
+"A year ago George would have danced with impatience.  Now he scraped a
+little mud off his old gaiters with his spud, and waited.
+
+"'All I say is that you can put up larch and make a temp'ry job of it;
+and by the time the young master's married it'll have to be done again.
+Now, I've brought down a couple of as sweet six-by-eight oak timbers as
+we've ever drawed.  You put 'em in an' it's off your mind for good an'
+all.  T'other way--I don't say it ain't right, I'm only just sayin'
+what I think--but t'other way, he'll no sooner be married than we'll
+'ave it _all_ to do again.  You've no call to regard my words, but you
+can't get out of _that_.'
+
+"'No,' said George, after a pause; 'I've been realising that for some
+time.  Make it oak then; we can't get out of it.'"
+
+
+This story is the real beginning of Puck--to whom Mr Kipling's latest
+volumes are addressed.  In _Puck of Pook's Hill_ Mr Kipling takes
+seisin of England in all times--more particularly of that trodden nook
+of England about Pevensey.  This book is less a book of children and
+fairies than an English chronicle.  Dan and Una are the least living of
+Mr Kipling's children--they are as shadowy as the little ghost who
+dropped a kiss upon the palm of the visitor in the mansion of _They_.
+The men, too, who come and go, are shadows.  It is the land which
+abides and is real.  We hum continually a variation of Shakespeare's
+song:
+
+  "This blessed plot, this earth, this realm, this England."
+
+
+_Puck of Pook's Hill_ is a final answer to those who think of the
+Imperial idea as loose and vast, without roots in any dear, particular
+soil.  _Puck of Pool's Hill_ suggests in every page that England could
+never for its lovers be too small.  We would know intimately each place
+where the Roman trod, where Weland came and went, where Saxon and
+Norman lost themselves in a common league.
+
+From this England, fluttered with memories and the most ancient magic,
+it is a natural step into the regions of pure fancy where Mr Kipling is
+happiest of all.  _The Children of the Zodiac_ and _The Brushwood Boy_
+are the earliest proofs that Mr Kipling flies most surely when he is
+least impeded by a human or material document.  We have here to make a
+last protest against a too popular fallacy concerning the tales of Mr
+Kipling.  Mr Kipling's passion for the concrete, which is a passion of
+all truly imaginative men, together with his keen delight in the work
+of the world, has caused him to be falsely regarded as a note-book
+realist of the modern type.  He is assumed to be happiest when writing
+from direct experience without refinement or transmutation.  We cannot
+trace this error to its source and expose the many fallacies it
+contains without going deeper into aesthetics than is here necessary or
+desirable.  The simple fact that Mr Kipling's best stories are those in
+which his fancy is most free is answer enough to those who put him
+among the reporters of things as they are.  It sufficiently excuses us
+from the long and difficult inquiry as to whether Mr Kipling's account
+of the people who live next door is accurate and minute, and allows us
+to assume, without starting a controversy which only a heavy volume
+could determine, that, if Mr Kipling had ever set out to describe the
+people who live next door, he would have simplified them out of all
+recognition.  Mr Kipling has pretended, often with some success, that
+his people are really to be met with in the Royal Navy or in the Indian
+Civil Service.  But let the reader consider for a moment whom they
+remember best.  Is it Mowgli or is it someone who is a C.I.E.?  Is it
+the Elephant Child, or is it Mr Grish Chunder De?  When does Mr Kipling
+more successfully convey to us the impression that his people are alive
+and real?  Is it when he is supposed to be drawing men from the life,
+or is it when he has set free his imagination to call up the People of
+the Hills or the folk in the Jungle?
+
+The grain of Mr Kipling's work is the finer, his vision is more
+confident and clear, the further he gets from the world immediately
+about him.  Already we have seen how happily in India he left behind
+his impression of the alert tourist, his experience of the mess-room
+and bazaar, to enshrine in his fairy tale of _Kim_ the faith and
+simplicity of two of the children of the world--each, the old and the
+young, a child after his own fashion.  _Kim_ is Mr Kipling's escape
+from the India which is traversed by the railway and served by the
+"Pioneer."  It is the escape of Dan and Una into the Kingdom of Puck,
+and the escape of Mowgli into the Jungle.  It is the escape, finally,
+of Mr Kipling's genius into the region where it most freely breathes.
