Summary of Stories in Rudyard Kipling, "The Phantom Rickshaw and Other Tales" (1888)
The Phantom ’Rickshaw [Tags: Ghost Stories, Simla, Sudden deaths after romantic disappointment]
Set in the bustling hill station of Simla, this story explores the psychological unraveling of Jack Pansay, a Bengal “Civilian” [Civilian: member of the Indian Civil Service]. The narrative highlights the "Great Knowability" of Anglo-Indian society, where the small circle of English officials and their families are intimately acquainted:
One of the few advantages that India has over England is a great Knowability. After five years’ service a man is directly or indirectly acquainted with the two or three hundred Civilians in his Province, all the Messes of ten or twelve Regiments and Batteries, and some fifteen hundred other people of the non-official caste. In ten years his knowledge should be doubled, and at the end of twenty he knows, or knows something about, every Englishman in the Empire, and may travel anywhere and everywhere without paying hotel-bills.
Globe-trotters who expect entertainment as a right, have, even within my memory, blunted this open-heartedness, but none the less to-day, if you belong to the Inner Circle and are neither a Bear nor a Black Sheep, all houses are open to you, and our small world is very, very kind and helpful.
Pansay’s ordeal begins after he callously ends an affair with Agnes Keith-Wessington to pursue Kitty Mannering. Following Agnes’s death, her ghost begins to haunt him, appearing in her yellow-paneled ’rickshaw pulled by four jhampanies (coolies) in their distinctive "magpie" (black and white) livery.
The story is deeply rooted in the geography of Simla, moving through landmarks like Jakko Hill, the Sanjowlie Reservoir, and the Combermere Bridge.
Kitty and I entered Hamilton’s shop together, and there, regardless of the order of affairs, I measured Kitty for the ring in the presence of the amused assistant. The ring was a sapphire with two diamonds. We then rode out down the slope that leads to the Combermere Bridge and Peliti’s shop.
While my Waler was cautiously feeling his way over the loose shale, and Kitty was laughing and chattering at my side--while all Simla, that is to say as much of it as had then come from the Plains, was grouped round the Reading-room and Peliti’s veranda,--I was aware that some one, apparently at a vast distance, was calling me by my Christian name. It struck me that I had heard the voice before, but when and where I could not at once determine. In the short space it took to cover the road between the path from Hamilton’s shop and the first plank of the Combermere Bridge I had thought over half a dozen people who might have committed such a solecism, and had eventually decided that it must have been singing in my ears. Immediately opposite Peliti’s shop my eye was arrested by the sight of four jhampanies in “magpie” livery, pulling a yellow-paneled, cheap, bazar ‘rickshaw. In a moment my mind flew back to the previous season and Mrs. Wessington with a sense of irritation and disgust. Was it not enough that the woman was dead and done with, without her black and white servitors reappearing to spoil the day’s happiness? Whoever employed them now I thought I would call upon, and ask as a personal favor to change her jhampanies’ livery. I would hire the men myself, and, if necessary, buy their coats from off their backs. It is impossible to say here what a flood of undesirable memories their presence evoked.
“Kitty,” I cried, “there are poor Mrs. Wessington’s jhampanies turned up again! I wonder who has them now?”
Kipling emphasizes the cultural divide between the English "Sahibs" and the native population; for instance, Pansay’s syce (groom) cannot see the phantom, and native superstition is noted when a ’rickshaw owner refuses to use a dead woman’s carriage, fearing it will "spoil his luck".
The ‘rickshaw was directly in the middle of the road; and once more the Arab passed through it, my horse following. “Jack! Jack dear! Please forgive me,” rang with a wail in my ears, and, after an interval:--“It’s a mistake, a hideous mistake!”
I spurred my horse like a man possessed. When I turned my head at the Reservoir works, the black and white liveries were still waiting--patiently waiting--under the grey hillside, and the wind brought me a mocking echo of the words I had just heard. Kitty bantered me a good deal on my silence throughout the remainder of the ride. I had been talking up till then wildly and at random. To save my life I could not speak afterward naturally, and from Sanjowlie to the Church wisely held my tongue.
I was to dine with the Mannerings that night, and had barely time to canter home to dress. On the road to Elysium Hill I overheard two men talking together in the dusk.--“It’s a curious thing,” said one, “how completely all trace of it disappeared. You know my wife was insanely fond of the woman [‘never could see anything in her myself), and wanted me to pick up her old ‘rickshaw and coolies if they were to be got for love or money. Morbid sort of fancy I call it; but I’ve got to do what the Memsahib tells me. Would you believe that the man she hired it from tells me that all four of the men--they were brothers--died of cholera on the way to Hardwar, poor devils, and the ‘rickshaw has been broken up by the man himself. ‘Told me he never used a dead Memsahib’s ‘rickshaw. ‘Spoiled his luck. Queer notion, wasn’t it?
