Fuzzy Wuzzy
(Sudan Expeditionary Force)
We’ve fought with many men across the seas,
An’ some of ‘em was brave an’ some was not:
The Pathan an’ the Zulu an’ Burmese;
But the Fuzzy was the finest o’ the lot.
We never got a harpoon’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 Sudan;
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 Irrawaddy 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 Sudan;
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!
Summary of Fuzzy Wuzzy
“Fuzzy Wuzzy,” penned by Rudyard Kipling, is a vibrant poem born from the context of the British soldiers stationed in far‑off lands. Published in 1892 as part of Barrack Room Ballads, it uniquely captures the candid perspective of soldiers appraising their adversaries. The central idea revolves around the British soldiery’s surprising admiration for the Sudanese warriors during the British expedition in Sudan.
The poem presents the voice of a collective “we,” the British soldiers, openly acknowledging the skill and bravery of the “Fuzzy‑Wuzzies.” They recount encounters with various opponents—Pathans, Zulus, Burmese, Boers—but consistently highlight the “Fuzzy” as the most formidable. The poem celebrates the “Fuzzy’s” guerilla tactics, their courage in the face of superior weaponry, and their seemingly unbreakable spirit. It’s a paradox—a colonial force praising the prowess of those they are fighting—which is what makes the poem so intriguing.
The major themes of “Fuzzy Wuzzy” are praise of courage, recognition of an opponent’s skill, and an unusually frank expression of respect. Kipling, having grown up in India, demonstrates an ability to see multiple perspectives. He portrays the “Fuzzy‑Wuzzy” not as a simple enemy, but as a worthy adversary who, despite ultimately being defeated, earned the respect of the British soldiers through their tenacity and bravery. The poem acknowledges that while the British may have won the battle, the “Fuzzy” inflicted a memorable and costly resistance.
Analysis of Literary Devices in Fuzzy Wuzzy
Rudyard Kipling masterfully employs a range of literary devices to create a vivid and memorable poem. Here’s a breakdown of some key techniques:
- Anaphora: The repetition of a word or phrase at the beginning of successive clauses or sentences. While not pervasive, the repeated structure in phrases like “He hasn’t got…” emphasizes the “Fuzzy’s” lack of formal recognition, highlighting his inherent skill.
- Allusion: Kipling weaves in allusions to geographical locations (Sudan, Khyber Hills), people (Zulus, Boers), and military contexts (British infantry) to provide historical and cultural context, grounding the poem in a specific time and place.
- Assonance: The repetition of vowel sounds within nearby words. For example, the repetition of the short ‘a’ sound in “An’ some of ‘em was brave an’ some was not” creates musicality and emphasizes the rhythmic quality of the poem.
- Alliteration: The repetition of consonant sounds at the beginning of words. Examples like “many men” and “first-class fighting” add to the poem’s rhythm and memorability.
- Consonance: The repetition of consonant sounds within words, as in “Was pop to what the Fuzzy made us swaller” and “We’ve fought with many men across the seas.” This subtle repetition contributes to the poem’s sonic texture.
- Enjambment: The continuation of a sentence or phrase from one line to the next without a pause. For example:
The Burman give us Irrawaddy 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
This creates a sense of momentum and mimics the relentless action of battle.
- Imagery: Kipling uses vivid imagery to create a sensory experience for the reader. Phrases like “The Burman give us Irrawaddy chills” and “all hot sand and ginger when alive” evoke the harsh environment and the raw energy of the “Fuzzy.”
- Metaphor: Kipling employs metaphors to describe the “Fuzzy,” comparing him to a “daisy, ducky, and lamb” to underscore his surprisingly effective fighting style.
- Symbolism: The poem utilizes symbols such as seas, Zulu, Burmese, Fuzzy, Sudan, and Martinis to illustrate the bravery of the British infantry in a remote land.
Analysis of Poetic Devices in Fuzzy Wuzzy
Beyond literary devices, Kipling employs several poetic techniques to enhance the impact of his work:
- Diction: The poem’s language is a deliberate blend of formal poetry and informal, colloquial speech. The use of contractions and archaic phrasing (“’e,” “ha’porth”) creates a unique voice that mirrors the speech of British soldiers.
- End Rhyme: Kipling uses end rhyme to create a sense of rhythm and musicality. Pairs of rhyming words such as “seas/Burmese,” “horses/forces,” and “Sudan/signed” reinforce the poem’s structure and memorability.
- Stanza: The poem is structured into four stanzas, each comprising twelve lines. This consistent form provides a framework for the poem’s narrative and thematic development.
- Tone: The poem’s tone is appreciative, admiring, and playfully arrogant. Kipling adopts the voice of the British soldiers, acknowledging the “Fuzzy’s” skill while maintaining a sense of colonial superiority.
Quotes to be Used
The following lines are particularly impactful and can be used to highlight the bravery and skill of the soldiers:
So ‘ere’s to you, Fuzzy-Wuzzy, at your ‘ome in the Sudan;
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!
“Fuzzy Wuzzy” remains a compelling poem not only for its engaging rhythm and vivid imagery but also for its surprising and nuanced portrayal of an opponent. Kipling’s work offers a glimpse into the complex realities of colonial warfare and the grudging respect that can develop even amidst conflict.