+
+We have noted that Kim is one of the Indian doors by which we enter;
+but there is a more open door in the first story of _The Second Jungle
+Book_.  It is the best of all Mr Kipling's stories, just as the _Jungle
+Books_ are the best of all his books.  It concerns the Indian, Purun
+Bhagat.
+
+He was learned, supple, and deeply intimate in the affairs of the
+world.  He had shared the counsels of princes; he had been received
+with honour in the clubs and societies of Europe.  He was, to all
+appearances, a polite blend of all the talents of East and West.  Then
+suddenly Purun Bhagat disappeared.  All India understood; but of all
+Western people only Mr Kipling was able to follow where he walked as a
+holy man and a beggar into the hills.  There he became St Francis of
+the Hills, living in a little shrine with the friendly creatures of the
+woods, venerated and cared for by a village on the hillside.
+
+All Mr Kipling's readers know how that story ends--how on a night of
+disaster there came together as of one blood the saint and his people
+and the wild creatures who had housed with him.  It is quoted here as
+showing how the old piety of India beckoned Mr Kipling into the jungle
+as inevitably as the old loyalty of England beckoned him into a region
+where on a summer day we can meet without surprise a Flint Man or a
+Centurion of Rome.
+
+Always the bent of Mr Kipling, in his best work, is found to be away
+from the world.  To appreciate his finer quality we must pass with him
+into the Rukh, or into the country beyond Policeman Day, into the
+mansion of lost children, or into a region where it is but a step from
+the Zodiac to fields under the plough.  The tales of Mr Kipling which
+will longest survive him are not the tales where he is competently
+brutal and omniscient, but the tales where he instinctively flies from
+the necessity of giving to his vision the likeness of the modern world.
+
+We may now realise more clearly the peril which lies in the popular
+fallacy concerning Mr Kipling described in the first few pages of this
+book.  So far is Mr Kipling from being an author inspired and driven to
+claim a share in the active life of the present, an author who unloads
+upon us a store of memories and experience, that he is only able to do
+his finest work as an unchecked and fantastic dreamer.  The stories in
+which he imposes upon his readers the illusion that he would never have
+written books if he had stayed at home, that his stories are the
+carelessly flung reminiscences of a full life--these stories are
+themselves instances of the skill whereby a cunning author has been
+able to conceal from his generation the deep difference between
+artifice and inspiration.  A crafty author will often employ his best
+phrases to describe the thing he has never really seen with the eye of
+genius.  His manner will be most assured where his matter is the least
+authentic.  His points will be most effectively made where there is the
+least necessity to make them.  Mr Kipling, writing as a soldier, is
+more a soldier than any soldier who ever lived.  Thereby the discerning
+reader will infer that Mr Kipling was not born to write as a soldier.
+He will know that Mr Kipling is not profoundly and instinctively an
+atavistic prophet, because his atavism is more atavistic than the
+atavism of the first man who ever was born.  He will also realise that
+Mr Kipling writes so effectively about India because he ought to be
+writing about England and Fairyland and the Jungle.  He will realise,
+in short, that Mr Kipling is an imaginative man of letters who has
+wonderful visions when he stays at home, and who needs all his craft as
+an expert literary artificer to persuade his readers that these visions
+are not seriously impaired when he ventures abroad.
+
+
+
+
+VIII
+
+THE POEMS
+
+Only the briefest epilogue is necessary concerning Mr Kipling's poetry.
+We have concluded as to his prose stories that his best work is in the
+pure fancy of _The Jungle Book_, and that we descend thence through his
+English tales and his celebration of the work of the world to clever
+stories of India and _Soldiers Three_.  Upon each of these levels we
+meet with verse in the same kind, concerning which it may at once be
+said that at all times, except where the rule is proved by the
+exception, Mr Kipling's verse is less urgently inspired than his prose.
