Poems List

The Justice's Tale

The Justice's Tale
Chauser
With them there rode a lustie Engineere
Wel skilled to handel everich waie her geere,
Hee was soe wise ne man colde showe him naught
And out of Paris was hys learning brought.
Frontlings mid brazen wheeles and wandes he sat,
And on hys heade he bare an leathern hat.
Hee was soe certaine of his gouvermance,
That, by the Road, he tooke everie chaunce.
For simple people and for lordlings eke
Hee wolde not bate a del but onlie squeeke
Behinde their backes on an horne hie
Until they crope into a piggestie.
He was more wood than bull in china-shoppe,
And yet for cowes and dogges wolde hee stop,
Not our of Marcie but for Preudence-sake--
Than hys dependaunce ever was hys brake.
399

The Jacket

The Jacket
Through the Plagues of Egyp' we was chasin' Arabi,
Gettin' down an' shovin' in the sun;
An' you might 'ave called us dirty, an' you might ha' called us dry,
An' you might 'ave 'eard us talkin' at the gun.
But the Captain 'ad 'is jacket, an' the jacket it was new --
('Orse Gunners, listen to my song!)
An' the wettin' of the jacket is the proper thing to do,
Nor we didn't keep 'im waitin' very long.
One day they gave us orders for to shell a sand redoubt,
Loadin' down the axle-arms with case;
But the Captain knew 'is dooty, an' he took the crackers out
An' he put some proper liquor in its place.
An' the Captain saw the shrapnel, which is six-an'-thirty clear.
('Orse Gunners, listen to my song!)
"Will you draw the weight," sez 'e, "or will you draw the beer?"
An' we didn't keep 'im waitin' very long.
~For the Captain, etc.~
Then we trotted gentle, not to break the bloomin' glass,
Though the Arabites 'ad all their ranges marked;
But we dursn't 'ardly gallop, for the most was bottled Bass,
An' we'd dreamed of it since we was disembarked:
So we fired economic with the shells we 'ad in 'and,
('Orse Gunners, listen to my song!)
But the beggars under cover 'ad the impidence to stand,
An' we couldn't keep 'em waitin' very long.
~And the Captain, etc.~
So we finished 'arf the liquor (an' the Captain took champagne),
An' the Arabites was shootin' all the while;
An' we left our wounded 'appy with the empties on the plain,
An' we used the bloomin' guns for pro-jec-tile!
We limbered up an' galloped -- there were nothin' else to do --
('Orse Gunners, listen to my song!)
An' the Battery came a-boundin' like a boundin' kangaroo,
But they didn't watch us comin' very long.
~As the Captain, etc.~
We was goin' most extended -- we was drivin' very fine,
An' the Arabites were loosin' 'igh an' wide,
Till the Captain took the glassy with a rattlin' right incline,
An' we dropped upon their 'eads the other side.
Then we give 'em quarter -- such as 'adn't up and cut,
('Orse Gunners, listen to my song!)
An' the Captain stood a limberful of fizzy -- somethin' Brutt,
But we didn't leave it fizzing very long.
~For the Captain, etc.~
We might ha' been court-martialled, but it all come out all right
When they signalled us to join the main command.
There was every round expended, there was every gunner tight,


An' the Captain waved a corkscrew in 'is 'and.
~But the Captain 'ad 'is jacket, etc.~
471

The Inventor

The Inventor
R. W. Emerson
Time and Space decreed his lot,
But little Man was quick to note:
When Time and Space said Man might not,
Bravely he answered, "Nay! I mote."
I looked on old New England.
Time and Space stood fast.
Men built altars to Distance
At every mile they passed.
Yet sleek with oil, a Force was hid
Making mock of all they did,
Ready at the appointed hour
To yield up to Prometheus
The secular and well-drilled Power
The Gods secreted thus.
And over high Wantastiquer
Emulous my lightnings ran,
Unregarded but after,
To fall in with my plan.
I beheld two ministries,
One of air and one of earth--
At a thought I married these,
And my New Age came to birth!
For rarely my purpose errs
Though oft it seems to pause,
And rods and cylinders
Obey my planets' laws.
Oil I drew from the well,
And Franklin's spark from its blue;
Time and Distance fell,
And Man went forth anew.
On the prairie and in the street
So long as my chariots roll
I bind wings to Adam's feet,
And, presently, to his soul!
424

