DOCSLIB.ORG

My Boy Jack Language Analysis Rudyard Kipling: Poems Quotes and Analysis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
My Boy Jack Language Analysis Rudyard Kipling: Poems Quotes and Analysis my boy jack language analysis Rudyard Kipling: Poems Quotes and Analysis. Then hold your head up all the more, This tide, And every tide; Because he was the son you bore, And gave to that wind blowing and that tide! "My Boy Jack" In this poem Kipling is trying to reconcile his grief over losing his son John in the war (this is the most common interpretation, although some critics maintain he was not referring directly to his son) and his belief that military service was honorable, right, and necessary. There is a dialogue taking place between a parent wondering if there has been news of their child and a person answering who explains that there is nothing to assuage the parent’s anxiety and despair. At the end of the poem, these lines encourage the parent to reflect upon the valuable sacrifice made through allowing their son to be given up to the war effort; even though he might not be there in a corporeal sense, the young soldier will live on in memory, and will be valued for his contribution to the noble efforts of the British empire. The poem’s sadness of subject and tone coupled with its comforting message shows the complexity of Kipling’s view on the matter of war. Oh, East is East, and West is West, and never the twain shall meet, Till Earth and Sky stand presently at God’s great Judgment Seat; But there is neither East nor West, border, nor Breed, nor Birth, When two strong men stand face to face, though they come from the ends of the earth! "The Ballad of East and West" In one of Kipling’s most famous lines from one of his most famous poems, he articulates the idea that it does not matter what a man’s religion, race, or background are if he encounters another man possessing the same excellence of military might and character. Kamal and the Colonel’s son are two such men, different in their origins but similar in their nobility of spirit and possession of courage. They begin their relationship with a rivalry but end with a strong friendship that can be limited by no geographical means. This is one of several instances in Kipling's poetry where he clearly values and respects the "other"; he does not paint Kamal as a savage or as ignorant, but clearly finds him the superior man. Take up the White Man's burden-- Send forth the best ye breed-- Go bind your sons to exile To serve your captives' need; To wait in heavy harness, On fluttered folk and wild-- Your new-caught, sullen peoples, Half-devil and half-child. "The White Man's Burden" These are some of the most famous lines in the English language; in fact, it might be better to deem them the most infamous lines in the English language. The poem has become synonymous with the imperialist endeavors of Britain and other nations, suggesting that the white, civilized races had a duty and an obligation to go into the dark places of the world and conquer their peoples, bringing them the morality, culture, and economic systems of the West while denigrating their own history and traditions. Kipling was guilty of this sentiment, but as the rest of the poem reveals, he did possess a more nuanced understanding of the colonial game. He counseled men who went abroad to be wary of pride, sloth, and overreaching ambition, as well as warned them that they were not likely to receive unfettered praise for their efforts. Far-called, our navies melt away; On dune and headland sinks the fire: Lo, all our pomp of yesterday Is one with Nineveh and Tyre! Judge of the Nations, spare us yet, Lest we forget—lest we forget! "Recessional" As in "The White Man's Burden", Kipling was quick to counsel men regarding their overweening ambitions in the Empire's colonies. He wrote of the trappings of empire fading away - the navies disappearing, fires consuming everything, all of their rewards going the way of the ancient biblical cities now destroyed. Although not a religious man he brings God into the poem to indicate just how pendulous his warning is: men must be quick to remember that God is mightier than all their own works or ambitions, and that he can take from them at any moment the things they worked so hard to construct. Kipling evokes a harsh Old Testament God in this passage to hammer home the impending doom men face, especially if they become too careless with their words. This poem offers a compelling counterpart to the argument that Kipling was an arrogant imperialist, blithely promoting Britain's overseas empire without giving thought to the consequences. 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; "Tommy" Kipling's several poems about the experiences of soldiers on the battlefield and at home are some of his most popular and his most memorable. These lines from "Tommy" indicate how soldiers were treated poorly in many cases when they came home from the war. They were also misunderstood, causing them no end of distress. The speaker of the poem urges his readers to understand that these young men (most of them poor and uneducated) were not heroes or "blackguards" - they were just normal kids sent off to fight for their country. They are not saints. They have seen things that they should not have seen at such a young age; their innocence is lost. They may not behave appropriately in some situations, but people should be understanding of them and not treat them poorly. People should also stop being hypocritical by criticizing the young Tommys when there is no war but feverishly supporting and lauding them when another conflict pops up. 