Article #323-2 | Gutenberg Articles

Excerpt

Excerpt from Verses 1889-1896, by Rudyard Kipling

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! [Bring water swiftly.]
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!” [Mr. Atkins's equivalent for “O brother.”]
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 [Be quick.]
Or I'll marrow you this minute [Hit you.]
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, [Water-skin.]
'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!”

Explanation

**Detailed Explanation of Kipling’s Gunga Din (Verses 1889–1896)**

Rudyard Kipling’s Gunga Din (1890) is a ballad from Barrack-Room Ballads, a collection of poems written in the voice of British soldiers stationed in colonial India. The poem is narrated by a common soldier ("Tommy Atkins," a slang term for British privates) who recounts his complex relationship with Gunga Din, an Indian water-carrier (bhisti) serving the British regiment. While the poem initially seems to mock Din, it ultimately celebrates his bravery and selflessness, revealing the narrator’s grudging admiration.

This excerpt (verses 1889–1896) introduces Din’s role, the soldiers’ harsh treatment of him, and his unwavering dedication—even under fire. Below is a breakdown of the text’s meaning, themes, literary devices, and significance, with a focus on the given lines.

1. Context & Background

Historical Setting: The poem reflects the British Raj (1858–1947), when India was under British colonial rule. Indian servants like bhistis (water-carriers) were essential to the British military, yet were often treated with disdain.
Narrator’s Voice: The speaker is a working-class British soldier, using cockney slang and military jargon to create authenticity. His tone shifts from mockery to reverence as he describes Din.
Gunga Din’s Role: A bhisti was a low-caste water-carrier who supplied troops in the field—a dangerous job, especially in battle. Despite his menial status, Din is portrayed as the true hero of the poem.

2. Line-by-Line Analysis & Themes

Stanza 1: The Soldier’s Cynicism & Din’s Introduction

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.

Theme: The Harsh Reality of War
- The soldier contrasts peacetime luxury (gin, beer, safe barracks) with wartime deprivation ("slaughter" where men fight on water, not alcohol).
- "lick the bloomin' boots of 'im that's got it": In battle, water becomes more valuable than alcohol, and soldiers will beg for it—even from someone they usually despise (like Din).
- Irony: The soldier admits that in war, hierarchy collapses—even the lowest servant becomes essential.

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.

Theme: Colonial Racism & Unexpected Respect
- "blackfaced crew": A racist term for Indian servants, reflecting the British soldiers’ prejudice.
- "finest man I knew": Despite his racism, the narrator admires Din, setting up the poem’s central tension—contempt vs. gratitude.
- Dramatic Irony: The soldier doesn’t yet realize how deeply he will come to respect 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."

Literary Devices:
- Repetition ("Din! Din! Din!"): Mimics the soldiers’ shouted orders, emphasizing Din’s dehumanized status—he’s treated like a beast of burden.
- Insults ("lump o' brick-dust," "squidgy-nosed old idol"): Reflects the soldiers’ racial and class-based disdain.
- Code-Switching ("Panee lao"): Kipling mixes English and Hindi to show the colonial power dynamic—the British bark orders in broken Hindi, expecting obedience.

Stanza 2: Din’s Humble Appearance & the Soldiers’ Abuse

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.

Theme: Poverty & Exploitation
- Din’s "uniform" is rags and a goatskin bag—he has no proper military gear, highlighting his low status.
- "rather less than 'arf o' that be'ind": His clothes are tattered, emphasizing his disposable role in the army.

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.

Literary Devices:
- Hyperbole ("make your bloomin' eyebrows crawl"): The extreme heat of India is exaggerated to show the soldiers’ suffering.
- "Harry By!": Slang for "Oh brother!"—a cry of frustration.
- "wopped 'im": The soldiers beat Din when he can’t keep up, showing their brutality toward him.
- Irony: The men who depend on Din also abuse him, revealing their hypocrisy.

Stanza 3: Din’s Bravery in Battle

'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.

