'Mandalay' by Rudyard Kipling
AI and Tech Aggregator
Download Mp3s Free
Tears of the Kingdom Roleplay
Best Free University Courses Online
TOTK Roleplay
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!
Editor 1 Interpretation
Mandalay by Rudyard Kipling: A Journey Through Love and Nostalgia
As I read Rudyard Kipling’s “Mandalay”, I couldn’t help but feel the pull of the past, the longing for something lost, and the bittersweet flavor of nostalgia. Kipling’s poem, published in 1890, tells the story of a British soldier who falls in love with a Burmese woman and dreams of returning to her and the land of Mandalay after his service ends. In my literary criticism and interpretation of this classic poem, I will explore the themes, imagery, language, and historical context that make “Mandalay” a timeless piece of literature.
Themes: Love, Nostalgia, Colonialism, and Identity
At its core, “Mandalay” is a love poem that describes the intense passion and longing felt by the narrator, who is unnamed but assumed to be a British soldier stationed in Burma. The woman he loves is also unnamed, but she is memorable for her “tawny” skin, her “slim bronze” waist, and her “small coal-black” eyes. The narrator describes her with a mix of exoticism and admiration, acknowledging the cultural differences that separate them but also seeing her beauty as a source of enchantment. The lines “An’ I seed her first a-smokin’ of a whackin’ white cheroot, / An’ a-wastin’ Christian kisses on an ’eathen idol’s foot” suggest that the narrator is aware of the religious and social conflicts that exist between him and his lover, but he is willing to ignore them for the sake of their love.
The theme of love is intertwined with the theme of nostalgia, as the narrator longs to return to Mandalay and reunite with his lover. The refrain “On the road to Mandalay / Where the flyin’-fishes play” is repeated throughout the poem, creating a sense of yearning and desire for a place that represents not only the physical location of Burma but also the emotional and spiritual connection between the narrator and his lover. The phrase “Come you back to Mandalay” is both a plea and a promise, a reminder of the past and a hope for the future.
However, the theme of nostalgia is complicated by the theme of colonialism, as the narrator is a representative of the British Empire that has occupied Burma and other parts of Asia for centuries. The poem shows the tension between the colonizer and the colonized, between the desire for exoticism and the reality of imperialism. The narrator’s descriptions of Burma are filled with orientalist stereotypes and cultural appropriation, such as “the old Moulmein Pagoda” and “the dawnin’ of the day”, which suggest a romanticized and superficial understanding of Burmese culture. At the same time, the narrator’s longing for Mandalay reflects a desire for escape from the constraints of colonialism, the sense of being trapped in a foreign land that is both fascinating and alien.
Finally, the theme of identity is also present in “Mandalay”, as the narrator grapples with his own sense of self in relation to his surroundings. He describes himself as “a-sittin’ and a-starin’ at the sea” and “a-lookin’ at the mud”, suggesting a feeling of detachment and dislocation. His use of Burmese words and phrases, such as “’way” and “gye-daw”, indicates a desire to assimilate and belong, but also highlights the power dynamic between the colonizer and the colonized. The narrator’s identity is fluid, constantly shifting between his Britishness and his attraction to Burmese culture, his sense of duty as a soldier and his desire for love and freedom.
Imagery: Sensory Details and Vivid Scenes
Kipling’s use of imagery in “Mandalay” is both rich and evocative, creating a vivid picture of Burma and the narrator’s experiences there. The poem is filled with sensory details that appeal to the reader’s senses of sight, sound, smell, and touch. The opening lines, “By the old Moulmein Pagoda, lookin’ eastward to the sea, / There’s a Burma girl a-settin’, and I know she thinks o’ me” conjure up a scene of a tropical landscape, with the pagoda towering over the horizon and the girl sitting in a contemplative pose. The description of the “sunburnt white” of the narrator’s skin and the “tawny” of the girl’s skin suggest a visual contrast that emphasizes their differences and also their attraction.
The imagery in “Mandalay” also includes sounds, such as the “bugle-call” that calls the narrator back to duty, the “clangin’ of the tramway bell” and the “oonts” of the elephants in the streets. These sounds create a sense of bustling activity and cultural diversity that is both exhilarating and overwhelming. The smell of the “smokin’ of a whackin’ white cheroot” and the “sour” smell of the ghee and the spices highlight the sensory richness of Burmese cuisine and the narrator’s fascination with it.
The imagery in “Mandalay” also includes tactile sensations, such as the “slim bronze” of the girl’s waist and the “’eathen idol’s foot” that she kisses. These sensations emphasize the physicality of the narrator’s love and the intensity of his desire for his lover.
Language: Dialect and Poetic Devices
Kipling’s use of language in “Mandalay” is notable for its use of dialect and poetic devices. The narrator speaks in a dialect that reflects his British background and his experience in Burma, using words and phrases such as “’way” (away), “gye-daw” (shut up), and “’s to say” (that is to say). This dialect creates a sense of authenticity and realism, suggesting that the narrator is a real person with a specific background and identity.
