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

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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

The River's Tale

The River's Tale
Prehistoric
Twenty bridges from Tower to Kew--
(Twenty bridges or twenty-two)--
Wanted to know what the River knew,
For they were young, and the Thames was old
And this is the tale that River told:--

"I walk my beat before London Town,
Five hours up and seven down.
Up I go till I end my run
At Tide-end-town, which is Teddington.
Down I come with the mud in my hands
And plaster it over the Maplin Sands.
But I'd have you know that these waters of mine
Were once a branch of the River Rhine,
When hundreds of miles to the East I went
And England was joined to the Continent.
"I remember the bat-winged lizard-birds,
The Age of Ice and the mammoth herds,
And the giant tigers that stalked them down
Through Regent's Park into Camden Town.
And I remember like yesterday
The earliest Cockney who came my way,
When he pushed through the forest that lined the Strand,
With paint on his face and a club in his hand.
He was death to feather and fin and fur.
He trapped my beavers at Westminster.
He netted my salmon, he hunted my deer,
He killed my heron off Lambeth Pier.
He fought his neighbour with axes and swords,
Flint or bronze, at my upper fords,
While down at Greenwich, for slaves and tin,
The tall Phoenician ships stole in,
And North Sea war-boats, painted and gay,
Flashed like dragon-flies, Erith way;
And Norseman and Negro and Gaul and Greek
Drank with the Britons in Barking Creek,
And life was gay, and the world was new,
And I was a mile across at Kew!
But the Roman came with a heavy hand,
And bridged and roaded and ruled the land,
And the Roman left and the Danes blew in--
And that's where your history-books begin!"
511

The Return

The Return
Peace is declared, and I return
To 'Ackneystadt, but not the same;
Things 'ave transpired which made me learn
The size and meanin' of the game.
I did no more than others did,
I don't know where the change began;
I started as a average kid,
I finished as a thinkin' man.
If England was what England seems
An' not the England of our dreams,
But only putty, brass, an' paint,
'Ow quick we'd drop 'er!
But she ain't!
Before my gappin' mouth could speak
I 'eard it in my comrade's tone;
I saw it on my neighbour's cheek
Before I felt it flush my own.
An' last it come to me--not pride,
Nor yet conceit, but on the 'ole
(If such a term may be applied),
The makin's of a bloomin' soul.
Rivers at night that cluck an' jeer,
Plains which the moonshine turns to sea,
Mountains that never let you near,
An' stars to all eternity;
An' the quick-breathin' dark that fills
The 'ollows of the wilderness,
When the wind worries through the 'ills--
These may 'ave taught me more or less.
Towns without people, ten times took,
An' ten times left an' burned at last;
An' starvin' dogs that come to look
For owners when a column passed;
An' quiet, 'omesick talks between
Men, met by night, you never knew
Until--'is face--by shellfire seen--
Once--an' struck off. They taught me, too.
The day's lay-out--the mornin' sun
Beneath your 'at-brim as you sight;
The dinner-'ush from noon till one,
An' the full roar that lasts till night;
An' the pore dead that look so old
An' was so young an hour ago,
An' legs tied down before they're cold--
These are the things which make you know.
Also Time runnin' into years--
A thousand Places left be'ind--


An' Men from both two 'emispheres
Discussin' things of every kind;
So much more near than I 'ad known,
So much more great than I 'ad guessed--
An' me, like all the rest, alone--
But reachin' out to all the rest!
So 'ath it come to me--not pride,
Nor yet conceit, but on the 'ole
(If such a term may be applied),
The makin's of a bloomin' soul.
But now, discharged, I fall away
To do with little things again....
Gawd, 'oo knows all I cannot say,
Look after me in Thamesfontein!
If England was what England seems
An' not the England of our dreams,
But only putty, brass, an' paint,
'Ow quick we'd chuck 'er!
But she ain't!
458

