Under the Deodars — Inside the Classic
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The catalog record for Under the Deodars — Inside the Classic provides practical reading context through 46,852 words, 3 hr 24 min estimated reading time, and 6 detected text sections.
The text analysis averages about 14.9 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “India -- History -- British occupation, 1765-1947 -- Fiction,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
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Read the Text
it of riding all across Simla in the Rains, to call on Mrs. Hauksbee. That lady laughed.
‘For my sins, the Aide at Tyrconnel last night told me off to The Mussuck. Hsh! Don’t laugh. One of my most devoted admirers. When the duff came some one really ought to teach them to make puddings at Tyrconnel The Mussuck was at liberty to attend to me.’
‘Sweet soul! I know his appetite,’ said Mrs. Mallowe. ‘Did he, oh did he, begin his wooing?’
‘By a special mercy of Providence, no. He explained his importance as a Pillar of the Empire. I didn’t laugh.’
‘Lucy, I don’t believe you.’
‘Ask Captain Sangar; he was on the other side. Well, as I was saying, The Mussuck dilated.’
‘I think I can see him doing it,’ said Mrs. Mallowe pensively, scratching her fox-terrier’s ears.
‘I was properly impressed. Most properly. I yawned openly. “Strict supervision, and play them off one against the other,” said The Mussuck, shovelling down his ice by tureenfuls, I assure you. “That, Mrs. Hauksbee, is the secret of our Government.”’
Mrs. Mallowe laughed long and merrily. ‘And what did you say?’
‘Did you ever know me at loss for an answer yet? I said: “So I have observed in my dealings with you.” The Mussuck swelled with pride. He is coming to call on me to-morrow. The Hawley Boy is coming too.’
‘“Strict supervision and play them off one against the other. That, Mrs. Hauksbee, is the secret of our Government.” And I daresay if we could get to The Mussuck’s heart, we should find that he considers himself a man of the world.’
‘As he is of the other two things. I like The Mussuck, and I won’t have you call him names. He amuses me.’
‘He has reformed you, too, by what appears. Explain the interval of sanity, and hit Tim on the nose with the paper-cutter, please. That dog is too fond of sugar. Do you take milk in yours?’
‘No, thanks. Polly, I’m wearied of this life. It’s hollow.’
‘Turn religious, then. I always said that Rome would be your fate.’
‘Only exchanging half-a-dozen attaches in red for one in black, and if I fasted, the wrinkles would come, and never, never go. Has it ever struck you, dear, that I’m getting old?’
‘Thanks for your courtesy. I’ll return it. Ye-es, we are both not exactly how shall I put it?’
‘What we have been. “I feel it in my bones,” as Mrs. Crossley says. Polly, I’ve wasted my life.’
‘Never mind how. I feel it. I want to be a Power before I die.’
‘Be a Power then. You’ve wits enough for anything and beauty!’
Mrs. Hauksbee pointed a teaspoon straight at her hostess. ‘Polly, if you heap compliments on me like this, I shall cease to believe that you’re a woman. Tell me how I am to be a Power.’
‘Inform The Mussuck that he is the most fascinating and slimmest man in Asia, and he’ll tell you anything and everything you please.’
‘Bother The Mussuck! I mean an intellectual Power not a gas-power. Polly, I’m going to start a salon.’
Mrs. Mallowe turned lazily on the sofa and rested her head on her hand. ‘Hear the words of the Preacher, the son of Baruch,’ she said.
‘Will you talk sensibly?’
‘I will, dear, for I see that you are going to make a mistake.’
‘I never made a mistake in my life at least, never one that I couldn’t explain away afterwards.’
‘Going to make a mistake,’ went on Mrs. Mallowe composedly. ‘It is impossible to start a salon in Simla. A bar would be much more to the point.’
‘Perhaps, but why? It seems so easy.’
‘Just what makes it so difficult. How many clever women are there in Simla?’
‘Myself and yourself,’ said Mrs. Hauksbee, without a moment’s hesitation.
‘Modest woman! Mrs. Feardon would thank you for that. And how many clever men?’