Despite the medical explanations of Doctor Heatherlegh, who blames overwork—a common "killer" in the Indian civil service—Pansay remains convinced he is being hounded by the "Dark World". Ultimately, the phantom serves as a persistent reminder of his cruelty, isolating him from the polite society of the Mall and the Club until his eventual death.
My Own True Ghost Story [Tags: Ghost Stories]
This tale provides a satirical look at the supernatural within the context of the Grand Trunk Road and its desolate dâk-bungalows (government rest houses).
Murree has a merry ghost, and, now that she has been swept by cholera, will have room for a sorrowful one; there are Officers’ Quarters in Mian Mir whose doors open without reason, and whose furniture is guaranteed to creak, not with the heat of June but with the weight of Invisibles who come to lounge in the chairs; Peshawur possesses houses that none will willingly rent; and there is something--not fever--wrong with a big bungalow in Allahabad. The older Provinces simply bristle with haunted houses, and march phantom armies along their main thoroughfares.
Some of the dâk-bungalows on the Grand Trunk Road have handy little cemeteries in their compound--witnesses to the “changes and chances of this mortal life” in the days when men drove from Calcutta to the Northwest. These bungalows are objectionable places to put up in. They are generally very old, always dirty, while the khansamah is as ancient as the bungalow. He either chatters senilely, or falls into the long trances of age. In both moods he is useless. If you get angry with him, he refers to some Sahib dead and buried these thirty years, and says that when he was in that Sahib’s service not a khansamah in the Province could touch him. Then he jabbers and mows and trembles and fidgets among the dishes, and you repent of your irritation.
The narrator describes the unique nature of "Indian ghosts," distinguishing between "vernacular" spirits—such as corpse-ghosts that drop from trees or women with backward-turned feet who die in childbirth—and the English ghosts that haunt various stations like Lahore, Mussoorie, and Allahabad.
There are, in this land, ghosts who take the form of fat, cold, pobby corpses, and hide in trees near the roadside till a traveler passes. Then they drop upon his neck and remain. There are also terrible ghosts of women who have died in child-bed. These wander along the pathways at dusk, or hide in the crops near a village, and call seductively. But to answer their call is death in this world and the next. Their feet are turned backward that all sober men may recognize them. There are ghosts of little children who have been thrown into wells. These haunt well curbs and the fringes of jungles, and wail under the stars, or catch women by the wrist and beg to be taken up and carried. These and the corpse ghosts, however, are only vernacular articles and do not attack Sahibs. No native ghost has yet been authentically reported to have frightened an Englishman; but many English ghosts have scared the life out of both white and black.
Nearly every other Station owns a ghost. There are said to be two at Simla, not counting the woman who blows the bellows at Syree dâk-bungalow on the Old Road; Mussoorie has a house haunted of a very lively Thing; a White Lady is supposed to do night-watchman round a house in Lahore; Dalhousie says that one of her houses “repeats” on autumn evenings all the incidents of a horrible horse-and-precipice accident;
The setting at the Katmal dâk-bungalow is depicted as a place of "bleak, unadulterated misery," where the windows are grime-streaked and the khansamah (caretaker) is a senile man who babbles about long-dead Sahibs.
The horror peaks when the narrator hears the unmistakable sounds of a billiard game—the whir of balls and the click of cannons—emanating from an empty, locked room. Cultural aspects of colonial life are woven throughout, from the ratub (dog’s rations) served as dinner to the appearance of doolie-bearers (litter carriers) in the compound. The narrator eventually learns that the bungalow was once a billiard room for railway engineers, seemingly confirming a haunting. However, the "ghosts" are revealed to be entirely material: a restless rat in the ceiling-cloth and a loose window sash shaking in the wind. The story concludes with the narrator lamenting that he "ruined" a perfectly good ghost story by discovering the rational truth, reflecting a skeptical but atmospheric view of Indian station life.
The Strange Ride of Morrowbie Jukes [Tags: Illness / Cholera, Allegory for nationalist movement, Caste]
This story takes place in a desolate, sandy stretch of country between Pakpattan and Muharakpur, where Morrowbie Jukes, a Civil Engineer, falls into a "Village of the Dead". This location is a massive sand crater on the banks of the Sutlej River, serving as a macabre colony for Hindus who were thought dead—often during cholera epidemics—but revived before cremation at the ghât.
