Poems by Rudyard Kipling: Rudyard Kipling was a renowned poet and novelist during the time of British India. His poems reflect his experience in British India. His most famous works include the collection of stories, “The Jungle Book” a story of a young boy named Mowgli who is raised by wolves in the jungle, and another poem “If” which revolves around the theme of patience and endurance. Rudyard Kipling explores the theme of colonialism and the collision of cultures. Rudyard Kipling always faces backlash for his aggressive tone and superiority complex in his poems.
Also Read: Pomes by John Keats
1-Poems by Rudyard Kipling: 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;
you can meet with Triumph and Disaster
And treat those two impostors 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 worn-out tools:
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
lose, and start again at your beginnings
And never breathe 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,
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!
Explanation :
“If—” is a poem that is appreciated for moral guidance and wisdom. The poem does not follow a particular rhyme scheme but contains conditional sentences that represent the quality of a noble and wise man. The poem explores the themes of patience, self-control, and the ability to face world problems with courage and dignity. The poet wants the readers to use the poem as a compass to navigate life’s difficulties with dignity and patience.
Is Rudyard Kipling Indian?
Rudyard Kipling was born in India but grew up in England.
2- Gunga Din
You may talk o’ gin and beer
When you’re quartered safe out ‘ere,
An’ you’re sent to penny-fights an’ Aldershot it;
But if you’ve ‘eard the East
In the watch-night passes ceased,
You will know what price o’ meat the butcher’s paid.
Gunga Din!
Ho! Ho! Ho!
You Lazarushian-leather Gunga Din!
Tho’ I’ve belted you and flayed you,
By the livin’ Gawd that made you,
You’re a better man than I am, Gunga Din!
Din! Din! Din!
You limpin’ lump o’ brick-dust, Gunga Din!
Hi! slippery hitherao!
Water, get it! Panee lao!
You squidgy-nosed old idol, Gunga Din.
The uniform ‘e wore
Was nothin’ much before,
An’ rather less than ‘arf o’ that be’ind,
For a piece o’ twisty rag
An’ a goatskin water-bag
Was all the field-equipment ‘e could find.
When the sweatin’ troop-train lay
In a sidin’ through the day,
Where the ‘eat would make your bloomin’ eyebrows crawl,
We shouted “Harry By!”
Till our throats were bricky-dry,
Then we wopped ‘im ’cause ‘e couldn’t serve us all.
It was “Din! Din!”
You ‘eathen, where the mischief ‘ave you been?
You put some juldee in it,
Or I’ll marrow you this minute,
If you don’t fill up my helmet, Gunga Din!
Din!
Don’t look so ‘ard, my lad; we didn’t mean no ‘arm,
But, ‘ycount of being ruined,
Give the man a bloomin’ shillin’
But—y’ll get it! (as you call it), Gunga!
Din!
You Lazarushian-leather Gunga Din!
An’ it’s “Tommy, quick the ‘a’porth, “—
“You put the kettle on, ”
“And have a little dop o’ brandy, Gunga Din!”
Explanation :
The poem “Gunga Din” is a narrative poem. A British soldier narrates the story of an Indian water-bearer named Gunga Din who served in the British Army during colonial India. Gunga Din has a low-class status but he sacrifices his life to save the soldiers. The poem serves as a memorial and tribute to Gunga Din’s sacrifice by the soldiers. The poem explores the themes of heroism, courage, and sacrifice.
Did Rudyard Kipling win the Nobel Prize?
Yes, Rudyard Kipling won the Nobel prize in 1970.
3-Poems by Rudyard Kipling: The Road to Mandalay
By the old Moulmein Pagoda, lookin’ eastward to the sea,
There’s a Burma girl a-settin’, and I know she thinks o’ me;
For the wind is in the palm-trees, and the temple-bells they say:
“Come you back, you British soldier; come you back to Mandalay!”
Come you back to Mandalay,
Where the old Flotilla lay:
Can’t you ‘ear their paddles chunkin’ from Rangoon to Mandalay?
On the road to Mandalay,
Where the flyin’-fishes play,
An’ the dawn comes up like thunder outer China ‘crost the Bay!
