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27 pages 54 minutes read

Rudyard Kipling

Rikki Tikki Tavi

Fiction | Short Story | Middle Grade | Published in 1894

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Symbols & Motifs

Eyes

The eyes of both Rikki-tikki-tavi and the cobras are a motif that develops the characters’ personalities and fighting styles, beginning in the introductory poem: “Eye to eye and head to head […] This shall end when one is dead” (1). This poem calls Rikki-tikki-tavi the “Red-Eye” in reference to his eyes glowing when he becomes angry. Each time this happens, it signals another battle scene. The color red often connotes violence (i.e., blood), but it is also associated with passion and warmth. This latter meaning is relevant, particularly given that the story also likens Rikki-tikki-tavi’s eyes to fire—specifically “hot coals.” This suggests Rikki-tikki-tavi’s intensity of feeling—his strong commitment to duty and his righteous anger on the family’s behalf—which the story compares favorably to the coldness of the cobras, who are shrewd and lacking in empathy.

Nagaina’s eyes also feature; they are a source of potential power over Darzee’s wife, who avoids looking at them for fear of freezing under the cobra’s gaze. Teddy and his family are similarly motionless when Nagaina confronts them on the veranda, though this is partly in an attempt to avoid provoking her. The motif harkens to a longstanding myth that snakes can hypnotize their prey and amplifies the sense of menace and evil the story associates with the cobras. Unlike Rikki-tikki-tavi, they do not “fight fair” but rather immobilize their victims.

White-Faced Fear

The motif of white faces occurs frequently as Teddy’s family comes into contact with more and more dangerous snakes. As relative newcomers to India, the danger of snakes is new to them, causing them added distress. Teddy’s mother in particular responds to the snakes with consistent fear, which her pallor evokes. When Nagaina confronts the family on the veranda, all three are pale: “They sat stone-still, and their faces were white” (14). That even Teddy’s courageous father is afraid underscores the danger of the moment and heightens the intensity of the story’s climax. This recurring phrase also highlights the British family’s race—i.e., their whiteness.

Eggs

One thing that unites the story’s “good” and “bad” characters is their commitment to Family Loyalty and Legacy. Though the unhatched cobra eggs represent future danger to Rikki-Tikki-tavi, they also symbolize the cobras’ powerful parental love for their young. Thoughts of their future children’s well-being lead Nag and Nagaina to attack the humans in an effort to get Rikki-tikki-tavi to leave the bungalow. When Nagaina is about to kill Teddy, it is her love for her eggs—used by Rikki-tikki-tavi as bait—that distracts her long enough for Teddy’s parents to move him to safety. This is Nagaina’s downfall; by the time the story ends, Rikki-tikki-tavi has destroyed not only the adult cobras but all of their eggs. Even as it depicts this destruction as necessary, however, the story indicates a parallel between the cobra family and the other families. Nag questions why Rikki-tikki-tavi’s consumption of eggs is morally superior to his own consumption of young birds, while Darzee notes that the cobra eggs resemble his own. In both cases, the narrator soon brushes the significance of the parallel aside—Nag is arguing in bad faith, and Darzee is “feather-brained”—yet the parallels themselves remain.

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