+The true motive which drives a poet into verse is the perception of a
+quality in the thing he has to say which requires for its delivery the
+beat and lift of a rhythm which crosses and penetrates the rhythm of
+sense and logic.  This is true even of the poetry which seems, at
+first, to contradict it.  Pope's _Essay on Man_, for example, which at
+first seems no more than a neater prose than the prose of Addison, is
+really not prose at all.  In addition to the cool sense of what appears
+to be no more than a pentametric arrangement of common-places there is
+a rhythm which admirably conveys, independently of what is being
+actually said, the gentle perambulating of the eighteenth-century
+philosopher in the garden which Candide retired to cultivate in the
+best of all possible worlds.  In all poetry there must be a manifest
+reason why prose would not have served the author's purpose equally
+well.
+
+Can we say this of Mr Kipling's poetry?  Is Mr Kipling's poetry the
+result of an urgent need for a metrical utterance?
+
+A careful reading of Mr Kipling's verse, comparing it subject for
+subject with his prose, soon convinces us that, far from being a more
+direct passionate and living utterance than his prose, it is invariably
+more wrought and careful and elaborate.  It does not suggest the poet
+driven into song.  It suggests rather the skilful writer borrowing the
+manner of a poet, playing, as it were, with the poet's tools, without
+any urgent impulse to express himself in that particular way.  He has
+merely added to the number of rules to be successfully observed.  Of
+his technical success there is seldom any doubt at all.  For a
+craftsman who can use all the intricate resources of good prose
+successfully to create an illusion that he is inspired in his least
+abandoned moments, it is child's play to use the more obvious devices
+of the metrician to similar effect.  So far as mere formal excellence
+is concerned, verse is a journeyman's matter as compared with prose;
+and it is not at all astonishing to find that the formal part of poetry
+troubles Mr Kipling not at all.  But we must look beyond the formality
+of verse to find a poet.  Poetry flies higher than prose only when the
+poet's feeling has driven him to sing what he cannot say.  Mr Kipling
+is a wonderful metrician; but that is not the question.  The question
+is, Where shall we find the most immediate union of the author's
+feeling with the author's expression?  And the answer to that will be,
+Not in the author's poems.
+
+Take as an example the English motive:
+
+  "See you our little mill that clacks,
+    So busy by the brook?
+  She has ground her corn and paid her tax
+    Ever since Domesday Book."
+
+Compare this well-wrought stanza with the prose tale _Below the Mill
+Dam_, or with the passage it paraphrases in the story to which it
+stands as motto:
+
+"The English are a bold people.  His Saxons would laugh and jest with
+Hugh, and Hugh with them, and--this was marvellous to me--if even the
+meanest of them said such and such a thing was the Custom of the Manor,
+then straightway would Hugh and such old men of the Manor as might be
+near forsake everything else to debate the matter--I have seen them
+stop the mill with the corn half ground--and if the custom or usage
+were proven to be as it was said, why, that was the end of it, even
+though it were flat against Hugh, his wish and command."
+
+
+It may be said of the verse that, possibly, it is more carefully
+considered than the prose, more deliberate and formally more excellent.
+But it is certainly more remote from the passion it conveys.  There is
+more drive in a single fragment of_ An Habitation Enforced_ than in all
+the songs of Puck.
+
+Similarly let us take another of Mr Kipling's themes--his delight in
+the world's work.  Think first of _The Bridge-Builders_ and of _William
+the Conqueror_ and then turn to _The Bell Buoy_ (_Five Nations_) or
+_The White Man's Burden_ (_Five Nations_).  In each case--and we repeat
+the result every time the experiment is made--we find that the author's
+motive, which lives in his prose, tends in his verse to expire.  In
+_The White Man's Burden_ it expires outright, so that reading it, it is
+difficult to realise that _William the Conqueror_ has had the power so
+deeply to move us.
