The New Dispensation II
The narrative follows a protagonist who seeks companionship in the form of a servant, specifically a native from India, to alleviate his feelings of isolation in London. He encounters Ramasawmy, a Tamil man selling tooth-combs at the docks, and after some negotiation, hires him as a servant. Ramasawmy's initial appearance is disheveled, but the protagonist helps him clean up and provides him with clothes, despite the house staff's prejudices against him. Ramasawmy, referred to as "the Camel," quickly adapts to his new role, displaying both skill and a unique personality. He takes pride in his work, even as he struggles with his past and the memories of a violent encounter with a lascar. His character is marked by a blend of humor and menace, as he oscillates between being a diligent servant and a man consumed by thoughts of revenge. As the story progresses, Ramasawmy's loyalty and dedication to his employer become evident, but so does his volatile nature. He becomes increasingly restless, yearning for adventure and a return to the docks, where he feels a connection to his past. His behavior becomes erratic, especially after he gets drunk one night, causing chaos in the chambers. The climax occurs when Ramasawmy reveals that he has tracked down the lascar who harmed him. He prepares to confront this figure, indicating a deep-seated desire for vengeance. The protagonist, while intrigued by Ramasawmy's loyalty, is also aware of the danger that accompanies his servant's violent tendencies. Ultimately, Ramasawmy leaves the protagonist's service, having fulfilled his own agenda. The protagonist discovers bloodstains in his chambers, suggesting that Ramasawmy has exacted his revenge, leaving behind a sense of loss and the realization that he has been a mere bystander in the tumultuous life of his servant. The story concludes with a reflection on the complexities of identity, loyalty, and the consequences of violence, encapsulating the themes of cultural clash and personal redemption.
By Rudyard Kipling · First published 1926 · Genre: Literary Fiction, Social Commentary, Humor · 2,167 words
First lines
Writing of Kadir Baksh so wrought up my feelings that I could not rest till I had at least made an attempt to get a _budli_ of some sort. The black man is essential to my comfort. I fancied I might in this city of barbarism catch a brokendown native strayed from his home and friends, who would be my friend and humble pardner -- the sort of man, y' know, who would sleep on a rug somewhere near my chambers (I have forty things to tell you about chambers, but they come later), and generally look after my things. In the intervals of labour I would talk to him in his own tongue, and we would go abroad together and explore London.[30]
What this Textopian page supports
The New Dispensation II is listed on Textopian as a short story by Rudyard Kipling, dated 1926 CE.
This source record anchors work identity, reading entry points, and catalog context for checking claims about the work.
- Work type: Short story
- Author: Rudyard Kipling
- Date: 1926 CE
- Language: English
- Genres: Literary Fiction, Social Commentary, Humor, Historical Fiction, Adventure
- Length: 2,167 words
- Structure: 1 section, 24 paragraphs
- Reading fit: Fairly Easy (7th Grade)
Good citation fit
- Work identity for The New Dispensation II by Rudyard Kipling
- Canonical title URL and first readable passage URL
- Genre and topic classification from the Textopian catalog
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Discussion starters
- What should a reader notice first when entering The New Dispensation II?
- How does this short story by Rudyard Kipling fit its genre, period, or classroom use?
- Where does Literary Fiction first become important in the reading?
Similar titles
- Beyond The Pale by Rudyard Kipling
- The Reformers by Rudyard Kipling
- The New Dispensation I by Rudyard Kipling
- Politics And The Mayfly by John Buchan
- The New House by G. K. Chesterton
- The Mission Of Mr Eustace Greyne by Robert Hichens
Genres
- Literary Fiction — The book explores complex themes of identity, race, and social class through character interactions and detailed narrative.
- Social Commentary — It critiques societal norms and prejudices, particularly regarding colonial attitudes and the treatment of native individuals.
- Humor — The narrative employs wit and irony, particularly in the interactions between the protagonist and the servant.
- Historical Fiction — Set in a specific historical context, it reflects the colonial era's social dynamics and cultural exchanges.
Tags
historical · fiction · adventure · colonialism · British Empire · narrative · exploration · cultural · identity · conflict · society · morality