Introduction: “Fuzzy Wuzzy” by Rudyard Kipling
“Fuzzy Wuzzy” by Rudyard Kipling, first appeared in 1892 in his collection Barrack-Room Ballads, is a tribute to the Sudanese Hadendoa warriors, who were nicknamed “Fuzzy Wuzzies” by British soldiers due to their distinctive hair. Kipling’s verse celebrates the bravery and fighting skills of these warriors, who were formidable opponents during the British colonial campaigns in Sudan. Despite the colonial overtones, the poem acknowledges the respect that the British soldiers had for their enemies, admiring their resilience and courage. The main qualities of the poem lie in its use of colloquial language, humor, and a tone of grudging admiration, ultimately reflecting Kipling’s complex views on imperialism and military valor.
Text: “Fuzzy Wuzzy” by Rudyard Kipling
(Soudan Expeditionary Force)
We’ve fought with many men acrost the seas,
An’ some of ’em was brave an’ some was not:
The Paythan an’ the Zulu an’ Burmese;
But the Fuzzy was the finest o’ the lot.
We never got a ha’porth’s change of ‘im:
‘E squatted in the scrub an’ ‘ocked our ‘orses,
‘E cut our sentries up at Suakim,
An’ ‘e played the cat an’ banjo with our forces.
So ‘ere’s to you, Fuzzy-Wuzzy, at your ‘ome in the Soudan;
You’re a pore benighted ‘eathen but a first-class fightin’ man;
We gives you your certificate, an’ if you want it signed
We’ll come an’ ‘ave a romp with you whenever you’re inclined.
We took our chanst among the Khyber ‘ills,
The Boers knocked us silly at a mile,
The Burman give us Irriwaddy chills,
An’ a Zulu impi dished us up in style:
But all we ever got from such as they
Was pop to what the Fuzzy made us swaller;
We ‘eld our bloomin’ own, the papers say,
But man for man the Fuzzy knocked us ‘oller.
Then ‘ere’s to you, Fuzzy-Wuzzy, an’ the missis and the kid;
Our orders was to break you, an’ of course we went an’ did.
We sloshed you with Martinis, an’ it wasn’t ‘ardly fair;
But for all the odds agin’ you, Fuzzy-Wuz, you broke the square.
‘E ‘asn’t got no papers of ‘is own,
‘E ‘asn’t got no medals nor rewards,
So we must certify the skill ‘e’s shown
In usin’ of ‘is long two-‘anded swords:
When ‘e’s ‘oppin’ in an’ out among the bush
With ‘is coffin-‘eaded shield an’ shovel-spear,
An ‘appy day with Fuzzy on the rush
Will last an ‘ealthy Tommy for a year.
So ‘ere’s to you, Fuzzy-Wuzzy, an’ your friends which are no more,
If we ‘adn’t lost some messmates we would ‘elp you to deplore.
But give an’ take’s the gospel, an’ we’ll call the bargain fair,
For if you ‘ave lost more than us, you crumpled up the square!
‘E rushes at the smoke when we let drive,
An’, before we know, ‘e’s ‘ackin’ at our ‘ead;
‘E’s all ‘ot sand an’ ginger when alive,
An’ ‘e’s generally shammin’ when ‘e’s dead.
‘E’s a daisy, ‘e’s a ducky, ‘e’s a lamb!
‘E’s a injia-rubber idiot on the spree,
‘E’s the on’y thing that doesn’t give a damn
For a Regiment o’ British Infantree!
So ‘ere’s to you, Fuzzy-Wuzzy, at your ‘ome in the Soudan;
You’re a pore benighted ‘eathen but a first-class fightin’ man;
An’ ‘ere’s to you, Fuzzy-Wuzzy, with your ‘ayrick ‘ead of ‘air —
You big black boundin’ beggar — for you broke a British square!