+
+This is true even where Mr Kipling's subject, which in prose has not
+taken him to the top of his achievement, has in verse taken him as high
+as in verse he is able to go.  Mr Kipling's best verse is contained in
+_Barrack Room Ballads_; but even these do not compare in merit with
+_Soldiers Three_.  _Barrack Room Ballads_ are the best of Mr Kipling's
+poetry, because in these poems rhyme and beat are essential to their
+inspiration.  They are the exception which prove the rule that normally
+Mr Kipling has no right to his metre.  _Barrack Room Ballads_ are
+robust and vivid songs of the camp, choruses which require no music to
+enable them to serve the purpose of any gathering where the first idea
+is that there should be a cheerful noise.  Complete success in this
+kind only required Mr Kipling to fill in the skeleton of a metre which
+brings the right words at the right moment to the tip of the galloping
+tongue, and this he has admirably done.
+
+Where in _Barrack Room Ballads_ Mr Kipling has attempted to do more
+than fill up the feet of an irresponsible line, his verse only succeeds
+in defining the weakness, in a corresponding kind, of his prose.  We
+have seen that one weakness of his soldier tales is their over emphasis
+of the brutal aspect of war, natural in an author of sensitive
+imagination attempting to identify himself with the soldier's point of
+view.  In the prose tales this exaggeration is only occasional.  In
+_Barrack Room Ballads_ it is more pronounced.
+
+We may take three stanzas of _Snarleyow_ as evidence that Mr Kipling's
+_Barrack Room Ballads_, unlike the songs of Puck and the greater mass
+of his verse, _really had to be metrical_; also as evidence that, in so
+far as they attempt to be more than a galloping chorus in dialect they
+are less admirable than the adventures of Ortheris and Mulvaney.  The
+Battery was charging into action and the Driver had just been saying
+that a Battery was hard to pull up when it was taking the field:
+
+  "'E 'adn't 'ardly spoke the word, before a droppin' shell
+  A little right the battery an' between the sections fell;
+  An' when the smoke 'ad cleared away, before the limber wheels,
+  There lay the Driver's Brother with 'is 'ead between 'is 'eels.
+
+  "Then sez the Driver's Brother, an' 'is words was very plain,
+  'For Gawd's own sake get over me, an' put me out o' pain.'
+  They saw 'is wounds was mortial, an' they judged that it was best,
+  So they took an' drove the limber straight across 'is back an' chest.
+
+  "The Driver 'e give nothin' 'cept a little coughin' grunt,
+  But 'e swung 'is 'orses 'andsome when it came to 'Action Front!'
+  An' if one wheel was juicy, you may lay your Monday head
+  'Twas juicier for the niggers when the case began to spread."
+
+The brutality in this incident is forced in idea and expression beyond
+anything we find in _Soldiers Three_.  It is this continuous _forcing_
+of idea and expression which persists in virtually all Mr Kipling's
+verse except where the jingle is all that matters.  We have only to
+recall recitations from the platform or before the curtain of some of
+Mr Kipling's popular poetry to realise, sometimes a little painfully,
+that verse is for him not a threshold of the authentic Hall of Song,
+but, too often, a door out of reality into the sentimental and
+overwrought.
+
+Comparing the soldier tales and the soldier songs it is often possible,
+however, to miss the author's flagging, because, as we have seen, the
+soldier songs are the best songs, whereas the soldier tales are not the
+best tales.  The full extent of the inferiority of Mr Kipling's verse
+to Mr Kipling's prose cannot, however, be missed if we compare the
+finer grain of Mr Kipling's prose with the poems that deal with similar
+themes.  Read first _The Story of Ung_ (_The Seven Seas_) and
+afterwards the tale of the Flint Man found upon the Downs by Dan and
+Una (_Rewards and Fairies_).  Or, to take an even more telling
+instance, recall the most perfect of all Mr Kipling's tales _The
+Miracle of Purun Bhagat_, and afterwards read the poem that is proudly
+set at the head of it:
+
+  "The night we felt the earth would move
+    We stole and plucked him by the hand,
+  Because we loved him with the love
+    That knows but cannot understand.
