JUNGLE BOOK by Rudyard Kipling
The stories of Jungle Book are stories told in the third person by a narrator, as one might tell bedtime stories to children. Only in "The White Seal" and "Servants of the Queen," is the narrator actually mentioned, and then he is not identified. The reader gets the sense of a wise older narrator, one who is intimately familiar with Colonial Indian and the jungle therein, but not of it, as a British colonial officer would be. The narrator, for the most part, is impartial and allows the stories' characters to tell the story. Only occasionally does he interject, such as at the end of "Tiger, Tiger," when he tells us that the rest of Mowgli's story is a story for grownups. This is also true at the beginning of the "White Seal," where the narrator tells us of the winter wren that originally told him the story. The narrator does not share his opinion of the story and the characters' actions. The reader is left to draw his own conclusion.
Kipling is a product of his 19th century British colonial experiences, and the British/ Native and Indian caste class differences are alluded to in several of the stories. In "Toomai of the Elephants," the reader is told that Big Toomai works for the government, but it is to Petersen Sahib, a white man, that he reports. Additionally, whereas Petersen's interaction with the boy, Little Toomai, is undoubtedly well meant, it still carries a vaguely condescending tone. This difference is also evident in "Rikki-Tikki-Tavi." where Teddy's father is described as an Englishman, and in the last story, "Servants of the Queen," where a distinction is made between a native officer and the (white) British Viceroy.
As the stories of Jungle Book are, at least outwardly, children's stories, Kipling uses simple sentences and structure to tell his stories. Although they are written for children to be able to understand, the stories also have a broad appeal and application. While they are written as fanciful stories about talking wolves, bears and panthers, similar characters and actions are easily found in the human community, in our own time as well as Kipling's. The simple elegance of his stories is timeless.
Kipling frequently uses the idiom of 19th century British colonial India. For instance, in "Servants of the Queen," when he calls the oxen, "bullocks." Kipling's English is somewhat formal, and although his narrators are friendly and even compassion towards the characters in the stories, they do not become too familiar. They keep a certain, respectful distance. Kipling also uses the Victorian pronouns "thee" and "thine," popular in 19th century England, throughout the book.
Kipling creates somewhat childlike phrases and words in the stories; such as, "Jungle People" to describe the ordered denizens of the jungle, "Gidur-log" to describe the jackals, and "Bandar-log" to describe the wild monkeys. These names have their roots in the Hindu language, and even Kaa's name is drawn from the Hindu word for snake.

That Kipling loved to travel and loved learning about new peoples comes out clearly in his writing. In Jungle Book, he creates a magical world in which animals talk and reason. In "Mowgli's Brothers," he tells the tale of a young human baby, Mowgli, found in the wilderness by a family of wolves and raised as one of their own. "Kaa's Hunting" follows Mowgli as he grows and learns the lessons of the jungle, sometimes the hard way. In "Tiger, Tiger," Kipling continues the story of Mowgli as he grows up and is cast out of the wolf pack by jealous and competitive rivals. He tries to make a life with the human villagers, but his new life is wrought with problems.
"The White Seal" takes the reader to the Bering Sea and introduces him to a colony of seals. One particularly brave and notable seal, an unusual white seal, questions the seals' lifestyle and looks for ways to improve it. As he grows up, he travels the globe looking for the ideal home for the seals. He shares the knowledge he gains on his travels with the other seals and the reader. In "Rikki-Tikki-Tavi," the setting returns to India and relates the story of a loyal mongoose, considered good luck in India, and how he protects his family from the deadly bite and the cunning of the resident cobras.
"Toomai of the Elephants" is another tale of India centering around a trusted elephant, his handler, and the myth of the elusive elephant dance. It tells the tale of one boy's magical night with the elephants. "Servants of the Queen" takes the reader to western India, in present day Pakistan, and lets us eavesdrop as the camp animals discuss their lives.
Each story is followed by a lyrical poem or song, supposedly sung or spoken by the main character, summarizing the story. Kipling's tales are outwardly for children, but their themes apply to larger adult situations as well. His characters may be children and animals, but they are often recognizable in the reader's own life experiences. Fun and enjoyable to read, Kipling's stories take the reader back to the days of the Empire, while at the same time discussing themes that are as relevant today as they were when they were written.
The stories of The Jungle Book have a lyrical quality characterized by concise descriptive passages and a simple, elegant storytelling style. In the story "Mowgli's Brothers," the description of the black panther dropping into a circle of wolves demonstrates Kipling's lyrical style: A black shadow dropped down into the circle. It was Bagheera the Black Panther, inky black all over, but with the panther markings showing up in certain lights like the pattern of watered silk. Everybody knew Bagheera, and nobody cared to cross his path; for he was as cunning as Tabaqui [the jackal], as bold as the wild buffalo, and as reckless as the wounded elephant. But he had a voice as soft as wild honey dripping from a tree, and a skin softer than down.
Kipling's flair for storytelling has delighted adults, as well as the younger readers for whom The Jungle Book was intended. Of special charm are the poems at the end of each story that enlarge upon some aspect of the story.