‘Er petticoat was yaller an’ ‘er little cap was green,
An’ ‘er name was Supi-yaw-lat—jes’ the same as Theebaw’s Queen,
An’ I seed her first a-smokin’ of a whackin’ white cheroot,
An’ a-wastin’ Christian kisses on an ‘eathen idol’s foot:
Bloomin’ idol made o’ mud—
Wot they called the Great Gawd Budd—
Plucky lot she cared for idols when I kissed ‘er where she stud!
On the road to Mandalay—
When the mist was on the rice-fields an’ the sun was droppin’ slow,
She’d git ‘er little banjo an’ she’d sing “Kulla-lo-lo!”
With ‘er arm upon my shoulder an’ ‘er cheek agin my cheek
We useter watch the steamers an’ the hathis pilin’ teak.
Elephints a-pilin’ teak
In the sludgy, squdgy creek,
Where the silence ‘ung that ‘eavy you was ‘arf afraid to speak!
On the road to Mandalay—
But that’s all shove be’ind me—long ago an’ fur away,
An’ there ain’t no ‘busses runnin’ from the Bank to Mandalay;
An’ I’m learnin’ ‘ere in London what the ten-year soldier tells:
“If you’ve ‘eard the East a-callin’, you won’t never ‘eed naught else.”
No! you won’t ‘eed nothin’ else
But them spicy garlic smells,
An’ the sunshine an’ the palm-trees an’ the tinkly temple-bells;
On the road to Mandalay—
I am sick o’ wastin’ leather on these gritty pavin’-stones,
An’ the blasted Henglish drizzle wakes the fever in my bones;
Tho’ I walks with fifty ‘ousemaids outer Chelsea to the Strand,
An’ they talks a lot o’ lovin’, but wot do they understand?
Beefy face an’ grubby ‘and—
Law! wot do they understand?
I’ve a neater, sweeter maiden in a cleaner, greener land!
On the road to Mandalay—
Ship me somewheres east of Suez, where the best is like the worst,
Where there ain’t no Ten Commandments an’ a man can raise a thirst;
For the temple-bells are callin’, an’ it’s there that I would be—
By the old Moulmein Pagoda, looking lazy at the sea;
On the road to Mandalay,
Where the old Flotilla lay,
With our sick beneath the awnings when we went to Mandalay!
On the road to Mandalay,
Where the flyin’-fishes play,
An’ the dawn comes up like thunder outer China ‘crost the Bay!
Explanation :
The poem “The Road to Mandalay” is one of the most popular poems by Rudyard Kipling. The poet narrates about his time in Bruma now Myanmar, the sight, sound, and his feeling about the region. The poem beautifully describes the landscape of Mandalay a city of Myanmar. The poem paints a picture of a soldier who is far from his home missing his friends and family and his dream of a vibrant and happening life.
What is the writing style of Rudyard Kipling?
humanistic and encouraging is the writing style of Rudyard Kipling.
4- The White Man’s Burden
Take up the White Man’s burden—
Send forth the best ye breed—
Go, bind your sons to exile
To serve your captives’ need;
To wait, in heavy harness,
On fluttered folk and wild—
Your new-caught, sullen peoples,
Half-devil and half-child.
Take up the White Man’s burden—
In patience to abide,
To veil the threat of terror
And check the show of pride;
By open speech and simple,
An hundred times made plain
To seek another’s profit,
And work another’s gain.
Take up the White Man’s burden—
The fierce wars of peace—
Fill full the mouth of Famine
And bid the sickness cease;
And when your goal is nearest
The end for others sought,
Watch sloth and heathen Folly
Bring all your hopes to nought.
Take up the White Man’s burden—
No tawdry rule of kings,
But toil of serf and sweeper—
The tale of common things.
The ports ye shall not enter,
The roads ye shall not tread,
Go, make them with your living
And mark them with your dead.
Take up the White Man’s burden—
And reap his old reward:
The blame of those ye better,
The hate of those ye guard—
The cry of hosts ye humour
(Ah, slowly!) toward the light:—
“Why brought ye us from bondage,
Our loved Egyptian night?”
Take up the White Man’s burden—
Ye dare not stoop to less—
Nor call too loud on Freedom
To cloke your weariness;
By all ye cry or whisper,
By all ye leave or do,
The silent, sullen peoples
Shall weigh your gods and you.
Take up the White Man’s burden—
Have done with childish days—
The lightly proffered laurel,
The easy, ungrudged praise.
Comes now, to search your manhood
Through all the thankless years,
Cold-edged with dear-bought wisdom,
The judgment of your peers!
Explanation :
The poem “The White Man’s Burden” is termed a call for the United States and other Western nations to take responsibility for the imperialism and colonialism of the world, that responsibility is referred to as the white man’s burden. The poem was written during the American-Philippine War. The poet says that this task is difficult but a Nobel act to uplift the world. The poem is heavily criticized around the world for its imperialistic and paternalistic attitudes.
What book did Rudyard Kipling write?
“The Jungle Book” is the most famous book written by Rudyard Kipling.
5-Poems by Rudyard Kipling: The Law of the Jungle
Now this is the Law of the Jungle — as old and as true as the sky;
And the Wolf that shall keep it may prosper, but the Wolf that shall break it must die.
As the creeper that girdles the tree-trunk, the Law runneth forward and back —
For the strength of the Pack is the Wolf, and the strength of the Wolf is the Pack.
Wash daily from nose-tip to tail-tip; drink deeply, but never too deep;
And remember the night is for hunting and forget not the day is for sleep.
The Jackal may follow the Tiger, but, Cub, when thy whiskers are grown,
Remember the Wolf is a Hunter — go forth and get food of thine own.
Keep peace with the Lords of the Jungle — the Tiger, the Panther, the Bear;
And trouble not Hathi the Silent, and mock not the Boar in his lair.
When Pack meets with Pack in the Jungle, and neither will go from the trail,
Lie down till the leaders have spoken — it may be fair words shall prevail.
When ye fight with a Wolf of the Pack, ye must fight him alone and afar,
Lest others take part in the quarrel and the Pack be diminished by war.
The Lair of the Wolf is his refuge, and where he has made him his home,
Not even the Head Wolf may enter, not even the Council may come.
The Lair of the Wolf is his refuge, but where he has digged it too plain,
The Council shall send him a message, and so he shall change it again.
If ye kill before midnight, be silent and wake not the woods with your bay,
Lest ye frighten the deer from the crops, and the brothers go empty away.
Ye may kill for yourselves, and your mates, and your cubs as they need, and ye can;
But kill not for pleasure of killing, and seven times never kill Man!
If ye plunder his Kill from a weaker, devour not all in thy pride;
Pack-Right is the right of the meanest; so leave him the head and the hide.
The Kill of the Pack is the meat of the Pack. Ye must eat where it lies;
And no one may carry away of that meat to his lair, or he dies.
The Kill of the Wolf is the meat of the Wolf. He may do what he will;
But, till he has given permission, the Pack may not eat of that Kill.
Cub-Right is the right of the Yearling. From all of his Pack he may claim
Full-gorge when the killer has eaten; and none may refuse him the same.
Lair-Right is the right of the Mother. From all of her year she may claim
One haunch of each kill for her litter, and none may deny her the same.
Cave-Right is the right of the Father — to hunt by himself for his own:
He is freed of all calls to the Pack; he is judged by the Council alone.
Because of his age and his cunning, because of his gripe and his paw,
In all that the Law leaveth open, the word of your Head Wolf is Law.
Now these are the Laws of the Jungle, and many and mighty are they;
But the head and the hoof of the Law and the haunch and the hump is — Obey!
Explanation :
The poem “The Law of the Jungle” is one of the most famous poems in the collection “The Jungle Book”. The poem is a set of rules and instructions that govern the jungle including the behavior of animals, the unity of animals, and respect for nature that explores the theme of order, discipline, and unity of creatures. The poet uses animals to convey a guiding line for human beings.
6- The Ballad of East and West
Oh, East is East, and West is West, and never the twain shall meet,
Till Earth and Sky stand presently at God’s great Judgment Seat;
But there is neither East nor West, Border, nor Breed, nor Birth,
When two strong men stand face to face, tho’ they come from the ends of the earth!
Kamal is out with twenty men to raise the Border side,
And he has lifted the Colonel’s mare that is the Colonel’s pride:
He has lifted her out of the stable-door between the dawn and the day,
And turned the calkins upon her feet, and ridden her far away.
Then up and spoke the Colonel’s son that led a troop of the Guides:
“Is there never a man of all my men can say where Kamal hides?”
Then up and spoke Mahommed Khan, the son of the Ressaldar:
“If ye know the track of the morning-mist, ye know where his pickets are.
“At dusk he harries the Abazai—at dawn he is into Bonair,
But he must go by Fort Bukloh to his place to fare,
So if ye gallop to Fort Bukloh as fast as a bird can fly,
By the favor of God ye may cut him off ere he win to the Tongue of Jagai.
“But if he be past the Tongue of Jagai, right swiftly turn ye then,
For the length and the breadth of that grisly plain is sown with Kamal’s men.
There is rock to the left, and rock to the right, and low lean thorn between,
And ye may hear a breech-bolt snick where never a man is seen.”
The Colonel’s son has taken a horse, and a raw rough dun was he,
With the mouth of a bell and the heart of Hell, and the head of the gallows-tree.
The Colonel’s son to the Fort has won, they bid him stay to eat—
Who rides at the tail of a Border thief, he sits not long at his meat.
He’s up and away from Fort Bukloh as fast as he can fly,
Till he was aware of his father’s mare in the gut of the Tongue of Jagai,
Till he was aware of his father’s mare with Kamal upon her back,
And when he could spy the white of her eye, he made the pistol crack.
He has fired once, he has fired twice, but the whistling ball went wide.
“Ye shoot like a soldier,” Kamal said. “Show now if ye can ride.”
It’s up and over the Tongue of Jagai, as blown dustdevils go,
The dun he fled like a stag of ten, but the mare like a barren doe.
The dun he leaned against the bit and slugged his head above,
But the red mare played with the snaffle-bars, as a maiden plays with a glove.
There was rock to the left and rock to the right, and low lean thorn between,
And thrice he heard a breech-bolt snick tho’ never a man was seen.
They have ridden the low moon out of the sky, their hoofs drum up the dawn,
The dun he went like a wounded bull, but the mare like a new-roused fawn.
The dun he fell at a water-course—in a woful heap fell he—
And Kamal has turned the red mare back, and pulled the rider free.
He has knocked the pistol out of his hand—small room was there to strive—
“‘Twas only by favor of mine,” quoth he, “ye rode so long alive:
There was not a rock for twenty mile, there was not a clump of tree,
But covered a man of my men with his rifle cocked on his knee.
Explanation :
The poem “The Ballad of East and West” tells the story of a meeting between a British officer, Colonel Innes, and Kamal, a brave tribal chieftain. Kamal’s son has taken the Colonel’s horse, and the Colonel, impressed by Kamal’s valor and integrity, offers him a chance to retrieve the horse and a promise of safe passage.
How many Books did Rudyard Kipling write?
Rudyard Kipling has written about 43 books.
7- Recessional
God of our fathers, known of old—
Lord of our far-flung battle line—
Beneath whose awful Hand we hold
Dominion over palm and pine—
Lord God of Hosts, be with us yet,
Lest we forget—lest we forget!
The tumult and the shouting dies—
The Captains and the Kings depart—
Still stands Thine ancient sacrifice,
An humble and a contrite heart.
Lord God of Hosts, be with us yet,
Lest we forget—lest we forget!
Far-called our navies melt away—
On dune and headland sinks the fire—
Lo, all our pomp of yesterday
Is one with Nineveh and Tyre!
Judge of the Nations, spare us yet,
Lest we forget—lest we forget!
If, drunk with sight of power, we loose
Wild tongues that have not Thee in awe—
Such boasting as the Gentiles use,
Or lesser breeds without the Law—
Lord God of Hosts, be with us yet,
Lest we forget—lest we forget!
For heathen heart that puts her trust
In reeking tube and iron shard—
All valiant dust that builds on dust,
And guarding calls not Thee to guard—
For frantic boast and foolish word,
Thy Mercy on Thy People, Lord!
Amen.
Explanation :
“Recessional” was written by Kipling on the occasion of Queen Victoria’s Diamond Jubilee in 1897. The poem serves as a solemn reflection on the fleeting nature of human power and a humble prayer for God’s guidance and mercy, reminding readers of the importance of humility and gratitude in the face of worldly success and pride.
What is the name of Black Panther in Jungle Book?
Bagheera is the name of Black Panther in Jungle Book.
8- Danny Deever
“What are the bugles blowin’ for?” said Files-on-Parade.
“To turn you out, to turn you out”, the Colour-Sergeant said.
“What makes you look so white, so white?” said Files-on-Parade.
“I’m dreadin’ what I’ve got to watch”, the Colour-Sergeant said.
For they’re hangin’ Danny Deever, you can hear the Dead March play,
The regiment’s in ‘ollow square—they’re hangin’ him to-day;
They’ve taken of his buttons off an’ cut his stripes away,
An’ they’re hangin’ Danny Deever in the mornin’.
“What makes the rear-rank breathe so ‘ard?” said Files-on-Parade.
“It’s bitter cold, it’s bitter cold”, the Colour-Sergeant said.
“What makes that front-rank man fall down?” said Files-on-Parade.
“A touch of sun, a touch of sun”, the Colour-Sergeant said.
They are hangin’ Danny Deever, they are marchin’ of ‘im round,
They ‘ave ‘alted Danny Deever by ‘is coffin on the ground;
An’ ‘e’ll swing in ‘arf a minute for a sneakin’, shootin’ hound—
O they’re hangin’ Danny Deever in the mornin’!
“Is cot was right-‘and cot to mine”, said Files-on-Parade.
“E’s sleepin’ out an’ far to-night”, the Colour-Sergeant said.
“I’ve drunk ‘is beer a score of times”, said Files-on-Parade.
“E’s drinkin’ bitter beer alone”, the Colour-Sergeant said.
They are hangin’ Danny Deever, you must mark ‘im to ‘is place,
For ‘e shot a comrade sleepin’—you must look ‘im in the face;
Nine ‘undred of ‘is county an’ the regiment’s disgrace,
While they’re hangin’ Danny Deever in the mornin’.
“What’s that so black agin the sun?” said Files-on-Parade.
“It’s Danny fightin’ ‘ard for life”, the Colour-Sergeant said.
“What’s that that whimpers over’ead?” said Files-on-Parade.
“It’s Danny’s soul that’s passin’ now”, the Colour-Sergeant said.
For they’re done with Danny Deever, you can ‘ear the quickstep play,
The regiment’s in column, an’ they’re marchin’ us away;
Ho! the young recruits are shakin’, an’ they’ll want their beer to-day,
After hangin’ Danny Deever in the mornin’.
Explanation :
“Danny Deever” is a poem by Rudyard Kipling, written in 1890. The poem tells the story of a British soldier named Danny Deever, who is found guilty of murdering a fellow soldier in his sleep. The poem explores themes of military discipline, loyalty, and the harsh realities of military justice.
What is the most famous work of Rudyard Kipling?
The Jungle Book is termed the most famous work of Rudyard Kipling.
9- Tommy
I went into a public to get a pint o’ beer,
The publican ‘e up an’ sez, “We serve no red-coats here.”
The girls be’ind the bar they laughed an’ giggled fit to die,
I outs into the street again an’ to myself sez I:
O it’s Tommy this, an’ Tommy that, an’ “Tommy, go away”;
But it’s “Thank you, Mister Atkins,” when the band begins to play,
The band begins to play, my boys, the band begins to play,
O it’s “Thank you, Mister Atkins,” when the band begins to play.
I went into a theatre as sober as could be,
They gave a drunk civilian room, but ‘adn’t none for me;
They sent me to the gallery or round the music-‘alls,
But when it comes to fightin’, Lord! they’ll shove me in the stalls!
For it’s Tommy this, an’ Tommy that, an’ “Tommy, wait outside”;
But it’s “Special train for Atkins” when the trooper’s on the tide,
The troopship’s on the tide, my boys, the troopship’s on the tide,
O it’s “Special train for Atkins” when the trooper’s on the tide.
Yes, makin’ mock o’ uniforms that guard you while you sleep
Is cheaper than them uniforms, an’ they’re starvation cheap;
An’ hustlin’ drunken soldiers when they’re goin’ large a bit
Is five times better business than paradin’ in full kit.
Then it’s Tommy this, an’ Tommy that, an’ “Tommy, ‘ow’s yer soul?”
