Rudyard Kipling

Rudyard Kipling

1865–1936 · lived 70 years GB GB

Rudyard Kipling was a prolific English writer and poet, best known for his works on British India and his children's stories. He championed the idea of the 'White Man's Burden' and his writings often reflected imperialist sentiments. Despite controversy surrounding his political views, his imaginative storytelling and mastery of language continue to be recognized, with works like 'The Jungle Book' and 'Kim' remaining popular.

n. 1865-12-30, Bombaim · m. 1936-01-18, Londres

137,553 Views

Columns

Columns
(Mobile Columns of the Boer War)
Out o' the wilderness, dusty an' dry
(Time, an' 'igh time to be trekkin' again!)
Oo is it 'eads to the Detail Supply?
A sectioin, a pompom, an' six 'undred men.
'Ere comes the clerk with 'is lantern an' keys
(Time, an 'igh time to be trekkin 'again!)
" Surplus of everything--draw what you please
"For the section, the pompom, an' six 'unrdred men."
"What are our orders an' where do we lay? .
(Time, an 'igh time to be trekkin' again!)
"You came after dark--you will leave before day,
"You section, you pompom, you six' undred men!"
Down the tin street, 'alf awake an 'unfed,
'Ark to 'em blessin' the Gen'ral in bed!
Now by the church an' the outspan they wind--
Over the ridge an' it's all lef' be'ind
For the section, etc.
Soon they will camp as the dawn's growin' grey,
Roll up for coffee an' sleep while they may--
The section , etc.
Read their 'ome letters, their papers an' such,
For they'll move after dark to astonish the Dutch
With a section, etc.
'Untin' for shade as the long hours pass--
Blankets on rifles or burrows in grass,
Lies the section, etc.
Dossin' or beatin' a shirt in the sun,
Watching chameleons or cleanin' a gun,
Waits the section, etc.
With nothin' but stillness as far as you please,
An' the silly mirage stringin' islands an' seas
Round the section, etc.
So they strips off their hide an' they grills in their bones,
Till the shadows crawl out from beneath the pore stones
Toward the section, etc.
An' the Mauser-bird stops an' the jacals begin
A the 'orse-guard comes up and the Gunners 'ook in
As a 'int the pompom an' six 'undred men . . . .


Off through the dark with the stars to rely on---
(Alpha Centauri an' somethin' Orion)
Moves the section, etc.
Same bloomin' 'ole which the ant-bear 'as broke,
Same bloomin' stumble an' same bloomin' joke
Down the section, etc.
Same "which is right?" where the cart-tracks divide,
Same "give it up" from the same clever guide
To the section, etc.
Same tumble-down on the same 'idden farm,
Same white-eyed Kaffir 'oo gives the alarm--
Of the section, etc.
Same shootin' wild at the end o' the night,
Same flyin'-tackle an' same messy fight,
By the section, etc.
Same ugly 'iccup an' same 'orrid squeal,
When it's too dark to see an' it's too late to feel
In the section, etc.
(Same batch of prisoners, 'airy an' still,
Watchin' their comrades bolt over the 'ill
From the section, etc.)
Same chilly glare in the eye of the sun
As 'e gets up displeasured to see what was done
By the section, etc.
Same splash o' pink on the stoep or the kraal,
An' the same quiet face which 'as finished with all
In the section, the pompom, an' six 'undred men.
Out o' the wilderness, dusty an' dry
(Time, an' 'igh time to be trekkin' again!)
' Oo is it 'eads to the Detail Supply ?
A section, a pompom, an 'six' 'undred men.
Read full poem
Bio

Identification and basic context

Joseph Rudyard Kipling was an English writer and poet. He is widely known by his middle name, Rudyard. Born in Bombay, British India, he spent much of his formative years there and later in England. His father was an artist and principal of an art school in India. Kipling was a British national and wrote in English.

