Though Kipling has written four novels, only two, The Light that Failed (1891) and Kim (1901), can compare with his best short stories. The Light that Failed, the tragedy of an artist who becomes blind, proves that Kipling was able to handle a long plot sufficiently well to sustain interest. Kim is an attempt to present as a more completed whole that India of which the stories give only glimpses.  On the slenderest thread of plot is strung a bewildering array of scenes, characters, and incidents.  His intimate knowledge of India and his photographic power of description are here used with remarkable picturesque effect.

[Illustration:  THE CAT THAT WALKED. Copyright, 1902, by Rudyard Kipling.]

Verse.—­Kipling’s poetry has many of the same qualities as his prose,—­originality, force, love of action.  In Barrack Room Ballads (1892), the soldier is again celebrated in vigorous songs with swinging choruses. Mandalay, Fuzzy-Wuzzy, Danny Deever, show what spirited verse can be fashioned from a common ballad meter and a bold use of dialect.

  “So ’ere’s to you, Fuzzy-Wuzzy, at your ’ome in the Soudan;
  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!”

Much of his verse is political.  His opinion of questions at issue is sometimes given with much heat, but always with sincerity and true patriotism.  The best known of his patriotic songs, and perhaps his noblest poetic effort, The Recessional (1897), was inspired by the fiftieth anniversary of Victoria’s reign. The Truce of the Bear (1898) is a warning against Russia. The Native-Born is a toast to the colonies in every clime.

Kipling’s verse breaks with many of the accepted standards of English verse.  He does not aim at such pure beauty of form as we find in Tennyson.  He can handle skillfully many kinds of meter, as is shown in The Song of the English, The Ballad of East and West, The Song of the Banjo, and many sea lyrics.  Yet he uses mostly the common measures, attaining with these a free swing, a fitting of sound to sense, that are irresistible to the many—­

  “Common tunes that make you choke and blow your nose,
  Vulgar tunes that bring the laugh that brings the groan—­
  I can rip your very heart-strings out with those."[17]

Some of his later work shows increasing seriousness of tone. The Recessional and the Hymn before Action are elevated in thought and expression.  The bigness of L’Envoi shows poetic power capable of higher flights:—­

  “And only the Master shall praise us, and only the Master shall
    blame;
  And no one shall work for money, and no one shall work for fame;
  But each for the joy of the working, and each, in his separate star,
  Shall draw the Thing as he sees It for the God of Things as They
    Are!"[18]