Annotations: “Fuzzy Wuzzy” by Rudyard Kipling
Line | Annotation |
We’ve fought with many men acrost the seas, | The speaker introduces that the British forces have fought many opponents abroad. |
An’ some of ’em was brave an’ some was not: | Some adversaries were courageous, while others lacked bravery. |
The Paythan an’ the Zulu an’ Burmese; | Mentions the diverse enemies they have encountered: Afghan (Paythan), Zulu, Burmese. |
But the Fuzzy was the finest o’ the lot. | The ‘Fuzzy’ (Hadendoa warriors) are praised as the best among their foes. |
We never got a ha’porth’s change of ‘im: | The British soldiers got no advantage against them, showing their resilience. |
‘E squatted in the scrub an’ ‘ocked our ‘orses, | The Fuzzy warriors ambushed British horses and were effective in guerilla warfare. |
‘E cut our sentries up at Suakim, | They killed sentries at Suakim, a major battle site in Sudan. |
An’ ‘e played the cat an’ banjo with our forces. | The Hadendoa are depicted as playful and elusive, outmaneuvering British forces. |
So ‘ere’s to you, Fuzzy-Wuzzy, at your ‘ome in the Soudan; | A toast to the Fuzzy-Wuzzy in Sudan, acknowledging their homeland. |
You’re a pore benighted ‘eathen but a first-class fightin’ man; | Despite being labeled as a ‘heathen’, the Fuzzy-Wuzzy is commended as an excellent warrior. |
We gives you your certificate, an’ if you want it signed | The British offer respect through the metaphorical certificate, recognizing their worth. |
We’ll come an’ ‘ave a romp with you whenever you’re inclined. | The speaker jokingly offers to fight again if the Fuzzy warriors wish. |
We took our chanst among the Khyber ‘ills, | Recalls past campaigns, particularly against the Pashtun in the Khyber Pass. |
The Boers knocked us silly at a mile, | The Boers (Dutch settlers in South Africa) defeated them at a distance. |
The Burman give us Irriwaddy chills, | Recalls hardships in Burma, enduring diseases and tough battles. |
An’ a Zulu impi dished us up in style: | The Zulu army in South Africa also gave the British a tough fight. |
But all we ever got from such as they | However, none of these opponents were as formidable as the Fuzzy. |
Was pop to what the Fuzzy made us swaller; | The Fuzzy’s attacks were much worse than any other foe’s. |
We ‘eld our bloomin’ own, the papers say, | The British soldiers claim they did well according to the newspapers. |
But man for man the Fuzzy knocked us ‘oller. | Yet, man for man, the Fuzzy fighters proved superior. |
Then ‘ere’s to you, Fuzzy-Wuzzy, an’ the missis and the kid; | A toast to the Fuzzy and their families, showing reluctant respect. |
Our orders was to break you, an’ of course we went an’ did. | The British were commanded to defeat them, and they succeeded. |
We sloshed you with Martinis, an’ it wasn’t ‘ardly fair; | They used modern rifles (Martinis), which made the fight unfair. |
But for all the odds agin’ you, Fuzzy-Wuz, you broke the square. | Even with all the disadvantages, the Fuzzy-Wuzzy managed to break the British square formation. |
‘E ‘asn’t got no papers of ‘is own, | The Fuzzy has no formal recognition like British soldiers. |
‘E ‘asn’t got no medals nor rewards, | They don’t receive medals or official rewards. |
So we must certify the skill ‘e’s shown | Thus, the British soldiers give informal recognition of their skill. |
In usin’ of ‘is long two-‘anded swords: | Admiring their use of the iconic two-handed swords. |
When ‘e’s ‘oppin’ in an’ out among the bush | Praises the Fuzzy’s agility and courage in the bush. |
With ‘is coffin-‘eaded shield an’ shovel-spear, | Describes the Fuzzy’s shield and spear, common in battle. |
An ‘appy day with Fuzzy on the rush | A British soldier will remember the intensity of a Fuzzy attack for a long time. |
Will last an ‘ealthy Tommy for a year. | A Fuzzy encounter leaves a lasting impression on a British soldier (Tommy). |
So ‘ere’s to you, Fuzzy-Wuzzy, an’ your friends which are no more, | Another toast to the Fuzzy and their fallen comrades. |