Childhood and education

Kipling's early childhood in India deeply shaped his worldview and literary output. After returning to England for his education, he attended the United Services College in Westward Ho!, Devon, which provided the setting for his novel 'Stalky & Co.'. His time there was marked by a harsh but formative experience. He received a practical education rather than a formal university degree, returning to India to begin his career in journalism.

Literary trajectory

Kipling began his literary career as a journalist in Lahore, India, in the 1880s. His early stories, often published in periodicals, showcased his keen observation of Indian life and his developing narrative skill. He gained significant fame with collections like 'Plain Tales from the Hills' and 'Soldiers Three'. His move to London in the 1890s further cemented his international reputation. He also wrote novels, essays, and songs, demonstrating a remarkable versatility.

Works, style, and literary characteristics

Kipling's major works include 'The Jungle Book' (1894), 'Kim' (1901), 'The Just So Stories' (1902), and numerous poems like 'If—' and 'The White Man's Burden'. His dominant themes often revolve around India, the British Empire, the lives of soldiers, the relationship between humans and animals, and the complexities of loyalty and duty. His style is characterized by vivid imagery, a strong narrative drive, and a colloquial yet precise use of language. He mastered various forms, from short stories and novels to ballads and epic poems. His poetic voice is often didactic, authoritative, and nationalistic. He employed powerful metaphors and rhythms, making his works highly memorable.

Cultural and historical context

Kipling was a prominent voice during the height of the British Empire, and his work is inextricably linked to the imperialist project. He lived through periods of expansion, conflict, and colonial administration, which heavily influenced his perspective. He was part of a generation of writers grappling with themes of empire, race, and cultural encounter. His strong espousal of the 'White Man's Burden' placed him at the center of contemporary debates about colonialism.

Personal life

Kipling's personal life was marked by his experiences in India and his strong sense of duty and patriotism. His marriage to Caroline Starr Balestier provided a stable partnership. He experienced personal tragedies, including the early death of his daughter Josephine, which deeply affected him and is thought to have influenced some of his later works, such as 'Kim'. He was a complex figure, deeply devoted to his family and his work.

Recognition and reception

Kipling achieved immense fame and recognition during his lifetime. He was awarded the Nobel Prize in Literature in 1907, becoming the first English-language recipient. His works were widely translated and celebrated internationally. However, his strong imperialist views also drew criticism, and his reception has been complex, with ongoing discussions about the political implications of his writings.

Influences and legacy

Kipling was influenced by his experiences in India, classical literature, and the journalistic tradition. His legacy is significant, though debated. He is credited with profoundly shaping the adventure story genre and children's literature. His influence can be seen in subsequent generations of writers who explored themes of empire, adventure, and the wilderness. His poems, particularly 'If—', remain widely quoted. His work continues to be adapted into films and other media.

Interpretation and critical analysis

Kipling's work is often analyzed through the lens of colonialism, examining his portrayal of indigenous peoples and his support for British imperial rule. Critical interpretations highlight his narrative skill and imaginative power while also scrutinizing his problematic political stances. Debates continue regarding the extent to which his stories can be separated from their imperialist context.

Curiosities and lesser-known aspects

Despite his fame, Kipling was notoriously private and sometimes irascible. He had a deep fascination with machinery and technology, which sometimes found its way into his stories. He was also known for his meticulous attention to detail in his writing. A lesser-known aspect is his significant contribution to the development of the short story form.

Death and memory

Rudyard Kipling died in London. His memory is preserved through his vast literary output, which continues to be read and studied, albeit often with critical commentary on his political views. His home, Batemans, is now a National Trust property and museum, offering insights into his life and work.