The Hyaenas

The Hyaenas
After the burial-parties leave
And the baffled kites have fled;
The wise hyaenas come out at eve
To take account of our dead.
How he died and why he died
Troubles them not a whit.
They snout the bushes and stones aside
And dig till they come to it.
They are only resolute they shall eat
That they and their mates may thrive,
And they know that the dead are safer meat
Than the weakest thing alive.
(For a goat may butt, and a worm may sting,
And a child will sometimes stand;
But a poor dead soldier of the King
Can never lift a hand.)
They whoop and halloo and scatter the dirt
Until their tushes white
Take good hold in the army shirt,
And tug the corpse to light,
And the pitiful face is shewn again
For an instant ere they close;
But it is not discovered to living men --
Only to God and to those
Who, being soulless, are free from shame,
Whatever meat they may find.
Nor do they defile the dead man's name --
That is reserved for his kind.
360

The Idiot Boy

The Idiot Boy
Wordsworth
He wandered down the moutain grade
Beyond the speed assigned--
A youth whom Justice often stayed
And generally fined.
He went alone, that none might know
If he could drive or steer.
Now he is in the ditch, and Oh!
The differential gear!
358

The Heritage

The Heritage
Our Fathers in a wondrous age,
Ere yet the Earth was small,
Ensured to us a heritage,
And doubted not at all
That we the children of their heart,
Which then did beat so high,
In later rime should play like part
For our posterity.
A thousand years they steadfast built,
To 'vantage us and ours,
The Walls that were a world's despair,
The sea-constraining Towers:
Yet in their midmost pride they knew,
And unto Kings made known,
Not all from these their strength they drew,
Their faith from brass or stone.
Youth's passion, manhood's fierce intent,
With age's judgment wise,
They spent, and counted not they spent,
At daily sacrifice.
Not lambs alone nor purchased doves .
Or tithe of trader's gold--
Their lives most dear, their dearer loves,
They offered up of old.
Refraining e'en from lawful things,
They bowed the neck to bear
The unadorned yoke that brings
Stark toil and sternest care.
Wherefore through them is Freedom sure;
Wherefore through them we stand,
From all but sloth and pride secure,
In a delightsome land.
Then, fretful, murmur not they gave
So great a charge to keep,
Nor dream that awestruck Time shall save
Their labour while we sleep.
Dear-bought and clear, a thousand year,
Our fathers' title runs.
Make we likewise their sacrifice,
Defrauding not our sons.
409

The Hour of the Angel

The Hour of the Angel
Sooner or late--in earnest or in jest--
(But the stakes are no jest) Ithuriel's Hour
Will spring on us, for the first time, the test
Of our sole unbacked competence and power
Up to the limit of our years and dower
Of judgment--or beyond. But here we have
Prepared long since our garland or our grave.
For, at that hour, the sum of all our past,
Act, habit, thought, and passion, shall be cast
In one addition, be it more or less,
And as that reading runs so shall we do;
Meeting, astounded, victory at the last,
Or, first and last, our own unworthiness.
And none can change us though they die to save!
414

The Greek National Anthem

The Greek National Anthem
We knew thee of old,
Oh divinely restored,
By the light of thine eyes
And the light of thy Sword.
From the graves of our slain
Shall thy valour prevail
As we greet thee again --
Hail, Liberty! Hail!
Long time didst thou dwell
Mid the peoples that mourn,
Awaiting some voice
That should bid thee return.
Ah, slow broke that day
And no man dared call,
For the shadow of tyranny
Lay over all:
And we saw thee sad-eyed,
The tears on thy cheeks
While thy raiment was dyed
In the blood of the Greeks.
Yet, behold now thy sons
With impetuous breath
Go forth to the fight
Seeking Freedom or Death.
From the graves of our slain
Shall thy valour prevail
As we greet thee again
Hail, Liberty! Hail!
417