+
+  "And when the roaring hillside broke,
+    And all our world fell down in rain,
+  We saved him, we the Little Folk;
+    But lo! he does not come again!
+
+  "Mourn now, we saved him for the sake
+    Of such poor love as wild ones may.
+  Mourn ye!  Our brother will not wake,
+    And his own kind drive us away!"
+          --_Dirge of the Langurs._
+
+The poem is excellent cold craft, but leaves us precisely in the state
+of mind in which it found us.  The story which follows it is rooted in
+the same idea; but, where the one is a literary exercise, the other is
+a supreme feat of imagination.
+
+Here, with _The Miracle of Purun Bhagat_, the story itself and not the
+dirge of the Langurs, we may conveniently leave the reputation of our
+author.  Critics of a future generation may need to apologise for
+including within the limits of a brief monograph a specific chapter
+upon Mr Kipling's verse.  They will not need to apologise for its
+brevity.
+
+
+
+
+A SHORT BIBLIOGRAPHY OF RUDYARD KIPLING'S PRINCIPAL WRITINGS
+
+[Separate issues of single poems or stories have not generally been
+included in this list.  Dates of first publication of books are given;
+new editions only when they involve revision of text, alteration of
+format or transference to a different publisher.]
+
+Departmental Ditties and Other Verses (_Lahore: The Civil and Military
+Gazette Press_).  1886.  New editions (_London: Thacker_).  1888; 1890;
+1898; (_Newnes_).  1899; (_Methuen_).  1904; 1908; 1913.
+
+Plain Tales from the Hills (_Thacker_).  1888.  New editions
+(_Macmillan_).  1890; 1899; 1907.
+
+Soldiers Three: A Collection of Stories (_Allahabad: Wheeler_).  1888.
+New edition (_London: Sampson Low_).  1890.
+
+The Story of the Gadsbys: a Tale without a Plot (_Allahabad: Wheeler_).
+N.D.  [1888].  New edition (_London: Sampson Low_).  1890.
+
+In Black and White (_Allahabad: Wheeler_).  N.D.  [1888].  New edition
+(_London: Sampson Low_).  1890.
+
+Under the Deodars (_Allahabad: Wheeler_).  N.D.  [1888].  New edition
+(_London: Sampson Low_).  1890.
+
+The Phantom Rickshaw and Other Tales (_Allahabad: Wheeler_).  N.D.
+[1888].  New edition (_London: Sampson Low_).  1890.
+
+Wee Willie Winkie and other Child Stories (_Allahabad: Wheeler_).  N.D.
+[1888].  New edition (_London: Sampson Low_).  1890.
+
+Soldiers Three: The Story of the Gadsbys: In Black and White (_Sampson
+Low_).  1890.  New editions (_Macmillan_).  1895; 1899; 1907.
+
+Wee Willie Winkie: Under the Deodars: The Phantom Rickshaw (_Sampson
+Low_).  1890.  New editions (_Macmillan_).  1895; 1899; 1907.
+
+The City of Dreadful Night and Other Sketches (_Allahabad: Wheeler_).
+1890.  This edition was cancelled.
+
+The Smith Administration (_Allahabad: Wheeler_).  1891.  This edition
+was cancelled.
+
+The City of Dreadful Night and Other Places (_Allahabad: Wheeler_).
+1891.  English edition (_Sampson Low_).  1891.  These were suppressed
+as far as possible.
+
+Letters of Marque (_Allahabad: Wheeler_).  1891.  This edition was
+suppressed.
+
+The Light that Failed (_Macmillan_).  1891.  New editions, 1899; 1907.
+
+Life's Handicap, being Stories of Mine Own People (_Macmillan_).  N.D.
+[1891].  New editions, 1899; 1907.
+
+Barrack Room Ballads and Other Verses (_Methuen_).  1892.  New
+editions, 1908; 1913.
+
+The Naulahka: a Story of West and East.  By Rudyard Kipling and Wolcott
+Balestier (_Heinemann_).  1892.  New editions (_Macmillan_).  1901;
+1908.