Poems

275

By the Hoof of the Wild Goat

By the Hoof of the Wild Goat
By the Hoof of the Wild Goat uptossed
From the cliff where she lay in the Sun
Fell the Stone
To the Tarn where the daylight is lost,
So she fell from the light of the Sun
And alone!
Now the fall was ordained from the first
With the Goat and the Cliff and the Tarn,
But the Stone
Knows only her life is accursed
As she sinks from the light of the Sun
And alone!
Oh Thou Who hast builded the World,
Oh Thou Who hast lighted the Sun,
Oh Thou Who hast darkened the Tarn,
Judge Thou
The sin of the Stone that was hurled
By the goat from the light of the Sun,
As she sinks in the mire of the Tarn,
Even now--even now--even now!
504

Brookland Road

Brookland Road
I was very well pleased with what I knowed,
I reckoned myself no fool --
Till I met with a maid on the Brookland Road,
That turned me back to school.
Low down-low down!
Where the liddle green lanterns shine --
O maids, I've done with 'ee all but one,
And she can never be mine!
'Twas right in the middest of a hot June night,
With thunder duntin' round,
And I see her face by the fairy-light
That beats from off the ground.
She only smiled and she never spoke,
She smiled and went away;
But when she'd gone my heart was broke
And my wits was clean astray.
O, stop your ringing and let me be --
Let be, O Brookland bells!
You'll ring Old Goodman out of the sea,
Before I wed one else!
Old Goodman's Farm is rank sea-sand,
And was this thousand year;
But it shall turn to rich plough-land
Before I change my dear.
O, Fairfield Church is water-bound
From autumn to the spring;
But it shall turn to high hill-ground
Before my bells do ring.
O, leave me walk on Brookland Road,
In the thunder and warm rain --
O, leave me look where my love goed,
And p'raps I'll see her again!
Low down -- low down!
Where the liddle green lanterns shine --
O maids, I've done with 'ee all but one,
And she can never be mine!
473

Buddha at Kamakura

Buddha at Kamakura
Oye who treated the Narrow Way
By Tophet-flare to Judgment Day,
Be gentle when "the heathen" pray
To Buddha at Kamakura!
To him the Way, the Law, apart,
Whom Maya held beneath her heart,
Ananda's Lord, the Bodhisat,
The Buddha of Kamakura.
For though he neither burns nor sees,
Nor hears ye thank your Deities,
Ye have not sinned with such as these,
His children at Kamakura,
Yet spare us still the Western joke
When joss-sticks turn to scented smoke
The little sins of little folk
That worship at Kamakura --
The grey-robed, gay-sashed butterflies
That flit beneath the Master's eyes.
He is beyond the Mysteries
But loves them at Kamakura.
And whoso will, from Pride released,
Contemning neither creed nor priest,
May feel the Soul of all the East
About him at Kamakura.
Yea, every tale Ananda heard,
Of birth as fish or beast or bird,
While yet in lives the Master stirred,
The warm wind brings Kamakura.
Till drowsy eyelids seem to see
A-flower 'neath her golden htee
The Shwe-Dagon flare easterly
From Burmah to Kamakura,
And down the loaded air there comes
The thunder of Thibetan drums,
And droned -- "Om mane padme hums" --
A world's-width from Kamakura.
Yet Brahmans rule Benares still,
Buddh-Gaya's ruins pit the hill,
And beef-fed zealots threaten ill
To Buddha and Kamakura.
A tourist-show, a legend told,
A rusting bulk of bronze and gold,


So much, and scarce so much, ye hold
The meaning of Kamakura?
But when the morning prayer is prayed,
Think, ere ye pass to strife and trade,
Is God in human image made
No nearer than Kamakura?
492