If we ‘adn’t lost some messmates we would ‘elp you to deplore. | Acknowledges the mutual loss of lives in battle, with some empathy. |
But give an’ take’s the gospel, an’ we’ll call the bargain fair, | Recognizes that both sides took heavy losses and considers the fight even. |
For if you ‘ave lost more than us, you crumpled up the square! | Though the Fuzzy lost more, they still managed to defeat the British. |
‘E rushes at the smoke when we let drive, | Describes the Fuzzy’s bravery in charging into British gunfire. |
An’, before we know, ‘e’s ‘ackin’ at our ‘ead; | Before the British can react, the Fuzzy warriors are already attacking them. |
‘E’s all ‘ot sand an’ ginger when alive, | The Fuzzy are described as full of energy and passion in battle. |
An’ ‘e’s generally shammin’ when ‘e’s dead. | Even when they seem dead, they often continue to fight. |
‘E’s a daisy, ‘e’s a ducky, ‘e’s a lamb! | Uses playful metaphors to describe the Fuzzy as resilient and energetic. |
‘E’s a injia-rubber idiot on the spree, | They are unpredictable and difficult to defeat. |
‘E’s the on’y thing that doesn’t give a damn | They are fearless, even against the British infantry regiments. |
For a Regiment o’ British Infantree! | The Fuzzy warriors’ fearlessness is highlighted in the face of British infantry. |
So ‘ere’s to you, Fuzzy-Wuzzy, at your ‘ome in the Soudan; | Another toast to the Fuzzy-Wuzzy at home in Sudan. |
You’re a pore benighted ‘eathen but a first-class fightin’ man; | Repeats the theme of respect, despite cultural differences. |
An’ ‘ere’s to you, Fuzzy-Wuzzy, with your ‘ayrick ‘ead of ‘air — | Mentions their distinct hairstyle, another defining characteristic. |
You big black boundin’ beggar — for you broke a British square! | Concludes by celebrating their ability to break a British military formation. |
Literary And Poetic Devices: “Fuzzy Wuzzy” by Rudyard Kipling
Literary Device | Example from the Poem | Explanation |
Alliteration | “Fought with many men” | The repetition of the initial consonant sound ‘m’ in “many men” emphasizes the action and the variety of enemies faced. |
Allusion | “The Paythan an’ the Zulu an’ Burmese” | Refers to real-world groups (Afghans, Zulus, and Burmese) that the British encountered in colonial wars. |
Anaphora | “‘E’s a daisy, ‘e’s a ducky, ‘e’s a lamb!” | The repetition of “‘E’s” at the beginning of each clause emphasizes the speaker’s view of the Fuzzy-Wuzzy’s qualities in an affectionate, playful manner. |
Assonance | “But man for man the Fuzzy knocked us ‘oller.” | The repetition of the vowel sound ‘a’ in “man” and “knocked” creates internal rhyming, which enhances the flow of the line. |
Colloquialism | “bloomin’ own” and “‘ead of ‘air” | Informal language and slang that mimic the speech of British soldiers, creating a conversational tone. |
Consonance | “With ‘is coffin-‘eaded shield an’ shovel-spear,” | The repetition of the consonant sounds ‘sh’ in “shield” and “shovel” adds rhythm and musicality to the line. |
Dramatic Irony | “You’re a pore benighted ‘eathen but a first-class fightin’ man” | The irony here is that the speaker calls the Fuzzy-Wuzzy a ‘heathen’ while simultaneously praising their combat prowess. |
Enjambment | “You’re a pore benighted ‘eathen but a first-class fightin’ man;” | The thought continues without pause from one line to the next, enhancing the flow and conversational style of the poem. |
Hyperbole | “The Fuzzy was the finest o’ the lot.” | Exaggerates the prowess of the Fuzzy-Wuzzy, emphasizing the soldiers’ admiration for them despite their enemy status. |
Imagery | “‘E rushes at the smoke when we let drive,” | Vivid description that appeals to the sense of sight, allowing readers to imagine the battlefield scene of Fuzzy-Wuzzy charging into gunfire. |
Internal Rhyme | “Was pop to what the Fuzzy made us swaller;” | The rhyme within a line, with “pop” and “swaller,” gives the poem a musical quality. |
