Songs from Books — Story, Setting & Ideas
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The source record for Songs from Books — Story, Setting & Ideas measures this digital text at 37,293 words, 2 hr 43 min estimated reading time, and 5 detected text sections.
The text analysis averages about 19.2 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Poetry,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
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There was a strife 'twixt man and maid, 81 There was never a Queen like Balkis, 191 There were three friends that buried the fourth, 85 These are the Four that are never content, that have never been filled since the Dews began, 248 These were my companions going forth by night, 69 The Stranger within my gate, 100 The stream is shrunk--the pool is dry, 246 The torn boughs trailing o'er the tusks aslant, 133 The Weald is good, the Downs are best, 9 The wind took off with the sunset, 254 The wolf-cub at even lay hid in the corn, 84 The World hath set its heavy yoke, 32 They burnt a corpse upon the sand, 33 They killed a child to please the Gods, 132 They shut the road through the woods, 6 This I saw when the rites were done, 79 This is the mouth-filling song of the race that was run by a Boomer, 186 Three things make earth unquiet, 124 Thrones, Powers, Dominions, Peoples, Kings, 94 To-night, God knows what thing shall tide, 34 To the Heavens above us, 164
Unto whose use the pregnant suns are poised, 136
Valour and Innocence, 196 Veil them, cover them, wall them round, 247
We be the Gods of the East, 82 We lent to Alexander the strength of Hercules, 145 We meet in an evil land, 78 What is a woman that you forsake her, 60 What is the moral? Who rides may read, 64 What of the hunting, hunter bold?, 247 'What's that that hirples at my side?', 283 When a lover hies abroad, 81 When first by Eden Tree, 140 When I left home for Lalage's sake, 102 When the cabin port-holes are dark and green, 182 When the drums begin to beat, 288 When the Earth was sick and the Skies were grey, 30 When the Great Ark, in Vigo Bay, 109 When the robust and Brass-bound Man commissioned first for sea, 263 When the water's countenance, 277 When ye say to Tabaqui, 'My Brother!' when ye call the Hyena to meat, 252 Where's the lamp that Hero lit 157 Who gives him the Bath? 54 Who knows the heart of the Christian? How does he reason? 75
Yet at the last, ere our spearmen had found him 85 You mustn't swim till you're six weeks old 250 Your jar of Virginny 105 Your tiercel's too long at hack, Sir. He's no eyass 206
I am the land of their fathers. In me the virtue stays. I will bring back my children, After certain days.
Under their feet in the grasses My clinging magic runs. They shall return as strangers, They shall remain as sons.
Over their heads in the branches Of their new-bought, ancient trees, I weave an incantation And draw them to my knees.
Scent of smoke in the evening. Smell of rain in the night, The hours, the days and the seasons, Order their souls aright;
Till I make plain the meaning Of all my thousand years-- Till I fill their hearts with knowledge. While I fill their eyes with tears.
See you the ferny ride that steals Into the oak-woods far? O that was whence they hewed the keels That rolled to Trafalgar.
And mark you where the ivy clings To Bayham's mouldering walls? O there we cast the stout railings That stand around St. Paul's.
See you the dimpled track that runs All hollow through the wheat? O that was where they hauled the guns That smote King Philip's fleet.
Out of the Weald, the secret Weald, Men sent in ancient years, The horse-shoes red at Flodden Field, The arrows at Poitiers.
See you our little mill that clacks, So busy by the brook? She has ground her corn and paid her tax Ever since Domesday Book.
See you our stilly woods of oak? And the dread ditch beside? O that was where the Saxons broke On the day that Harold died.
See you the windy levels spread About the gates of Rye? O that was where the Northmen fled, When Alfred's ships came by.
See you our pastures wide and lone, Where the red oxen browse? O there was a City thronged and known. Ere London boasted a house.
And see you, after rain, the trace Of mound and ditch and wall? O that was a Legion's camping-place, When Cæsar sailed from Gaul.
And see you marks that show and fade, Like shadows on the Downs? O they are the lines the Flint Men made, To guard their wondrous towns.
Trackway and Camp and City lost, Salt Marsh where now is corn; Old Wars, old Peace, old Arts that cease, And so was England born!
