Letters of Marque — Reading Notes

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Kipling, Rudyard, 1865-1936, Farrand, Charles D., 1865- [Illustrator] Project Gutenberg 2020 Not confirmed
India -- Social life and customs Readers of public-domain and historical texts
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Edition facts

Words 58,013
Reading time 253 min
Text sections 7

Letters of Marque — Reading Notes can be approached with a clearer sense of reading commitment from its source measurements: 58,013 words, 4 hr 13 min estimated reading time, and 7 detected text sections.

The text analysis averages about 24.2 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “India -- Social life and customs,” connecting these edition facts with the source record’s subject description.

Kipling's travelogue through Rajputana blends sharp observations of colonial travelers, local customs, and landscape, using a restless, episodic structure and recurring contrasts between Anglo-Indian and native perspectives.
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Read the Text

going home for Christmas.

_Shows the Charm of Rajputana and of Jeypore, the City of the Globe-Trotter--Of its Founder and its Embellishment--Explains the use and destiny of the Stud-Bred, and fails to explain many more important matters._

If any part of a land strewn with dead men’s bones have a special claim to distinction, Rajputana, as the cockpit of India, stands first. East of Suez men do not build towers on the tops of hills for the sake of the view, nor do they stripe the mountain sides with bastioned stone walls to keep in cattle. Since the beginning of time, if we are to credit the legends, there was fighting--heroic fighting--at the foot of the Aravalis, and beyond in the great deserts of sand penned by those kindly mountains from spreading over the heart of India. The “Thirty-six Royal Races” fought as royal races know how to do, Chohan with Rahtor, brother against brother, son against father. Later--but excerpts from the tangled tale of force, fraud, cunning, desperate love and more desperate revenge, crime worthy of demons and virtues fit for gods, may be found, by all who care to look, in the book of the man who loved the Rajputs and gave a life’s labours in their behalf. From Delhi to Abu, and from the Indus to the Chambul, each yard of ground has witnessed slaughter, pillage and rapine. But, to-day, the capital of the State, that Dhola Rae, son of Soora Singh, hacked out more than nine hundred years ago with the sword from some weaker ruler’s realm, is lighted with gas, and possesses many striking and English peculiarities which will be shown in their proper place.

Dhola Rae was killed in due time, and for nine hundred years Jeypore, torn by the intrigues of unruly princes and princelings, fought Asiatically.

When and how Jeypore became a feudatory of British power, and in what manner we put a slur upon Rajput honour--punctilious as the honour of the Pathan--are matters of which the Globe-Trotter knows more than we do. He “reads up"--to quote his own words--a city before he comes to us, and, straightway going to another city, forgets, or, worse still, mixes what he has learnt--so that in the end he writes down the Rajput a Mahratta, says that Lahore is in the North-West Provinces and was once the capital of Sivaji, and piteously demands a “guide-book on all India, a thing that you can carry in your trunk y’know--that gives you plain descriptions of things without mixing you up.” Here is a chance for a writer of discrimination and void of conscience!

But to return to Jeypore--a pink city set on the border of a blue lake, and surrounded by the low red spurs of the Aravalis--a city to see and to puzzle over. There was once a ruler of the State, called Jey Singh, who lived in the days of Aurungzeb, and did him service with foot and horse. He must have been the Solomon of Rajputana, for through the forty-four years of his reign his “wisdom remained with him.” He led armies, and when fighting was over, turned to literature; he intrigued desperately and successfully, but found time to gain a deep insight into astronomy, and, by what remains above ground now, we can tell that “whatsoever his eyes desired, he kept not from him.” Knowing his own worth, he deserted the city of Amber founded by Dhola Rae among the hills, and, six miles further, in the open plain, bade one Vedyadhar, his architect, build a new city, as seldom Indian city was built before--with huge streets straight as an arrow, sixty yards broad, and cross-streets broad and straight. Many years afterwards the good people of America builded their towns after this pattern, but knowing nothing of Jey Singh, they took all the credit to themselves.

He built himself everything that pleased him, palaces and gardens and temples, and then died, and was buried under a white marble tomb on a hill overlooking the city. He was a traitor, if history speak truth, to his own kin, and he was an accomplished murderer, but he did his best to check infanticide; he reformed the Mahomedan calendar; he piled up a superb library and he made Jeypore a marvel.

