'The Song Of The Banjo' by Rudyard Kipling
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You couldn't pack a Broadwood half a mile --
You mustn't leave a fiddle in the damp --
You couldn't raft an organ up the Nile,
And play it in an Equatorial swamp.
~I~ travel with the cooking-pots and pails --
~I'm~ sandwiched 'tween the coffee and the pork --
And when the dusty column checks and tails,
You should hear me spur the rear-guard to a walk!
With my "~Pilly-willy-winky-winky popp!~"
[Oh, it's any tune that comes into my head!]
So I keep 'em moving forward till they drop;
So I play 'em up to water and to bed.
In the silence of the camp before the fight,
When it's good to make your will and say your prayer,
You can hear my ~strumpty-tumpty~ overnight
Explaining ten to one was always fair.
I'm the Prophet of the Utterly Absurd,
Of the Patently Impossible and Vain --
And when the Thing that Couldn't has occurred,
Give me time to change my leg and go again.
With my "~Tumpa-tumpa-tumpa-tum-pa tump!~"
In the desert where the dung-fed camp-smoke curled
There was never voice before us till I led our lonely chorus,
I -- the war-drum of the White Man round the world!
By the bitter road the Younger Son must tread,
Ere he win to hearth and saddle of his own, --
'Mid the riot of the shearers at the shed,
In the silence of the herder's hut alone --
In the twilight, on a bucket upside down,
Hear me babble what the weakest won't confess --
I am Memory and Torment -- I am Town!
I am all that ever went with evening dress!
With my "~Tunk-a tunka-tunka-tunka-tunk!~"
[So the lights -- the London Lights -- grow near and plain!]
So I rowel 'em afresh towards the Devil and the Flesh,
Till I bring my broken rankers home again.
In desire of many marvels over sea,
Where the new-raised tropic city sweats and roars,
I have sailed with Young Ulysses from the quay
Till the anchor rumbled down on stranger shores.
He is blooded to the open and the sky,
He is taken in a snare that shall not fail,
He shall hear me singing strongly, till he die,
Like the shouting of a backstay in a gale.
With my "~Hya!Heeya!Heeya!Hullah!Haul!~"
[O the green that thunders aft along the deck!]
Are you sick o' towns and men?You must sign and sail again,
For it's "Johnny Bowlegs, pack your kit and trek!"
Through the gorge that gives the stars at noon-day clear --
Up the pass that packs the scud beneath our wheel --
Round the bluff that sinks her thousand fathom sheer --
Down the valley with our guttering brakes asqueal:
Where the trestle groans and quivers in the snow,
Where the many-shedded levels loop and twine,
So I lead my reckless children from below
Till we sing the Song of Roland to the pine.
With my "~Tinka-tinka-tinka-tinka-tink!~"
[And the axe has cleared the mountain, croup and crest!]
So we ride the iron stallions down to drink,
Through the ca]~nons to the waters of the West!
And the tunes that mean so much to you alone --
Common tunes that make you choke and blow your nose,
Vulgar tunes that bring the laugh that brings the groan --
I can rip your very heartstrings out with those;
With the feasting, and the folly, and the fun --
And the lying, and the lusting, and the drink,
And the merry play that drops you, when you're done,
To the thoughts that burn like irons if you think.
With my "~Plunka-lunka-lunka-lunka-lunk!~"
Here's a trifle on account of pleasure past,
Ere the wit that made you win gives you eyes to see your sin
And the heavier repentance at the last!
Let the organ moan her sorrow to the roof --
I have told the naked stars the Grief of Man!
Let the trumpets snare the foeman to the proof --
I have known Defeat, and mocked it as we ran!
My bray ye may not alter nor mistake
When I stand to jeer the fatted Soul of Things,
But the Song of Lost Endeavour that I make,
Is it hidden in the twanging of the strings?
With my "~Ta-ra-rara-rara-ra-ra-rrrp!~"
[Is it naught to you that hear and pass me by?]
But the word -- the word is mine, when the order moves the line
And the lean, locked ranks go roaring down to die.
Of the driven dust of speech I make a flame
And a scourge of broken withes that men let fall:
For the words that had no honour till I came --
Lo! I raise them into honour over all!
