Rudyard Kipling’s Rikki-Tikki-Tavi (1894)

As a child of the sixties, I was exposed to that great 1967 Disney classic, The Jungle Book; I remember being taken to the cinema to watch it and at the end, as the credits rolled, I begged to stay and watch Mowgli, Baloo and Shere Khan all over again (I seem to remember we’d been a bit late and missed the first few minutes so I built my justification upon that; it didn’t work). Meanwhile, at school, a copy of the book on which the film was based was a staple of the class bookcase: Rudyard Kipling’s The Jungle Book. Most of the short stories must have been read out to us at one time or another but one in particular stands out in my memory: the tale of Rikki-Tikki-Tavi.

Rikki-Tikki-Tavi, so named for his chattering vocal sounds, was a young Indian grey mongoose who befriends an English family residing in India. He gets to know the other creatures inhabiting the garden and is warned of the cobras Nag and Nagaina (names perhaps inspiring J K Rowling to choose, years later, the name Nagini for Voldemort’s snake), who are angered by the human family’s presence in their territory and seek to kill them

Accordingly, Nag enters the house’s bathroom before dawn to kill the humans, but Rikki attacks Nag from behind in the darkness. The ensuing struggle awakens the family, and the father kills Nag with a shotgun blast while Rikki bites down on the hood of the struggling male cobra. The grieving female snake Nagaina attempts revenge against the humans, cornering them as they have breakfast on a veranda, but again Rikki saves the day, pursuing Nagaina to her underground nest where an unseen final battle takes place. Rikki emerges triumphant from the hole, and dedicates his life to guarding the garden.

The stories in The Jungle Book were inspired in part by ancient Indian fable texts such as the Panchatantra and the Jataka tales, and indeed there is a similar mongoose and snake version of the Rikki-Tikki-Tavi story found in Book 5 of Panchatantra. Kipling’s “beast tales” were thus the revival of an old tradition, with Kipling’s own spin gleaned from his experiences growing up in India for the first five years of his life (and with a hearty dollop of abandonment issues, perhaps, after Kipling was sent back to England for an unhappy period, but that’s another story). Here are the opening lines to the story.

THIS is the story of the great war that Rikki-tikki-tavi fought single-handed, through the bath-rooms of the big bungalow in Segowlee cantonment. Darzee, the tailor-bird, helped him, and Chuchundra, the muskrat, who never comes out into the middle of the floor, but always creeps round by the wall, gave him advice; but Rikki-tikki did the real fighting.

He was a mongoose, rather like a little cat in his fur and his tail, but quite like a weasel in his head and his habits. His eyes and the end of his restless nose were pink; he could scratch himself anywhere he pleased, with any leg, front or back, that he chose to use; he could fluff up his tail till it looked like a bottle-brush, and his war-cry as he scuttled through the long grass, was: “Rikk-tikk-tikki-tikki-tchk!

One day, a high summer flood washed him out of the burrow where he lived with his father and mother, and carried him, kicking and clucking, down a roadside ditch. He found a little wisp of grass floating there, and clung to it till he lost his senses. When he revived, he was lying in the hot sun on the middle of a garden path, very draggled indeed, and a small boy was saying: “Here’s a dead mongoose. Let’s have a funeral.”

“No,” said his mother; “let’s take him in and dry him. Perhaps he isn’t really dead.”

They took him into the house, and a big man picked him up between his finger and thumb and said he was not dead but half choked; so they wrapped him in cotton-wool, and warmed him, and he opened his eyes and sneezed.

“Now,” said the big man (he was an Englishman who had just moved into the bungalow); “don’t frighten him, and we’ll see what he’ll do.”

It is the hardest thing in the world to frighten a mongoose, because he is eaten up from nose to tail with curiosity. The motto of all the mongoose family is, “Run and find out”; and Rikki-tikki was a true mongoose. He looked at the cotton-wool, decided that it was not good to eat, ran all round the table, sat up and put his fur in order, scratched himself, and jumped on the small boy’s shoulder.

“Don’t be frightened, Teddy,” said his father. “That’s his way of making friends.”

“Ouch! He’s tickling under my chin,” said Teddy.