Later on came a successor, educated and enlightened by all the lamps of British Progress, and converted the city of Jey Singh into a surprise--a big, bewildering, practical joke. He laid down sumptuous _trottoirs_ of hewn stone, and central carriage drives, also of hewn stone, in the main street; he, that is to say, Colonel Jacob, the Superintending Engineer of the State, devised a water-supply for the city and studded the ways with stand-pipes. He built gas-works, set a-foot a School of Art, a Museum, all the things in fact which are necessary to Western municipal welfare and comfort, and saw that they were the best of their kind. How much Colonel Jacob has done, not only for the good of Jeypore city but for the good of the State at large, will never be known, because the officer in question is one of the not small class who resolutely refuse to talk about their own work. The result of the good work is that the old and the new, the rampantly raw and the sullenly old, stand cheek-by-jowl in startling contrast. Thus, the branded bull trips over the rails of a steel tramway which brings out the city rubbish; the lacquered and painted _ruth_, behind the two little stag-like trotting bullocks, catches its primitive wheels in the cast-iron gas-lamp post with the brass nozzle a-top, and all Rajputana, gaily-clad, small-turbaned, swaggering Rajputana, circulates along the magnificent pavements.

The fortress-crowned hills look down upon the strange medley. One of them bears on its flank in huge white letters the cheery inscript “Welcome!” This was made when the Prince of Wales visited Jeypore to shoot his first tiger; but the average traveller of to-day may appropriate the message to himself, for Jeypore takes great care of strangers and shows them all courtesy. This, by the way, demoralises the Globe-Trotter, whose first cry is:--“Where can we get horses? Where can we get elephants? Who is the man to write to for all these things?”

Thanks to the courtesy of the Maharaja, it is possible to see everything, but for the incurious who object to being driven through their sights, a journey down any one of the great main streets is a day’s delightful occupation. The view is as unobstructed as that of the Champs Elysees; but in place of the white-stone fronts of Paris, rises a long line of open-work screen-wall, the prevailing tone of which is pink--caramel pink, but house-owners have unlimited license to decorate their tenements as they please. Jeypore, broadly considered, is Hindu, and her architecture of the riotous many-arched type which even the Globe-Trotter after a short time learns to call Hindu. It is neither temperate nor noble, but it satisfies the general desire for something that “really looks Indian.” A perverse taste for low company drew the Englishman from the pavement--to walk upon a real stone pavement is in itself a privilege--up a side-street where he assisted at a quail fight and found the low-caste Rajput a cheery and affable soul. The owner of the losing quail was a sowar in the Maharaja’s army. He explained that his pay was six rupees a month paid bi-monthly. He was cut the cost of his khaki blouse, brown-leather accoutrements and jack-boots; lance, saddle, sword, and horse were given free. He refused to say for how many months in the year he was drilled, and said vaguely that his duties were mainly escort ones, and he had no fault to find with them. The defeat of his quail had vexed him; and he desired the Sahib to understand that the sowars of His Highness’s army could ride. A clumsy attempt at a compliment so fired his martial blood that he climbed into his saddle, and then and there insisted on showing off his horsemanship. The road was narrow, the lance was long, and the horse was a big one, but no one objected, and the Englishman sat him down on a doorstep and watched the fun. The horse seemed in some shadowy way familiar. His head was not the lean head of the Kathiawar, nor his crest the crest of the Marwarri, and his fore-legs did not seem to belong to the stony district. “Where did he come from?” The sowar pointed northward and said “from Amritsar,” but he pronounced it “Armtzar.” Many horses had been brought at the spring fairs in the Punpab; they cost about Rs. 200 each, perhaps more, the sowar could not say. Some came from Hissar and some from other places beyond Delhi. They were very good horses. “That horse there,” he pointed to one a little distance down the street, “is the son of a big Sirkar horse--the kind that the Sirkar make for breeding horses--so high!” The owner of “that horse” swaggered up, jaw-bandaged and cat-moustached, and bade the Englishman look at his mouth; bought, of course, when a _butcha_. Both men together said that the Sahib had better examine the Maharaja Sahib’s stable, where there were hundreds of horses--huge as elephants or tiny as sheep.