Mowgli's innocence and vulnerability is shown in his nakedness. He comes to the wolf pack defenseless, a baby, with no clothes and no accoutrements. This is a common theme throughout the Jungle Book, the moral superiority and guilelessness of children and animals. The Jungle People's straightforwardness and honesty is further illustrated in their simple and ordered life and "Law of the Jungle."
Kipling shows how Mowgli, Toomai, and various animals confront danger, learn to overcome it, and in the process become aware of the diversity and meaning of life. The central characters, whether they be human or animal, learn much about the evil of the jungle and of human beings, but they also learn about goodness and develop their own values.
Kipling's true feelings are revealed by his emphasis on Toomai's innocence, the very quality that allows him to see the elephants' dance.
Mistrust of People Who are Different
The first three stories in Jungle Book, about half of the book, deal with Mowgli's boyhood and his adventures growing up amidst the wolf pack. From the very beginning, when he is presented to the wolf council as an infant, the reader feels the distrust and suspicion of the other wolves toward him. These feelings among the wolves are fanned by the cunning and devious Shere Khan, the tiger. Although Mowgli is allowed to grow to adolescence, the reader senses the confrontation that is to come. Eventually, he is turned out of the pack, not because he did anything wrong, but because he is different from the wolves.
Having been expelled from the pack, Mowgli tries living with the humans in the small village just outside of the jungle. Although he is like the villagers in appearance, his habits and mannerisms are those of the wolves with whom he grew up. For instance, he dislikes wearing clothes. In the hot and humid Indian climate, he sees no use for them. He also refuses to sleep inside of a house, feeling trapped in there. The villagers, too, distrust the boy because he is different from them. Eventually, just as with the wolf pack, one dissenter fans the embers of hate until the village, too, expels Mowgli.
The stories about Mowgli are Kipling's commentary on the hypocrisy of the British Empire. The Empire in India would train and employ Hindus in the colonial government, but they would never fully accept them or welcome them into their homes. They were always different from the British. Ironically, these same Hindus were mistrusted by their fellow Indians because of their association with the British. These Colonial servants were very similar to Mowgli in that they had no real home.
The Value of Friendship
The first three stories of the Jungle Book, the ones that tell the story of the man-cub Mowgli and his adventures, emphasize the power of friendship and love. Mowgli is saved from the tiger, Shere Khan, when he wanders away from his village by the nurturing love of Mother Wolf who adopts the boy and raises him as her own. The bond is also great between the three friends, Bagheera the panther, Baloo the bear, and Mowgli. The two animals teach Mowgli and way of the jungle and how to peacefully co-exist with the other inhabitants. They sometimes practice tough love with Mowgli to get him to concentrate on his studies, but they love him none the less.
This friendship is in evidence when Mowgli is snatched from under Baloo and Bagheera's noses by the mischievous Bander-log. The two animals are desperate to rescue Mowgli at any cost, even going so far as to enlist the aid of the dangerous python, Kaa. Baloo and Bagheera fight the monkeys furiously in an attempt to get back the boy and suffer many wounds and scratches in the process. In fact, if Kaa had not saved the day, it is doubtful that the pair would have survived the fight. Once rescued, Mowgli, like the boy he is, barely notices his friends' wounds until later when they are brought to his attention.
Innocence of Animals and Children
The animals, or "Jungle People" as they are called in Kipling's Jungle Book, are a sensible lot. They have a stable form of self-rule. They kill only when they are hungry, and they have rigid rules of etiquette and community behavior. Once a member of the group has been punished for an infraction, as Mowgli is for his friendliness towards the Bander-log, the matter is dropped, never to be mentioned again.
In contrast to the "Jungle People," the villagers in Jungle Book are depicted as petty and close-minded. They tell stories about deception and hate, and boast about their superiority to the animals while clearly not trying to communicate or peacefully co-exist with them. Kipling also touches of the prejudices of Colonial India in "Toomai of the Elephants" when the Indians are portrayed as doing all of the work for the sedate white leaders.
The final story of the book, "Servants of the Queen," is all about the animals serving man. They ask each other about war and why they do what they do. They all give different answers, each creature from his own perspective, but the ultimate answer is that they go to war because the men ask them to do so, and they are loyal to the men that take care of them. They are portrayed as morally superior to the racist humans in the story. |
The stories that follow this culminating episode for Mowgli also show animals and humans learning about nature and coming to grips with their own identities. Riki-Tikki-Tavi is a mongoose who nearly drowns in a flood that separates him from his family. He is then rescued and raised by humans in a large bungalow. Like Mowgli, RikiTikki-Tavi learns of the cruelty of some creatures in nature—the cobras—and struggles to defeat them. The cobras terrorize the animals and humans of the bungalow, until Riki learns that he is immune to their venom and, as a mongoose, has the power to vanquish the dreaded snakes. The human father realizes that Riki has saved his family and showers him with appreciation.
"Toomai of the Elephants" tells the story of Toomai, a young Indian boy, who, because of his trust and innocence, witnesses the mysterious dance of the elephants. Older men—especially Englishmen—have heard about the dance but have never seen it, because innocence and trust have all but disappeared from the world of adults.