Irony | “We sloshed you with Martinis, an’ it wasn’t ‘ardly fair;” | It is ironic that the speaker acknowledges the unfair advantage the British had due to modern rifles, despite boasting about their victories. |
Juxtaposition | “You’re a pore benighted ‘eathen but a first-class fightin’ man” | Contrasts the idea of a ‘heathen’ (considered uncivilized) with the recognition of the Fuzzy-Wuzzy’s military excellence, highlighting the soldiers’ respect. |
Metaphor | “An’ ‘e played the cat an’ banjo with our forces.” | The Fuzzy-Wuzzy’s elusive tactics are compared to a musician playing an instrument, emphasizing their skill in outmaneuvering the British. |
Onomatopoeia | “pop” | The word “pop” imitates the sound of gunfire, bringing the action of the battlefield to life. |
Oxymoron | “‘E’s a daisy, ‘e’s a ducky, ‘e’s a lamb!” | Combining affectionate, gentle terms (“daisy,” “ducky,” “lamb”) to describe fierce warriors, creating a paradox that reflects both admiration and disbelief. |
Paradox | “If we ‘adn’t lost some messmates we would ‘elp you to deplore” | The paradox lies in the suggestion that the British would help mourn their enemies if they hadn’t suffered losses themselves, highlighting the strange empathy. |
Personification | “An’ ‘e played the cat an’ banjo with our forces.” | The Fuzzy-Wuzzy is described as playing with British forces like instruments, giving human qualities to the action of battle tactics. |
Simile | “‘E’s a injia-rubber idiot on the spree,” | The Fuzzy-Wuzzy is compared to an “injia-rubber idiot,” indicating their unpredictable, flexible, and energetic behavior in battle. |
Symbolism | “Martinis” (rifles) | The Martini-Henry rifle symbolizes British imperial power, and the unfairness of using such modern weapons against indigenous forces highlights colonial power dynamics. |
Themes: “Fuzzy Wuzzy” by Rudyard Kipling
- Colonialism and Imperialism: “Fuzzy Wuzzy” reflects the themes of British colonialism and imperialism, showcasing the military encounters between the British Empire and indigenous peoples. The British soldiers, speaking through Kipling’s voice, mention several campaigns in distant lands, such as against the “Paythan an’ the Zulu an’ Burmese,” referencing various colonial battles. The poem captures the imperial mindset, where British soldiers view the Hadendoa warriors, referred to as “Fuzzy-Wuzzy,” through a lens of superiority, yet grudgingly admire their courage and combat skills. The use of the term “pore benighted ‘eathen” suggests the colonial belief in the cultural inferiority of colonized peoples, while also acknowledging their martial prowess.
- Military Valor and Respect for the Enemy: Despite its imperial tone, the poem demonstrates a significant respect for the Hadendoa fighters, praising their bravery and effectiveness in battle. The speaker calls the Fuzzy-Wuzzies “the finest o’ the lot” of the enemies they have faced, and expresses admiration for their ability to break the highly regarded British infantry square formation: “Fuzzy-Wuz, you broke the square.” This acknowledgment of enemy skill, particularly when the British soldiers are otherwise well-equipped and trained, highlights the theme of military valor, even among enemies, suggesting that bravery in battle transcends cultural boundaries.
- Racial and Cultural Stereotyping: Throughout the poem, there is a recurring theme of racial and cultural stereotyping, a reflection of the colonial attitudes prevalent during Kipling’s time. The Hadendoa warriors are repeatedly referred to as “pore benighted ‘eathen” and described with exaggerated, stereotypical characteristics such as their distinctive “ayrick ‘ead of ‘air.” These descriptions, though softened by the soldiers’ grudging respect, reveal the racialized view of indigenous peoples that was typical in colonial discourse. The warriors are seen through a lens of exoticism and otherness, with their combat effectiveness almost surprising to the British soldiers, reflecting deep-seated racial biases.