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! "Fuzzy-Wuzzy" Like "The Ballad of East and West", Kipling expresses admiration for Eastern warriors, in this case the Sudanese fighters the British faced in the Mahdist conflict. The soldier narrating the poem cheers the Fuzzy-Wuzzies at the end of each stanza for their excellent fighting skills and the fact that they broke through the famed British infantry square formation. However, as these lines also suggest, the soldier's respect for the warriors is not without a heaping dose of racism and a degree of scorn for their notable appearance. The description of them is hardly flattering, and the nickname itself referring to their bushy hair is silly and reductive. The narrator thinks they are heathens and depicts them in a stupid manner, as a "big black boundin' beggar" - almost like a large shaggy dog leaping toward him. The poem is thus difficult for modern readers to embrace, for even though it acclaims the Fuzzy-Wuzzies' fighting skills, it does so in a rude and racist manner. I am sick o' wastin' leather on these gritty pavin'-stones, An' the blasted Henglish drizzle wakes the fever in my bones; Tho' I walks with fifty 'ousemaids outer Chelsea to the Strand, An' they talks a lot o' lovin', but wot do they understand? "Mandalay" In "Mandalay" the speaker of the poem, a soldier once stationed in Burma and now back in England, longs for the quiet, sultry ease of life in Mandalay. He paints a picture of warm weather, exotic animals, beautiful girls, and fragrant scents in the eastern paradise of Mandalay. He contrasts that with the cold, rainy, and harsh life in London he returns to. He compares his lovely, mostly-mute Burmese girl with the loud Chelsea housemaids back home, wishing he could get back East. The poem is certainly appealing in its evocation of a world enticing in its differences from home, but it is also rife with the contemporary ideals of imperialism and racism. The land of Mandalay is seen as only a pleasure-garden for the English, the Burmese girls silent objects of lust. It is a land that cries out for some civilizing hand to force it to yield its offerings. Of course, all of these ideas are put forth in a very subtle fashion, but nonetheless they are detectable. An’ man on man got talkin’ Religion an’ the rest, An’ every man comparin’ Of the God ‘e knew best. "The Mother-Lodge" Kipling joined the Freemasons at a very young age and was fervently dedicated to them for the rest of his life. He wrote this poem to express his regard for his lodge and the colorful characters that frequented it. One of the most famous lines from the poem depicts the group of men staying up late and talking about their religions with each other. There is no judgment, no fundamentalism. There is only camaraderie, open-mindedness, and the intimacy that comes from sharing deep thoughts and feelings with people you care about in a comfortable environment. Another reason why this line is significant is that it reinforces the fact that Kipling himself was not a religious man. He certainly possessed the Victorian era's cultural supremacist views as well as some racist and misogynist views, but he was not a strict Christian.
Load more

Recommended publications
  • My Boy Jack Book Summary Rudyard Kipling: Poems Study Guide
    my boy jack book summary Rudyard Kipling: Poems Study Guide. Although Kipling is perhaps most famous for his short stories like "The Jungle Book," he was just as famed for his verse as his prose. His work, which is staggering in number, consists of such major poems as "If", "The White Man's Burden", "The Ballad of East and West", "Gunga Din", "Mandalay", and "Danny Deever". He wrote poetry throughout his life and published in newspapers, magazines, and collections and anthologies. Kipling's reputation has shifted throughout the years; more contemporary readers and scholars find many of his poems difficult to love or respect due to their embrace and sometimes-promulgation of the imperialist, racist, and misogynistic attitudes that prevailed during the day. However, during his own time he garnered more respect and a great deal of popularity. T.S. Eliot wrote of him: "[He had] an immense gift for using words, an amazing curiosity and power of observation with his mind and with all his senses, the mask of the entertainer, and beyond that a queer gift of second sight, of transmitting messages from elsewhere, a gift so disconcerting when we are made aware of it that thenceforth we are never sure when it is not present: all this makes Kipling a writer impossible wholly to understand and quite impossible to belittle." One of Britain's most famous writers, E.M. Forster, took up the subject of Kipling's poetry in a very insightful 1909 lecture. He began by expressing the assumption that Kipling was dull and vulgar, and countered that with his own perspective that "putty, brass and paint are there, but with them is fused, at times inextricably, a precious metal." Forster saw Kipling as very much "alive" and lauded him for this.