Boots

Boots
INFANTRY COLUMNS
We're foot--slog--slog--slog--sloggin' over Africa --
Foot--foot--foot--foot--sloggin' over Africa --
(Boots--boots--boots--boots--movin' up an' down again!)
There's no discharge in the war!
Seven--six--eleven--five--nine-an'-twenty mile to-day --
Four--eleven--seventeen--thirty-two the day before --
(Boots--boots--boots--boots--movin' up an' down again!)
There's no discharge in the war!
Don't--don't--don't--don't--look at what's in front of you.
(Boots--boots--boots--boots--movin' up an' down again);
Men--men--men--men--men go mad with watchin' em,
An' there's no discharge in the war!
Try--try--try--try--to think o' something different --
Oh--my--God--keep--me from goin' lunatic!
(Boots--boots--boots--boots--movin' up an' down again!)
There's no discharge in the war!
Count--count--count--count--the bullets in the bandoliers.
If--your--eyes--drop--they will get atop o' you!
(Boots--boots--boots--boots--movin' up an' down again) --
There's no discharge in the war!
We--can--stick--out--'unger, thirst, an' weariness,
But--not--not--not--not the chronic sight of 'em --
Boot--boots--boots--boots--movin' up an' down again,
An' there's no discharge in the war!
'Taint--so--bad--by--day because o' company,
But night--brings--long--strings--o' forty thousand million
Boots--boots--boots--boots--movin' up an' down again.
There's no discharge in the war!
I--'ave--marched--six--weeks in 'Ell an' certify
It--is--not--fire--devils, dark, or anything,
But boots--boots--boots--boots--movin' up an' down again,
An' there's no discharge in the war!
1,150

Blue Roses

Blue Roses
Roses red and roses white
Plucked I for my love's delight.
She would none of all my posies--
Bade me gather her blue roses.
Half the world I wandered through,
Seeking where such flowers grew.
Half the world unto my quest
Answered me with laugh and jest.
Home I came at wintertide,
But my silly love had died
Seeking with her latest breath
Roses from the arms of Death.
It may be beyond the grave
She shall find what she would have.
Mine was but an idle quest--
Roses white and red are best!
468

Belts

Belts
There was a row in Silver Street that's near to Dublin Quay,
Between an Irish regiment an' English cavalree;
It started at Revelly an' it lasted on till dark:
The first man dropped at Harrison's, the last forninst the Park.
For it was: -- "Belts, belts, belts, an' that's one for you!"
An' it was "Belts, belts, belts, an' that's done for you!"
O buckle an' tongue
Was the song that we sung
From Harrison's down to the Park!
There was a row in Silver Street -- the regiments was out,
They called us "Delhi Rebels", an' we answered "Threes about!"
That drew them like a hornet's nest -- we met them good an' large,
The English at the double an' the Irish at the charge.
Then it was: -- "Belts . . .
There was a row in Silver Street -- an' I was in it too;
We passed the time o' day, an' then the belts went whirraru!
I misremember what occurred, but subsequint the storm
A ~Freeman's Journal Supplemint~ was all my uniform.
O it was: -- "Belts . . .
There was a row in Silver Street -- they sent the Polis there,
The English were too drunk to know, the Irish didn't care;
But when they grew impertinint we simultaneous rose,
Till half o' them was Liffey mud an' half was tatthered clo'es.
For it was: -- "Belts . . .
There was a row in Silver Street -- it might ha' raged till now,
But some one drew his side-arm clear, an' nobody knew how;
'Twas Hogan took the point an' dropped; we saw the red blood run:
An' so we all was murderers that started out in fun.
While it was: -- "Belts . . .
There was a row in Silver Street -- but that put down the shine,
Wid each man whisperin' to his next: "'Twas never work o' mine!"
We went away like beaten dogs, an' down the street we bore him,
The poor dumb corpse that couldn't tell the bhoys were sorry for him.
When it was: -- "Belts . . .
There was a row in Silver Street -- it isn't over yet,
For half of us are under guard wid punishments to get;
'Tis all a merricle to me as in the Clink I lie:
There was a row in Silver Street -- begod, I wonder why!
But it was: -- "Belts, belts, belts, an' that's one for you!"
An' it was "Belts, belts, belts, an' that's done for you!"
O buckle an' tongue
Was the song that we sung
From Harrison's down to the Park!
427

