Kipling Considered by Phillip Mallett

By Phillip Mallett

Those essays try and light up the strength and personality of Rudyard Kipling and to discover the diversity and complexity of his paintings. It seems on the means during which he used to be referred to as a spokesman of Empire, celebrating motion and durability, and in addition at his personal exploration of his craft.

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15. Beresford, Schooldays with Kipling, p. 60. 16. Martin Green, The English Novel in the Twentieth Century: The Doom of Empire (London, 1984) p. 42. 17. ), Kipling: The Critical Heritage, p. 307. 18. Beresford, Schooldays with Kipling, p. 301. 3 Kim and Orientalism PATRICK WILLIAMS It might appear modish to be writing on Kim and Orientalism so soon after the publication of a book on the subject of 'Kipling and "Orientalism" ' 1 but this essay is in some respects born of a double dissatisfaction with that book: first, because although the author confines himself to Kipling's Indian material, Kim receives very little consideration, and secondly, because in spite of the fact that the concept of Orientalism as elaborated by Edward Said2 does have its problems, Moore-Gilbert's treatment of it is unnecessarily reductive.

Another reason for continuing to scrutinise works such as Kim is that, although clearly neither Kipling the author nor the range of positions offered by his texts is reducible to the merely imperalist, it is nevertheless important to achieve as precise a notion as possible of the ways in which the texts were involved in the process of the Empire. As Said reminds us, texts may have very substantial material effects, be they social, political or economic, and nowhere, one might argue, is this more the case than within imperialism.

17) Stalky & Co. is a provocative book, in the older sense of that adjective. It provoked Robert Buchanan to his famous 'Voice of the Hooligan' essay, and it has continued to provoke Kipling's detractors and to embarrass his admirers ever since. A work (within its limits) too powerful and original to be happily classified with the bad Kipling, it has recently tended to figure as the not-quiteacceptable face against which the good Kipling has been defined. ', 1 compares its vision of imperial destiny unfavourably with the more sophisticated myth-making of Pamesius' tale in Puck of Pook's Hill, and few readers, I imagine, would want to quarrel much with that valuation.

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