This story is the real beginning of Puck—to whom Mr Kipling's latest volumes are addressed. InPuck of Pook's HillMr Kipling takes seisin of England in all times—more particularly of that trodden nook of England about Pevensey. This book is less a book of children and fairies than an English chronicle. Dan and Una are the least living of Mr Kipling's children—they are as shadowy as the little ghost who dropped a kiss upon the palm of the visitor in the mansion ofThey. The men, too, who come and go, are shadows. It is the land which abides and is real. We hum continually a variation of Shakespeare's song:
"This blessèd plot, this earth, this realm, this England."
Puck of Pook's Hillis a final answer to those who think of the Imperial idea as loose and vast, without roots in any dear, particular soil.Puck of Pool's Hillsuggests in every page that England could never for its lovers be too small. We would know intimately each place where the Roman trod, where Weland came and went, where Saxon and Norman lost themselves in a common league.
From this England, fluttered with memories and the most ancient magic, it is a natural step into the regions of pure fancy where Mr Kipling is happiest of all.The Children of the ZodiacandThe Brushwood Boyare the earliest proofs that Mr Kipling flies most surely when he is least impeded by a human or material document. We have here to make a last protest against a too popular fallacy concerning the tales of Mr Kipling. Mr Kipling's passion for the concrete, which is a passion of all truly imaginative men, together with his keen delight in the work of the world, has caused him to be falsely regarded as a note-book realist of the modern type. He is assumed to be happiest when writing from direct experience without refinement or transmutation. We cannot trace this error to its source and expose the many fallacies it contains without going deeper into aesthetics than is here necessary or desirable. The simple fact that Mr Kipling's best stories are those in which his fancy is most free is answer enough to those who put him among the reporters of things as they are. It sufficiently excuses us from the long and difficult inquiry as to whether Mr Kipling's account of the people who live next door is accurate and minute, and allows us to assume, without starting a controversy which only a heavy volume could determine, that, if Mr Kipling had ever set out to describe the people who live next door, he would have simplified them out of all recognition. Mr Kipling has pretended, often with some success, that his people are really to be met with in the Royal Navy or in the Indian Civil Service. But let the reader consider for a moment whom they remember best. Is it Mowgli or is it someone who is a C.I.E.? Is it the Elephant Child, or is it Mr Grish Chunder Dé? When does Mr Kipling more successfully convey to us the impression that his people are alive and real? Is it when he is supposed to be drawing men from the life, or is it when he has set free his imagination to call up the People of the Hills or the folk in the Jungle?
The grain of Mr Kipling's work is the finer, his vision is more confident and clear, the further he gets from the world immediately about him. Already we have seen how happily in India he left behind his impression of the alert tourist, his experience of the mess-room and bazaar, to enshrine in his fairy tale ofKimthe faith and simplicity of two of the children of the world—each, the old and the young, a child after his own fashion.Kimis Mr Kipling's escape from the India which is traversed by the railway and served by the "Pioneer." It is the escape of Dan and Una into the Kingdom of Puck, and the escape of Mowgli into the Jungle. It is the escape, finally, of Mr Kipling's genius into the region where it most freely breathes.
We have noted that Kim is one of the Indian doors by which we enter; but there is a more open door in the first story ofThe Second Jungle Book. It is the best of all Mr Kipling's stories, just as theJungle Booksare the best of all his books. It concerns the Indian, Purun Bhagat.
He was learned, supple, and deeply intimate in the affairs of the world. He had shared the counsels of princes; he had been received with honour in the clubs and societies of Europe. He was, to all appearances, a polite blend of all the talents of East and West. Then suddenly Purun Bhagat disappeared. All India understood; but of all Western people only Mr Kipling was able to follow where he walked as a holy man and a beggar into the hills. There he became St Francis of the Hills, living in a little shrine with the friendly creatures of the woods, venerated and cared for by a village on the hillside.
All Mr Kipling's readers know how that story ends—how on a night of disaster there came together as of one blood the saint and his people and the wild creatures who had housed with him. It is quoted here as showing how the old piety of India beckoned Mr Kipling into the jungle as inevitably as the old loyalty of England beckoned him into a region where on a summer day we can meet without surprise a Flint Man or a Centurion of Rome.
