Titlebook: Kipling’s Myths of Love and Death; Nora Crook Book 1989 Nora Crook 1989 death.love.myths

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Nora Crookas innocent of Hindu philosophy and had not even read the . until persuaded to do so in England by two theosophists. It was only when he went to South Africa that he began to take serious intellectual interest in Hinduism. As he admitted to a lay preacher, ‘I am a Hindu by birth. And yet I do not ha

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Nora Crookd that this seductive but suicidal trap had to be scrupulously avoided. Colonial experience highlighted two fundamental features of the colony. First, the very fact that it had fallen prey to foreign rule indicated that it had become degenerate and left something to be desired. Second, the fact that

coagulation

Nora Crookves from several interrelated sources of which three are most important.. First, since Western political philosophy had the unique advantage of having been practised more or less continuously for over two and a half millennia by some of the most talented men, it has developed unparalleled analytical

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tial tenets of Hinduism he presented there were basically those of Advaita Vedanta: . exists, the . exists, and for the . it is possible to achieve ., the deliverance from the cycle of transmigration leading to the absorption into that absolute .. He also told his audience that Hindus believed that

犬儒主義者

,The Significance of the Sahiba’s Forefinger,ntroduced to Kim as a voice behind the embroidered curtain of a travelling bullock-cart. All that can be seen of her is a ‘skinny brown finger heavy with rings’. This finger reappears later on in the book: ‘“Oh, villain and shameless rogue!” The jewelled forefinger shook itself at him reprovingly’ a

騷動(dòng)

Aunt Judy, Ruskin, Carlyle,ical ‘realistic’ moral tales such as those of Mrs Sherwood. While these were still a powerful force, there were countercurrents. What was later to harden into an early-twentieth-century orthodoxy, the view that fairytale, folklore, legend and myth not only could but should form the basis of early mo

Conclave

Pigs, Serpents, Cannibals, Bats and Bees, in Chapters 4–7. To give just a few instances: ‘Pig’ is a ‘metagrobolisation’ of the hunting-of-the-beast-in-man theme to be found in Swinburne’s .; ‘A Matter of Fact’, like ‘Mary Postgate’, calls into question the status of ‘fact’ and is about the ‘a(chǎn)wful orderliness of England’; ‘A Deal in Cotton’

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上下倒置

Kipling and Dante (II): Home and Friends, and reflects confusions within his culture. Tension was inherent in a society which strove to maintain polarised definitions of true manliness and womanliness at the same time as the behaviour upon which these are based was changing rapidly. George Meredith’s lecture ‘The Idea of Comedy’ (1877) arg

WAX

,Kipling and Swinburne: ‘A Madonna of the Trenches’,o epitomise a Pre-Raphaelite ghost compounded of the brilliant generation of 1850s Oxford poets — Morris, Rossetti and Swinburne, each of whom produced some variant of a re-created medieval world. ‘Morburnetti’ appears in Kipling’s early work as a triune poetic model. Louis Cornell was the first to