- Irony of Power and Warfare: The poem also explores the irony inherent in the imbalance of power between the British forces and their colonial subjects. Despite having superior firepower, as shown in the line “We sloshed you with Martinis, an’ it wasn’t ‘ardly fair,” the British soldiers acknowledge the unfair nature of their military advantage. The Fuzzy-Wuzzies, armed with swords and shields, nonetheless manage to hold their own against the British, even defeating them in some instances, which creates a sense of irony in how the supposedly invincible imperial forces are outmaneuvered. This theme underlines the complexity of colonial warfare, where technology does not always guarantee victory, and where courage and strategy play pivotal roles.
Literary Theories and “Fuzzy Wuzzy” by Rudyard Kipling
· Postcolonial Theory: Postcolonial theory is highly relevant to “Fuzzy Wuzzy” as the poem reflects the dynamics of colonialism and the relationship between colonizers and the colonized. From a postcolonial perspective, the portrayal of the Hadendoa warriors as “pore benighted ‘eathen” reflects the Eurocentric attitudes and assumptions of British superiority. The colonial power dynamics are evident in the speaker’s tone of condescension mixed with respect for the enemy’s bravery. The description of the Hadendoa as formidable warriors (“But man for man the Fuzzy knocked us ‘oller”) highlights the complexity of colonial encounters, where indigenous peoples are both marginalized and admired for their resistance. Postcolonial criticism would also focus on the racial stereotyping and exoticism of the “Fuzzy-Wuzzies” based on their appearance and behavior, such as the repeated references to their “ayrick ‘ead of ‘air.”
· Marxist Literary Theory: Marxist literary theory, which focuses on class struggle, power structures, and economic exploitation, can also be applied to “Fuzzy Wuzzy.” The poem illustrates the power imbalance between the British imperial forces and the indigenous Hadendoa people. The British soldiers represent the ruling class and the forces of empire, exploiting the labor and resources of colonized lands for the benefit of the Empire. The admiration for the Fuzzy-Wuzzies’ fighting skills (“You’re a pore benighted ‘eathen but a first-class fightin’ man”) reflects a recognition of the native people’s strength in resisting exploitation, even as they are subjugated. A Marxist reading would explore how the poem reinforces and critiques imperial hierarchies, noting how colonial soldiers fought to maintain economic control over the Sudan and its people, while the indigenous fighters resisted that domination.
· Formalism: Formalism focuses on the structure, style, and use of literary devices within a text, rather than its historical or social context. A formalist analysis of “Fuzzy Wuzzy” would focus on the poem’s use of rhyme, meter, and other literary devices like alliteration, imagery, and irony. For example, the consistent rhyme scheme and colloquial language help create a conversational tone, reflecting the voice of the British soldiers. The ironic juxtaposition of calling the Fuzzy-Wuzzies both “pore benighted ‘eathen” and “first-class fightin’ men” is a key example of the poem’s irony, highlighting the contradiction between the soldiers’ racial prejudice and their respect for the enemy’s strength. A formalist reading would analyze how Kipling’s use of these devices conveys the conflicting emotions of the speaker and the complexities of war.
Critical Questions about “Fuzzy Wuzzy” by Rudyard Kipling
· How does Kipling portray the British soldiers’ attitudes towards the Fuzzy-Wuzzy warriors?
- Kipling portrays the British soldiers’ attitudes toward the Fuzzy-Wuzzy warriors with a mix of condescension, admiration, and respect. The soldiers refer to the Fuzzy-Wuzzies as “pore benighted ‘eathen,” indicating a sense of racial and cultural superiority typical of colonial attitudes. However, the poem also conveys deep respect for their bravery and combat skills, as seen in the line “But the Fuzzy was the finest o’ the lot.” Despite fighting against the British, the Fuzzy-Wuzzies are celebrated for breaking the British infantry square, an impressive military feat: “Fuzzy-Wuz, you broke the square.” This blend of superiority and respect reflects the complex emotions of the colonizers, who simultaneously view the indigenous warriors as both inferior and formidable.