To the stables the Englishman accordingly went, knowing beforehand what he would find, and wondering whether the Sirkar’s “big horses” were meant to get mounts for Rajput sowars. The Maharaja’s stables are royal in size and appointments. The enclosure round which they stand must be about half a mile long--it allows ample space for exercising, besides paddocks for the colts. The horses, about two hundred and fifty, are bedded in pure white sand--bad for the coat if they roll, but good for the feet--the pickets are of white marble, the heel-ropes in every case of good sound rope, and in every case the stables are exquisitely clean. Each stall contains above the manger, a curious little bunk for the syce who, if he uses the accommodation, must assuredly die once each hot weather.

A journey round the stables is saddening, for the attendants are very anxious to strip their charges, and the stripping shows so much. A few men in India are credited with the faculty of never forgetting a horse they have once seen, and of knowing the produce of every stallion they have met. The Englishman would have given something for their company at that hour. His knowledge of horseflesh was very limited; but he felt certain that more than one or two of the sleek, perfectly groomed country-breds should have been justifying their existence in the ranks of the British cavalry, instead of eating their heads off on six seers of gram and one of _goor_ per diem. But they had all been honestly bought and honestly paid for; and there was nothing in the wide world to prevent His Highness, if he wished to do so, from sweeping up the pick and pride of all the horses in the Punjab. The attendants appeared to take a wicked delight in saying “eshtud-bred” very loudly and with unnecessary emphasis as they threw back the loin-cloth. Sometimes they were wrong, but in too many cases they were right.

The Englishman left the stables and the great central maidan where a nervous Biluchi was being taught, by a perfect network of ropes, to “monkey jump,” and went out into the streets reflecting on the working of horse-breeding operations under the Government of India, and the advantages of having unlimited money wherewith to profit by other people’s mistakes.

Then, as happened to the great Tartarin of Tarescon in Milianah, wild beasts began to roar, and a crowd of little boys laughed. The lions of Jeypore are tigers, caged in a public place for the sport of the people, who hiss at them and disturb their royal feelings. Two or three of the six great brutes are magnificent. All of them are short-tempered, and the bars of their captivity not too strong. A pariah-dog was furtively trying to scratch out a fragment of meat from between the bars of one of the cages, and the occupant tolerated him. Growing bolder--the starveling growled; the tiger struck at him with his paw and the dog fled howling with fear. When he returned, he brought two friends with him, and the trio mocked the captive from a distance.

It was not a pleasant sight and suggested Globe-Trotters--gentlemen who imagine that “more curricles” should come at their bidding, and on being undeceived become abusive.

_Does not in any sort describe the Dead City of Amber, but gives detailed information of a Cotton Press._

And what shall be said of Amber, Queen of the Pass--the city that Jey Singh bade his people slough as snakes cast their skins? The Globe-Trotter will assure you that it must be “done” before anything else, and the Globe-Trotter is, for once, perfectly correct. Amber lies between six and seven miles from Jeypore among the “tumbled fragments of the hills,” and is reachable by so prosaic a conveyance as a ticca-ghari, and so uncomfortable a one as an elephant. _He_ is provided by the Maharaja, and the people who make India their prey are apt to accept his services as a matter of course.

