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