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• W286950456 abstract "In his introduction to A Choice of Kipling's Verse (1941), T. S. Eliot describes Rudyard Kipling's positive attitude towards British imperialism: He believed British Empire to be a good thing [...] he wished to set before his readers an idea of what it should be [...] He believed that British have a greater aptitude for ruling than other people, and that they include a greater number of kindly, incorruptible and un-self-seeking men capable of administration. (29-30) In his day, Kipling's work won Nobel Prize and earned him a place in Poet's Corner in Westminster Abbey. Yet his support for imperialism makes him unpopular with readers today. Gayatri Chakravorty Spivak, for example, decries his regard for the conquest of India [...] as a historically appropriate (Critique 157). Kipling, however, was neither blind nor insensitive to horrors of British presence in India. George Orwell, who calls him a jingo-imperialist (271), and describes his work as morally insensitive and aesthetically disgusting, nevertheless concedes few people who have criticized England from inside have said bitterer things about her than this gutter patriot (275). For example, Kipling's famous poem, White Man's Burden (1899), coins phrase that to this day codifies a colonial mentality. At same time, however, his famous lines, the blame of those ye better,/ The hate of those ye guard (Rudyard Kipling's Verse 321), can be taken as an implicit critique of colonialism, as poem articulates a cankered, cranky perspective on now-proverbial silent, sullen natives, half-devil and half-child. Representing view of someone who would consider insurgency a form of ingratitude, and revealing this view unvarnished, in manner of Robert Browning, Kipling leaves reader to draw his or her own conclusions. Kipling's treatment of Conquest, a subject to which he returns throughout his career, reveals hidden depths of anxiety and irony in his attitude to empire. The Conquest provided England with a model of cultural imperialism. It was celebrated, retrospectively, as a cultural boon, with Normans bequeathing their rich literary and artistic heritage to English. Kipling regarded Conquest as a major event in history of translatio imperii et studii: where once English were conquered, now they conquer; where once English were educated, now they educate. Yet even as it constitutes a historical precedent for English colonial imaginings, Conquest undermines legitimacy of English imperial self-fashioning. Recalling a time when English were themselves conquered, Conquest complicates and limits English claims to racial superiority and cultural purity. Moreover, from seventeenth century on, idea of resisting legacy of Conquest was a key element of English national identity. The longstanding English fantasy of rejecting Norman Yoke produces image of plain-speaking, plain-dealing English pluck and courage that contests effete tyranny of Normans. (1) Within setting of colonial India, Kipling's stories lionize stereo typically English virtues that were originally established in dialogue with persistent presence of Frenchness in England: as Kingsley Amis puts it, there is one type, usually a subaltern, who keeps coming up in stories: brave, modest and artless (53). As a mouthpiece for British imperialism, Kipling identifies with Conquerors. At same time, however, he pursues Whig historical myth of Anglo-Saxon masculinity that was formulated as a means of opposing this legacy. The profound English ambivalence towards presence, sometimes eulogized, and at other times lamented, ensured that Kipling's attitudes toward colonialism were far from straightforward, even contradictory. …" @default.
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• W286950456 date "2008-07-01" @default.
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• W286950456 title "Kipling's Kim and the Norman Conquest" @default.
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