+
+Many Inventions (_Macmillan_).  1893.  New editions, 1899; 1907.
+
+The Jungle Book (_Macmillan_).  1894:.  New editions, 1899; 1903; 1907;
+1908.
+
+The Second Jungle Book (_Macmillan_).  1895.  New editions, 1899; 1908.
+
+The Seven Seas (_Methuen_).  1896.  New editions, 1908; 1913.
+
+Soldier Tales (_A selection of stories from earlier volumes_)
+(_Macmillan_).  1896.
+
+The Novels, Tales and Poems of Rudyard Kipling (_Edition de luxe_)
+(_Macmillan_).  1897, etc.  27 volumes have so far been issued.
+
+"Captains Courageous."  A Story of the Grand Banks (_Macmillan_).
+1897.  New editions, 1899; 1907.
+
+An Almanac of Twelve Sports for 1898.  By William Nicholson.  Words by
+Rudyard Kipling (_Heinemann_).  1897.
+
+The Day's Work (_Macmillan_).  1898.  New editions, 1899; 1908.
+
+A Fleet in Being: Notes of Two Trips with the Channel Squadron
+(_Macmillan_).  1898.
+
+Stalky & Co.  (_Macmillan_).  1899.  New edition, 1908.
+
+From Sea to Sea (_Macmillan_).  2 volumes.  1900.  New edition, 1908.
+The volumes contain also Letters of Marque, The City of Dreadful Night
+and The Smith Administration.
+
+The Science of Rebellion [Pamphlet] (_Vacher_).  1901.
+
+Kim (_Macmillan_).  1901.  New edition, 1908.
+
+Just-So Stories, for Little Children (_Macmillan_).  1902.  New
+editions, 1903; 1908; 1913.
+
+The Five Nations (_Methuen_).  1903.  New editions, 1908; 1913.
+
+Traffics and Discoveries (_Macmillan_).  1904.  New edition, 1908.
+
+Puck of Pook's Hill (_Macmillan_).  1906.  New edition, 1908.
+
+A Pocket Edition of Mr Kipling's Works was issued during 1907 and 1908,
+the verse by Methuen & Co., the prose by Macmillan & Co.  After 1908
+the works issued by Macmillan & Co. appear simultaneously in the
+ordinary library edition, the pocket edition and the edition de luxe.
+
+Doctors: an Address delivered at the Middlesex Hospital (_Macmillan_).
+1908.
+
+Actions and Reactions (_Macmillan_).  1909.
+
+The Dead King.  [A Poem] (_Hodder & Stoughton_).  1910.
+
+Rewards and Fairies (_Macmillan_).  1910.
+
+A School History of England, By C. R. L. Fletcher and Rudyard Kipling
+(_Clarendon Press_).  1911.
+
+The Collected Verse of Rudyard Kipling (_Hodder & Stoughton_).  1912.
+This edition does not contain the Departmental Ditties nor the Rhymes
+for Nicholson's Almanac.
+
+Simples Contes des Collines (_Nelson_).  1912.
+
+The Bombay Edition of the Works in Verse and Prose of Rudyard Kipling.
+23 volumes (_Macmillan_).  1913-1915.
+
+Songs from Books (_Macmillan_).  1913.
+
+The Service Edition of some of the works of Rudyard Kipling: Verse, 8
+volumes (_Methuen_); prose, 26 volumes (_Macmillan_).  1914-1915.
+
+The New Army in Training (_Macmillan_).  1915.
+
+
+
+
+AMERICAN BIBLIOGRAPHY
+
+[Some of Mr Kipling's earlier stories and poems, as well as certain
+later poems that are non-copyright in America, have been issued in an
+almost bewildering variety of arrangement and by many different
+publishers.  Full enumeration of these variants is not attempted in
+this bibliography.]
+
+Plain Tales from the Hills (_Lovell_).  N.D.  [1890].  (_Macmillan_).
+1890.