· What role does irony play in the poem’s depiction of British and Fuzzy-Wuzzy conflict?
- Irony is central to the poem’s depiction of the conflict between the British soldiers and the Fuzzy-Wuzzies. One prominent example is the speaker’s admission that despite the British soldiers’ advanced weaponry and training, the Fuzzy-Wuzzies were able to break the highly disciplined square formation: “For all the odds agin’ you, Fuzzy-Wuz, you broke the square.” This ironic reversal of expectations—where the British, despite their superior firepower, are outmaneuvered—creates a tension between the imperialist belief in British superiority and the reality of colonial warfare. Another ironic element is the acknowledgment that the fight “wasn’t ‘ardly fair,” referencing the unfair advantage the British had due to their rifles (“Martinis”). The irony lies in how the British soldiers, despite their technological edge, still express genuine respect for the native fighters.
· How does the poem reflect the racial and cultural stereotypes of Kipling’s time?
- The poem reflects the racial and cultural stereotypes of Kipling’s time through its language and descriptions of the Fuzzy-Wuzzy warriors. The repeated use of phrases like “pore benighted ‘eathen” suggests a view of the Sudanese as uncivilized and spiritually lacking, typical of the colonial mindset. The focus on the Fuzzy-Wuzzies’ appearance, especially their “ayrick ‘ead of ‘air,” exoticizes them and emphasizes their difference from the British soldiers. These stereotypes reinforce the idea of the indigenous people as “other” while simultaneously reducing them to simplified, caricatured identities. However, the soldiers’ grudging admiration for their fighting skills complicates this portrayal, as they are described as “first-class fightin’ men,” suggesting that even in their supposed inferiority, they possess qualities that the British respect and fear.
· What does the poem suggest about the nature of warfare and the human cost of imperialism?
- “Fuzzy Wuzzy” suggests that warfare, particularly in the context of imperialism, is not only about military superiority but also about resilience, courage, and the personal costs on both sides. While the poem acknowledges the British soldiers’ technological advantage, it highlights how the Fuzzy-Wuzzies’ bravery in battle left a lasting impression: “An ‘appy day with Fuzzy on the rush / Will last an ‘ealthy Tommy for a year.” This line suggests that the psychological toll of facing such fierce resistance weighs heavily on the British soldiers. The repeated references to the fallen comrades of both the British and the Fuzzy-Wuzzies (“If we ‘adn’t lost some messmates we would ‘elp you to deplore”) reveal that warfare is costly for all involved, irrespective of their place in the imperial hierarchy. The poem, through its combination of humor and somber reflection, underscores the human cost of imperialism, even while celebrating British colonial conquests.
Literary Works Similar to “Fuzzy Wuzzy” by Rudyard Kipling
- “The Charge of the Light Brigade” by Alfred Lord Tennyson
Both poems celebrate military bravery and valor in the face of overwhelming odds, highlighting the courage of soldiers in battle. - “Gunga Din” by Rudyard Kipling
Like “Fuzzy Wuzzy,” this Kipling poem portrays an indigenous figure with both condescension and admiration, emphasizing loyalty and courage in colonial contexts. - “The Man He Killed” by Thomas Hardy
This poem shares “Fuzzy Wuzzy”‘s reflection on the irony of warfare, exploring the moral complexity of fighting against people who could otherwise be friends. - “Tommy” by Rudyard Kipling
Another of Kipling’s poems about British soldiers, “Tommy” echoes “Fuzzy Wuzzy” in its colloquial language and commentary on the common soldier’s experience and valor. - “Recessional” by Rudyard Kipling
This poem reflects on the themes of British imperialism, similar to “Fuzzy Wuzzy,” but with a more somber tone about the fleeting nature of empire and human achievements.