Always the bent of Mr Kipling, in his best work, is found to be away from the world. To appreciate his finer quality we must pass with him into the Rukh, or into the country beyond Policeman Day, into the mansion of lost children, or into a region where it is but a step from the Zodiac to fields under the plough. The tales of Mr Kipling which will longest survive him are not the tales where he is competently brutal and omniscient, but the tales where he instinctively flies from the necessity of giving to his vision the likeness of the modern world.
We may now realise more clearly the peril which lies in the popular fallacy concerning Mr Kipling described in the first few pages of this book. So far is Mr Kipling from being an author inspired and driven to claim a share in the active life of the present, an author who unloads upon us a store of memories and experience, that he is only able to do his finest work as an unchecked and fantastic dreamer. The stories in which he imposes upon his readers the illusion that he would never have written books if he had stayed at home, that his stories are the carelessly flung reminiscences of a full life—these stories are themselves instances of the skill whereby a cunning author has been able to conceal from his generation the deep difference between artifice and inspiration. A crafty author will often employ his best phrases to describe the thing he has never really seen with the eye of genius. His manner will be most assured where his matter is the least authentic. His points will be most effectively made where there is the least necessity to make them. Mr Kipling, writing as a soldier, is more a soldier than any soldier who ever lived. Thereby the discerning reader will infer that Mr Kipling was not born to write as a soldier. He will know that Mr Kipling is not profoundly and instinctively an atavistic prophet, because his atavism is more atavistic than the atavism of the first man who ever was born. He will also realise that Mr Kipling writes so effectively about India because he ought to be writing about England and Fairyland and the Jungle. He will realise, in short, that Mr Kipling is an imaginative man of letters who has wonderful visions when he stays at home, and who needs all his craft as an expert literary artificer to persuade his readers that these visions are not seriously impaired when he ventures abroad.
Only the briefest epilogue is necessary concerning Mr Kipling's poetry. We have concluded as to his prose stories that his best work is in the pure fancy ofThe Jungle Book, and that we descend thence through his English tales and his celebration of the work of the world to clever stories of India andSoldiers Three. Upon each of these levels we meet with verse in the same kind, concerning which it may at once be said that at all times, except where the rule is proved by the exception, Mr Kipling's verse is less urgently inspired than his prose. The true motive which drives a poet into verse is the perception of a quality in the thing he has to say which requires for its delivery the beat and lift of a rhythm which crosses and penetrates the rhythm of sense and logic. This is true even of the poetry which seems, at first, to contradict it. Pope'sEssay on Man, for example, which at first seems no more than a neater prose than the prose of Addison, is really not prose at all. In addition to the cool sense of what appears to be no more than a pentametric arrangement of common-places there is a rhythm which admirably conveys, independently of what is being actually said, the gentle perambulating of the eighteenth-century philosopher in the garden which Candide retired to cultivate in the best of all possible worlds. In all poetry there must be a manifest reason why prose would not have served the author's purpose equally well.
Can we say this of Mr Kipling's poetry? Is Mr Kipling's poetry the result of an urgent need for a metrical utterance?
A careful reading of Mr Kipling's verse, comparing it subject for subject with his prose, soon convinces us that, far from being a more direct passionate and living utterance than his prose, it is invariably more wrought and careful and elaborate. It does not suggest the poet driven into song. It suggests rather the skilful writer borrowing the manner of a poet, playing, as it were, with the poet's tools, without any urgent impulse to express himself in that particular way. He has merely added to the number of rules to be successfully observed. Of his technical success there is seldom any doubt at all. For a craftsman who can use all the intricate resources of good prose successfully to create an illusion that he is inspired in his least abandoned moments, it is child's play to use the more obvious devices of the metrician to similar effect. So far as mere formal excellence is concerned, verse is a journeyman's matter as compared with prose; and it is not at all astonishing to find that the formal part of poetry troubles Mr Kipling not at all. But we must look beyond the formality of verse to find a poet. Poetry flies higher than prose only when the poet's feeling has driven him to sing what he cannot say. Mr Kipling is a wonderful metrician; but that is not the question. The question is, Where shall we find the most immediate union of the author's feeling with the author's expression? And the answer to that will be, Not in the author's poems.
Take as an example the English motive:
"See you our little mill that clacks,So busy by the brook?She has ground her corn and paid her taxEver since Domesday Book."