She is not any common Earth, Water or wood or air, But Merlin's Isle of Gramarye, Where you and I will fare.
THE WAY THROUGH THE WOODS
Kipling's Songs from Books gathers verses originally scattered through his novels and stories, presenting them as independent poems while retaining echoes of their original contexts. The collection's preface notes that some poems were expanded from brief chapter-headings into full songs, a transformation visible in pieces like 'Cities and Thrones and Powers,' which opens the volume with a meditation on impermanence. The poem's daffodil, 'bold with countenance' and 'knowledge small,' becomes a figure for human obliviousness to decay—a recurring tension between endurance and fragility that Kipling explores across military, animal, and domestic settings.
Voices of Beasts and Machines
Several poems adopt the perspective of working animals, a technique Kipling uses to explore duty and suffering from below. In 'Cavalry Horses,' the horse celebrates its role with a jaunty rhythm: 'The Cavalry Canter of “Bonnie Dundee”!' Yet the poem's collective voice—'Children of the Camp are we'—shifts in the final stanza to a somber note, as the animals march 'day by day' alongside men who 'cannot tell why we or they / March and suffer.' The contrast between the upbeat refrains and the closing resignation highlights a tension between the animals' apparent cheer and their uncomprehending endurance. Similarly, 'Commissariat Camels' uses a staccato chorus—'Can't! Don't! Shan't! Won't!'—to mimic stubbornness, while 'Screw-Gun Mules' boasts of scrambling 'with a leg or two to spare.' These poems do not sentimentalize the animals; instead, they render their labor as a mix of pride, complaint, and grim necessity.
Imperial Duty and Its Discontents
Kipling's most famous poem, 'If—,' appears here as a set of conditional commands—'If you can keep your head when all about you / Are losing theirs'—that prescribe stoic self-control. The poem's structure, a single sentence of accumulating clauses, builds toward the reward of 'the Earth and everything that's in it' and the status of 'a Man.' Yet the collection also includes poems that undercut such certainties. 'The Prodigal Son (Western Version)' reimagines the biblical parable with a speaker who prefers 'the husks' and 'the Yards' to his father's house, declaring 'there's no reproach among swine ... For being a bit of a swine.' The poem's colloquial tone—'I never was very refined, you see'—and its rejection of domestic reconciliation introduce a note of ironic self-awareness that complicates the earnestness of 'If—.' Together, these poems suggest that Kipling's vision of duty is not monolithic but contains room for dissent and self-mockery.
Rhythms of Impermanence
The opening poem, 'Cities and Thrones and Powers,' establishes a motif of cyclical decay and renewal that recurs throughout the collection. Its daffodil, 'Esteems her seven days' continuance / To be perpetual,' becomes a figure for human blindness to mortality. Kipling extends this theme through varied meters: the poem's stately quatrains contrast with the driving anapests of the military verses, yet both forms grapple with the passage of time. In 'Cities,' the closing lines—'Shadow to shadow, well persuaded, saith, / “See how our works endure!”'—ironically undercut the claim of endurance, as the speaker acknowledges that even our belief in permanence is a shadow. This tension between the desire for lasting achievement and the reality of transience appears again in the chapter-headings scattered through the collection, which often condense a story's theme into a few lines. The poems do not resolve this tension; instead, they let the rhythms of verse carry both the assertion and the doubt.
Readers approaching Songs from Books will find that the poems gain resonance when considered alongside the prose works they originally accompanied, though the collection stands on its own as a survey of Kipling's poetic range. The juxtaposition of voices—from the confident horse to the reluctant prodigal—invites attention to the shifts in tone and register that mark Kipling's craft. Rather than seeking a single message, one might attend to how each poem's form shapes its argument, and how the collection as a whole resists easy summary.
I found myself thinking about how Kipling’s poems echo what his stories whisper, that quiet weight of duty and wildness. It reminded me of another old friend, Broad Grins Comprising, With New Additional Tales in Verse, Those Formerly Publish'd Under the Title "My Night-Gown and Slippers." — Reading Notes, where the verses dance alongside the prose like a chuckle after a long day. Some books just stay, softly.
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