The world of Rudyard Kipling's short stories is one that invites both admiration and criticism, underscoring the complex nature of his literary contributions. While he has been lauded for his innovation and mastery of the short story form, Kipling's work has also faced adverse criticism, largely due to its episodic focus and seeming lack of expansive moral narrative. Across his oeuvre, Kipling remains a figure both of literary acclaim and contention, inviting a wide spectrum of interpretations and responses.

The Critique of Kipling's Short Stories

Kipling was the first British writer to incite significant critical discourse, much of it negative, concerning his short stories. Critics often level the same charges against Kipling that they do against the short story form itself—namely, that it prioritizes episodes over comprehensive narratives, relies heavily on technique, and frequently lacks a moral thrust. Edmund Wilson noted that Kipling’s episodic mastery hindered his potential as a novelist, stating, "You can make an effective short story, as Kipling so often does, about somebody’s scoring off somebody else; but this is not enough for a great novelist, who must show us large social forces or uncontrollable lines of destiny."

Randall Jarrell critiqued Kipling for lacking "dispassionate moral understanding," implying that his stories were too skewed toward influencing the reader rather than presenting balanced perspectives. Similarly, C. S. Lewis criticized Kipling for his excessive brevity, suggesting that his stories were overly condensed, resulting in a style that was "too continuously and obtrusively brilliant" without the "leisureliness" that might allow for deeper engagement.

Despite these criticisms, some, like Bonamy Dobrée, have recognized a fabular element in Kipling’s work, suggesting that the focus on episodic content is intentional, designed to highlight a specific moral or thematic message. This fabular aspect, while it can lead to simplification, also aligns with the short story form's inherent nature, as characters often serve the story's purpose rather than the reverse.

Analysis of Selected Works

"The Strange Ride of Morrowbie Jukes"

"The Strange Ride of Morrowbie Jukes" combines elements of adventure and social parable. Set in a gothic style popularized in the early nineteenth century, the narrative begins with a feverish Jukes who finds himself in a strange sand crater that symbolizes a purgatorial space between life and death. The setting is a wasteland where those who have been cataleptic are taken until they die in reality, a hidden village inhabited by the living dead, primarily lower-caste Indians.

This environment subverts the usual trope of British dominance, placing the white sahib, Jukes, at the mercy of the indigenous people. His eventual escape, facilitated by the treachery of the native Gunga Dass, suggests an inversion of power dynamic and survival instinct, contrasting with the traditional narratives of colonial superiority and hinting at the indiscriminate nature of life and death struggles.

"The Man Who Would Be King"

This story is one of Kipling's most celebrated, with a tone and style that are pivotal to its interpretation. It tells the story of two vagabonds, Peachey Carnehan and Daniel Davrot, who attempt to set themselves as kings of a remote country. Critics have linked this narrative to Kipling's views on British imperialism, albeit in a parodic tone that distances it from the more profound philosophical musings found in Joseph Conrad's works.

The duality of narration, with the primary narrator recounting Peachey’s story and Peachey narrating the inner tale of their exploits, underscores the tension between perceived reality and the constructed fable. Their attempt to transcend reality into a story-world ultimately collapses when Davrot tries to step outside his self-constructed narrative, reaffirming the fragility of their constructed imperialism and the larger...