Poems List

If -

If -
If you can keep your head when all about you
Are losing theirs and blaming it on you;
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or, being lied about, don't deal in lies,
Or, being hated, don't give way to hating,
And yet don't look too good, nor talk too wise;
If you can dream - and not make dreams your master;
If you can think - and not make thoughts your aim;
If you can meet with triumph and disaster
And treat those two imposters just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to broken,
And stoop and build 'em up with wornout tools;
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on";
If you can talk with crowds and keep your virtue,
Or walk with kings - nor lose the common touch;
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds' worth of distance run -
Yours is the Earth and everything that's in it,
And - which is more - you'll be a Man my son!
509

Hunting Song of the Seeonee Pack

Hunting Song of the Seeonee Pack
As the dawn was breaking the Sambhur belled
Once, twice, and again!
And a doe leaped up -- and a doe leaped up
From the pond in the wood where the wild deer sup.
This I, scouting alone, beheld,
Once, twice, and again!
As the dawn was breaking the Sambhur belled
Once, twice, and again!
And a wolf stole back -- and a wolf stole back
To carry the word to the waiting Pack;
And we sought and we found and we bayed on his track
Once, twice, and again!
As the dawn was breaking the Wolf-pack yelled
Once, twice, and again!
Feet in the jungle that leave no mark!
Eyes that can see in the dark -- the dark!
Tongue -- give tongue to it! Hark! O Hark!
Once, twice, and again!
His spots are the joy of the Leopard: his horns are the Buffalo's pride --
Be clean, for the strength of the hunter is known by the gloss of his hide.
If ye find that the Bullock can toss you, or the heavy-browed Sambhur can gore;
Ye need not stop work to inform us; we knew it ten seasons before.
Oppress not the cubs of the stranger, but hail them as Sister and Brother,
For though they are little and fubsy, it may be the Bear is their mother.
"There is none like to me!" says the Cub in the pride of his earliest kill;
But the Jungle is large and the Cub he is small. Let him think and be still.
483

Hymn to Physical Pain

Hymn to Physical Pain
Dread Mother of Forgetfulness
Who, when Thy reign begins,
Wipest away the Soul's distress,
And memory of her sins.
The trusty Worm that dieth not--
The steadfast Fire also,
By Thy contrivance are forgot
In a completer woe.
Thine are the lidless eyes of night
That stare upon our tears,
Through certain hours which in our sight
Exceed a thousand years:
Thine is the thickness of the Dark
That presses in our pain,
As Thine the Dawn that bids us mark
Life's grinning face again.
Thine is the weariness outworn
No promise shall relieve,
That says at eve, "Would God 'twere morn"
At morn, "Would God 'twere eve!"
And when Thy tender mercies cease
And life unvexed is due,
Instant upon the false release
The Worm and Fire renew.
Wherefore we praise Thee in the deep,
And on our beds we pray
For Thy return that Thou may'st keep
The Pains of Hell at bay!
435

How the Camel Got His Hump

How the Camel Got His Hump
The Camel's hump is an ugly lump
Which well you may see at the Zoo;
But uglier yet is the hump we get
From having too little to do.
Kiddies and grown-ups too-oo-oo,
If we haven't enough to do-oo-oo,
We get the hump--
Cameelious hump--
The hump that is black and blue!
We climb out of bed with a frouzly head,
And a snarly-yarly voice.
We shiver and scowl and we grunt and we growl
At our bath and our boots and our toys;
And there ought to be a corner for me
(And I know' there is one for you)
When we get the hump--
Cameelious hump--
The hump that is black and blue!
The cure for this ill is not to sit still,
Or frowst with a book by the fire;
But to take a large hoe and a shovel also,
And dig till you gently perspire;
And then you will find that the sun and the wind,
And the Djinn of the Garden too,
Have lifted the hump--
The horrible hump--
The hump that is black and blue!
I get it as well as you-oo-oo--
If I haven't enough to do-oo-oo!
We all get hump--
Cameelious hump--
Kiddies and grown-ups too!
476

How the Rhinoceros got His Skin

How the Rhinoceros got His Skin
This Uninhabited Island
Is near Cape Gardafui;
But it's hot--too hot--of Suez
For the likes of you and me
Ever to go in a P. & O.
To call on the Cake Parsee.
503