The Reeds of Runnymede

The Reeds of Runnymede
Magna Charta, June ,
At Runnymede, At Runnymede,
What say the reeds at Runnymede?
The lissom reeds that give and take,
That bend so far, but never break,
They keep the sleepy Thames awake
With tales of John at Runnymede.
At Runnymede, at Runnymede,
Oh, hear the reeds at Runnymede:--
"You mustn't sell, delay, deny,
A freeman's right or liberty.
It makes the stubborn Englishry,
We saw 'em roused at Runnymede!
"When through our ranks the Barons came,
With little thought of praise or blame,
But resolute to pay a game,
They lumbered up to Runnymede;
And there they launched in solid time
The first attack on Right Divine--
The curt, uncompromising 'Sign!'
That settled John at Runnymede.
"At Runnymede, at Runnymede,
Your rights were won at Runnymede!
No freeman shall be fined or bound,
Or dispossessed or freehold ground,
Except by lawful judgment found
And passed upon him by his peers.
Forget not, after all these years,
The Charter Signed at Runnymede."
And still when Mob or Monarch lays
Too rude hand on English ways,
The whisper wakes, the shudder plays,
Across the reeds at Runnymede.
And Tames, that knows the moods of kings,
And crowds and priests and suchlike things,
Rolls deep and dreadful as he brings
Their warning down from Runnymede!
525

The Rabbi's Song

The Rabbi's Song
Samuel XIV. .
If Thought can reach to Heaven,
On Heaven let it dwell,
For fear the Thought be given
Like power to reach to Hell.
For fear the desolation
And darkness of thy mind
Perplex an habitation
Which thou hast left behind.
Let nothing linger after--
No whimpering gost remain,
In wall, or beam, or rafter,
Of any hate or pain.
Cleans and call home thy spirit,
Deny her leave to cast,
On aught thy heirs inherit,
The shadow of her past.
For think, in all thy sadness,
What road our griefs may take;
Whose brain reflect our madness,
Or whom our terrors shake:
For think, lest any languish
By cause of thy distress--
The arrows of our anguish
Fly farther than we guess.
Our lives, our tears, as water,
Are spilled upon the ground;
God giveth no man quarter,
Yet God a means hath found,
Though Faith and Hope have vanished,
And even Love grows dim--
A means whereby His banished
Be not expelled from Him!
411

The Queen's Men

The Queen's Men
Valour and Innocence
Have latterly gone hence
To certain death by certain shame attended.
Envy--ah! even to tears! --
The fortune of their years
Which, though so few, yet so divinely ended.
Scarce had they lifted up
Life's full and fiery cup,
Than they had set it down untouched before them.
Before their day arose
They beckoned it to close--
Close in confusion and destruction o'er them.
They did not stay to ask
What prize should crown their task--
Well sure that prize was such as no man strives for;
But passed into eclipse,
Her kiss upon their lips--
Even Belphoebe's, whom they gave their lives for!
496

The Puzzler

The Puzzler
The Celt in all his variants from Builth to Ballyhoo,
His mental processes are plain--one knows what he will do,
And can logically predicate his finish by his start;
But the English--ah, the English!--they are quite a race apart.
Their psychology is bovine, their outlook crude and raw.
They abandon vital matters to be tickled with a straw;
But the straw that they were tickled with-the chaff that they were fed with--
They convert into a weaver's beam to break their foeman's head with.
For undemocratic reasons and for motives not of State,
They arrive at their conclusions--largely inarticulate.
Being void of self-expression they confide their views to none;
But sometimes in a smoking-room, one learns why things were done.
Yes, sometimes in a smoking-room, through clouds of "Ers" an "Ums,"
Obliquely and by inference, illumination comes,
On some step that they have taken, or some action they approve
Embellished with the argot of the Upper Fourth Remove.
In telegraphic sentences half nodded to their friends,
They hint a matter's inwardness--and there the matter ends.
And while the Celt is talking from Valencia to Kirkwall,
The English--ah, the English!--don't say anything at all.
438

