Critics seem to differ widely in their opinion about the Puck-stories and what role they should play in regard of Kipling’s total work. Hinchcliffe (1989: 157) states that Puck of Pook’s Hill clearly is among the ‘neglected books’, and that its stories were neither liked by ‘children, for whom they were ostensibly written’, nor by adults, who seem to prefer ‘the more obviously adult stories’. Other critics, on the other hand (Henn 1967: 41 and Birkenhead 1978: 247), believe the book to be one of his most popular collections, equally and unquestionably loved by children and grown-ups for their humour and their liveliness in narration.
Indeed, when Puck of Pook’s Hill was published for the first time, the audience’s response seems to have been rather restrained. Readers and critics probably felt unsure of how these stories were to be taken and for which audience they were actually intended. From a present point of view and with regard to Kipling’s work it seems clear that to treat the Puck-stories simply as a collection of fairytales for children, which for many years has been the case, does not seem appropriate. Already in Something of Myself Kipling himself declared wittily, if not dramatically that ‘the tales had to be read by children, before people realised that they were meant for grown-ups’ (190). This hint, given by the author himself, does certainly confirm our hunch that there is and that there must be more to the stories than what seems apparent at a superficial first reading.
A closer look at the stories in Puck of Pook’s Hill reveals that despite fairly straight-forward, accessible language and story plots which can easily be followed by the reader or the audience, Kipling actually created some of the most wonderfully complex and artistically rich stories, by ‘working’, as he himself called it, ‘the material in three or four overlaid tints and textures, which might or might not reveal themselves according to the shifting light of sex, youth and experience’ (Something of Myself: 190).
Table of Contents
A) Introduction
B) The Narrative Frame
C) Historical Facts and Literary Output
D) Empire and Empire-analogue
E) The Roman Empire and its Mythological Context
F) A Bunch of Heroes: Parnesius, Pertinax, Maximus, Allo; Valens
G) The Wall as a Central Image of Empire
H) Conclusion: Last Thoughts about the Analogue
Objectives & Research Themes
This academic paper examines the thematic and structural parallels between the Roman Empire and the British Empire within Rudyard Kipling's select short stories. The core research question explores how Kipling utilizes historical settings, specifically in Roman Britain, to project and critique the concept of Empire, while analyzing his literary techniques in bridging historical narrative with contemporary imperial concerns.
- The role of the narrative frame in "Puck of Pook’s Hill".
- The tension between historical accuracy and literary creative freedom.
- The symbolic function of Hadrian's Wall as a representation of imperial decay.
- Character archetypes and the evolution of the "ideal hero" across the selected stories.
- Kipling’s personal disillusionment and the shift in his portrayal of imperial duty.
Excerpt from the Book
The Wall as a Central Image of Empire
Hadrian’s Wall represents a very impressive image on which Kipling can draw for his stories about Roman Britain. Begun under Hadrian in the second century it represents what is commonly believed the northern border of the Roman Empire for most of its presence in Britain. Parnesius refers to the impressive monument simply as ‘the Wall’ and also the second story pays tribute to its magnitude by simply being called ‘On the Great Wall’.
Parnesius’ fascination becomes evident when we follow him and his legion on their march North towards Hadrian’s Wall. Suddenly, a very different Roman Empire becomes apparent. Gone are the Roman houses and public baths, and even nature which appears increasingly unspoilt and rough seems to bear witness of the fact that civilisation and culture have not set foot yet at, what Parnesius simply describes as ‘the world’s end’:
‘Of course, the farther North you go the emptier are the roads. At last you fetch clear of the forests and climb bare hills, where wolves howl in the ruins of our cities that have been. No more pretty girls; no more jolly magistrates who knew your Father when he was young (...) no news at the temples and way-stations except bad news of wild beasts. (...) The houses change from gardened villas to shut forts with watch-towers of grey stone, and great stone-walled sheepfolds, guarded by armed Britons of the North Shore. In the naked hills beyond the naked houses, where the shadows of the clouds play like cavalry charging, you see puffs of black smoke from the mines. (...) Red-hot in summer, freezing in winter, is that big, purple heather country of broken stone.’ (Puck: 131-132)
Summary of Chapters
A) Introduction: Defines the scope of the study, focusing on Kipling’s complex, layered storytelling and the relevance of his Roman-themed tales to his broader literary and imperial vision.
B) The Narrative Frame: Explores how Kipling employs Puck as a bridge between the present and the past to guide readers through historical British settings.
C) Historical Facts and Literary Output: Analyzes the intentional deviations from historical accuracy that Kipling adopts to enhance his literary themes and symbolic representations.
D) Empire and Empire-analogue: Investigates the controversial, debated analogy between the Roman and British Empires as portrayed through the eyes of Kipling’s characters.
E) The Roman Empire and its Mythological Context: Examines the mythical subtext inherent in the Roman stories and how archetypal imagery is utilized to ground the narrative.
F) A Bunch of Heroes: Parnesius, Pertinax, Maximus, Allo; Valens: Discusses the construction of heroism, from traditional soldier-heroes to alternative archetypes like Allo and the martyr-like figure of Valens.
G) The Wall as a Central Image of Empire: Delves into the symbolism of Hadrian's Wall as a metaphor for the strength, frailty, and inevitable decline of an imperial power.
H) Conclusion: Last Thoughts about the Analogue: Summarizes the study’s findings, suggesting that while the analogy is present, the artistic complexity of Kipling’s work transcends a simplistic political interpretation.
Keywords
Rudyard Kipling, Puck of Pook’s Hill, Roman Britain, British Empire, Empire-analogue, Hadrian's Wall, Parnesius, Literary analysis, Historical fiction, Imperialism, Heroism, Narrative framework, Symbolism, Decline of Empire, Mythological context.
Frequently Asked Questions
What is the core focus of this research paper?
The paper explores the literary and symbolic links between the Roman Empire and the British Empire as depicted in Rudyard Kipling's selected stories, particularly those set in Roman Britain.
What are the primary themes discussed in the work?
The themes include the nature of imperial power, the construction of heroic archetypes, the tension between history and fiction, and the symbolic use of borders like Hadrian's Wall.
What is the ultimate goal or research question?
The goal is to determine how Kipling uses these Roman-themed stories as a vehicle to express his views on history, imperial destiny, and the potential decline of the British Empire during his lifetime.
Which methodology is employed in this study?
The paper utilizes a literary analysis approach, integrating socio-historical context to interpret Kipling's stylistic choices and narrative devices within his "Puck-stories".
What does the main body of the text cover?
The main body investigates the narrative structure, the historical vs. literary treatment of events, the character development of figures like Parnesius and Valens, and the symbolism of the "Wall".
Which keywords best characterize the analysis?
The analysis is best characterized by terms such as Empire-analogue, Hadrian's Wall, historical fiction, imperialism, and literary heroism.
How does the author view the "Empire-analogue" suggested by critics?
The author concludes that while historians often reject the validity of this analogy, Kipling successfully uses it on an abstract and symbolic level to reflect his own concerns about the British Empire.
How does the role of the hero evolve in the later story, "The Church that was at Antioch"?
In contrast to the older, battle-hardened heroes of the earlier stories, the hero in "The Church that was at Antioch" represents a more modern, tragic type of heroism linked to religious martyrdom and personal sacrifice.
- Quote paper
- Martin Stepanek (Author), 2000, The British Empire & the Roman Empire analogue in Kipling's short stories, Munich, GRIN Verlag, https://www.grin.com/document/11921
