Titlebook: Kipling Considered; Phillip Mallett (Lecturer in English) Book 1989 Palgrave Macmillan, a division of Macmillan Publishers Limited 1989 fi

Stagger

不能和解

脫毛

AXIS

彎曲道理

Plain Tales?,mart, with nothing in them to prefigure the formal and emotional strengths of . (1892). Kipling’s own account of them is revealingly inconsistent. In his posthumously published memoir, ., he recalled . as ‘newspaper verses on Anglo-Indian life … which, dealing with things known and suffered by many

BORE

: Revising the Code,inued 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-quite-acceptable face against which the good Kipling has been defined. Thus

鐵砧

and Orientalism,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, . receives very little consideration, and secondly, because in spite of the fact that the concept of Orientalism as elaborated by Edward S

到婚嫁年齡

,Kipling’s England: the Edwardian Years,t probably seems — like much of what he wrote about England and the English during the Edwardian years — a balance rather than a completion, a withdrawal from Imperialistic concerns. In a recent survey of the literature of the period, John Batchelor speaks of the ‘division’ between an ‘a(chǎn)ggressive 18

Commonplace

,‘Mrs Bathurst’: Indeterminacy in Modern Narrative,amiliar and traditional kind of story-telling discourse, in which a lucid, literary, and reassuringly ‘normal’ authorial narration frames and judges the colourful speech of characters who belong to distinct and recognisable social and ethnic types. This impression is, however, misleading. It is true

misshapen

Limits and Renewals: the Meaning of Form in the Stories of Rudyard Kipling,y organising factor, the latter to those in which character or mood predominates), it is clear that Kipling’s stories fall into the first category. His are the archetypal ‘short stories’ in English: he came on the scene when the well-plotted tale was at its peak of popularity and was being industrio