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Apostrophe

Apostrophe (uh-PAW-struh-FEE) is a rhetorical figure in which a speaker makes a direct and explicit address, usually to an absent person or to an object or abstract entity. “If—” makes significant use of apostrophe, since the entire poem consists of a message from a father to his son. However, Kipling’s use of apostrophe is slightly unusual in that he defers details about the nature of the address until the poem’s end. Whereas most examples of apostrophe clarify the addressee early on, here it isn’t clear to whom the “you” refers until the speaker utters his final words: “my son!” (line 32). This strategy of suspension has a twofold effect. On the one hand, it builds tension for the reader by heightening our desire to know who the addressee is. On the other hand, because we readers don’t know who the “you” refers to, it’s easy to imagine that the speaker’s words are directed toward us. Indeed, even when we reach the end of the poem and learn who the true addressee is, we may still feel like we’ve benefited from the advice given.

Polyptoton

Polyptoton (puh-LIP-tuh-tawn) may sound like an intimidating technical term, but it has a fairly straightforward meaning. In literary analysis, this term refers to the use of multiple words that share the same etymological root, but which are presented in different forms. To see an example of this rhetorical strategy in action, consider these lines from the first stanza (lines 5–8):

     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.

Each of the three first lines in this passage features a distinct example of polyptoton. The first example emerges through the words “wait” and “waiting.” Though both words have the same root, they are presented here with different inflections, and so they have subtly different meanings. The first use of the word appears in a construction with a modal verb (i.e., “can wait”), whereas the second use of the word appears in the form a gerund (i.e., “waiting”). A similar type of difference persists for the other examples of polyptoton in this passage. The past-tense verb “lied” is related to but different from the plural noun “lies.” Likewise, the passive phrase “being hated” is related to but different from the gerund “hating.” In each of these cases, polyptoton creates a poetic form of repetition that allows for conciseness of expression.

Assonance and Consonance

In addition meter and rhyme, Kipling brings poetic flair to his language through the use of assonance and consonance. Both terms refer to the repetition of certain sounds in adjacent or nearby words. Whereas assonance specifically refers to the repetition of vowel sounds, consonance refers to the repetition of consonant sounds. Kipling makes extremely subtle use of both techniques throughout “If—,” creating sonic effects that are audible yet rarely obvious. In the third stanza (lines 21–24), for instance, Kipling writes:

     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.’

On first reading, the variety and subtlety of assonance and consonance may not be readily apparent. However, on closer inspection, several examples of sonic play stand out. For instance, consider the phrase, “long after they are gone.” First, note how this short phrase features repeating O and A sounds, but in a reversing order (i.e., O-A-A-O). Second, and even more subtly, note how the “ng” sound in “long” reappears in the word “gone,” albeit in the reverse order and separated into different syllables. If you carefully analyze the rest of this passage, you’ll notice several other repeating vowel and consonant sounds that subtly enhance the overall musicality of the language.

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