Miss Youghal S Sais

Kipling story which appeared as part of Plain Tales from the Hills - Strickland, a police officer with a deep knowledge of the local Indian people falls in love with Miss Youghal but her parents don't approve of the match.

She was the daughter of Sonoo, a Hill-man, and Jadeh his wife. One year their maize failed, and two bears spent the night in their only poppy-field just above the Sutlej Valley on the Kotgarth side; so, next season, they turned Christian, and brought their baby to the Mission to be baptized. The Kotgarth Chaplain christened her Elizabeth, and "Lispeth" is the Hill or pahari pronunciation. Later, cholera came into the Kotgarth Valley and carried off Sonoo and Jadeh, and Lispeth became half-servant, half-companion to the wife of the then Chaplain of Kotgarth. This was after the reign of the Moravian missionaries, but before Kotgarth had quite forgotten her title of "Mistress of the Northern Hills." Whether Christianity improved Lispeth, or whether the gods of her own people would have done as much for her under any circumstances, I do not know; but she grew very lovely. When a Hill girl grows lovely, she is worth traveling fifty miles over bad ground to look upon. Lispeth had a Greek face-one of those faces people paint so often, and see so seldom. She was of a pale, ivory color and, for her race, extremely tall. Also, she possessed eyes that were wonderful; and, had she not been dressed in the abominable print-cloths affected by Missions, you would, meeting her on the hill-side unexpectedly, have thought her the original Diana of the Romans going out to slay. Lispeth took to Christianity readily, and did not abandon it when she reached womanhood, as do some Hill girls. Her own people hated her because she had, they said, become a memsahib and washed herself daily; and the Chaplain's wife did not know what to do with her. Somehow, one cannot ask a stately goddess, five foot ten in her shoes, to clean plates and dishes. So she played with the Chaplain's children and took classes in the Sunday School, and read all the books in the house, and grew more and more beautiful, like the Princesses in fairy tales. The Chaplain's wife said that the girl ought to take service in Simla as a nurse or something "genteel." But Lispeth did not want to take service. She was very happy where she was.

"Or ever the knightly years were gone With the old world to the grave, I was a king in Babylon And you were a Christian slave," -W.E. Henley. His name was Charlie Mears; he was the only son of his mother who was a widow, and he lived in the north of London, coming into the City every day to work in a bank. He was twenty years old and suffered from aspirations. I met him in a public billiard-saloon where the marker called him by his given name, and he called the marker "Bullseyes." Charlie explained, a little nervously, that he had only come to the place to look on, and since looking on at games of skill is not a cheap amusement for the young, I suggested that Charlie should go back to his mother. That was our first step toward better acquaintance. He would call on me sometimes in the evenings instead of running about London with his fellow-clerks; and before long, speaking of himself as a young man must, he told me of his aspirations, which were all literary. He desired to make himself an undying name chiefly through verse, though he was not above sending stories of love and death to the drop-a-penny-in-the-slot journals.

Joseph Rudyard Kipling (30 December 1865 – 18 January 1936 was an English short-story writer, poet, and novelist. He wrote tales and poems of British soldiers in India and stories for children. He was born in Bombay, in the Bombay Presidency of British India, and was taken by his family to England when he was five years old.Kipling's works of fiction include The Jungle Book (a collection of stories which includes "Rikki-Tikki-Tavi"), the Just So Stories (1902), Kim (1901), and many short stories, including "The Man Who Would Be King" (1888). His poems include "Mandalay" (1890), "Gunga Din" (1890), "The Gods of the Copybook Headings" (1919), "The White Man's Burden" (1899), and "If—" (1910). He is regarded as a major innovator in the art of the short story; his children's books are enduring classics of children's literature; and one critic described his work as exhibiting "a versatile and luminous narrative gift".Kipling was one of the most popular writers in England, in both prose and verse, in the late 19th and early 20th centuries. Henry James said: "Kipling strikes me personally as the most complete man of genius (as distinct from fine intelligence) that I have ever known." In 1907, he was awarded the Nobel Prize in Literature, making him the first English-language writer to receive the prize, and its youngest recipient to date. Among other honours, he was sounded out for the British Poet Laureateship and on several occasions for a knighthood, all of which he declined.Kipling's subsequent reputation has changed according to the political and social climate of the age and the resulting contrasting views about him continued for much of the 20th century. George Orwell called him a "prophet of British imperialism". Literary critic Douglas Kerr wrote: "He [Kipling] is still an author who can inspire passionate disagreement and his place in literary and cultural history is far from settled. But as the age of the European empires recedes, he is recognised as an incomparable, if controversial, interpreter of how empire was experienced. That, and an increasing recognition of his extraordinary narrative gifts, make him a force to be reckoned with.

Originally written for the Lahore Civil and Military Gazette, the stories were intended for a provincial readership familiar with the pleasures and miseries of colonial life. For the subsequent English edition, Kipling revised the tales so as to recreate as vividly as possible the sights and smells of India for those at home. Yet far from being a celebration of Empire, Kipling's stories tell of 'heat and bewilderment and wasted effort and broken faith'. He writes brilliantly and hauntingly about the barriers between the races, the classes and the sexes; and about innocence, not transformed into experience but implacably crushed.

The continual, unpredictable, and often violent "traffic" between identities in colonial and postcolonial India is the focus of Parama Roy's stimulating and original book. Mimicry has been commonly recognized as an important colonial model of bourgeois/elite subject formation, and Roy examines its place in the exchanges between South Asian and British, Hindu and Muslim, female and male, and subaltern and elite actors. Roy draws on a variety of sources—religious texts, novels, travelogues, colonial archival documents, and films—making her book genuinely interdisciplinary. She explores the ways in which questions of originality and impersonation function, not just for "western" or "westernized" subjects, but across a range of identities. For example, Roy considers the Englishman's fascination with "going native," an Irishwoman's assumption of Hindu feminine celibacy, Gandhi's impersonation of femininity, and a Muslim actress's emulation of a Hindu/Indian mother goddess. Familiar works by Richard Burton and Kipling are given fresh treatment, as are topics such as the "muscular Hinduism" of Swami Vivekananda. Indian Traffic demonstrates that questions of originality and impersonation are in the forefront of both the colonial and the nationalist discourses of South Asia and are central to the conceptual identity of South Asian postcolonial theory itself.