Representative Quotations of “Fuzzy Wuzzy” by Rudyard Kipling
Quotation | Context | Theoretical Perspective |
“But the Fuzzy was the finest o’ the lot.” | The speaker praises the Fuzzy-Wuzzy warriors for being the best opponents the British faced. | Postcolonial Theory: Despite colonial attitudes, indigenous people are admired for their military prowess. |
“You’re a pore benighted ‘eathen but a first-class fightin’ man.” | The speaker expresses condescension toward the Fuzzy-Wuzzy’s perceived cultural inferiority but acknowledges their combat skills. | Postcolonial Theory: The juxtaposition of racial prejudice with reluctant respect reflects colonial contradictions. |
“For if you ‘ave lost more than us, you crumpled up the square!” | Refers to the Fuzzy-Wuzzies’ remarkable achievement of breaking the British square formation in battle. | Formalism: The line emphasizes the ironic reversal of power dynamics on the battlefield. |
“We sloshed you with Martinis, an’ it wasn’t ‘ardly fair;” | The British soldiers admit that their modern rifles (Martinis) gave them an unfair advantage. | Marxist Theory: This highlights the technological and power imbalance inherent in colonial warfare. |
“You’re a big black boundin’ beggar—for you broke a British square!” | This line mixes derogatory racial language with a grudging acknowledgment of the Fuzzy-Wuzzies’ success in battle. | Postcolonial Theory: The racial stereotyping contrasts with the praise for military skill, revealing the complexity of imperial attitudes. |
“An’ ‘e played the cat an’ banjo with our forces.” | Describes how the Fuzzy-Wuzzies outmaneuvered British forces, frustrating their military efforts. | Formalism: A metaphor that personifies the Fuzzy-Wuzzies’ tactical superiority, adding humor and irony. |
“We ‘eld our bloomin’ own, the papers say,” | The British soldiers refer to public reports that downplay the difficulties they faced in battle. | Marxist Theory: A critique of how media and authorities manipulate narratives to maintain imperial pride and control. |
“We gives you your certificate, an’ if you want it signed” | The soldiers humorously offer to “certify” the Fuzzy-Wuzzies’ skills, acknowledging their worth. | Irony: The British grant unofficial recognition to their colonial opponents, a sarcastic commentary on imperial attitudes. |
“‘E’s the on’y thing that doesn’t give a damn / For a Regiment o’ British Infantree!” | The speaker emphasizes the Fuzzy-Wuzzies’ fearlessness in the face of British military strength. | Formalism: The playful rhyme and colloquial tone underscore the admiration for their opponent’s resilience. |
“If we ‘adn’t lost some messmates we would ‘elp you to deplore.” | A moment of empathy where the British soldiers acknowledge the shared loss of life in battle. | Humanism: Reflects the shared humanity in warfare, despite differences in nationality or culture. |
Suggested Readings: “Fuzzy Wuzzy” by Rudyard Kipling
- Wells, Henry W. “Kipling’s Barrack-Room Language.” American Speech, vol. 18, no. 4, 1943, pp. 273–78. JSTOR, https://doi.org/10.2307/486639. Accessed 17 Oct. 2024.
- Tiffin, Helen. “Colonialist Pretexts and Rites of Reply.” The Yearbook of English Studies, vol. 27, 1997, pp. 219–33. JSTOR, https://doi.org/10.2307/3509144. Accessed 17 Oct. 2024.
- Thornton, A. P. Victorian Periodicals Review, vol. 14, no. 3, 1981, pp. 127–28. JSTOR, http://www.jstor.org/stable/20081992. Accessed 17 Oct. 2024.
- Lyon, James K. “KIPLING’S ‘SOLDIERS THREE’ AND BRECHT’S A MAN’S A MAN.” Essays on Brecht: Theater and Politics, edited by SIEGFRIED MEWS and HERBERT KNUST, vol. 79, University of North Carolina Press, 1974, pp. 99–113. JSTOR, http://www.jstor.org/stable/10.5149/9781469657967_mews.10. Accessed 17 Oct. 2024.
- John, Nithya Mariam. “‘And Work Your Empire’s Destinies.'” Indian Literature, vol. 63, no. 2 (310), 2019, pp. 225–27. JSTOR, https://www.jstor.org/stable/27276359. Accessed 17 Oct. 2024.