IF you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating,
And yet don’t look too good, nor talk too wise:
If you can dream – and not make dreams your master;
If you can think – and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you’ve spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build ’em up with worn-out tools:
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: ‘Hold on!’
If you can talk with crowds and keep your virtue,
‘ Or walk with Kings – nor lose the common touch,
if neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds’ worth of distance run,
Yours is the Earth and everything that’s in it,
And – which is more – you’ll be a Man, my son!
Rudyard Kipling (1865 – 1936) – Text taken from the Net … it could have errors.
This poem consists of four eight line rhyming iambic pentameter stanzas. The whole poem is instruction on the way to live life – a father talking to a son. Instruction is based on the word IF … the Ifs that may happen in life and the advice response is elaborated.
This poem came in #1 in the search for the most favourite poem by the UK Bookworm programme in 1995. So the advice offered must have had some resonance with the UK public. And maybe his father had lived through some harrowing experiences such as risking all his money on one turn of pitch-and-toss.
And if the son succeeds in making that appropriate response then the son becomes ‘a Man’, it being so important for the son to succeed and become ‘a Man‘. The son having more importance than a daughter which is still prevalent in so many societies and situations! The poem must be viewed against the historical context.
The poem can have a universal dimension of instruction with a few amendments such as …
S1 … line 3 … If you can trust yourself when everybody doubts you,
S4 … line 4 … If all peoples count with you, but none too much;
And in the last line … And – what is more – you’ll be some hero!
However, this loses something for it is Father-Son talking and poems must adhere to the concrete of the text of the poet, so the latent universal is there for the reader to accept independent of Father-Son and those looking for some kind of gender equality should do so in this light and not colour appreciation this way.
If you can read a poem for full appreciation
without letting personal preference shade your understanding.
There are, of course, many cases where text is changed for gender equality but poetry is not the case!