Compare this well-wrought stanza with the prose taleBelow the Mill Dam, or with the passage it paraphrases in the story to which it stands as motto:
"The English are a bold people. His Saxons would laugh and jest with Hugh, and Hugh with them, and—this was marvellous to me—if even the meanest of them said such and such a thing was the Custom of the Manor, then straightway would Hugh and such old men of the Manor as might be near forsake everything else to debate the matter—I have seen them stop the mill with the corn half ground—and if the custom or usage were proven to be as it was said, why, that was the end of it, even though it were flat against Hugh, his wish and command."
It may be said of the verse that, possibly, it is more carefully considered than the prose, more deliberate and formally more excellent. But it is certainly more remote from the passion it conveys. There is more drive in a single fragment ofAn Habitation Enforcedthan in all the songs of Puck.
Similarly let us take another of Mr Kipling's themes—his delight in the world's work. Think first ofThe Bridge-Buildersand ofWilliam the Conquerorand then turn toThe Bell Buoy(Five Nations) orThe White Man's Burden(Five Nations). In each case—and we repeat the result every time the experiment is made—we find that the author's motive, which lives in his prose, tends in his verse to expire. InThe White Man's Burdenit expires outright, so that reading it, it is difficult to realise thatWilliam the Conquerorhas had the power so deeply to move us.
This is true even where Mr Kipling's subject, which in prose has not taken him to the top of his achievement, has in verse taken him as high as in verse he is able to go. Mr Kipling's best verse is contained inBarrack Room Ballads; but even these do not compare in merit withSoldiers Three.Barrack Room Balladsare the best of Mr Kipling's poetry, because in these poems rhyme and beat are essential to their inspiration. They are the exception which prove the rule that normally Mr Kipling has no right to his metre.Barrack Room Balladsare robust and vivid songs of the camp, choruses which require no music to enable them to serve the purpose of any gathering where the first idea is that there should be a cheerful noise. Complete success in this kind only required Mr Kipling to fill in the skeleton of a metre which brings the right words at the right moment to the tip of the galloping tongue, and this he has admirably done.
Where inBarrack Room BalladsMr Kipling has attempted to do more than fill up the feet of an irresponsible line, his verse only succeeds in defining the weakness, in a corresponding kind, of his prose. We have seen that one weakness of his soldier tales is their over emphasis of the brutal aspect of war, natural in an author of sensitive imagination attempting to identify himself with the soldier's point of view. In the prose tales this exaggeration is only occasional. InBarrack Room Balladsit is more pronounced.
We may take three stanzas ofSnarleyowas evidence that Mr Kipling'sBarrack Room Ballads, unlike the songs of Puck and the greater mass of his verse,really had to be metrical; also as evidence that, in so far as they attempt to be more than a galloping chorus in dialect they are less admirable than the adventures of Ortheris and Mulvaney. The Battery was charging into action and the Driver had just been saying that a Battery was hard to pull up when it was taking the field:
"'E 'adn't 'ardly spoke the word, before a droppin' shellA little right the battery an' between the sections fell;An' when the smoke 'ad cleared away, before the limber wheels,There lay the Driver's Brother with 'is 'ead between 'is 'eels.
"Then sez the Driver's Brother, an' 'is words was very plain,'For Gawd's own sake get over me, an' put me out o' pain.'They saw 'is wounds was mortial, an' they judged that it was best,So they took an' drove the limber straight across 'is back an' chest.
"The Driver 'e give nothin' 'cept a little coughin' grunt,But 'e swung 'is 'orses 'andsome when it came to 'Action Front!'An' if one wheel was juicy, you may lay your Monday head'Twas juicier for the niggers when the case began to spread."
The brutality in this incident is forced in idea and expression beyond anything we find inSoldiers Three. It is this continuousforcingof idea and expression which persists in virtually all Mr Kipling's verse except where the jingle is all that matters. We have only to recall recitations from the platform or before the curtain of some of Mr Kipling's popular poetry to realise, sometimes a little painfully, that verse is for him not a threshold of the authentic Hall of Song, but, too often, a door out of reality into the sentimental and overwrought.
Comparing the soldier tales and the soldier songs it is often possible, however, to miss the author's flagging, because, as we have seen, the soldier songs are the best songs, whereas the soldier tales are not the best tales. The full extent of the inferiority of Mr Kipling's verse to Mr Kipling's prose cannot, however, be missed if we compare the finer grain of Mr Kipling's prose with the poems that deal with similar themes. Read firstThe Story of Ung(The Seven Seas) and afterwards the tale of the Flint Man found upon the Downs by Dan and Una (Rewards and Fairies). Or, to take an even more telling instance, recall the most perfect of all Mr Kipling's talesThe Miracle of Purun Bhagat, and afterwards read the poem that is proudly set at the head of it:
"The night we felt the earth would moveWe stole and plucked him by the hand,Because we loved him with the loveThat knows but cannot understand.
