The daily morning journal and courier., 1899-01-03

into the mosques, others introduced
 him into the temples of the Hindoos
 and Parsees. As soon as he reached the
 age of boyhood he was torn from tn Sc
 marvels and placed at an English
 school at Westward Ho. But he had
 scarcely time to learn his new sur
 roundings before he again went to the
 east, to earn his own bread at the age
 of sixteen. For seven years he passed
 through the dangerous apprenticeshi p
 of a journalist in India-dangerous be-
 cause he remained throughout that
 time in the plains, even when all other | Europeans had fled to the hills, 1 Throughout the heat and the rainy
 season he remained watching the mil
 tary and civil organizations of F g.
 land at work. No man, not even a phy 1 sician, sees so much of life as journ- alist who has eyes to see. Kipling saes
 and hears with all his senses and re- 1 tains all that he sees and hears in his marvellous memory forever
 | After his rst great success Kipling buried himself for four years in the most remote spots in North America.
 wintered where the snow stands for half the year six feet high passed some | time among the French Canadians, l whose popular poetry he cannot suGici- ently recommend, then went to Alaska, then on to Japan, and through Asia back again to Europe. Since then where has he not been? When one asks whera this man has obtained the details which give his tales, taken from all the fur thest quarters of the globe, the stamp of absolute truth, the answer is simple; he has seen the things himself. Thus, when he was asked where he obtained i the materials for the story of the 1 White Seal' in one of the Jungle 1 Books, he answered, T have seen 1t 1 all with my own eyes" pr Kellner compares the mass of details containe1 in each short story of Kipling's to the advertisement of a London firm which recommends it's beef extract by show ing whole OK in a teacup and he draws therefrom the moral that the day is over of boulevard and restaurant writers who only describe the life around them, We want now the fullest material in the most perfect form Kip ling, the writer continues, though h. offers such an endless variety Of ma- terial, lays the greatest stress upon form. He has, of course, created q school, and equally, of course, the scholars initiate the weakest points of his youthful work-superab of material with sovereign contempt for form. This has much irritated Kipling, and caused him to lay even extrava- gant stress upon the work of form
 The artistic object of all details was T .lp h Nt, r. ;,,I;, produce the same effect upon the read CT as these details themselves have pro- duced upon the writer. An interesting example of this was given by Mir Kip ling with regard to Shalsespeare's Tempest When he visited the Ber- mudas he was surprised to find when landing on one part of the coast how familiar 1t all seemed to him. Sudden ly he came across a lofty cave and the riddle was solved. It was exactly the scene of Shakespeare's Tempest as he had always pictured it to him self. On Investigating the source of Shakespeare's play it turned out that the great dramatist had in fact read a description of a voyage to the Bermu- das, and had exactly reproduced the details
 But Kipling's formula is not complet- ed by regarding his work as full mate rial in perfect form. hat is the ideal of all writers of the first rank He seeks. in addition, to find the soul of men in all he writes. Both in his works and his conversation he shows himself a psy- chologist who even reaches by his own | observation the same results as mod- | ern men of science, of whose works and names he has never heard. "All thought" he said for example, ''is abor- tive speech, and thus summed up without having heard of it the theory of the late Professor Jtricker, which he had contended for in trying to explain the true nature of speech.
 When Dr. Kellner complained to him ! of the difficulties he found in compar- ing the different value he found paced upon English poets in England itself and among foreign nations, MT. Kip- ling remarked: 'I perfectly understand the difference of taste, and therefore of judgment, on one and the same poet by two different people. I only wonder that now and then agreement does at all exist. You Germans may under-
 
 dictionary can vonvey it to you but when you translate justice by "garech- tigkeit,' or virtue by 'tugend" you by no means call up by these words the same idea which the Englishman thought or when he wrote down these words. We write, it is true, in lett IFS of the alphabet, but psycholog ca ly regarded, every printed page is a pie ture book, every word, concrete or ab- stract, a picture. The picture itself may never come to the readers con- but deep down below in the unconscious realms the picture works and influences us, and that is where the difficulty lies. Every llation has it's own picture for every word, and this is passed on unconsciously from genera tion to generation. The German has quite another kind of picture for 'gerechtigkeit,' as the Englishman for justice Now, every poem contains hundreds of such pictures. It is rather to be wondered at that any nat on can at all understand the poetry of anoth-