Rise very early in the morning, before the stars have gone out, and drive through the sleeping city till the pavement gives place to cactus and sand, and educational and enlightened institutions to mile upon mile of semi-decayed Hindu temples--brown and weather-beaten--running down to the shores of the great Man Sagar Lake, wherein are more ruined temples, palaces and fragments of causeways. The water-birds have their home in the half-submerged arcades and the _mugger_ nuzzles the shafts of the pillars. It is a fitting prelude to the desolation of Amber. Beyond the Man Sagar the road of to-day climbs up-hill, and by its side runs the huge stone-causeway of yesterday--blocks sunk in concrete. Down this path the swords of Amber went out to kill. A triple wall rings the city, and, at the third gate, the road drops into the valley of Amber. In the half light of dawn, a great city sunk between hills and built round three sides of a lake is dimly visible, and one waits to catch the hum that should rise from it as the day breaks. The air in the valley is bitterly chill. With the growing light, Amber stands revealed, and the traveller sees that it is a city that will never wake. A few _meenas_ live in huts at the end of the valley, but the temples, the shrines, the palaces, and the tiers-on-tiers of houses are desolate. Trees grow in and split open the walls, the windows are filled with brushwood, and the cactus chokes the street. The Englishman made his way up the side of the hill to the great palace that overlooks everything except the red fort of Jeighur, guardian of Amber. As the elephant swung up the steep roads paved with stone and built out on the sides of the hill, the Englishman looked into empty houses where the little grey squirrel sat and scratched its ears. The peacock walked upon the house-tops and the blue pigeon roosted within. He passed under iron-studded gates whereof the hinges were eaten out with rust, and by walls plumed and crowned with grass, and under more gateways, till, at last, he reached the palace and came suddenly into a great quadrangle where two blinded, arrogant stallions, covered with red and gold trappings, screamed and neighed at each other from opposite ends of the vast space. For a little time these were the only visible living beings, and they were in perfect accord with the spirit of the spot. Afterwards certain workmen appeared, for it seems that the Maharaja keeps the old palace of his forefathers in good repair, but they were modern and mercenary, and with great difficulty were detached from the skirts of the traveller. A somewhat extensive experience of palace-seeing had taught him that it is best to see palaces alone, for the Oriental as a guide is undiscriminating and sets too great a store on corrugated iron-roofs and glazed drain-pipes.

So the Englishman went into this palace built of stone, bedded on stone, springing out of scarped rock, and reached by stone ways--nothing but stone. Presently, he stumbled across a little temple of Kali, a gem of marble tracery and inlay, very dark and, at that hour of the morning, very cold.

If, as Violet-le-Duc tells us to believe, a building reflects the character of its inhabitants, it must be impossible for one reared in an Eastern palace to think straightly or speak freely or--but here the annals of Rajputana contradict the theory--to act openly. The crampt and darkened rooms, the narrow smooth-walled passages with recesses where a man might wait for his enemy unseen, the maze of ascending and descending stairs leading no-whither, the ever present screens of marble tracery that may hide or reveal so much,--all these things breathe of plot and counter-plot, league and intrigue. In a living palace where the sightseer knows and feels that there are human beings everywhere, and that he is followed by scores of unseen eyes, the impression is almost unendurable. In a dead palace--a cemetery of loves and hatreds done with hundreds of years ago, and of plottings that had for their end--though the grey beards who plotted knew it not--the coming of the British tourist with guide-book and sunhat--oppression gives place to simply impertinent curiosity. The Englishman wandered into all parts of the palace, for there was no one to stop him--not even the ghosts of the dead Ranis--through ivory-studded doors, into the women’s quarters, where a stream of water once flowed over a chiselled marble channel. A creeper had set its hands upon the lattice here, and there was dust of old nests in one of the niches in the wall. Did the lady of light virtue who managed to become possessed of so great a portion of Jey Singh’s library ever set her dainty feet in the trim garden of the Hall of Pleasure beyond the screen-work? Was it in the forty-pillared Hall of Audience that the order went forth that the Chief of Birjooghar was to be slain, and from what wall did the King look out when the horsemen clattered up the steep stone path to the palace, bearing on their saddle-bows the heads of the bravest of Rajore? There were questions innumerable to be asked in each court and keep and cell; aye, but the only answer was the cooing of the pigeons on the walls.

If a man desired beauty, there was enough and to spare in the palace; and of strength more than enough. By inlay and carved marble, by glass and colour, the Kings who took their pleasure in that now desolate pile, made all that their eyes rested upon royal and superb. But any description of the artistic side of the palace,

if it were not impossible, would be wearisome. The wise man will visit it when time and occasion serve, and will then, in some small measure, understand what must have been the riotous, sumptuous, murderous life to which our Governors and Lieutenant-Governors, Commissioners and Deputy Commissioners, Colonels and Captains and the Subalterns after their kind, have put an end.

