One moment bid the horses wait,
Since tiffin is not laid till three,
Below the upward path and strait
You climbed a year ago with me.
Love came upon us suddenly
And loosed an idle hour to kill
A headless, harmless armory
That smote us both on Jakko Hill.
Ah, Heaven! we would wait and wait
Through Time and to Eternity!
Ah, Heaven! we could conquer Fate
With more than Godlike constancy
I cut the date upon a tree
Here stand the clumsy figures still:
“10-7-85, A.D.”
Damp in the mists on Jakko Hill.
What came of high resolve and great,
And until Death fidelity?
Whose horse is waiting at your gate?
Whose ‘rickshaw-wheels ride over me?
No Saint’s, I swear; and let me see
To-night what names your programme fill
We drift asunder merrily,
As drifts the mist on Jakko Hill.
L’Envoi
Princess, behold our ancient state
Has clean departed; and we see
‘Twas Idleness we took for Fate
That bound light bonds on you and me.
Amen! Here ends the comedy
Where it began in all good will,
Since Love and Leave together flee
As driven mist on Jakko Hill!
Analysis of the Poem A Ballad Of Jakkko Hill
This analysis of Rudyard Kipling’s “A Ballad of Jakko Hill” focuses on its structure, rhyme scheme, meter, language and imagery, and themes. The poem consists of four stanzas with an envoi and is predominantly written in iambic pentameter.
It explores themes such as the fleeting nature of love and youth, the illusion of fate and destiny, memory and nostalgia, and the inevitability of change. Set in colonial India, the poem reflects the attitudes and experiences of the British colonial class and demonstrates Kipling’s engagement with traditional poetic forms.
Structure
Stanzas
The poem consists of four stanzas and an envoi, a short concluding stanza. Each of the four stanzas has eight lines, while the envoi has six lines. The presence of an envoi is a characteristic feature of some traditional poetic forms, such as the ballade and the virelai.
Rhyme Scheme
The rhyme scheme of the first four stanzas is ABABCDCD, which means that the first and third lines rhyme with each other, the second and fourth lines rhyme, and so on. The envoi follows a different rhyme scheme, ABABCC. The consistent rhyme scheme in each stanza helps create a sense of unity and musicality throughout the poem.
Meter
The poem is predominantly written in iambic pentameter, which is a metrical pattern consisting of five iambic feet per line (an iamb is a metrical foot with one unstressed syllable followed by a stressed syllable). For example, in the line “Since tiffin is not laid till three,” we can see the pattern of unstressed-stressed syllables. However, Kipling does employ occasional variations in meter, adding interest and flexibility to the poem’s rhythm.
Line Length
As mentioned above, most of the lines in the poem are written in iambic pentameter, which means that they have ten syllables each. This regular line length contributes to the poem’s overall structure and sense of order. However, there are a few lines with extra syllables, such as “10-7-85, A.D.” These variations help to maintain the poem’s natural flow and prevent it from becoming too monotonous.
Language and Imagery
Diction
Kipling’s choice of words in the poem contributes to its overall tone and atmosphere. He uses a mix of formal and informal language, with some archaic and Anglo-Indian terms that lend a sense of authenticity to the setting and time period. For example, he uses the word “tiffin,” an Anglo-Indian term for a light meal or snack, and “rickshaw,” a mode of transportation common in colonial India. Additionally, the use of French in “L’Envoi” gives the poem an air of sophistication and elegance.
Figurative Language
The poem is rich in figurative language, which helps convey the emotions and themes of the poem more vividly. Some examples of figurative language include:
Metaphor
“A headless, harmless armory” (line 7) refers to the metaphorical weapons of love that struck the speaker and the addressee unexpectedly.
Hyperbole
“We could conquer Fate / With more than Godlike constancy” (lines 10-11) exaggerates the power the speaker and the addressee believed they had in their love, emphasizing their youthful naivety and passion.
Personification
“Love came upon us suddenly” (line 5) and “Since Love and Leave together flee” (line 30) personify love as an active force in the poem, capable of affecting the lives of the characters.