Kipling also uses poetic devices such as repetition, rhyme, and alliteration to enhance the musicality and rhythm of the poem. The refrain “On the road to Mandalay / Where the flyin’-fishes play” creates a sense of momentum and anticipation, while the internal rhyme in “An’ a-wastin’ Christian kisses on an ’eathen idol’s foot” creates a sense of ambiguity and contrast. The alliteration in “the dawnin’ of the day” and “the East is East and West is West” emphasizes the sound and texture of the words, creating a sense of pattern and symmetry.
Historical Context: Empire and Exoticism
To fully appreciate “Mandalay”, it is important to understand its historical context, particularly the role of the British Empire in Burma and other parts of Asia during the late 19th century. Burma was annexed by the British in 1886, and Kipling himself lived in India for several years as a journalist and writer. The poem reflects the imperialist mindset of many British writers and artists of the time, who saw Asia and other parts of the world as exotic and mysterious, ripe for exploration and exploitation.
However, “Mandalay” also reflects the ambivalence and complexity of colonial relationships, particularly in the realm of love and desire. The narrator’s attraction to his Burmese lover is both genuine and problematic, reflecting the power dynamic between colonizer and colonized, and the cultural clashes that arise from such relationships. The poem also suggests a sense of displacement and longing that is common among expatriates and travelers, particularly those who are drawn to exotic lands and cultures.
Conclusion: A Poem of Love, Loss, and Longing
In conclusion, “Mandalay” is a poem of love, loss, and longing that captures the imagination and emotions of readers across generations. Kipling’s use of imagery, language, and historical context creates a rich and complex portrait of Burma and the narrator’s experiences there. The themes of love, nostalgia, colonialism, and identity resonate with readers who have experienced similar feelings of attachment and detachment, attraction and repulsion, and hope and despair. “Mandalay” is a classic poem that continues to inspire and challenge readers today, reminding us of the power of literature to capture the human experience in all its complexity and beauty.
Editor 2 Analysis and Explanation
Poetry Mandalay: A Journey Through Time and Space
Rudyard Kipling’s “Mandalay” is a classic poem that has stood the test of time. It is a beautiful and evocative piece that takes the reader on a journey through the exotic and mysterious land of Burma. The poem is a perfect example of Kipling’s mastery of language and his ability to transport the reader to another time and place.
The poem was first published in 1890 in Kipling’s collection of short stories and poems, “Barrack-Room Ballads”. It quickly became one of his most popular works and has remained so to this day. The poem is written in the first person and tells the story of a British soldier who has returned home from Burma but longs to go back to the land he loves.
The poem begins with the famous lines, “By the old Moulmein Pagoda, lookin’ eastward to the sea, / There’s a Burma girl a-settin’, and I know she thinks o’ me”. These lines immediately set the scene and introduce the reader to the exotic and romantic world of Burma. The soldier is reminiscing about his time in Burma and the girl he left behind. The use of dialect in the poem adds to the authenticity and realism of the soldier’s voice.
The soldier goes on to describe the sights and sounds of Burma, from the “shinin’ Big-Sea-Water” to the “temple-bells a-ringin’”. He longs to return to this world and be reunited with the girl he left behind. The poem is full of vivid imagery and sensory details that bring the world of Burma to life.
One of the most striking aspects of the poem is its portrayal of Burma and its people. Kipling’s depiction of the country and its inhabitants is both romantic and exotic, but also somewhat problematic. The poem is written from the perspective of a British soldier who sees Burma as a place of adventure and excitement. The people of Burma are portrayed as exotic and mysterious, but also somewhat subservient to the British. This is evident in lines such as “An’ a-wastin’ Christian kisses on an ‘eathen idol’s foot”.
Despite these problematic elements, the poem remains a beautiful and evocative piece of writing. Kipling’s use of language is masterful, and his ability to transport the reader to another time and place is unparalleled. The poem is a testament to Kipling’s skill as a writer and his ability to capture the essence of a place and its people.
In conclusion, Rudyard Kipling’s “Mandalay” is a classic poem that has stood the test of time. It is a beautiful and evocative piece that takes the reader on a journey through the exotic and mysterious land of Burma. The poem is full of vivid imagery and sensory details that bring the world of Burma to life. While the poem’s portrayal of Burma and its people is somewhat problematic, it remains a testament to Kipling’s skill as a writer and his ability to capture the essence of a place and its people.
Editor Recommended Sites
Knowledge Graph Consulting: Consulting in DFW for Knowledge graphs, taxonomy and reasoning systemsOps Book: Operations Books: Gitops, mlops, llmops, devops
Last Edu: Find online education online. Free university and college courses on machine learning, AI, computer science
Prompt Catalog: Catalog of prompts for specific use cases. For chatGPT, bard / palm, llama alpaca models
Privacy Chat: Privacy focused chat application.
Recommended Similar Analysis
Drum -Taps by Walt Whitman analysisVillage Blacksmith, The by Henry Wadsworth Longfellow analysis
Essay on Man by Alexander Pope analysis
I Thought I Was Not Alone by Walt Whitman analysis
A Little Budding Rose by Emily Jane Brontë analysis
Written After Swimming from Sestos to Abydos by George Gordon, Lord Byron analysis
As I Walked Out One Evening by W.H. Auden analysis
Blood And The Moon by William Butler Yeats analysis
Human Abstract by William Blake analysis
Sonnet 146: Poor soul, the centre of my sinful earth by William Shakespeare analysis