Theme: Unseen Heroism
- "dot an' carry one": Military slang for advancing carefully under fire.
- "didn’t seem to know the use o’ fear": Din is fearless, unlike the soldiers who rely on him.
- "fifty paces right flank rear": He follows the troops into battle, always nearby to provide water.

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!

Literary Devices:
- "mussick" (water-skin): Highlights Din’s role as a lifeline.
- "skip with our attack": Din rushes into danger alongside the soldiers.
- Metaphor ("for all 'is dirty 'ide / 'E was white, clear white, inside"):
  - "dirty 'ide": Refers to his dark skin (racist language) but also his lowly, dust-covered appearance.
  - "white, clear white, inside": His moral purity shines through—he risks his life to help the wounded, proving his true heroism.
  - Contrast: The racist soldier now acknowledges Din’s nobility, despite his outward appearance.

"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!”

Theme: Din as the True Savior
- "bullets kickin' dust-spots": Vivid imagery of battle chaos.
- "ammunition-mules an' Gunga Din": The soldiers desperately call for Din when supplies run out—he is as crucial as ammunition.
- Repetition of "Din!": Now urgent and respectful, not mocking.

3. Key Themes in the Excerpt

Colonialism & Racism
- The soldiers mock Din’s appearance and race ("blackfaced crew," "squidgy-nosed old idol").
- Yet, war forces them to rely on him, exposing the hypocrisy of colonial superiority.
Class & Exploitation
- Din is poor, rag-clad, and overworked, yet the soldiers depend on him—a microcosm of British exploitation of Indian labor.
Heroism vs. Ingratitude
- The soldiers abuse Din but need him in battle, revealing that true bravery is not about rank or race.
- His "whiteness inside" symbolizes moral purity despite his social inferiority.
The Brutality of War
- The poem contrasts peacetime comforts (gin, beer) with wartime desperation (fighting on water, begging for Din’s help).
Redemption & Gratitude
- The narrator’s tone shifts from mockery to admiration, suggesting that war reveals true character.

4. Literary Devices & Style

Device	Example	Effect
Repetition	"Din! Din! Din!"	Creates rhythm, mimics shouted orders, shows Din’s constant presence.
Code-Switching	"Panee lao!" (Hindi)	Highlights colonial power dynamics—British bark orders in broken Hindi.
Irony	Soldiers beat Din but depend on him in battle	Exposes their hypocrisy and ingrained racism.
Metaphor	"white, clear white, inside"	Contrasts outer appearance with inner nobility.
Hyperbole	"make your bloomin' eyebrows crawl"	Emphasizes the extreme heat and suffering in India.
Slang & Dialect	"wopped 'im," "bloomin'," "Harry By!"	Gives authenticity to the soldier’s voice.
Imagery	"bullets kickin' dust-spots on the green"	Vividly paints the chaos of battle.

5. Significance & Legacy

Critique of Colonialism: Kipling often glorified empire, but Gunga Din humanizes an Indian servant, subtly questioning British racial attitudes.
Working-Class Perspective: The poem is told from a private’s viewpoint, not an officer’s, giving voice to common soldiers’ experiences.
Ambiguity: Is Kipling celebrating Din’s heroism or reinforcing stereotypes? The poem has been both praised and criticized for its portrayal of race.
Cultural Impact: The phrase "You’re a better man than I am, Gunga Din!" (from the poem’s end) became proverbial, symbolizing unexpected respect for the underdog.

6. Conclusion: Why This Excerpt Matters

This passage sets up the poem’s central conflict—the tension between contempt and admiration. The soldiers verbally and physically abuse Din, yet rely on him completely in battle. His bravery under fire forces them to re-evaluate their prejudice, making Gunga Din a powerful commentary on heroism, race, and colonialism.

Kipling does not fully condemn imperialism, but by giving Din the last word (in the poem’s full version), he challenges the reader to see beyond race and rank. The excerpt’s raw, rhythmic language and vivid imagery make it a masterclass in narrative poetry, blending humor, tragedy, and moral complexity.