Sensory Imagery
Kipling’s use of sensory imagery helps to create a vivid picture of the setting and the emotions experienced by the speaker and the addressee. Some examples of sensory imagery in the poem include:
Visual Imagery
“Damp in the mists on Jakko Hill” (line 16) paints a picture of the damp, foggy atmosphere on the hill where the lovers’ memories are etched.
Tactile Imagery
“I cut the date upon a tree” (line 13) evokes the physical act of carving the date into the tree’s bark, symbolizing the permanence they believed their love would have.
Auditory Imagery
“Whose horse is waiting at your gate?” (line 18) implies the sound of hooves outside the addressee’s home, suggesting the presence of a new lover and the passage of time.
Themes and Messages
The Fleeting Nature of Love and Youth
The poem explores the idea that love, like youth, can be ephemeral and subject to change. The speaker and the addressee once shared a passionate love, believing it would last forever, as shown in lines 10-11: “We could conquer Fate / With more than Godlike constancy.” However, as time passes, their love fades, and they drift apart, as indicated in lines 23-24: “We drift asunder merrily / As drifts the mist on Jakko Hill.” The poem suggests that the transience of love is a natural part of life and growing older.
The Illusion of Fate and Destiny
The poem questions the notion of fate and destiny in romantic relationships. Initially, the speaker and the addressee believed that their love was preordained and would last forever. However, as the poem progresses, they come to realize that their bond was not determined by fate but was rather a product of their youthful idleness, as expressed in the envoi: “‘Twas Idleness we took for Fate / That bound light bonds on you and me” (lines 27-28). The poem encourages readers to question the concept of fate in love and consider how our own actions and choices shape our relationships.
Memory and Nostalgia
The poem delves into the power of memory and nostalgia, exploring the ways in which we recall and romanticize the past. The speaker reminisces about the time they spent with the addressee on Jakko Hill, where they experienced the initial rush of love. However, this memory is contrasted with the reality of their present situation, in which they have drifted apart. The poem demonstrates that memories can hold a powerful emotional sway over us, even as we acknowledge the passage of time and the changes that come with it.
The Inevitability of Change
“A Ballad of Jakko Hill” underscores the inevitability of change in life, particularly in the context of love and relationships. The speaker and the addressee once believed that their love was eternal, but they eventually realize that change is a natural part of life. The imagery of mist drifting on Jakko Hill symbolizes the transient nature of their love, as well as the impermanence of all things in life.
Context
Poet’s Biography
Rudyard Kipling (1865-1936) was a British author and poet who spent a significant portion of his life in India, which influenced much of his work. Kipling is best known for his stories and poems about British soldiers in India and his children’s literature, such as “The Jungle Book.” His familiarity with India and its culture is evident in “A Ballad of Jakko Hill,” which features Anglo-Indian terms like “tiffin” and “rickshaw.”
Setting of the Poem
The poem is set on Jakko Hill, a popular location in Shimla, India. Shimla served as the summer capital of British India, and Jakko Hill was a popular spot for British officers and their families to visit and enjoy the cooler climate. The poem’s setting adds a layer of authenticity to the poem and provides readers with a glimpse into the leisure activities of the British colonial elite.
Historical and Cultural Background
“A Ballad of Jakko Hill” was published in 1887, during the height of the British Empire in India. The poem reflects the attitudes and experiences of the British colonial class living in India during this time. Kipling’s depiction of the leisurely, idle life of the British in India, as well as the use of Anglo-Indian terms, highlights the cultural and social milieu of the period.
Furthermore, the poem’s form and structure reflect the influence of traditional poetic forms, such as the ballade, a French form characterized by its use of an envoi, as well as the virelai, another French form with a refrain. The presence of these forms in Kipling’s work demonstrates his engagement with and knowledge of the poetic traditions that shaped English literature.
We Welcome Your Comments
Please note that this poem analysis is primarily an artistic interpretation rather than a precise science, and as such, may contain inaccuracies. We encourage you to share any observations or comments regarding the poem in the comment section below.