Complete Works of Rudyard Kipling (Illustrated) (1289 page)

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: