The Life & Works of Rudyard Kipling

Map of England Showing Kipling's Homes
From Wikipedia, in the Public Domain.

Rudyard Kipling English Writer as a Boy Photographic Print
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Rudyard Kipling was born on December 30th 1865, in Bombay (now called Mumbai), India. His father, John Lockwood Kipling, was a teacher and artist. His mother, Alice, was one of the Macdonald sisters, now famous for their marriages to well-known men, Sir Edward Burne-Jones, Sir Edward Poynter, Alfred Baldwin, and John Lockwood Kipling. They named their son after Rudyard Lake in Staffordshire where John Lockwood Kipling had wooed Alice.

Kipling spent his first five years in India and then, like many British children, he was sent back to England with his younger sister. They lived with a family in Southsea in Hampshire where the children suffered neglect and poor treatment. His childhood there was a great contrast to the happiness he'd experienced in India and must have influenced his later writing, especially the empathy he had for children, for example the ever popular Kim. At the age of twelve he was sent away to school to the United Services College in Westward Ho! in North Devon. Cormell Price, the headmaster, was a family friend and he encouraged the young Rudyard to write. His novel, Stalky & Co, was based on his own school days.

At the age of 16 Rudyard Kipling returned to India. By this time his parents were in Lahore (now in Pakistan) and he worked there on the Civil and Military Gazette, and then later in Allahabad on the Pioneer. While he was working as a journalist, he was writing stories and poems in his free time, some of which were published. They were later published in book form. One of these early stories, The Man Who Would be King, much later to be famous as a movie starring Sean Connery.

Naulakha, Kipling House, Brattleboro, Vermont Art Print
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He returned to England in 1889 and achieved fame and success as a writer. His great friend, the American, Wolcott Balestier, died of typhoid but he married Balestier's sister Carrie in 1892. Their honeymoon included a visit to Carrie's home in Brattleboro, Vermont, and made their home there. The house can still be seen and now stands on Kipling Road. It was here that he wrote The Jungle Book, The Second Jungle Book and Captains Courageous amongst others. His first two children, Josephine and Elsie, were born in Brattleboro and Rudyard and Carrie were happy here for a while until a quarrel with his brother-in-law ended in court. The family returned to England in 1896.

They went to live in Rottingdean, near Brighton on the Sussex coast, first of all with his mother's sister, Georgina Burne-Jones and then into a house of their own, The Elms. Their son John was born in his aunt's house and, again, the family were happy and, again, tragedy struck with the death of their daughter Josephine in 1899.

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By this time, Kipling was immensely famous and popular for his poems and stories. In this period in Sussex he wrote, amongst others, Kim, Stalky & Co, and the Just So Stories. In 1907 Kipling won the Nobel Prize for Literature. In 1910 he published Rewards and Fairies containing his most famous poem If. This poem has resonated with the British public ever since and was voted the country's favourite poem in a BBC poll in 1995.

Like many other families, the Kiplings lost their son John in 1915 in the First World War. This was more tragic for Rudyard Kipling because he had used his influence to get John into the army when his poor eyesight would have normally given him a medical exemption. It is unsurprising if Kipling suffered guilt as well as grief. Perhaps to alleviate these emotions, he was on the Imperial War Graves Commission (now the Commonwealth War Graves Commission) and was the person who chose the phrase that appears on Stones of Remembrance in some of the cemetaries, "Their Name Liveth For Evermore".

Although Kipling continued to write after the war, his popularity declined. He was seen as old-fashioned and out of touch with the times. He died of a brain haemorrhage in 1936 and was buried in Poets' Corner, Westminster Abbey in London.

After his death, his work continued to decline and was little read.

This poem is immensely popular; it is even inscribed near the players' entrance to Wimbledon's Centre (Tennis) Court. While many people love the poem and find it inspirational, others hate it and think it represents everything bad about Kipling's work.

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 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 all 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!

In Rudyard Kipling's novel Kim, his love of India and its people shines through as a complete contrast to apparently racist comments in some of his other work. Because he was sent to England at the age of five, leaving behind his parents, perhaps he imagined that he could have been Kim and stayed in India having adventures playing the 'Great Game'.

Excerpt from Kim

>Where the hard-worked soil gives three and even four crops a year-through patches of sugar-cane, tobacco, long white radishes, and nol-kol, all that day they strolled on, turning aside to every glimpse of water; rousing village dogs and sleeping villages at noonday; the lama replying to the vollied questions with an unswerving simplicity. They sought a river-a river of miraculous healing. Had any one knowledge of such a stream? Sometimes men laughed, but more often heard the story out to the end and offered them a place in the shade, a drink of milk, and a meal. The women were always kind, and the little children as children are the world over, alternately shy and venturesome. Evening found them at rest under the village tree of a mud-walled, mud-roofed hamlet, talking to the headman as the cattle came in from the grazing-grounds and the women prepared the day's last meal. They had passed beyond the belt of market-gardens round hungry Umballa, and were among the mile-wide green of the staple crops.

Synopsis

The boy, Kim, full name Kimball O'Hara, is the orphaned son of a soldier in an Irish regiment. His half Indian foster mother has given him three papers, one of which is his birth certificate, and told him they are valuable and to keep them always. He lives by running errands and however he can. Out of sight of his foster mother, he dresses as a low caste Indian street boy and speaks the language like a native. One day he meets a holy man, a lama from Tibet, who is in search of a holy river. He travels with him and looks after him. At the same time, he plays the Great Game of espionage taking place between Russia and Britain for his friend and horse trader, Mahbub Ali, who works for the British Secret Service.

Kim (Oxford World's Classics)
by Rudyard Kipling

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Nowadays we shudder at the sentiments expressed in this poem - until we get to the last verse. Then we see that Kipling is applauding the bravery of Gunga Din. The poem is in the vernacular and uses the sentiments of an ordinary British soldier in Queen Victoria's India.

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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 when it comes to slaughter
You will do your work on water,
An' you'll lick the bloomin' boots of 'im that's got it.
Now in Injia's sunny clime,
Where I used to spend my time
A-servin' of 'Er Majesty the Queen,
Of all them blackfaced crew
The finest man I knew
Was our regimental bhisti, Gunga Din.
He was "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! 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!"

'E would dot an' carry one
Till the longest day was done;
An' 'e didn't seem to know the use o' fear.
If we charged or broke or cut,
You could bet your bloomin' nut,
'E'd be waitin' fifty paces right flank rear.
With 'is mussick on 'is back,
'E would skip with our attack,
An' watch us till the bugles made "Retire",
An' for all 'is dirty 'ide
'E was white, clear white, inside
When 'e went to tend the wounded under fire!
It was "Din! Din! Din!"
With the bullets kickin' dust-spots on the green.
When the cartridges ran out,
You could hear the front-files shout,
"Hi! ammunition-mules an' Gunga Din!"

I shan't forgit the night
When I dropped be'ind the fight
With a bullet where my belt-plate should 'a' been.
I was chokin' mad with thirst,
An' the man that spied me first
Was our good old grinnin', gruntin' Gunga Din.
'E lifted up my 'ead,
An' he plugged me where I bled,
An' 'e guv me 'arf-a-pint o' water-green:
It was crawlin' and it stunk,
But of all the drinks I've drunk,
I'm gratefullest to one from Gunga Din.
It was "Din! Din! Din!
'Ere's a beggar with a bullet through 'is spleen;
'E's chawin' up the ground,
An' 'e's kickin' all around:
For Gawd's sake git the water, Gunga Din!"

'E carried me away
To where a dooli lay,
An' a bullet come an' drilled the beggar clean.
'E put me safe inside,
An' just before 'e died,
"I 'ope you liked your drink", sez Gunga Din.
So I'll meet 'im later on
At the place where 'e is gone --
Where it's always double drill and no canteen;
'E'll be squattin' on the coals
Givin' drink to poor damned souls,
An' I'll get a swig in hell from Gunga Din!
Yes, Din! Din! Din!
You Lazarushian-leather Gunga Din!
Though I've belted you and flayed you,
By the livin' Gawd that made you,
You're a better man than I am, Gunga Din!

Kipling was born in India but was sent home when he was five years old. This poem, again told in the voice of a British soldier, describes the longing experienced by Englishmen (and children!) when they return to cold, wet Britain.

Moulmein from the Great Pagoda - Samuel Bourne. 1870

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 aren'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!

In this poem we hear Kipling's understanding of the ordinary British soldier and how, using a soldier's voice, he tells civilians that it's no good just tolerating and praising soldiers when we need them and when they are away fighting. We've got to understand and tolerate them when they are home too. Perhaps a good thing to remember today whether we support the wars they fight or not - they are still doing their duty and risking their lives to do so. That's more than most of us can say.

Cover of an Album of Scraps Celebrating British soldiers Awarded the Victoria Cross Giclee Print
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I went into a public-'ouse 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!

The first line of this poem "Oh, East is East, and West is West, and never the twain shall meet..." is often used to support the premise that Kipling was a racist. However, if you read just three lines more you can see that is simply not the case. Read the whole poem and you can see that Kipling was arguing the exact opposite, that east and west could meet and as equals.

A Sepoy: an Indian Soldier in the French Battalion at Pondicherry Giclee Print
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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, though 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 Mohammed 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 own place to fare,
So if ye gallop to Fort Bukloh as fast as a bird can fly,
By the favour 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 woeful 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 favour 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 own men with his rifle cocked on his knee.
If I had raised my bridle-hand, as I have held it low,
The little jackals that flee so fast were feasting all in a row:
If I had bowed my head on my breast, as I have held it high,
The kite that whistles above us now were gorged till she could not fly."

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Lightly answered the Colonel's son: "Do good to bird and beast,
But count who come for the broken meats before thou makest a feast.
If there should follow a thousand swords to carry my bones away,
Belike the price of a jackal's meal were more than a thief could pay.
They will feed their horse on the standing crop,
their men on the garnered grain,
The thatch of the byres will serve their fires when all the cattle are slain.
But if thou thinkest the price be fair, -- thy brethren wait to sup,
The hound is kin to the jackal-spawn, -- howl, dog, and call them up!
And if thou thinkest the price be high, in steer and gear and stack,
Give me my father's mare again, and I'll fight my own way back!"
Kamal has gripped him by the hand and set him upon his feet.
"No talk shall be of dogs," said he, "when wolf and gray wolf meet.
May I eat dirt if thou hast hurt of me in deed or breath;
What dam of lances brought thee forth to jest at the dawn with Death?"
Lightly answered the Colonel's son: "I hold by the blood of my clan:
Take up the mare for my father's gift -- by God, she has carried a man!"
The red mare ran to the Colonel's son, and nuzzled against his breast;
"We be two strong men," said Kamal then, "but she loveth the younger best.
So she shall go with a lifter's dower, my turquoise-studded rein,
My 'broidered saddle and saddle-cloth, and silver stirrups twain."
The Colonel's son a pistol drew, and held it muzzle-end,
"Ye have taken the one from a foe," said he; "will ye take the mate from a friend?"
"A gift for a gift," said Kamal straight; "a limb for the risk of a limb.
Thy father has sent his son to me, I'll send my son to him!"
With that he whistled his only son, that dropped from a mountain-crest --
He trod the ling like a buck in spring, and he looked like a lance in rest.
"Now here is thy master," Kamal said, "who leads a troop of the Guides,
And thou must ride at his left side as shield on shoulder rides.
Till Death or I cut loose the tie, at camp and board and bed,
Thy life is his -- thy fate it is to guard him with thy head.
So, thou must eat the White Queen's meat, and all her foes are thine,
And thou must harry thy father's hold for the peace of the Border-line,
And thou must make a trooper tough and hack thy way to power --
Belike they will raise thee to Ressaldar when I am hanged in Peshawur!"

They have looked each other between the eyes, and there they found no fault,
They have taken the Oath of the Brother-in-Blood on leavened bread and salt:
They have taken the Oath of the Brother-in-Blood on fire and fresh-cut sod,
On the hilt and the haft of the Khyber knife, and the Wondrous Names of God.
The Colonel's son he rides the mare and Kamal's boy the dun,
And two have come back to Fort Bukloh where there went forth but one.
And when they drew to the Quarter-Guard, full twenty swords flew clear --
There was not a man but carried his feud with the blood of the mountaineer.
"Ha' done! ha' done!" said the Colonel's son. "Put up the steel at your sides!
Last night ye had struck at a Border thief -- to-night 'tis a man of the Guides!"

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, though they come from the ends of the earth!