‘Oh er hundreds,’ said Mrs. Hauksbee vaguely.
‘What a fatal blunder! Not one. They are all bespoke by the Government. Take my husband, for instance. Jack was a clever man, though I say so who shouldn’t. Government has eaten him up. All his ideas and powers of conversation he really used to be a good talker, even to his wife in the old days are taken from him by this this kitchen-sink of a Government. That’s the case with every man up here who is at work. I don’t suppose a Russian convict under the knout is able to amuse the rest of his gang; and all our men-folk here are gilded convicts.’
‘But there are scores--’
Kipling opens 'The Education of Otis Yeere' with a wry epigraph contrasting blessings on gains and losses, then declares this 'the history of a failure'—a failure attributed to a clever woman's blunder. The setting is Simla, where 'all things begin and many come to an evil end.' The narrative voice immediately establishes a tone of worldly irony, treating social missteps as breaches of natural order. Mrs. Hauksbee and Mrs. Mallowe's tiffin conversation, with its coded talk of 'chiffons' and allusions to scalps at wigwam-doors, reveals a society where reputation is a currency and every action is scrutinized.
The Architecture of Gossip
The dialogue between Mrs. Hauksbee and Mrs. Mallowe is a masterclass in indirect communication. They speak of 'the Hawley Boy' and 'the Mussuck' through nicknames and allusions, their banter layered with double meanings. When Mrs. Hauksbee claims 'there's no he in the case,' Mrs. Mallowe's retort—'somebody's scalp is generally drying at your wigwam-door'—instantly reasserts the social script. This verbal sparring is not mere entertainment; it is the mechanism by which status is negotiated. Kipling renders these exchanges with a reporter's ear for the cutting remark, the knowing pause, and the strategic laugh. The reader is placed as an eavesdropper, picking up the unwritten rules of a closed world.
Crisis and Reversal
The medical emergency involving Dora, Mrs. Bent's child, provides a stark contrast to the earlier drawing-room comedy. Mrs. Delville, dismissed as 'The Dowd,' arrives from a dance in a crumpled ball-dress and performs a tracheotomy with her own hands—an act the doctor admits he 'should have been afraid to do without consultation.' Kipling undercuts the heroism with bathos: Mrs. Delville's gloves are dirty, her dress ill-fitting, and she later 'slouched out of the room, mopping her eyes with the glove that she had not put on.' The scene pivots from life-saving to social comedy when Mrs. Hauksbee, recovering, frets about crushed roses on Mrs. Delville's shoulder. The crisis exposes both genuine courage and the persistent pull of appearances.
The Unraveling of Intentions
In the aftermath, Kipling traces how a selfless act is reabsorbed into the gossip economy. Mrs. Mallowe reports that 'The Dancing Master'—the child's father—is claiming Mrs. Delville acted out of love for him, and 'all Simla naturally believes this.' Mrs. Bent, the mother, now refuses to speak to her child's savior. Mrs. Hauksbee's rage at this injustice is impotent; she can only 'lift up her voice and rage till bed-time.' The story's final note is a recalled phrase—'paltry'—from a previous season's gossip, suggesting a cyclical pattern where noble deeds are trivialized. Kipling leaves the reader with the uncomfortable sense that in this world, meaning is always subject to reinterpretation by the collective.
These excerpts from Under the Deodars reward attention to Kipling's structural choices: the way a life-or-death scene is framed by social comedy, or how a single word like 'paltry' echoes across stories. Readers may find it useful to track how each tale establishes its own set of ironies—often through a narrator who withholds judgment while letting characters condemn themselves. The collection's title, evoking the deodar trees of Simla, hints at a canopy under which both refuge and exposure are possible.
Years at the desk have taught me how different books often whisper to one another across the shelves. Kipling’s Simla ladies, so certain of their fleeting victories, might find a strange echo in the quieter diary of a girl learning to surrender her own will. Both circle the same truth: how rarely we see our own hearts clearly, until grace or grief rearranges them. That old, slow lesson lingers beside Stepping Heavenward — Themes and Context.
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