Bill 'Awkins

Bill 'Awkins
"'As anybody seen Bill 'Awkins?"
"Now 'ow in the devil would I know?"
"'E's taken my girl out walkin',
An' I've got to tell 'im so --
Gawd -- bless -- 'im!
I've got to tell 'im so."
"D'yer know what 'e's like, Bill 'Awkins?"
"Now what in the devil would I care?"
"'E's the livin', breathin' image of an organ-grinder's monkey,
With a pound of grease in 'is 'air --
Gawd -- bless -- 'im!
An' a pound o' grease in 'is 'air."
"An' s'pose you met Bill 'Awkins,
Now what in the devil 'ud ye do?"
"I'd open 'is cheek to 'is chin-strap buckle,
An' bung up 'is both eyes, too --
Gawd -- bless -- 'im!
An' bung up 'is both eyes, too!"
"Look 'ere, where 'e comes, Bill 'Awkins!
Now what in the devil will you say?"
"It isn't fit an' proper to be fightin' on a Sunday,
So I'll pass 'im the time o' day --
Gawd -- bless -- 'im!
I'll pass 'im the time o' day!"
414

Banquet Night

Banquet Night
"ONCE in so often," King Solomon said,
Watching his quarrymen drill the stone,
"We will curb our garlic and wine and bread
And banquet together beneath my Throne,
And all Brethren shall come to that mess
As Fellow-Craftsmen-no more and no less."
"Send a swift shallop to Hiram of Tyre,
Felling and floating our beautiful trees,
Say that the Brethren and I desire
Talk with our Brethren who use the seas.
And we shall be happy to meet them at mess
As Fellow-Craftsmen-no more and no less."
"Carry this message to Hiram Abif-
Excellent master of forge and mine :-
I and the Brethren would like it if
He and the Brethren will come to dine
(Garments from Bozrah or morning-dress)
As Fellow-Craftsmen-no more and no less."
"God gave the Cedar their place-
Also the Bramble, the Fig and the Thorn-
But that is no reason to black a man's face
Because he is not what he hasn't been born.
And, as touching the Temple, I hold and profess
We are Fellow-Craftsmen-no more and no less."
So it was ordered and so it was done,
And the hewers of wood and the Masons of Mark,
With foc'sle hands of Sidon run
And Navy Lords from the ROYAL ARK,
Came and sat down and were merry at mess
As Fellow-Craftsmen-no more and no less.
The Quarries are hotter than Hiram's forge,
No one is safe from the dog-whip's reach.
It's mostly snowing up Lebanon gorge,
And it's always blowing off Joppa beach;
But once in so often, the messenger brings
Solomon's mandate : "Forget these things!
Brother to Beggars and Fellow to Kings,
Companion of Princes-forget these things!
Fellow-Craftsmen, forget these things!"
551

Beast and Man in India

Beast and Man in India
They killed a Child to please the Gods
In Earth's young penitence,
And I have bled in that Babe's stead
Because of innocence.
I bear the sins of sinful men
That have no sin of my own,
They drive me forth to Heaven's wrath
Unpastured and alone.
I am the meat of sacrifice,
The ransom of man's guilt,
For they give my life to the altar-knife
Wherever shrine is built.
The Goat.
Between the waving tufts of jungle-grass,
Up from the river as the twilight falls,
Across the dust-beclouded plain they pass
On to the village walls.
Great is the sword and mighty is the pen,
But over all the labouring ploughman's blade--
For on its oxen and its husbandmen
An Empire's strength is laid.
The Oxen.
The torn boughs trailing o'er the tusks aslant,
The saplings reeling in the path he trod,
Declare his might--our lord the Elephant,
Chief of the ways of God.
The black bulk heaving where the oxen pant,
The bowed head toiling where the guns careen,
Declare our might--our slave the Elephant,
And servant of the Queen.
The Elephant.
Dark children of the mere and marsh,
Wallow and waste and lea,
Outcaste they wait at the village gate
With folk of low degree.
Their pasture is in no man's land,
Their food the cattle's scorn;
Their rest is mire and their desire