The Gods Of The Copybook Headings

The Gods Of The Copybook Headings
As I pass through my incarnations in every age and race,
I make my proper protestations to the Gods of the Market-Place.
Peering through reverent fingers I watch them flourish and fall.
And the Gods of the Copybook Headings, I notice, outlast them all.
We were living in trees when they met us. They showed us each in turn.
That water would certainly wet us, as Fire would certainly burn:
But we found them lacking in Uplift, Vision, and Breadth of Mind,
So we left them to teach the Gorilas while we followed the March of Mankind.
We moved as the Spirit listed. They never altered their pace,
Being neither clud nor wind-borne like the Gods of the Market-Place;
But they always caught up with our progress, and presently word would come
That a tribe had been wiped off its icefield, or the lights had gone out in Rome.
With the Hopes that our World is built on they were utterly out of touch.
They denied that the Moon was Stilton; they denied she was even Dutch.
They denied that Wishes were Horses; they denied that a Pig had Wings.
So we worshiped the Gods of the Market Who promiced these beautiful things.
When the Cambrian measures were forming, They promiced perpetual peace.
They swore, if we gave them our weapons, that the wars of the tribes would cease.
But when we disarmed They sold us and delivered us bound to our foe,
And the Gods of the Copybook Headings said: 'Stick to the Devil you know.'
On the first Feminian Sandstones we were promiced the Fuller Life
(Which started by loving our neighbor and ended by loving his wife)
Till our women had no more children and the men lost reason and faith,
And the Gods of the Copybook Headings said: 'The Wages of Sin is Death/'
In the Carboniferous Epoch we were promised abundance for all,
By robbing selective Peter to pay for collective Paul;
But, though we had plenty of money, there was nothing our money could buy,
And the Gods of the Copybook Headings said: 'If you don't work you die.'
The the Gods of the Market tumbled, and their smooth-tounged wizards withdrew,
And the hearts of the meanest were humbled and began to belive it was true
That All is not Gold that Glitters, and Two and Two make Four---
And the Gods of the Copybook Headings limped up to explain it once more
As it will be in the future, it was at the birth of Man---
There are only four things certain since Social Progress began:---
That the Dog returns to his Vomit and the Sow returns to her mire,
And the burnt Fool's bandaged finger goes wabbling back to the Fire;
And that after this is accomplished, and the brave new world begins
When all men are paid for existing and no man must pay for his sins,
As surely as Water will wet us, as surely as Fire will burn,
The Gods of the Copybook Headings with terror and slaughter return!
517

The Gift Of The Sea

The Gift Of The Sea
The dead child lay in the shroud,
And the widow watched beside;
And her mother slept, and the Channel swept
The gale in the teeth of the tide.
But the mother laughed at all.
"I have lost my man in the sea,
And the child is dead. Be still," she said,
"What more can ye do to me?"
The widow watched the dead,
And the candle guttered low,
And she tried to sing the Passing Song
That bids the poor soul go.
And "Mary take you now," she sang,
"That lay against my heart."
And "Mary smooth your crib to-night,"
But she could not say "Depart."
Then came a cry from the sea,
But the sea-rime blinded the glass,
And "Heard ye nothing, mother?" she said,
"'Tis the child that waits to pass."
And the nodding mother sighed.
"'Tis a lambing ewe in the whin,
For why should the christened soul cry out
That never knew of sin?"
"O feet I have held in my hand,
O hands at my heart to catch,
How should they know the road to go,
And how should they lift the latch?"
They laid a sheet to the door,
With the little quilt atop,
That it might not hurt from the cold or the dirt,
But the crying would not stop.
The widow lifted the latch
And strained her eyes to see,
And opened the door on the bitter shore
To let the soul go free.
There was neither glimmer nor ghost,
There was neither spirit nor spark,
And "Heard ye nothing, mother?" she said,
"'Tis crying for me in the dark."
And the nodding mother sighed:
"'Tis sorrow makes ye dull;


Have ye yet to learn the cry of the tern,
Or the wail of the wind-blown gull?"
"The terns are blown inland,
The gray gull follows the plough.
'Twas never a bird, the voice I heard,
O mother, I hear it now!"
"Lie still, dear lamb, lie still;
The child is passed from harm,
'Tis the ache in your breast that broke your rest,
And the feel of an empty arm."
She put her mother aside,
"In Mary's name let be!
For the peace of my soul I must go," she said,
And she went to the calling sea.
In the heel of the wind-bit pier,
Where the twisted weed was piled,
She came to the life she had missed by an hour,
For she came to a little child.
She laid it into her breast,
And back to her mother she came,
But it would not feed and it would not heed,
Though she gave it her own child's name.
And the dead child dripped on her breast,
And her own in the shroud lay stark;
And "God forgive us, mother," she said,
"We let it die in the dark!"
410

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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.