Rudyard Kipling
I went into a public-‘ouse to get a pint o’ beer,
The publican ‘e up an’ sez, “We serve no red-coats here.”
The girls be’ind the bar they laughed an’ giggled fit to die,
I outs into the street again an’ to myself sez I:
O it’s Tommy this, an’ Tommy that, an’ “Tommy, go away”;
But it’s “Thank you, Mister Atkins”, when the band begins to play,
The band begins to play, my boys, the band begins to play,
O it’s “Thank you, Mister Atkins”, when the band begins to play.
I went into a theatre as sober as could be,
They gave a drunk civilian room, but ‘adn’t none for me;
They sent me to the gallery or round the music-‘alls,
But when it comes to fightin’, Lord! they’ll shove me in the stalls!
For it’s Tommy this, an’ Tommy that, an’ “Tommy, wait outside”;
But it’s “Special train for Atkins” when the trooper’s on the tide,
The troopship’s on the tide, my boys, the troopship’s on the tide,
O it’s “Special train for Atkins” when the trooper’s on the tide.
Yes, makin’ mock o’ uniforms that guard you while you sleep
Is cheaper than them uniforms, an’ they’re starvation cheap;
An’ hustlin’ drunken soldiers when they’re goin’ large a bit
Is five times better business than paradin’ in full kit.
Then it’s Tommy this, an’ Tommy that, an’ “Tommy, ‘ow’s yer soul?”
But it’s “Thin red line of ‘eroes” when the drums begin to roll,
The drums begin to roll, my boys, the drums begin to roll,
O it’s “Thin red line of ‘eroes” when the drums begin to roll.
We aren’t no thin red ‘eroes, nor we aren’t no blackguards too,
But single men in barricks, most remarkable like you;
An’ if sometimes our conduck isn’t all your fancy paints,
Why, single men in barricks don’t grow into plaster saints;
While it’s Tommy this, an’ Tommy that, an’ “Tommy, fall be’ind”,
But it’s “Please to walk in front, sir”, when there’s trouble in the wind,
There’s trouble in the wind, my boys, there’s trouble in the wind,
O it’s “Please to walk in front, sir”, when there’s trouble in the wind.
You talk o’ better food for us, an’ schools, an’ fires, an’ all:
We’ll wait for extry rations if you treat us rational.
Don’t mess about the cook-room slops, but prove it to our face
The Widow’s Uniform is not the soldier-man’s disgrace.
For it’s Tommy this, an’ Tommy that, an’ “Chuck him out, the brute!”
But it’s “Saviour of ‘is country” when the guns begin to shoot;
An’ it’s Tommy this, an’ Tommy that, an’ anything you please;
An’ Tommy ain’t a bloomin’ fool — you bet that Tommy sees!
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Analysis (AI Assisted)
This poem, “Tommy,” by Rudyard Kipling, is a powerful and biting commentary on the British soldier’s experience — both in and out of uniform. It contrasts the public’s treatment of soldiers during peacetime with the reverence they receive in times of war, highlighting the hypocrisy and ingratitude that soldiers often face. Through the voice of “Tommy,” Kipling explores themes of social inequality, the dehumanization of the working class, and the complicated relationship between the military and the civilian population.
The poem opens with a scene in a pub, where the speaker, a soldier, is refused service because of his red coat, symbolizing his military status. The publican’s dismissive behavior toward “Tommy” sets the tone for the rest of the poem: while soldiers are often scorned and rejected in everyday life, they are only appreciated when they are needed. This hypocrisy is reflected in the chorus: “O it’s Tommy this, and Tommy that, and ‘Tommy, go away’; / But it’s ‘Thank you, Mister Atkins,’ when the band begins to play.” “Tommy” (a slang term for a British soldier) is ridiculed by civilians, but when he is part of the military spectacle — when the band plays and the drums roll — he is praised and acknowledged.
As the poem progresses, Kipling expands on the contrast between how soldiers are treated in peacetime versus wartime. In the second verse, the speaker describes how he is forced to sit in the gallery or at the back of the theatre, while civilians, including a “drunk civilian,” are given better seats. But when the need arises for soldiers, they are celebrated and provided for. The “Special train for Atkins” when the “troopship’s on the tide” suggests that when soldiers are needed for war, they are given special treatment — but only for their utility, not for their inherent worth as individuals.
In the third verse, Kipling critiques the way civilians mock soldiers’ uniforms and their position in society, yet when war comes, those same civilians are quick to glorify the soldiers’ service. The “thin red line of ‘eroes” evokes the image of British soldiers fighting in battle, a heroic ideal, but this is contrasted with the reality of how soldiers are seen in peacetime: as objects of mockery. The poem suggests that while civilians are happy to benefit from soldiers’ sacrifices, they don’t truly value the soldiers when they are not needed for war.
The fourth verse underscores the idea that soldiers are ordinary men, not “thin red heroes” nor “blackguards,” but “single men in barricks” — working-class men who are often treated as less than human. The speaker’s defense of soldiers emphasizes their humanity, acknowledging that soldiers may not be saints, but neither are they deserving of the scorn heaped upon them by society. The phrase “please to walk in front, sir” points to the way soldiers are expected to put themselves in harm’s way, while the civilian population remains removed from the dangers of war.
In the fifth verse, the soldier voices his frustrations with civilian attitudes, especially when it comes to the treatment of soldiers and the promises made to improve their conditions. The soldier rejects the empty promises of better food, schools, and living conditions, emphasizing that what soldiers truly want is to be treated with respect. The line “The Widow’s Uniform is not the soldier-man’s disgrace” calls out the hypocrisy of those who criticize soldiers’ sacrifices while failing to truly understand the hardships of military life. This verse emphasizes that soldiers, while often unappreciated, are deeply aware of their worth, and they are capable of seeing through the empty gestures of the civilian population.
The final lines encapsulate the poem’s overall message: while civilians may mock soldiers and only value them in times of war, “Tommy” is not a fool. He sees the contradiction and understands the true nature of the relationship between the military and the civilian population. The phrase “Tommy ain’t a bloomin’ fool” is a defiant declaration of the soldier’s awareness and intelligence, despite being treated as inferior by society.
Overall, Kipling’s “Tommy” is a powerful critique of the British Empire’s treatment of its soldiers. The poem highlights the gulf between how soldiers are revered in war and how they are despised in peace. Through the voice of “Tommy,” Kipling emphasizes the soldier’s humanity and the unfairness of a society that values them only for their utility in times of national crisis. At its heart, the poem is a reflection on class, social justice, and the moral cost of war.