Joseph Rudyard Kipling Biography And Life Story
In this article you can find Joseph Rudyard Kipling Biography And Life Story… Joseph Rudyard Kipling was bon on December 30, 1865, in Bombay, India, the first child of sculptor John Lockwood Kipling and nis wife Alice. The couple had moved to India the previous spring, following John Kipling’s appointment to a teaching position at an art school. From the beginning the boy was known as “Rudyard” or “Ruddy”; the name commemorated Lake Rudyard, the place in England where his parents met. His mother first took him to England when he was two and a half years old, there to await the birth of her second child, Kipling’s sister Alice. (The younger Alice was called “Trix” so as to avoid confusion.) Mrs. Kipling came back with her children to India, where they remained for the next three years.
In 1871, the entire family returned to England, and in December of that year, Kipling and his sister were sent away to Lome Lodge, a foster home that doubled as a boarding school. It was common practice among middle-class British families at the time to send their children away to be educated.
House of Desolation
Apparently, the next six years of Kipling’s life were his most unhappy; Kipling’s parents and their native servants back in Bombay had spoiled him, and “Auntie Rosa” Holloway —the mistress of Lome Lodge —was no Indian memsahib who would give in to his whims. She had little tolerance for Kipling’s temper tantrums, and she tended to treat him tyrannically. (Though not nearly so badly as Kipling would later attest; in his short story “Baa, Baa, Black Sheep” the antagonist has the same name as Auntie Rosa, and Kipling describes her persecution of him in angry—but not entirely objective —detail. He referred to the fictionalized Lome Lodge as the “House of Desolation.”)
Joseph Rudyard Kipling With Auntie Rosa J. C. Campbell
Kipling’s mother removed him and his sister from Auntie Rosa’s care in 1877, and the following year he was sent to the United Services College, a prep school in the north-DeVon seaside resort Westward Ho! At first it seemed to Kipling as if he had gone from bad to worse: Kipling was one of several boys who were treated badly by the school’s chaplain, a man named J. C. Campbell.
Campbell could have been a villain out of Charles Dickens; he was, according to Kipling’s biographer, Lord Birkenhead, a man “like so many of his kind who combined emotional sentimentality with a keen enjoyment in the infliction of corporal punishment.” Fortunately, Campbell left the college after the end of Kipling’s first year, and things improved, though only a little; his memories of Westward Ho!, fictionalized in his novel Stalky & Co. (published in 1899), are primarily grim, recalling the bullying he suffered at the hands of some older students.
What is most important about Kipling’s prep school days, however, is that it was while he was at Westward Ho! that he cultivated an interest in literature — in particular, a taste for American writers like Emerson and Poe and Bret Harte and Mark Twain. It was also while he was at prep school that Kipling began to write: mostly poems that he included in his letters to his family.
The Phantom Rickshaw (1889)
John Kipling was apparently impressed with his son’s literary talent, and in 1882 Rudyard Kipling left school to return to India, to a newspaper job that his father had found for him. (Kipling’s parents had gone back to India a few years earlier, after John Kipling had been appointed curator of a museum in Lahore, a city in the northwest corner of the country.) For the next five years, Kipling worked for an English-language newspaper in Lahore, the Civil and Military Gazette. In addition to conventional journalism, Kipling wrote poems and short stories for the paper; Departmental Ditties (1886), his first book, was primarily made up of work originally published in the Gazette. In 1887, Kipling took a job as editor of a rival newspaper, the Allahabad Pioneer, where he wrote most of the stories that were subsequently collected in his book, The Phantom Rickshaw (1889).
Kipling abandoned newspaper work for good in 1889 and returned to England, where his fame preceded him; already at age twenty-four he was arguably the most popular writer in the country. By 1890 he was equally famous in the United States; his first novel, The Light That Failed, and his story collections Soldiers Three and Wee Willie Winkie, all published that year, were as successful in America as they were in England. So much so, in fact, that Kipling and his American wife Carrie moved to the U.S., to Brattleboro, Vermont, in February of 1892, a month after their marriage.
The Jungle Book (1894) and Captains Courageous (1896).