Would you like a deeper analysis of the full poem’s ending (where Din dies saving the narrator), or an exploration of Kipling’s controversial views on empire?

Questions

Question 1

The narrator’s shifting tone toward Gunga Din across the excerpt most closely mirrors which of the following psychological phenomena?

A. The halo effect, where an initial positive impression biases subsequent judgments, despite contradictory evidence.
B. Cognitive dissonance reduction, where the narrator rationalizes his dependence on Din by exaggerating his flaws.
C. In-group favoritism, where the narrator’s loyalty to his fellow soldiers overrides any admiration for Din.
D. Learned helplessness, where the narrator’s reliance on Din stems from a perceived lack of alternative water sources.
E. The sleeper effect, where the narrator’s initially dismissive attitude gradually gives way to delayed recognition of Din’s virtue under duress.

Question 2

The repetition of “Din! Din! Din!” serves all of the following functions EXCEPT:

A. Mimicking the peremptory rhythm of military commands, reinforcing the power dynamic between the soldiers and Din.
B. Dehumanizing Din by reducing his identity to a single, shouted syllable, akin to a beast of burden.
C. Foreshadowing Din’s eventual martyrdom, as the repetition takes on an incantatory, almost elegiac quality.
D. Undermining the soldiers’ authority, as the repetition exposes their desperation and reliance on Din.
E. Creating auditory monotony, mirroring the drudgery of Din’s labor and the soldiers’ unthinking cruelty.

Question 3

The line “An’ for all ‘is dirty ‘ide / ‘E was white, clear white, inside” employs which of the following rhetorical strategies to maximum effect?

A. Antanaclasis, by repeating “white” with shifted meanings (literal skin color vs. moral purity).
B. Antithesis, by juxtaposing external filth with internal purity to underscore Din’s moral superiority.
C. Synecdoche, using “hide” to represent Din’s entire physical body as a metaphor for colonial dehumanization.
D. Litotes, by understating Din’s virtue to heighten the contrast with the soldiers’ explicit racism.
E. Metonymy, substituting “hide” for Din’s uniform to critique the British military’s exploitative practices.

Question 4

Which of the following best describes the narrative function of the soldiers’ abuse of Din in the second stanza?

A. To establish Din as a Christ-like figure, whose suffering prefigures his eventual sacrifice.
B. To expose the hypocrisy of British colonial rhetoric, which espoused duty while practicing brutality.
C. To provide comic relief, using slapstick violence to offset the poem’s darker themes.
D. To create dramatic irony, as the soldiers’ cruelty contrasts with their later desperation for Din’s aid.
E. To reinforce Din’s subaltern status, ensuring the reader views him as a passive victim rather than an agent.

Question 5

The excerpt’s portrayal of Din’s bravery under fire (“‘E’d be waitin’ fifty paces right flank rear”) is most thematically aligned with which of the following literary traditions?

A. The picaresque, in which a low-status protagonist navigates a corrupt system through cunning.
B. The pastoral, idealizing rural labor as a counterpoint to the chaos of industrialized warfare.
C. The Gothic, using Din’s ghostly persistence on the battlefield to evoke dread.
D. The epic, elevating Din’s deeds to mythic proportions through hyperbolic praise.
E. The ballad of the unsung hero, where marginalized figures demonstrate quiet valor in the face of systemic indifference.

Solutions and Explanations

1) Correct answer: E

Why E is most correct: The sleeper effect refers to a delayed change in attitude after initial resistance, which aligns with the narrator’s gradual, reluctant admiration for Din. Early in the excerpt, the narrator mocks Din (“lump o’ brick-dust”), but by the third stanza, his tone shifts to grudging respect (“‘E was white, clear white, inside”) as Din’s bravery becomes undeniable. This lag between exposure and attitude change—triggered by the stress of battle—fits the sleeper effect’s psychological model.