+
+The Story of the Gadsbys (_Lovell_).  1890.  (_Munro_).  1890.
+
+The Courting of Dinah Shadd and Other Stories (_Harper_).  1890.
+
+Indian Tales (_Lovell_).  1890.
+
+The Phantom Rickshaw and Other Tales (_U.S. Book Co._).  N.D. [1890].
+(_Rand, M'Nally & Co._).  1890.
+
+Soldiers Three and Other Stories (_Munro_).  N.D.  [1890].
+
+American Notes, by Rudyard Kipling, and The Bottle Imp, by Robert Louis
+Stevenson (_Ivers_).  1891.  New edition (_Brown_).  1899.
+
+Mine Own People: with Introduction by Henry James (_Munro_).  N.D.
+[1891].  (_U.S. Book Co._).  1891.
+
+Under the Deodars (_U.S. Book Co._).  1891.
+
+The Story of the Gadsbys; Under the Deodars (_U.S. Book Co._).  1891.
+
+Wee Willie Winkie and Other Stories (_Rand_).  1891.
+
+The Light that Failed (_Rand_).  1891.  (_Munro_).  N.D.  [1891].
+(_U.S. Book Co._).  1891.
+
+Life's Handicap, being Stories of Mine Own People (_Macmillan_).  1891.
+
+Ballads and Barrack Room Ballads (_Macmillan_).  1892.  New edition,
+1893.
+
+Barrack Room Ballads and Other Verses (_U. S. Book Co._).  N.D.  [1892].
+
+The Naulahka: a Story of West and East.  By Rudyard Kipling and Wolcott
+Balestier.  (_Rand_).  1892.  New edition (_Macmillan_).  1895.
+
+Many Inventions (_Appleton_).  1893.
+
+The Jungle Book (_Century Co._).  1894.
+
+Prose Tales.  New uniform edition.  6 volumes (_Macmillan_).  1895.
+
+Out of India: Things I saw and failed to see, in certain days and
+nights at Jeypore and elsewhere (_Dillingham_).  1895.  [Included in
+From Sea to Sea, 1899, under the title, Letters of Marque.]
+
+The Second Jungle Book (_Century Co._).  1895.
+
+The Seven Seas (_Appleton_).  1896.
+
+Soldier Stories (_Macmillan_).  1896.
+
+The "Outward Bound" Edition of Rudyard Kipling's Works (_Scribner_).
+1897, etc.
+
+"Captains Courageous."  A Story of the Grand Banks (_Century Co._).
+1897.
+
+An Almanac of Twelve Sports.  By William Nicholson.  Words by Rudyard
+Kipling (_Russell_).  1897.
+
+Collectanea: Reprinted Verses (_Mansfield_).  1898.  [Contains: The
+Explanation, Mandalay, Recessional, The Rhyme of the Three Captains,
+The Vampire.]
+
+The Day's Work (_Doubleday_).  1898.
+
+The City of Dreadful Night (_Grosset_).  1899.
+
+Letters of Marque (_Caldwell_).  1899.
+
+From Sea to Sea: Letters of Travel (_Doubleday_).  1899.
+
+Departmental Ditties and Ballads and Barrack Room Ballads
+(_Doubleday_).  1899.  [The first authorised American edition.]
+
+Stalky & Co. (_Doubleday_).  1899.
+
+Kim (_Doubleday_).  1901.
+
+Just-So Stories for Little Children (_Doubleday_).  1902.
+
+The Five Nations (_Doubleday_).  1903.
+
+Traffics and Discoveries (_Doubleday_).  1904.
+
+Puck of Pook's Hill (_Doubleday_).  1906.
+
+Collected Verse (_Doubleday_).  1907.
+
+Actions and Reactions (_Doubleday_).  1909.
+
+Abaft the Funnel (_Dodge_).  1909.
+
+Rewards and Fairies (_Doubleday_).  1910.
+
+Songs from Books (_Doubleday_).  1912.
+
+A School History of England.  By C. R. L. Fletcher and Rudyard Kipling
+(_Oxford University Press_).  1912.