Heriot's Ford

Heriot's Ford
"What's that that hirples at my side?"
The foe that you must fight, my lord.
"That rides as fast as I can ride?"
The shadow of your might, my lord.
"Then wheel my horse against the foe!"
He's down and overpast, my lord.
You war against the sunset-glow,
The judgment follows fast, my lord!
"Oh, who will stay the sun's descent?"
King Joshua he is dead, my lord.
"I need an hour to repent!"
'Tis what our sister said, my lord.
"Oh, do not slay me in my sins!"
You're safe awhile with us, my lord.
"Nay, kill me ere my fear begins!"
We would not serve you thus, my lord.
"Where is the doom that I must face?"
Three little leagues away, my lord.
"Then mend the horses' laggard pace!"
We need them for next day, my lord.
"Next day--next day! Unloose my cords!"
Our sister needed none, my lord.
You had no mind to face our swords,
And--where can cowards run, my lord?
"You would not kill the soul alive?"
'Twas thus our sister cried, my lord.
"I dare not die with none to shrive."
But so our sister died, my lord.
"Then wipe the sweat from brow and cheek."
It runnels forth afresh, my lord.
"Uphold me--for the flesh is weak."
You've finished with the Flesh, my lord!
441

How Fear Came

How Fear Came
The stream is shrunk--the pool is dry,
And we be comrades, thou and I;
With fevered jowl and dusty flank
Each jostling each along the bank;
And, by one drouthy fear made still,
Forgoing thought of quest or kill.
Now 'neath his dam the fawn may see,
The lean Pack-Wolf as cowed as he,
And the tall buck, unflinching, note
The fangs that tore his father's throat.
The pools are shrunk--the streams are dry,
And we be playmates, thou and I,
Till yonder cloud--Good Hunting!--Loose
The rain that breaks our Water Truce.
448

Harp Song of the Dane Women

Harp Song of the Dane Women
What is a woman that you forsake her,
And the hearth-fire and the home-acre.
To go with the old grey Widow-maker?
She has no house to lay a guest in
But one chill bed for all to rest in,
That the pale suns and the stray bergs nest in.
She has no strong white arms to fold you,
But the ten-times-fingering weed to hold you
Out on the rocks where the tide has rolled you.
Yet, when the signs of summer thicken,
And the ice breaks, and the birch-buds quicken,
Yearly you turn from our side, and sicken- -
Sicken again for the shouts and the slaughters.
You steal away to the lapping waters,
And look at your ship in her winter-quarters.
You forget our mirth, and talk at the tables,
The kine in the shed and the horse in the stables
To pitch her sides and go over her cables.
Then you drive out where the storm-clouds swallow,
And the sound of your oar-blades, falling hollow,
Is all we have left through the months to follow.
Ah, what is Woman that you forsake her,
And the hearth-fire and the home-acre,
To go with the old grey Widow-maker?
454

Hadramauti

Hadramauti
Who knows the heart of the Christian? How does he reason?
What are his measures and balances? Which is his season
For laughter, forbearance or bloodshed, and what devils move him
When he arises to smite us? I do not love him.
He invites the derision of strangers—he enters all places.
Booted, bareheaded he enters. With shouts and embraces
He asks of us news of the household whom we reckon nameless.
Certainly Allah created him forty-fold shameless!
So it is not in the Desert. One came to me weeping—
The Avenger of Blood on his track—I took him in keeping.
Demanding not whom he had slain, I refreshed him, I fed him
As he were even a brother. But Eblis had bred him.
He was the son of an ape, ill at ease in his clothing.
He talked with his head, hands and feet. I endured him with loathing.
Whatever his spirit conceived his countenance showed it
As a frog shows in a mud-puddle. Yet I abode it!
I fingered my beard and was dumb, in silence confronting him.
His soul was too shallow for silence, e'en with Death hunting him.
I said: "'Tis his weariness speaks," but, when he had rested,
He chirped in my face like some sparrow, and, presently, jested!
Wherefore slew I that stranger? He brought me dishonour.
I saddled my mare, Bijli, I set him upon her.
I gave him rice and goat's flesh. He bared me to laughter.
When he was gone from my tent, swift I followed after,
Taking my sword in my hand. The hot wine had filled him.
Under the stars he mocked me—therefore I killed him!
432

Gods of the East

Gods of the East
Because I sought it far from men,
In deserts and alone,
I found it burning overhead,
The jewel of a Throne.
Because I sought--I sought it so
And spent my days to find--
It blazed one moment ere it left
The blacker night behind.
We be the Gods of the East--
Older than all--
Masters of Mourning and Feast--
How shall we fall?
* * * * *
This I saw when the rites were done,
And the lamps were dead and the Gods alone,
And the grey snake coiled on the altar stone--
Ere I fled from a Fear that I could not see,
And the Gods of the East made mouths at me.
450

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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.