Kipling opens Letters of Marque with a narrator who, freed from office routine, adopts the wandering habits of a horse escaped from pasture. The book’s structure mirrors this aimless freedom: it proceeds by train and foot through Jeypore, Ajmir, and Jodhpur, with each chapter a self-contained vignette. The narrator’s voice oscillates between the sardonic eye of a resident and the bewildered curiosity of a globe-trotter, a tension that drives the prose. Recurring images—the railway as a lifeline, the desert as a stage for chance encounters—anchor the journey. Kipling does not offer a systematic survey; instead, he lets the landscape and its people interrupt his path, producing a series of sharp, fragmentary impressions.

The Railway as Narrative Spine

The train is more than transport in Letters of Marque; it dictates the rhythm of observation. Kipling’s narrator moves from Jeypore to Ajmir to Marwar Junction, each leg introducing new characters and scenes. The Jodhpur State Railway is described as “one of the quaintest little lines that ever ran a locomotive,” worked with “rude economy” and falsifying government estimates. This detail typifies Kipling’s method: he seizes on the railway’s quirks to expose the gap between official planning and local reality. The train also serves as a framing device for chance encounters—with globe-trotters, bag-men, and native travelers—whose stories emerge in fragments. The narrator’s stick, falling northwest to point toward Jodhpur, becomes a whimsical compass, but the railway remains the true guide, imposing a linear structure on an otherwise meandering journey.

The Globe-Trotter as Foil

Kipling repeatedly contrasts the seasoned resident with the hasty globe-trotter. The latter, he writes, “does kingdoms in days and writes books upon them in weeks,” mastering the Indian Bradshaw in five minutes. This figure embodies a superficial assimilation that the narrator both mocks and, at times, fears resembling. The globe-trotter’s insolence warrants “a book” of its own, Kipling notes, but the narrator’s own freedom—no master but “personal inclination”—risks producing similar shallowness. By setting himself apart from the tourist, Kipling claims a deeper, more ironic perspective, yet his own observations remain deliberately partial. The globe-trotter becomes a recurring image of failed understanding, a warning against the very facility the narrator practices.

Native Voices and Embedded Stories

Kipling weaves native testimony into the narrative through reported speech and anecdote. The story of the bhumia of Jharwasa—released from gaol, then beheading his enemy in broad daylight—is told with a journalist’s detachment, yet its details (the borrowed sword, the sharpening “for love”) carry a folkloric weight. The narrator does not claim to have witnessed the event; he presents it as a tale heard along the way. Similarly, the “gentlemen on the Railway” offer accounts “flavoured with crisp and curdling oaths” that would shock a Political officer. These embedded stories disrupt the travelogue’s surface, introducing a darker, more violent India that resists easy comprehension. Kipling lets these voices speak without editorializing, leaving the reader to gauge their reliability.

Movement Between Scenes: The Desert and the City

The book’s structure depends on abrupt shifts between open desert and enclosed urban spaces. Jodhpur is introduced as a city of “Hounhnhyms” (Swift’s rational horses) and “Yahoos,” a satirical frame that collapses as the narrator moves from the desert’s “charms” to the city’s stables and bazaars. Kipling lingers on thresholds: the moment of uncarting at dawn, the pause at a railway junction, the entry into a courtyard. These transitions are where observation sharpens. The desert, described as “ringing” the city, is both a physical barrier and a psychological boundary. The narrator’s tramping—setting his stick on end, letting it fall—mimics a divination that yields direction without certainty. The result is a travelogue that values movement over arrival, each scene a provisional stop in an open-ended itinerary.

Letters of Marque rewards readers who accept its fragmentary design. Kipling’s narrator never claims completeness; he moves from one encounter to the next, letting the railway and the desert shape his path. The book’s power lies in its willingness to remain partial—a series of letters, not a finished portrait. Approach it as a collection of dispatches from a restless observer, and the gaps become as telling as the descriptions.

Flipping through Kipling’s Letters of Marque lately, I lingered on his quiet jabs at the Anglo-Indian traveler—the one who mistakes motion for insight. It made me recall an old, half-remembered volume on wit, which insists that true humour hinges on what we choose not to say. The parallel felt almost tender: both authors, in their own unhurried way, observing how silence shapes a laugh. An Essay towards Fixing the True Standards of Wit, Humour, Railery, Satire, and Ridicule (1744) — Context and Discussion stays with me for that reason alone.

Harper Smith
3 weeks ago

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