The Kiplings stayed in Vermont for four and a half years, and while later in his life Kipling would remember _ his years in America with some bitterness —a result of a falling out he’d had with one of his in-laws —it was while he was living here that he wrote some of his most famous work, including The Jungle Book (1894) and Captains Courageous (1896). In 1896, Kipling brought his family back to England. (His daughters Josephine and Elsie had been born while he and his wife were in Vermont; his son John was born in England in 1898.) Though he continued to travel, Kipling lived in England till his death.
From 1897 to 1914, Kipling’s popularity never flagged —he won the Nobel Prize for Literature in 1907 —and he continued to write at an amazing pace. But two things finally slowed him down: the ill-health that had plagued him on and off since he had suffered a near-fatal bout with pneumonia in 1899, and the advent of the First World War, which exacerbated his feelings of displeasure with the British government—feelings that originally had been fostered more than a decade before as a consequence of what he felt to be the government’s inept handling of the Boer War in South Africa. Kipling also grieved the death of his son, who was killed while fighting in France in 1915.
The Man Who Would Be King, Rikki- Tikki-Tavi And Danny Deever (Gunga)
He continued to work, however, up to a few days before he died on January 18, 1936 —less than a month after his seventieth birthday. His body was cremated, and his ashes laid to rest in the Poet’s Comer at Westminster Abbey.
If you are acquainted only with Kipling’s more famous work—The Jungle Book or Kim; “Danny Deever” or “Gunga Din”; “Rikki- Tikki-Tavi” or “The Man Who Would Be King”—then you might be unaware that Kipling wrote a host of what critic and novelist Kingsley Amis, another of Kipling’s biographers, called his “tales of the macabre.” It’s possible that one or more of Kipling’s horror stories may come to mind fairly easily: ‘The Phantom Rickshaw” is likely to be a familiar title, even if you do not recall what the story itself was about. But in general Kipling’s horror stories seem to have attracted less attention than has most of his writing.
My Own True Ghost Story And The House Surgeon
Why that is, it’s difficult to say. It certainly isn’t the quality of the stories: “My Own True Ghost Story” and ‘The House Surgeon” are two of many fine Kipling tales of spectral encounters; “At the Pit’s Mouth” (wonderful Lovecraftian title, that) possesses a nasty denouement worthy of Ambrose Bierce; “The Strange Ride of Morrowbie Jukes” is a not-so-distant British cousin to Poe’s ‘The Narrative of A. Gordon Pym.” And at least one of Kipling’s tales, ‘The Mark of the Beast,” is an archetypal story of horror, as much a seminal work of the genre as “The Tell-Tale Heart” or ‘The Monkey’s Paw.” (As an aside: it’s interesting to note that writer Curt Siodmak borrowed from “The Mark of the Beast” for his screenplay ‘The Wolf-Man,” written nearly fifty years after Kipling’s story was first published. If that doesn’t make “Beast” an archetype, I don’t know what will.)
Kingsley Amis’ s Rudyard Kipling And His World
Perhaps it has to do with the fact that Rudyard Kipling has long been something of an odd case, literarily speaking. His critical popularity —during his lifetime and especially in the decades since his death in 1936 —has waxed and waned, and at any given point in time —for example, now in the late 1980s —it can be hard to judge Kipling’s position in the literary pantheon. Consequently, if his “great” work is receiving little attention these days, it follows that his “genre” work will receive even less.
Whatever the reason, his work still holds up to reading. Far more often than not a Kipling horror story, like the rest of his fiction, is simply a Good Tale Well Told; no story needs to be more than that. But the best argument for reading Kipling that I’ve seen was written by Kingsley Amis in his book Rudyard Kipling and his World.
According to Amis: “Among the great volume of [Kipling’s] work, a perhaps unexpectedly large amount can now be seen to be of the highest quality. With all his breadth there were the gift of distilling a whole thought into a few memorable words. He is clearly our best writer of short stories. His range is wide: the tragic, the comic, the satiric, the macabre, anecdote, fantasy, history, science fiction, children’s tale. And he cuts deep. What if he never explored some emotions and some parts of experience? The ones he threw open are a more than sufficient compensation.”