in the World'
(notes edited by
|notes on the text|
He estimates his poems not by the thing actually put down in black and white but by all the glorious inchoate fancies that flashed through his brain while his pen was in his hand... [Charles Carrington, page 188]Critical responses
...much stronger imaginative impression of the past from disjointed fragments than...a complete picture. The fragments glow with conviction because we are infected with excitement at a revelation so imminent and so completely unrealizable. (page 227).As an example of one strand of modern Kipling criticism, Zohreh Sullivan writes in the 1980s:
This is Kipling’s most “uncanny” story. Just as Freud has explained the uncanny by connecting it with the return of the repressed, with the idea of a double, with ‘regression to a time when the ego was not yet sharply differentiated form the external world and from other persons,’ so the structural doubling of storytellers compels the older narrator to relive his early fears and anxieties through the younger. . . . What Charlie is uncannily remembering is not merely previous incarnations but his own unconscious life: his life in the womb, his birth and latency.
[“Kipling the Nightwalker” in Harold Bloom, ed. Modern Critical Views: Rudyard Kipling Chelsea House, New York 1987]