I have a faint recollection of standing upright in my stirrups, and of brandishing my hog-spear at the great white Moon that looked down so calmly on my mad gallop; and of shout-log challenges to the camel-thorn bushes as they whizzed past. Once or twice I believe, I swayed forward on Pornic’s neck, and literally hung on by my spurs--as the marks next morning showed.
The wretched beast went forward like a thing possessed, over what seemed to be a limitless expanse of moonlit sand. Next, I remember, the ground rose suddenly in front of us, and as we topped the ascent I saw the waters of the Sutlej shining like a silver bar below. Then Pornic blundered heavily on his nose, and we rolled together down some unseen slope.
I must have lost consciousness, for when I recovered I was lying on my stomach in a heap of soft white sand, and the dawn was beginning to break dimly over the edge of the slope down which I had fallen. As the light grew stronger I saw that I was at the bottom of a horseshoe-shaped crater of sand, opening on one side directly on to the shoals of the Sutlej.
These "living dead" are outcasts who can never return to society. Kipling highlights the total collapse of caste and social order within this pit; Jukes encounters Gunga Dass, a former high-caste Brahmin and government telegraph-master, who has been reduced to a "withered skeleton" who eats crows to survive.
Gunga Dass, as he bent over the unclean bird, watched me curiously. Hindus seldom laugh, and his surroundings were not such as to move Gunga Dass to any undue excess of hilarity. He removed the crow solemnly from the wooden spit and as solemnly devoured it. Then he continued his story, which I give in his own words:
“In epidemics of the cholera you are carried to be burned almost before you are dead. When you come to the riverside the cold air, perhaps, makes you alive, and then, if you are only little alive, mud is put on your nose and mouth and you die conclusively. If you are rather more alive, more mud is put; but if you are too lively they let you go and take you away. I was too lively, and made protestation with anger against the indignities that they endeavored to press upon me. In those days I was Brahmin and proud man. Now I am dead man and eat”--here he eyed the well-gnawed breast bone with the first sign of emotion that I had seen in him since we met--“crows, and other things. They took me from my sheets when they saw that I was too lively and gave me medicines for one week, and I survived successfully. Then they sent me by rail from my place to Okara Station, with a man to take care of me; and at Okara Station we met two other men, and they conducted we three on camels, in the night, from Okara Station to this place, and they propelled me from the top to the bottom, and the other two succeeded, and I have been here ever since two and a half years. Once I was Brahmin and proud man, and now I eat crows.”
The narrative emphasizes the loss of the "Sahib’s" authority in this "Republic" of wild beasts, where Jukes is mocked and robbed by those he would normally command.
Then, being only a man after all, I felt hungry, and intimated as much to Gunga Dass, whom I had begun to regard as my natural protector. Following the impulse of the outer world when dealing with natives, I put my hand into my pocket and drew out four annas. The absurdity of the gift struck me at once, and I was about to replace the money.
Gunga Dass, however, was of a different opinion. “Give me the money,” said he; “all you have, or I will get help, and we will kill you!” All this as if it were the most natural thing in the world!
A Briton’s first impulse, I believe, is to guard the contents of his pockets; but a moment’s reflection convinced me of the futility of differing with the one man who had it in his power to make me comfortable; and with whose help it was possible that I might eventually escape from the crater. I gave him all the money in my possession, Rs. 9-8-5--nine rupees eight annas and five pie--for I always keep small change as bakshish when I am in camp. Gunga Dass clutched the coins, and hid them at once in his ragged loin cloth, his expression changing to something diabolical as he looked round to assure himself that no one had observed us.
“Now I will give you something to eat,” said he.
[...]
When I was in the open, I saw Pornic, my poor old Pornic, lying dead on the sandy soil. How they had killed him I cannot guess. Gunga Dass explained that horse was better than crow, and “greatest good of greatest number is political maxim. We are now Republic, Mister Jukes, and you are entitled to a fair share of the beast. If you like, we will pass a vote of thanks. Shall I propose?”
Yes, we were a Republic indeed! A Republic of wild beasts penned at the bottom of a pit, to eat and fight and sleep till we died. I attempted no protest of any kind, but sat down and stared at the hideous sight in front of me. In less time almost than it takes me to write this, Pornic’s body was divided, in some unclear way or other; the men and women had dragged the fragments on to the platform and were preparing their normal meal. Gunga Dass cooked mine.