"And when the roaring hillside broke,And all our world fell down in rain,We saved him, we the Little Folk;But lo! he does not come again!
"Mourn now, we saved him for the sakeOf such poor love as wild ones may.Mourn ye! Our brother will not wake,And his own kind drive us away!"—Dirge of the Langurs.
The poem is excellent cold craft, but leaves us precisely in the state of mind in which it found us. The story which follows it is rooted in the same idea; but, where the one is a literary exercise, the other is a supreme feat of imagination.
Here, withThe Miracle of Purun Bhagat, the story itself and not the dirge of the Langurs, we may conveniently leave the reputation of our author. Critics of a future generation may need to apologise for including within the limits of a brief monograph a specific chapter upon Mr Kipling's verse. They will not need to apologise for its brevity.
[Separate issues of single poems or stories have not generally been included in this list. Dates of first publication of books are given; new editions only when they involve revision of text, alteration of format or transference to a different publisher.]
Departmental Ditties and Other Verses (Lahore: The Civil and Military Gazette Press). 1886. New editions (London: Thacker). 1888; 1890; 1898; (Newnes). 1899; (Methuen). 1904; 1908; 1913.
Plain Tales from the Hills (Thacker). 1888. New editions (Macmillan). 1890; 1899; 1907.
Soldiers Three: A Collection of Stories (Allahabad: Wheeler). 1888. New edition (London: Sampson Low). 1890.
The Story of the Gadsbys: a Tale without a Plot (Allahabad: Wheeler). N.D. [1888]. New edition (London: Sampson Low). 1890.
In Black and White (Allahabad: Wheeler). N.D. [1888]. New edition (London: Sampson Low). 1890.
Under the Deodars (Allahabad: Wheeler). N.D. [1888]. New edition (London: Sampson Low). 1890.
The Phantom Rickshaw and Other Tales (Allahabad: Wheeler). N.D. [1888]. New edition (London: Sampson Low). 1890.
Wee Willie Winkie and other Child Stories (Allahabad: Wheeler). N.D. [1888]. New edition (London: Sampson Low). 1890.
Soldiers Three: The Story of the Gadsbys: In Black and White (Sampson Low). 1890. New editions (Macmillan). 1895; 1899; 1907.
Wee Willie Winkie: Under the Deodars: The Phantom Rickshaw (Sampson Low). 1890. New editions (Macmillan). 1895; 1899; 1907.
The City of Dreadful Night and Other Sketches (Allahabad: Wheeler). 1890. This edition was cancelled.
The Smith Administration (Allahabad: Wheeler). 1891. This edition was cancelled.
The City of Dreadful Night and Other Places (Allahabad: Wheeler). 1891. English edition (Sampson Low). 1891. These were suppressed as far as possible.
Letters of Marque (Allahabad: Wheeler). 1891. This edition was suppressed.
The Light that Failed (Macmillan). 1891. New editions, 1899; 1907.
Life's Handicap, being Stories of Mine Own People (Macmillan). N.D. [1891]. New editions, 1899; 1907.
Barrack Room Ballads and Other Verses (Methuen). 1892. New editions, 1908; 1913.
The Naulahka: a Story of West and East. By Rudyard Kipling and Wolcott Balestier (Heinemann). 1892. New editions (Macmillan). 1901; 1908.
Many Inventions (Macmillan). 1893. New editions, 1899; 1907.
The Jungle Book (Macmillan). 1894:. New editions, 1899; 1903; 1907; 1908.
The Second Jungle Book (Macmillan). 1895. New editions, 1899; 1908.
The Seven Seas (Methuen). 1896. New editions, 1908; 1913.
Soldier Tales (A selection of stories from earlier volumes) (Macmillan). 1896.
The Novels, Tales and Poems of Rudyard Kipling (Edition de luxe) (Macmillan). 1897, etc. 27 volumes have so far been issued.
"Captains Courageous." A Story of the Grand Banks (Macmillan). 1897. New editions, 1899; 1907.
An Almanac of Twelve Sports for 1898. By William Nicholson. Words by Rudyard Kipling (Heinemann). 1897.