The thicket and the thorn.
But woe to those that break their sleep,
And woe to those that dare
To rouse the herd-bull from his keep,
The wild boar from his lair!
Pigs and Buffaloes.
The beasts are very wise,
Their mouths are clean of lies,
They talk one to the other,
Bullock to bullock's brother
Resting after their labours,
Each in stall with his neighbours.
But man with goad and whip,
Breaks up their fellowship,
Shouts in their silky ears
Filling their soul with fears.
When he has ploughed the land,
He says: "They understand."
But the beasts in stall together,
Freed from the yoke and tether,
Say as the torn flanks smoke:
"Nay, 'twas the whip that spoke."
566

Back to the Army Again

Back to the Army Again
I'm 'ere in a ticky ulster an' a broken billycock 'at,
A-layin' on the sergeant I don't know a gun from a bat;
My shirt's doin' duty for jacket, my sock's stickin' out o' my boots,
An' I'm learnin' the damned old goose-step along o' the new recruits!
Back to Army again, sergeant,
Back to the Army again.
Don't look so 'ard, for I 'aven't no card,
I'm back to the Army again!
I done my six years' service. 'Er Majesty sez: "Good day --
You'll please to come when you're rung for, an' 'ere's your 'ole back-pay:
An' fourpence a day for baccy -- an' bloomin' gen'rous, too;
An' now you can make your fortune -- the same as your orf'cers do."
Back to the Army again, sergeant,
Back to the Army again.
'Ow did I learn to do right-about-turn?
I'm back to the Army again!
A man o' four-an'-twenty that 'asn't learned of a trade --
Beside "Reserve" agin' him -- 'e'd better be never made.
I tried my luck for a quarter, an' that was enough for me,
An' I thought of 'Er Majesty's barricks, an' I thought I'd go an' see.
Back to the Army again, sergeant,
Back to the Army again.
'Tisn't my fault if I dress when I 'alt --
I'm back to the Army again!
The sergeant arst no questions, but 'e winked the other eye,
'E sez to me, " 'Shun!" an' I shunted, the same as in days gone by;
For 'e saw the set o' my shoulders, an' I couldn't 'elp 'oldin' straight
When me an' the other rookies come under the barrik-gate.
Back to the Army again, sergeant,
Back to the Army again.
'Oo would ha' thought I could carry an' port?
I'm back to the Army again!
I took my bath, an' I wallered -- for, Gawd, I needed it so!
I smelt the smell o' the barricks, I 'eard the bugles go.
I 'eard the feet on the gravel -- the feet o' the men what drill --
An' I sez to my flutterin' 'eart-strings, I sez to 'em, "Peace, be still!"
Back to the Army again, sergeant,
Back to the Army again.
'Oo said I knew when the troopship was due?
I'm back to the Army again!
I carried my slops to the tailor; I sez to 'im, "None o' your lip!
You tight 'em over the shoulders, an' loose 'em over the 'ip,


For the set o' the tunic's 'orrid." An' 'e sez to me, "Strike me dead,
But I thought you was used to the business!" an' so 'e done what I said.
Back to the Army again, sergeant,
Back to the Army again.
Rather too free with my fancies? Wot -- me?
I'm back to the Army again!
Next week I'll 'ave 'em fitted; I'll buy me a swagger-cane;
They'll let me free o' the barricks to walk on the Hoe again,
In the name o' William Parsons, that used to be Edward Clay,
An' -- any pore beggar that wants it can draw my fourpence a day!
Back to the Army again, sergeant,
Back to the Army again.
Out o' the cold an' the rain, sergeant,
Out o' the cold an' the rain.
'Oo's there?
A man that's too good to be lost you,
A man that is 'andled an' made --
A man that will pay what 'e cost you
In learnin' the others their trade -- parade!
You're droppin' the pick o' the Army
Because you don't 'elp 'em remain,
But drives 'em to cheat to get out o' the street
An' back to the Army again!
452

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