The landscape itself is a trap, protected by a quicksand that prevents escape toward the river, while an armed native in a boat shoots at anyone attempting to leave via the foreshore. Jukes's desperation grows as he discovers the mummified remains of another Englishman who died in the burrows. He eventually escapes only through the loyalty of his dog-boy, Dunnoo, who tracks him and uses punkah-ropes to haul him up the steep sand walls. The story serves as a harrowing exploration of the fragility of colonial identity when stripped of its cultural and social supports.
The Man Who Would Be King [Tags: Afghanistan, Princely states, Fake religious movements, Race/Racism]
The narrative begins on the Indian railway between Mhow and Ajmir, highlighting the social stratification of colonial travel. The narrator encounters Daniel Dravot and Peachey Carnehan in the Intermediate class, a crowded space for Eurasians and "natives" who carry food in bundles and drink "roadside water".
I have still to be brother to a Prince, though I once came near to kinship with what might have been a veritable King, and was promised the reversion of a Kingdom--army, law-courts, revenue, and policy all complete. But, to-day, I greatly fear that my King is dead, and if I want a crown I must go hunt it for myself.
The beginning of everything was in a railway-train upon the road to Mhow from Ajmir. There had been a Deficit in the Budget, which necessitated travelling, not Second-class, which is only half as dear as First-Class, but by Intermediate, which is very awful indeed. There are no cushions in the Intermediate class, and the population are either Intermediate, which is Eurasian, or native, which for a long night journey is nasty, or Loafer, which is amusing though intoxicated. Intermediates do not buy from refreshment-rooms. They carry their food in bundles and pots, and buy sweets from the native sweetmeat-sellers, and drink the roadside water. This is why in hot weather Intermediates are taken out of the carriages dead, and in all weathers are most properly looked down upon.
The setting shifts through landmarks like Nasirabad, Marwar Junction, and the Indian Desert. Kipling paints a vivid picture of Native States as "dark places" where ancient cruelty, such as a widow being "slippered to death," exists alongside modern telegraphs.
Don’t try to run the Central India States just now as the correspondent of the ‘Backwoodsman.’ There’s a real one knocking about here, and it might lead to trouble.”
“Thank you,” said he, simply; “and when will the swine be gone? I can’t starve because he’s ruining my work. I wanted to get hold of the Degumber Rajah down here about his father’s widow, and give him a jump.”
“What did he do to his father’s widow, then?”
“Filled her up with red pepper and slippered her to death as she hung from a beam. I found that out myself, and I’m the only man that would dare going into the State to get hush-money for it. They’ll try to poison me, same as they did in Chortumna when I went on the loot there. But you’ll give the man at Marwar Junction my message?”
He got out at a little roadside station, and I reflected. I had heard, more than once, of men personating correspondents of newspapers and bleeding small Native States with threats of exposure, but I had never met any of the caste before. They lead a hard life, and generally die with great suddenness. The Native States have a wholesome horror of English newspapers, which may throw light on their peculiar methods of government, and do their best to choke correspondents with champagne, or drive them out of their mind with four-in-hand barouches. They do not understand that nobody cares a straw for the internal administration of Native States so long as oppression and crime are kept within decent limits, and the ruler is not drugged, drunk, or diseased from one end of the year to the other. They are the dark places of the earth, full of unimaginable cruelty, touching the Railway and the Telegraph on one side, and, on the other, the days of Harun-al-Raschid. When I left the train I did business with divers Kings, and in eight days passed through many changes of life. Sometimes I wore dress-clothes and consorted with Princes and Politicals, drinking from crystal and eating from silver.
The duo’s ambitious plan to become kings takes them to the Kumharsen Serai, a bustling "sink of humanity" where traders from Balkh, Bokhara, Bengal, and Bombay meet. Here, the culture of the bazaar is on display as Dravot disguises himself as a "mad priest" to exploit the native belief that the "witless are under the protection of God".
You can buy ponies, turquoises, Persian pussy-cats, saddle-bags, fat-tailed sheep, and musk in the Kumharsen Serai, and get many strange things for nothing. In the afternoon I went down to see whether my friends intended to keep their word or were lying there drunk.
A priest attired in fragments of ribbons and rags stalked up to me, gravely twisting a child’s paper whirligig. Behind him was his servant bending under the load of a crate of mud toys. The two were loading up two camels, and the inhabitants of the Serai watched them with shrieks of laughter.