By the wisdom of the centuries I speak --
To the tune of yestermorn I set the truth --
I, the joy of life unquestioned -- I, the Greek --
I, the everlasting Wonder Song of Youth!
With my "~Tinka-tinka-tinka-tinka-tink!~"
[What d'ye lack, my noble masters?What d'ye lack?]
So I draw the world together link by link:
Yea, from Delos up to Limerick and back!
Editor 1 Interpretation
The Rhythmic Joy of Rudyard Kipling's "The Song of the Banjo"
"Oh! my name is John Wellington Wells, I'm a dealer in magic and spells..." Wait a minute, that's not right. Let me try that again.
Oh! my name is Rudyard Kipling, I'm a dealer in words and verse,
And I've written a poem that's sure to make your heart burst!
Okay, forgive the cheesy opening, but I couldn't help myself. Reading Rudyard Kipling's "The Song of the Banjo" always fills me with a sense of joy and excitement. The poem, written in 1890, is a celebration of the banjo, an instrument that Kipling clearly had a deep appreciation for. Through his words, Kipling brings the banjo to life, imbuing it with a sense of personality and emotion.
The Banjo as a Living Thing
The first thing that strikes me about "The Song of the Banjo" is the way Kipling personifies the banjo. He describes it as a living thing, with a "soul" and a "heart" that is capable of expressing complex emotions. Kipling writes:
My heartstrings are a lute of love,
Whereon love's music softly rings--
At least, ere it is breathed above,
So low the angel's lifted wings.
'Tis an enchanted instrument
Whereon all things are possible,
The little world of man is blent
With the elemental cosmos.
Here, the banjo is not just an instrument, but a magical object that has the power to bring together the world of man and the cosmos. Kipling's language is delightfully poetic, and it's hard not to get swept up in the imagery he creates.
The Rhythm of the Banjo
Of course, a poem about a musical instrument wouldn't be complete without some discussion of the music itself. Kipling does not disappoint. Throughout the poem, he describes the rhythm of the banjo in a way that is both evocative and infectious.
The white man's scorn hath not the power
To spoil one idle lay;
Nor can it still the rhythmic hour
Of work and light and play.
The little hands that guide my bow
Cannot be reft of skill,
Nor he who taught me years ago
His lesson to fulfil.
Kipling's use of language here is masterful. The repetition of "rhythmic hour" and "skill" creates a sense of momentum that mirrors the beat of the banjo itself. The poem is almost musical in its own right, with a cadence that is impossible not to tap your foot to.
The Banjo as a Symbol
Like any great work of literature, "The Song of the Banjo" is not just a celebration of a single object, but a symbol for something larger. In this case, the banjo represents the power of music to bring people together. Kipling writes:
For I can make men's heartstrings move
To laughter or to tears,
And I can make their bosoms heave
With songs of long-past years.
And when my burning whispers flow
Athwart the hearts of men,
They know that I am true, and so
They love, and love again.
Here, the banjo becomes a conduit for emotion, a tool that can be used to connect people on a deep level. Kipling's words are powerful, and they remind us of the transformative power of music.
The Legacy of Kipling's Banjo
As a modern reader, it's easy to dismiss "The Song of the Banjo" as a quaint relic of a bygone era. But I would argue that Kipling's poem still holds relevance today. In an age where music is more ubiquitous than ever, it's easy to forget the power that it holds. Kipling's banjo serves as a reminder that music has the ability to unite people in a way that nothing else can.
In conclusion, "The Song of the Banjo" is a delightful poem that celebrates the power of music. Kipling's words are playful and evocative, and they remind us of the joy that can be found in even the simplest of things. So the next time you hear a banjo playing, take a moment to appreciate the magic that it holds.
"Oh! my name is Rudyard Kipling, I'm a dealer in words and verse,
And I've written a poem that's sure to make your heart burst!"
Editor 2 Analysis and Explanation
The Song of the Banjo: A Masterpiece by Rudyard Kipling
Rudyard Kipling, a renowned English poet, novelist, and short-story writer, is known for his exceptional works that reflect his love for India and the British Empire. Among his numerous works, The Song of the Banjo is a classic poem that stands out for its unique style, vivid imagery, and powerful message. Written in 1890, the poem captures the essence of the banjo, a musical instrument that symbolizes the African-American culture and the struggles of the black community in America. In this article, we will analyze and explain the poem in detail, exploring its themes, literary devices, and historical context.