But it’s “Thin red line of ‘eroes” when the drums begin to roll,
The drums begin to roll, my boys, the drums begin to roll,
O it’s “Thin red line of ‘eroes” when the drums begin to roll.
We aren’t no thin red ‘eroes, nor we aren’t no blackguards too,
But single men in barricks, most remarkable like you;
An’ if sometimes our conduck isn’t all your fancy paints,
Why, single men in barricks don’t grow into plaster saints;
While it’s Tommy this, an’ Tommy that, an’ “Tommy, fall be’ind,”
But it’s “Please to walk in front, sir,” when there’s trouble in the wind,
There’s trouble in the wind, my boys, there’s trouble in the wind,
O it’s “Please to walk in front, sir,” when there’s trouble in the wind.
You talk o’ better food for us, an’ schools, an’ fires, an’ all:
We’ll wait for extry rations if you treat us rational.
Don’t mess about the cook-room slops, but prove it to our face
The Widow’s Uniform is not the soldier-man’s disgrace.
For it’s Tommy this, an’ Tommy that, an’ “Chuck him out, the brute!”
But it’s “Saviour of ‘is country” when the guns begin to shoot;
An’ it’s Tommy this, an’ Tommy that, an’ anything you please;
An’ Tommy ain’t a bloomin’ fool — you bet that Tommy sees!
Explanation :
The poem criticizes the societal treatment of soldiers, emphasizing the contrast between the public’s indifference or disdain in peacetime and their eagerness to celebrate and appreciate soldiers during times of conflict. The repeated refrain “It’s Tommy this, an’ Tommy that” highlights the inconsistent attitudes towards soldiers, and the poem provides a poignant commentary on the challenges faced by military personnel.
What is Rudyard Kipling’s famous Poem called?
The poems like “If–” and “The Law of the Jungle” are Rudyard Kipling’s most famous poems.
10- The Glory of the Garden
Our England is a garden that is full of stately views,
Of borders, beds and shrubberies and lawns and avenues,
With statues on the terraces and peacocks strutting by;
But the Glory of the Garden lies in more than meets the eye.
For where the old thick laurels grow, along the thin red wall,
You’ll find the tool- and potting sheds which are the heart of all
The cold frames and the hot houses, the dung pits and the tanks,
The rollers, carts and drain pipes, with the barrows and the planks.
And there you’ll see the gardener, the man who sets the flowers,
Who’s always on the job himself at busy planting hours;
The gardener standing idly, looking on at clever lads
Asleep upon the gravel beds with nobody about their pads.
Now, which of all the flowers he’d choose — white lilies, or red sunflowers?
Roses, or tall delphiniums? My gardener never bothers,
He picks ’em all — and more besides — purple and gold and blue,
Marigolds, and cosmos, and verbena, and rose-rued;
Orange, and pink and tulip, salvia, and yellow star;
Allahabad and China rose, begonia, and sweet pea,
And a ‘ost, o’ heaps more as nobody ever knows — an’ they’re “bloomin’ ‘ard to see!”
Explanation :
It’s a garden where all flowers, trees, and vegetables are equal, and the gardener tends to them all with care. The poem not only extols the physical beauty of the garden but also emphasizes the hard work and dedication required to maintain it. Kipling uses the metaphor of the garden to suggest that the true “Glory of the Garden” lies in the labor and commitment of those who nurture and cultivate it.
11- The Way through the Woods
They shut the road through the woods
Seventy years ago.
Weather and rain have undone it again,
And now you would never know
There was once a road through the woods
Before they planted the trees.
It is underneath the coppice and heath,
And the thin anemones.
Only the keeper sees
That, where the ring-dove broods,
And the badgers roll at ease,
There was once a road through the woods.
Yet, if you enter the woods
Of a summer evening late,
When the night-air cools on the trout-ringed pools
Where the otter whistles his mate,
(They fear not men in the woods,
Because they see so few.)
You will hear the beat of a horse’s feet,
And the swish of a skirt in the dew,
Steadily cantering through
The misty solitudes,
As though they perfectly knew
The old lost road through the woods.
But there is no road through the woods.
Explanation :
The poem paints a vivid picture of a road through the woods that was closed off seventy years ago, swallowed by the growth of trees and vegetation. It reflects on the passage of time and the changes brought about by nature. The woods become a mysterious and almost haunting place, with the mention of a keeper who alone remembers the existence of the hidden road.