“The priest is mad,” said a horse-dealer to me. “He is going up to Kabul to sell toys to the Amir. He will either be raised to honour or have his head cut off. He came in here this morning and has been behaving madly ever since.”
“The witless are under the protection of God,” stammered a flat-cheeked Usbeg in broken Hindi. “They foretell future events.”
They smuggle Martini rifles through the Khaiber Pass, aiming for Kafiristan, a mountainous region near Peshawar.
In Kafiristan, they establish a kingdom by merging Freemasonry with local idols, like Imbra, but their downfall is rooted in a cultural misunderstanding of their "godhood".
But Dravot says that if a King couldn’t sing it wasn’t worth being King, and whacked the mules over the rump, and never took no heed for ten cold days. We came to a big level valley all among the mountains, and the mules were near dead, so we killed them, not having anything in special for them or us to eat. We sat upon the boxes, and played odd and even with the cartridges that was jolted out.
“Then ten men with bows and arrows ran down that valley, chasing twenty men with bows and arrows, and the row was tremenjus. They was fair men--fairer than you or me--with yellow hair and remarkable well built. Says Dravot, unpacking the guns, ‘This is the beginning of the business. We’ll fight for the ten men,’ and with that he fires two rifles at the twenty men, and drops one of them at two hundred yards from the rock where he was sitting. The other men began to run, but Carnehan and Dravot sits on the boxes picking them off at all ranges, up and down the valley. Then we goes up to the ten men that had run across the snow too, and they fires a footy little arrow at us. Dravot he shoots above their heads, and they all falls down flat. Then he walks over them and kicks them, and then he lifts them up and shakes hands all round to make them friendly like. He calls them and gives them the boxes to carry, and waves his hand for all the world as though he was King already. They takes the boxes and him across the valley and up the hill into a pine wood on the top, where there was half a dozen big stone idols. Dravot he goes to the biggest--a fellow they call Imbra--and lays a rifle and a cartridge at his feet, rubbing his nose respectfully with his own nose, patting him on the head, and nods his head, and says, ‘That’s all right. I’m in the know too, and these old jimjams are my friends.’ Then he opens his mouth and points down it, and when the first man brings him food, he says, ‘No;’ and when the second man brings him food, he says ‘no;’ but when one of the old priests and the boss of the village brings him food, he says, ‘Yes;’ very haughty, and eats it slow. That was how we came to our first village without any trouble, just as though we had tumbled from the skies. But we tumbled from one of those damned rope-bridges, you see, and--you couldn’t expect a man to laugh much after that?”
When Dravot insists on taking a native wife—breaking their "Contrack"—the girl bites him, and the sight of his blood reveals he is merely a man. This leads to a violent revolt, Dravot’s execution, and Carnehan’s eventual return to the narrator’s office in a state of "unadulterated misery," carrying his comrade’s dried head.
The Finest Story in The World [Tags: Ghostly reincarnation, Orientalism, Storytelling, Hinduism, Caste]
While primarily set in London, this story’s philosophical and cultural core is defined by Indian concepts of metempsychosis (reincarnation). The narrator discovers that Charlie Mears, a young bank clerk, possesses fragmented, vivid memories of past lives as a Greek galley slave and a Viking. He has the idea of writing out the story anonymously, sure that it would have a massive impact on readers:
If Charlie were permitted full recollection for one hour--for sixty short minutes--of existences that had extended over a thousand years--I would forego all profit and honor from all that I should make of his speech. I would take no share in the commotion that would follow throughout the particular corner of the earth that calls itself “the world.” The thing should be put forth anonymously. Nay, I would make other men believe that they had written it. They would hire bull-hided self-advertising Englishmen to bellow it abroad. Preachers would found a fresh conduct of life upon it, swearing that it was new and that they had lifted the fear of death from all mankind. Every Orientalist in Europe would patronize it discursively with Sanskrit and Pali texts. Terrible women would invent unclean variants of the men’s belief for the elevation of their sisters.
Churches and religions would war over it. Between the hailing and re-starting of an omnibus I foresaw the scuffles that would arise among half a dozen denominations all professing “the doctrine of the True Metempsychosis as applied to the world and the New Era”; and saw, too, the respectable English newspapers shying, like frightened kine, over the beautiful simplicity of the tale. The mind leaped forward a hundred--two hundred--a thousand years. I saw with sorrow that men would mutilate and garble the story; that rival creeds would turn it upside down till, at last, the western world which clings to the dread of death more closely than the hope of life, would set it aside as an interesting superstition and stampede after some faith so long forgotten that it seemed altogether new. Upon this I changed the terms of the bargain that I would make with the Lords of Life and Death. Only let me know, let me write, the story with sure knowledge that I wrote the truth, and I would burn the manuscript as a solemn sacrifice. Five minutes after the last line was written I would destroy it all. But I must be allowed to write it with absolute certainty.