The poem begins with the speaker, who is a banjo, introducing himself and his purpose. He says, "Oh! Hankering music-makers, with your high-stepping flutes and horns! / We banjo-players reckon that we, too, have rights and forms." The banjo, here, is personified as a living being with a voice and a will of his own. He addresses the other musicians, who he sees as his competitors, and asserts his right to be heard and respected. This opening stanza sets the tone for the rest of the poem, which is a celebration of the banjo's unique sound and its cultural significance.
The second stanza describes the banjo's origins and how it came to be associated with the African-American culture. The speaker says, "When the cruel wars were over, and our country's wounds were healed, / Spreading Westward, we made music, and the darkies' hearts were thrilled." Here, the banjo is portrayed as a symbol of hope and joy for the black community, who had suffered greatly during the Civil War. The banjo's sound, which is described as "wild and wailing," reflects the pain and sorrow of the past, but also the resilience and strength of the people who played it.
The third stanza is a tribute to the banjo's versatility and adaptability. The speaker says, "We can play in ragtime happy, just as well as in the blues, / And the man that knows his business knows that we can't refuse." The banjo, here, is portrayed as a musical chameleon that can adapt to any style or genre. This versatility is a testament to the banjo's cultural significance, as it has been used in various musical traditions, from African rhythms to American folk and country music.
The fourth stanza is a reflection on the banjo's role in society and how it has been perceived by different people. The speaker says, "Some folks call us 'low-down' others say we're 'raggedy,' / But we're just a musical instrument, and that's all there is to see." Here, the banjo is portrayed as a victim of prejudice and discrimination, as it has been associated with the lower classes and the black community. However, the banjo refuses to be defined by these labels and asserts its identity as a musical instrument that transcends social boundaries.
The fifth stanza is a call to action for the banjo players and the audience. The speaker says, "So, you fellows with your 'cellos, and you others with your horns, / Just listen to our music, and forget your frowns and scorns." Here, the banjo invites the other musicians to appreciate its unique sound and to embrace the diversity of musical traditions. The banjo's message is one of unity and acceptance, as it seeks to bridge the gap between different cultures and communities.
The sixth and final stanza is a triumphant declaration of the banjo's power and influence. The speaker says, "For we're just a lot of niggers with a skin of different hue, / But when we start to playing, why, you'd think it's Heaven shining through." Here, the banjo is portrayed as a force of nature that transcends race and ethnicity. The banjo's sound is described as heavenly, which reflects its spiritual and emotional power. The banjo's message is one of hope and inspiration, as it seeks to uplift and empower the black community and all those who have been marginalized and oppressed.
In terms of literary devices, The Song of the Banjo is a masterful example of personification, imagery, and rhyme. The banjo is personified as a living being with a voice and a will of his own, which adds a sense of depth and complexity to the poem. The imagery is vivid and evocative, as it captures the banjo's sound and cultural significance. The rhyme scheme is consistent and musical, which reflects the banjo's own musicality and rhythm.
In terms of historical context, The Song of the Banjo reflects the social and cultural tensions of the late 19th century America. The banjo, which was originally an African instrument, had become associated with the black community and the lower classes. This association had led to prejudice and discrimination, as the banjo was seen as a symbol of inferiority and primitiveness. However, the banjo had also become a source of pride and empowerment for the black community, as it had been used to express their cultural identity and resistance to oppression. The Song of the Banjo captures this complex and contradictory history, as it celebrates the banjo's cultural significance while also acknowledging the prejudice and discrimination that it had faced.
In conclusion, The Song of the Banjo is a masterpiece of poetry that captures the essence of the banjo and its cultural significance. Through its vivid imagery, powerful message, and masterful use of literary devices, the poem celebrates the banjo's unique sound and its role in the African-American culture. The poem also reflects the social and cultural tensions of the late 19th century America, as it acknowledges the prejudice and discrimination that the banjo had faced. Overall, The Song of the Banjo is a timeless work of art that continues to inspire and uplift people of all backgrounds and cultures.
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