The Day's Work (Macmillan). 1898. New editions, 1899; 1908.
A Fleet in Being: Notes of Two Trips with the Channel Squadron (Macmillan). 1898.
Stalky & Co. (Macmillan). 1899. New edition, 1908.
From Sea to Sea (Macmillan). 2 volumes. 1900. New edition, 1908. The volumes contain also Letters of Marque, The City of Dreadful Night and The Smith Administration.
The Science of Rebellion [Pamphlet] (Vacher). 1901.
Kim (Macmillan). 1901. New edition, 1908.
Just-So Stories, for Little Children (Macmillan). 1902. New editions, 1903; 1908; 1913.
The Five Nations (Methuen). 1903. New editions, 1908; 1913.
Traffics and Discoveries (Macmillan). 1904. New edition, 1908.
Puck of Pook's Hill (Macmillan). 1906. New edition, 1908.
A Pocket Edition of Mr Kipling's Works was issued during 1907 and 1908, the verse by Methuen & Co., the prose by Macmillan & Co. After 1908 the works issued by Macmillan & Co. appear simultaneously in the ordinary library edition, the pocket edition and the edition de luxe.
Doctors: an Address delivered at the Middlesex Hospital (Macmillan). 1908.
Actions and Reactions (Macmillan). 1909.
The Dead King. [A Poem] (Hodder & Stoughton). 1910.
Rewards and Fairies (Macmillan). 1910.
A School History of England, By C. R. L. Fletcher and Rudyard Kipling (Clarendon Press). 1911.
The Collected Verse of Rudyard Kipling (Hodder & Stoughton). 1912. This edition does not contain the Departmental Ditties nor the Rhymes for Nicholson's Almanac.
Simples Contes des Collines (Nelson). 1912.
The Bombay Edition of the Works in Verse and Prose of Rudyard Kipling. 23 volumes (Macmillan). 1913-1915.
Songs from Books (Macmillan). 1913.
The Service Edition of some of the works of Rudyard Kipling: Verse, 8 volumes (Methuen); prose, 26 volumes (Macmillan). 1914-1915.
The New Army in Training (Macmillan). 1915.
[Some of Mr Kipling's earlier stories and poems, as well as certain later poems that are non-copyright in America, have been issued in an almost bewildering variety of arrangement and by many different publishers. Full enumeration of these variants is not attempted in this bibliography.]
Plain Tales from the Hills (Lovell). N.D. [1890]. (Macmillan). 1890.
The Story of the Gadsbys (Lovell). 1890. (Munro). 1890.
The Courting of Dinah Shadd and Other Stories (Harper). 1890.
Indian Tales (Lovell). 1890.
The Phantom Rickshaw and Other Tales (U.S. Book Co.). N.D. [1890]. (Rand, M'Nally & Co.). 1890.
Soldiers Three and Other Stories (Munro). N.D. [1890].
American Notes, by Rudyard Kipling, and The Bottle Imp, by Robert Louis Stevenson (Ivers). 1891. New edition (Brown). 1899.
Mine Own People: with Introduction by Henry James (Munro). N.D. [1891]. (U.S. Book Co.). 1891.
Under the Deodars (U.S. Book Co.). 1891.
The Story of the Gadsbys; Under the Deodars (U.S. Book Co.). 1891.
Wee Willie Winkie and Other Stories (Rand). 1891.
The Light that Failed (Rand). 1891. (Munro). N.D. [1891]. (U.S. Book Co.). 1891.
Life's Handicap, being Stories of Mine Own People (Macmillan). 1891.
Ballads and Barrack Room Ballads (Macmillan). 1892. New edition, 1893.
Barrack Room Ballads and Other Verses (U. S. Book Co.). N.D. [1892].
The Naulahka: a Story of West and East. By Rudyard Kipling and Wolcott Balestier. (Rand). 1892. New edition (Macmillan). 1895.
Many Inventions (Appleton). 1893.
The Jungle Book (Century Co.). 1894.
Prose Tales. New uniform edition. 6 volumes (Macmillan). 1895.
Out of India: Things I saw and failed to see, in certain days and nights at Jeypore and elsewhere (Dillingham). 1895. [Included in From Sea to Sea, 1899, under the title, Letters of Marque.]
The Second Jungle Book (Century Co.). 1895.
The Seven Seas (Appleton). 1896.