To understand this phenomenon, the narrator consults Grish Chunder, a Bengali law student who provides a "civilized" Eastern perspective on the soul. Here is how Grish Chunder is introduced:
“They are very funny fools, your English,” said a voice at my elbow, and turning round I recognized a casual acquaintance, a young Bengali law student, called Grish Chunder, whose father had sent him to England to become civilized. The old man was a retired native official, and on an income of five pounds a month contrived to allow his son two hundred pounds a year, and the run of his teeth in a city where he could pretend to be the cadet of a royal house, and tell stories of the brutal Indian bureaucrats who ground the faces of the poor.
Grish Chunder was a young, fat, full-bodied Bengali dressed with scrupulous care in frock coat, tall hat, light trousers and tan gloves. But I had known him in the days when the brutal Indian Government paid for his university education, and he contributed cheap sedition to Sachi Durpan, and intrigued with the wives of his schoolmates.
The dialogue with Chunder introduces deep aspects of Indian culture, such as the inevitability of caste. Despite his English education, Chunder admits he must eventually return to India to perform ceremonies of purification and "conciliate popular superstition".
“That is very funny and very foolish,” he said, nodding at the poster. “I am going down to the Northbrook Club. Will you come too?”
I walked with him for some time. “You are not well,” he said. “What is there in your mind? You do not talk.”
“Grish Chunder, you’ve been too well educated to believe in a God, haven’t you?”
“Oah, yes, here! But when I go home I must conciliate popular superstition, and make ceremonies of purification, and my women will anoint idols.”
“And bang up tulsi and feast the purohit, and take you back into caste again and make a good khuttrj of you again, you advanced social Free-thinker. And you’ll eat desi food, and like it all, from the smell in the courtyard to the mustard oil over you.”
“I shall very much like it,” said Grish Chunder, unguardedly. “Once a Hindu--always a Hindu. But I like to know what the English think they know.”
He describes the narrator as a "cow-fed Malechk" (outcast) and notes that the "door is shut" to most people regarding their past lives to prevent them from "upsetting the balances of power":
“Beshak,” he said, philosophically. “Lekin darwaza band hai. (Without doubt, but the door is shut.) I have heard of this remembering of previous existences among my people. It is of course an old tale with us, but, to happen to an Englishman--a cow-fed Malechk--an outcast. By Jove, that is most peculiar!”
“Outcast yourself, Grish Chunder! You eat cow-beef every day. Let’s think the thing over. The boy remembers his incarnations.”
“Does he know that?” said Grish Chunder, quietly, swinging his legs as he sat on my table. He was speaking in English now.
“He does not know anything. Would I speak to you if he did? Go on!”
“There is no going on at all. If you tell that to your friends they will say you are mad and put it in the papers. Suppose, now, you prosecute for libel.”
“Let’s leave that out of the question entirely. Is there any chance of his being made to speak?”
“There is a chance. Oah, yes! But if he spoke it would mean that all this world would end now--instanto--fall down on your head. These things are not allowed, you know. As I said, the door is shut.”
“Not a ghost of a chance?”
“How can there be? You are a Christian, and it is forbidden to eat, in your books, of the Tree of Life, or else you would never die. How shall you all fear death if you all know what your friend does not know that he knows? I am afraid to be kicked, but I am not afraid to die, because I know what I know. You are not afraid to be kicked, but you are afraid to die. If you were not, by God! you English would be all over the shop in an hour, upsetting the balances of power, and making commotions. It would not be good. But no fear. He will remember a little and a little less, and he will call it dreams. Then he will forget altogether. When I passed my First Arts Examination in Calcutta that was all in the cram-book on Wordsworth. ‘Trailing clouds of glory,’ you know.”
Chunder’s cultural insight proves prophetic: he warns that the "remembrance of previous existences" is fragile and will be destroyed by the "love of woman". This transition from spiritual memory to worldly distraction is framed through an Indian lens, where the narrator’s desire to document the "finest story" is thwarted when Charlie falls for a tobacconist’s assistant. The story concludes with the realization that Charlie’s memories have vanished, proving Chunder’s point that the Lords of Life and Death ensure the doors of the past remain closed once a soul becomes "immersed in trade" or romance.