Who wrote Mowgli?
Mowgli is a fictional character in The Jungle Book written by Rudyard Kipling.
12- The Gods of the Copybook Headings
As I pass through my incarnations in every age and race,
I make my proper prostrations 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 Gorillas while we followed the March of humanity.
We moved as the Spirit listed. They never altered their pace,
Being neither cloud 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 guild 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 worshipped the Gods of the Market Who promised these beautiful things.
When the Cambrian measures were forming, They promised perpetual peace.
They swore, if we gave them our weapons, that the wars of the guilds 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 promised the Fuller Life
(Which started by loving our neighbour 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 selected 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.”
Then the Gods of the Market tumbled, and their smooth-tongued wizards withdrew,
And the hearts of the meanest were humbled and began to believe 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!
Explanation :
The poem contrasts the enduring truths found in traditional values and wisdom, represented by the “Copybook Headings,” with the transient and often misguided ideals of the “Gods of the Market Place” who symbolize contemporary societal trends. The verses explore the cyclical nature of human behavior, the consequences of abandoning timeless principles, and the inevitable return to fundamental truths after societal upheaval and disillusionment.
13- The Last Chantey
“Oh, they’ll tell you ’tis only the willow-wand,
And the Willow-Wren sings o’er the white seas’ foam,
And the willow-wren’s brother it is who stands,
By the willow-wand in his sea-hall home.”
“And they’ll tell you it’s only the hanging lamp
On a ship that’s racing and running apace,
And the flying, sparkling things, making the cold damp,
Are only the spindrift hurled back in your face.”
“And you’ll say to your shipmates, ‘Here’s how it is,’
And they’ll call you a liar, and quote the ship’s log:
‘Look! There’s a willow-wand straight as a liz,
And that is the flying-jib-boom, straight as a log.'”
Explanation :
“The Last Chantey” is a sea shanty that captures the essence of life at sea. It plays with the idea that the natural elements and phenomena encountered by sailors are more than they seem. The poem suggests a mystical and almost supernatural connection between the sailors, the ship, and the sea.
14- The Thousandth Man
One man in a thousand, Solomon says,
Will stick more close than a brother.
And it’s worthwhile seeking him half your days
If you find him before the other.
Nine hundred and ninety-nine depend
On what the world sees in you,
But the Thousandth Man will stand your friend
With the whole round world agin you.
‘Tis neither promise nor prayer nor show
Will settle the finding for ‘ee.
Nine hundred and ninety-nine of ’em go
By your looks or your acts or your glory.
But if he finds you and you find him,
The rest of the world don’t matter;
For the Thousandth Man will sink or swim
With you in any water.
You can use his purse with no more talk
Than he uses yours for his spendings,
And laugh and meet in your daily walk
As though there had been no lendings.
Nine hundred and ninety-nine of ’em call
For silver and gold in their dealings;
But the Thousandth Man he’s worth ’em all,
Because you can show him your feelings.
His wrong’s your wrong, and his right’s your right,
In season or out of season.
Stand up and back it in all men’s sight—
With that for your only reason!
Nine hundred and ninety-nine can’t bide
The shame or mocking or laughter,
But the Thousandth Man will stand by your side
To the gallows-foot—and after!
Explanation :
“The Thousandth Man” is a poem that emphasizes the rarity and value of a true friend. Kipling suggests that finding such a friend is a precious and rare occurrence, and once found, that friend becomes an unwavering source of support and loyalty. The poem explores the depth of true friendship, highlighting that it goes beyond superficial qualities or societal expectations.
15- The Power of the Dog
There is sorrow enough in the natural way
From people of all genders 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 to 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 to a 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?
Explanation :
“The Power of the Dog” is a poignant reflection on the emotional attachment and inevitable sorrow that comes with owning a dog. Kipling explores the deep bond between humans and their canine companions, acknowledging the unconditional love and loyalty that dogs offer. The poem contemplates the inevitable grief that arises when a beloved dog reaches the end of its life. Kipling encourages readers to be cautious about opening their hearts to the potential pain of losing a cherished pet.
There are some of the best poems by Rudyard Kipling with explanations in English. Stay tuned for more great poems and updates.