Soldier Stories (Macmillan). 1896.
The "Outward Bound" Edition of Rudyard Kipling's Works (Scribner). 1897, etc.
"Captains Courageous." A Story of the Grand Banks (Century Co.). 1897.
An Almanac of Twelve Sports. By William Nicholson. Words by Rudyard Kipling (Russell). 1897.
Collectanea: Reprinted Verses (Mansfield). 1898. [Contains: The Explanation, Mandalay, Recessional, The Rhyme of the Three Captains, The Vampire.]
The Day's Work (Doubleday). 1898.
The City of Dreadful Night (Grosset). 1899.
Letters of Marque (Caldwell). 1899.
From Sea to Sea: Letters of Travel (Doubleday). 1899.
Departmental Ditties and Ballads and Barrack Room Ballads (Doubleday). 1899. [The first authorised American edition.]
Stalky & Co. (Doubleday). 1899.
Kim (Doubleday). 1901.
Just-So Stories for Little Children (Doubleday). 1902.
The Five Nations (Doubleday). 1903.
Traffics and Discoveries (Doubleday). 1904.
Puck of Pook's Hill (Doubleday). 1906.
Collected Verse (Doubleday). 1907.
Actions and Reactions (Doubleday). 1909.
Abaft the Funnel (Dodge). 1909.
Rewards and Fairies (Doubleday). 1910.
Songs from Books (Doubleday). 1912.
A School History of England. By C. R. L. Fletcher and Rudyard Kipling (Oxford University Press). 1912.
The Seven Seas Edition of the Works in Verse and Prose of Rudyard Kipling (Doubleday). 23 volumes. 1913.
Baa Baa Black Sheep, 91Barker, Granville, 16Barrack Room Ballads, 110, 111Bell Buoy, The, 109Below the Mill Dam, 82, 108Between the Devil and the Deep Sea, 79, 80Beyond the Pole, 60Birth, 14Bridge-Builders, The, 77, 89, 109Brugglesmith, 92Brushwood Boy, The, 98Brutality, 113
Candide, 106Children of the Zodiac, The, 98"Civil and Military Gazette, The," 14Cleever, 7-10, 73Cloke, 95
Day's Work, The, 23, 46, 77, 86, 87, 92
End of the Passage, The, 60England, feeling for, 93, 97Error in the Fourth Dimension, An, 93
Falstaff, 74
Habitation Enforced, An, 93, 94, 109Hardy, Thomas, 16Hawksbee, Mrs, 24, 25, 28Hazlitt, 10Head of the District, The, 87
Imperialism, 97India, influence of, 38, 45Indian Stories—Classification, 19In the Rukh, 92
Jungle Book, The, 17, 65, 92Just-So Stories, 91
Keats, John, 85Kim, 19, 22, 62-64, 100, 101Kipling, J. Lockwood, 14Krishna Mulvaney, 70
Lahore, 53Learoyd, 66Life's Handicap, 47, 53Light that Failed, The, 13, 87, 88, 89
Machinery, 84, 86Maisie, 89Maltese Cat, The, 88Malthus, 67Man Who Would be King, The, 60Many Inventions, 17Marrying of Anne Leete, The, 16Metre, 107Milton, 85Miracle of Purun Bhagat, The, 114Mowgli, 100Mulvaney, 66, 70My Lord the Elephant, 70My Sunday at Home, 92
Nietzsche, 67
Ortheris, 66, 70
Phantom Rickshaw, The, 29"Pioneer, The," 14Plain Tales from the Hills, 15, 17, 24, 29, 46, 60Politics, 33Pope, 106Puck of Pook's Hill, 97, 98Purun Bhagat, 101
Realism, 98Red-Haired Girl, The, 89Return of Imray, The, 61, 93
Second Jungle Book, The, 101Shakespeare, 74Shelley, 85Ship that Found Herself, The, 87Simla, 24, 26Simplicity, 46, 47Snarleyow, 111Soldiers Three, 110Stalky & Co., 91Sussex, 92
Taking of Lungtungpen, The, 91Technical enthusiasm, 79They, 97Three Musketeers, The, 91Tods' Amendment, 41, 91Trajego, 59
Verse and Prose, 107, 111
War, 68Wee Willie Winkie, 91White Man's Burden, The, 109, 110William the Conqueror, 47, 60, 86, 109With the Night Mail, 83Wordsworth, 85
.007, 79, 82, 88