Kipling’s stories, like The Man Who Would Be King, published in 1888, exhibit a masterful use of plot, setting, and imagery by any yardstick. But in addition to the robust mechanics of that particularly odd and adventurous tale, it’s a uniquely post-romantic realist narrative infused with a worldview inspired by his brief flirtation with Freemasonry. Like the craft, The Man Who Would Be King is immersed in symbolism, some of it likely learned as he passed through each degree under the canopy of a Masonic lodge. One critic notes, “It’s a story that examines, with a superbly delicate mixture of comedy and pathos, what empire-building does to the soul, a story that repudiates the harsher aspects of heroic-age law in favor of an infinitely more warm, sympathetic, and transcendent morality.” I agree. Rudyard Kipling may not have been the Shakespeare of his day, despite William James’ infatuation, but he was representative of the period and a compelling storyteller. His contributions to the short story remain noteworthy for future writers and critics.
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