The Prodigal Son

The Prodigal Son
Here come I to my own again,
Fed, forgiven and known again,
Claimed by bone of my bone again
And cheered by flesh of my flesh.
The fatted calf is dressed for me,
But the husks have greater rest for me,
I think my pigs will be best for me,
So I'm off to the Yards afresh.
I never was very refined, you see,
(And it weighs on my brother's mind, you see)
But there's no reproach among swine, d'you see,
For being a bit of a swine.
So I'm off with wallet and staff to eat
The bread that is three parts chaff to wheat,
But glory be! - there's a laugh to it,
Which isn't the case when we dine.
My father glooms and advises me,
My brother sulks and despises me,
And Mother catechises me
Till I want to go out and swear.
And, in spite of the butler's gravity,
I know that the servants have it I
Am a monster of moral depravity,
And I'm damned if I think it's fair!
I wasted my substance, I know I did,
On riotous living, so I did,
But there's nothing on record to show I did
Worse than my betters have done.
They talk of the money I spent out there -
They hint at the pace that I went out there -
But they all forget I was sent out there
Alone as a rich man's son.
So I was a mark for plunder at once,
And lost my cash (can you wonder?) at once,
But I didn't give up and knock under at once,
I worked in the Yards, for a spell,
Where I spent my nights and my days with hogs.
And shared their milk and maize with hogs,
Till, I guess, I have learned what pays with hogs
And - I have that knowledge to sell!
So back I go to my job again,
Not so easy to rob again,
Or quite so ready to sob again
On any neck that's around.
I'm leaving, Pater. Good-bye to you!
God bless you, Mater! I'll write to you!
I wouldn't be impolite to you,


But, Brother, you are a hound!
508

The Prayer

The Prayer
My brother kneels, so saith Kabir,
To stone and brass in heathen wise,
But in my brother's voice I hear
My own unanswered agonies.
His God is as his fates assign,
His prayer is all the world's--and mine.
472

The Press

The Press
The Soldier may forget his Sword,
The Sailorman the Sea,
The Mason may forget the Word
And the Priest his Litany:
The Maid may forget both jewel and gem,
And the Bride her wedding-dress--
But the Jew shall forget Jerusalem
Ere we forget the Press!
Who once hath stood through the loaded hour
Ere, roaring like the gale,
The Harrild and the Hoe devour
Their league-long paper-bale,
And has lit his pipe in the morning calm
That follows the midnight stress--
He hath sold his heart to the old Black Art
We call the daily Press.
Who once hath dealt in the widest game
That all of a man can play,
No later love, no larger fame
Will lure him long away.
As the war-horse snuffeth the battle afar,
The entered Soul, no less,
He saith: "Ha! Ha!" where the trumpets are
And the thunders of the Press!
Canst thou number the days that we fulfill,
Or the Times that we bring forth?
Canst thou send the lightnings to do thy will,
And cause them reign on earth?
Hast thou given a peacock goodly wings,
To please his foolishness?
Sit down at the heart of men and things,
Companion of the Press!
The Pope may launch his Interdict,
The Union its decree,
But the bubble is blown and the bubble is pricked
By Us and such as We.
Remember the battle and stand aside
While Thrones and Powers confess
That King over all the children of pride
Is the Press--the Press--the Press!
465

The Power of the Dog

The Power of the Dog
There is sorrow enough in the natural way
From men and women to fill our day;
And when we are certain of sorrow in store,
Why do we always arrange for more?
Brothers and Sisters, I bid you beware
Of giving your heart to a dog to tear.
Buy a pup and your money will buy
Love unflinching that cannot lie--
Perfect passion and worship fed
By a kick in the ribs or a pat on the head.
Nevertheless it is hardly fair
To risk your heart for a dog to tear.
When the fourteen years which Nature permits
Are closing in asthma, or tumour, or fits,
And the vet's unspoken prescription runs
To lethal chambers or loaded guns,
Then you will find--it's your own affair--
But...you've given your heart for a dog to tear.
When the body that lived at your single will,
With its whimper of welcome, is stilled (how still!);
When the spirit that answered your every mood
Is gone--wherever it goes--for good,
You will discover how much you care,
And will give your heart for the dog to tear.
We've sorrow enough in the natural way,
When it comes to burying Christian clay.
Our loves are not given, but only lent,
At compound interest of cent per cent.
Though it is not always the case, I believe,
That the longer we've kept 'em, the more do we grieve:
For, when debts are payable, right or wrong,
A short-time loan is as bad as a long--
So why in Heaven (before we are there)
Should we give our hearts to a dog to tear?
740

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