Rikki-tikki looked down between the boy’s collar and neck, snuffed at his ear, and climbed down to the floor, where he sat rubbing his nose.

Rikki-Tikki-Tavi book cover
Rudyard Kipling

John Clare’s The Shepherd’s Calendar (1827)

Not everyone is an expert in Romantic poetry (and neither am I, though I concede I’m no slouch) but if I were to ask you to name “the big six” poets of the Romantic era (late 18th to mid-19th century), I bet you’d stand a fighting chance because they almost fall off the tongue: Wordsworth, Coleridge, Byron, Blake, Shelley, and Keats, right? There’s another poet from the era, however, who never rose to the majesty of the aforementioned giants, but who nonetheless is now regarded as a major talent: the “Northamptonshire Peasant Poet”, John Clare.

Unlike some of his contemporaries, John Clare didn’t have the wherewithal to lounge about on the Spanish Steps in Rome (Keats), swim the Hellespont (Byron), or swap ghost stories around the fire at a villa by Lake Geneva (Shelley…oh, and Byron again), because he spent his life as an agricultural labourer, potboy, and gardener, and never left the country.

Born in Helpston in Northamptonshire in 1793, John worked as a farm labourer with his father from being a young boy onwards. The farm and the nature permeating his surroundings provided his inspirations; this was where he found his voice and began writing poems and sonnets. In an attempt to stave off his parents’ eviction from their home, John offered his poems to a local bookseller, who in turn sent them off to the publishing firm who had already published the works of one John Keats. The rural aesthetic appealed and thus, these successful collections of poems were spawned: Poems Descriptive of Rural Life and Scenery, The Village Minstrel and Other Poems, The Rural Muse, and the collection I own: The Shepherd’s Calendar.

Whilst Clare’s earlier poems speak of the harmony and beauty of nature in the English countryside, his later work bemoans the great changes to the environment and society brought about by the Enclosure Acts. These wiped out a whole way of life by abolishing the open field system of agriculture which had been the way people farmed in England for centuries. The ownership of the common land was taken from them and the countryside was decimated as newly-unemployed country folk flowed into the towns to participate in the Industrial Revolution.

The hurt was deep, and in fact Clare found it increasingly difficult to cope with life, and he sadly descended into depression and mental illness, eventually spending many years in an asylum. Whilst there he wrote the poem I Am! which is a window into his mental struggles and a stark contrast to his hard-working but happy heyday. Here’s a poem from the latter period, Spring, with I Am! following…

Spring

Come, gentle Spring, and show thy varied greens
In woods, and fields, and meadows, by clear brooks;
Come, gentle Spring, and bring thy sweetest scenes,
Where peace, with solitude, the loveliest looks;
Where the blue unclouded sky
Spreads the sweetest canopy,
And Study wiser grows without her books.

Come hither, gentle May, and with thee bring
Flowers of all colours, and the wild briar rose;
Come in wind-floating drapery, and bring
Fragrance and bloom, that Nature’s love bestows–
Meadow pinks and columbines,
Kecksies white and eglantines,
And music of the bee that seeks the rose.

Come, gentle Spring, and bring thy choicest looks,
Thy bosom graced with flowers, thy face with smiles;
Come, gentle Spring, and trace thy wandering brooks,
Through meadow gates, o’er footpath crooked stiles;
Come in thy proud and best array,
April dews and flowers of May,
And singing birds that come where heaven smiles.

I Am!

I am—yet what I am none cares or knows;
My friends forsake me like a memory lost:
I am the self-consumer of my woes—
They rise and vanish in oblivious host,
Like shadows in love’s frenzied stifled throes
And yet I am, and live—like vapours tossed

Into the nothingness of scorn and noise,
Into the living sea of waking dreams,
Where there is neither sense of life or joys,
But the vast shipwreck of my life’s esteems;
Even the dearest that I loved the best
Are strange—nay, rather, stranger than the rest.

I long for scenes where man hath never trod
A place where woman never smiled or wept
There to abide with my Creator, God,
And sleep as I in childhood sweetly slept,
Untroubling and untroubled where I lie
The grass below—above the vaulted sky.

John Clare