+
+The Seven Seas Edition of the Works in Verse and Prose of Rudyard
+Kipling (_Doubleday_).  23 volumes.  1913.
+
+
+
+
+  INDEX
+
+  _Baa Baa Black Sheep_, 91
+  Barker, Granville, 16
+  _Barrack Room Ballads_, 110, 111
+  _Bell Buoy, The_, 109
+  _Below the Mill Dam_, 82, 108
+  _Between the Devil and the Deep Sea_, 79, 80
+  _Beyond the Pole_, 60
+  Birth, 14
+  _Bridge-Builders, The_, 77, 89, 109
+  _Brugglesmith_, 92
+  _Brushwood Boy, The_, 98
+  Brutality, 113
+
+  _Candide_, 106
+  _Children of the Zodiac, The_, 98
+  "Civil and Military Gazette, The," 14
+  Cleever, 7-10, 73
+  Cloke, 95
+
+  _Day's Work, The_, 23, 46, 77, 86, 87, 92
+
+  _End of the Passage, The_, 60
+  England, feeling for, 93, 97
+  _Error in the Fourth Dimension, An_, 93
+
+  Falstaff, 74
+
+  _Habitation Enforced, An_, 93, 94, 109
+  Hardy, Thomas, 16
+  Hawksbee, Mrs, 24, 25, 28
+  Hazlitt, 10
+  _Head of the District, The_, 87
+
+  Imperialism, 97
+  India, influence of, 38, 45
+  Indian Stories--Classification, 19
+  _In the Rukh_, 92
+
+  _Jungle Book, The_, 17, 65, 92
+  _Just-So Stories_, 91
+
+  Keats, John, 85
+  _Kim_, 19, 22, 62-64, 100, 101
+  Kipling, J. Lockwood, 14
+  _Krishna Mulvaney_, 70
+
+  Lahore, 53
+  Learoyd, 66
+  _Life's Handicap_, 47, 53
+  _Light that Failed, The_, 13, 87, 88, 89
+
+  Machinery, 84, 86
+  Maisie, 89
+  _Maltese Cat, The_, 88
+  Malthus, 67
+  _Man Who Would be King, The_, 60
+  _Many Inventions_, 17
+  _Marrying of Anne Leete, The_, 16
+  Metre, 107
+  Milton, 85
+  _Miracle of Purun Bhagat, The_, 114
+  Mowgli, 100
+  Mulvaney, 66, 70
+  _My Lord the Elephant_, 70
+  _My Sunday at Home_, 92
+
+  Nietzsche, 67
+
+  Ortheris, 66, 70
+
+  _Phantom Rickshaw, The_, 29
+  "Pioneer, The," 14
+  _Plain Tales from the Hills_, 15, 17, 24, 29, 46, 60
+  Politics, 33
+  Pope, 106
+  _Puck of Pook's Hill_, 97, 98
+  Purun Bhagat, 101
+
+  Realism, 98
+  Red-Haired Girl, The, 89
+  _Return of Imray, The_, 61, 93
+
+  _Second Jungle Book, The_, 101
+  Shakespeare, 74
+  Shelley, 85
+  _Ship that Found Herself, The_, 87
+  Simla, 24, 26
+  Simplicity, 46, 47
+  _Snarleyow_, 111
+  _Soldiers Three_, 110
+  _Stalky & Co._, 91
+  Sussex, 92
+
+  _Taking of Lungtungpen, The_, 91
+  Technical enthusiasm, 79
+  _They_, 97
+  _Three Musketeers, The_, 91
+  _Tods' Amendment_, 41, 91
+  Trajego, 59
+
+  Verse and Prose, 107, 111
+
+  War, 68
+  _Wee Willie Winkie_, 91
+  _White Man's Burden, The_, 109, 110
+  _William the Conqueror_, 47, 60, 86, 109
+  _With the Night Mail_, 83
+  Wordsworth, 85
+
+  _.007_, 79, 82, 88
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK RUDYARD KIPLING***
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