    [Show full text]
  • HERE, MY SON Rudyard Kipling and the Battle of Loos
    THIS IS THE CHAPEL: HERE, MY SON Rudyard Kipling and the Battle of Loos Dedicated to the Memory of Patrick Neafsy of Achadh Mór, Private 6534, 2nd Battalion Irish Guards, killed in action, 27 September 1915 Edward Neafcy, October 2008 After 93 years, my brother David has brought home to Mayo the story of Patrick Neafsy and his short life as a British soldier. He was in the 2nd Irish Guards. The Battle of Loos was fought from the 25 September to the 8 October, 1915. It was the biggest battle in British history up to then. Today if people know of it at all, it is generally because Rudyard Kipling’s son John was lost there. He was an officer in the Irish Guards. Patrick and John Kipling died in the same action. Patrick and John were among 32 Irish Guards who died on 27 September 1915 on a flat Flanders field exposed to German artillery, machine gun and rifle fire. Such was the slaughter that the Germans called it the Leichenfeld (Corpses Field) von Loos. Despite Remembrance Day having been so well observed in my lifetime, I had not been motivated to think too much about the Great War with its apparent senselessness. David’s and my trip to Loos made me wonder about the motivations of lads such as Patrick who responded to Kitchener’s ‘Your Country Needs You’ recruitment campaign, and the motivation of such a man as 1 Kipling deliversRudyard a recrui Kipting ling to support the war. The thoughts of the private soldiers are speech - Southporseldot, mLanc recoashire,rded – particularly as personal diaries were discouraged as they England.
    [Show full text]
  • Works in the Kipling Collection "After" : Kipling, Rudyard, 1865-1936. 1924 BOOK PR 4854 R4 1924 "After"
    Works in the Kipling Collection Title Main Author Publication Year Material Type Call Number "After" : Kipling, Rudyard, 1865-1936. 1924 BOOK PR 4854 R4 1924 "After" : Kipling, Rudyard, 1865-1936. 1924 BOOK PR 4854 R4 1924 "Collectanea" Rudyard Kipling. Kipling, Rudyard, 1865-1936. 1908 BOOK PR 4851 1908 "Curry & rice," on forty plates ; or, The ingredients of social life at Atkinson, George Francklin. 1859 BOOK DS 428 A76 1859 "our station" in India / : "Echoes" by two writers. Kipling, Rudyard, 1865-1936. 1884 BOOK PR 4854 E42 1884 "Kipling and the doctors" : Bateson, Vaughan. 1929 BOOK PR 4856 B3 "Teem"--a treasure-hunter / Kipling, Rudyard, 1865-1936. 1935 BOOK PR 4854 T26 1935 "Teem"--a treasure-hunter / Kipling, Rudyard, 1865-1936. 1938 BOOK PR 4854 T26 1938 "The Times" and the publishers. Publishers' Association. 1906 BOOK Z 323 T59 1906 "They" / Kipling, Rudyard, 1865-1936. 1905 BOOK PR 4854 T35 1905 "They" / Kipling, Rudyard, 1865-1936. 1905 BOOK PR 4854 T35 1905 "They" / Kipling, Rudyard, 1865-1936. 1905 BOOK PR 4854 T35 1905a "They" / Kipling, Rudyard, 1865-1936. 1905 BOOK PR 4854 T35 1905a "They" / Kipling, Rudyard, 1865-1936. 1906 BOOK PR 4854 T35 1906 "They" / Kipling, Rudyard, 1865-1936. 1905 BOOK PR 4854 T35 1905 "They"; and, The brushwood boy / Kipling, Rudyard, 1865-1936. 1925 BOOK PR 4854 T352 1925 "They"; and, The brushwood boy / Kipling, Rudyard, 1865-1936. 1926 BOOK PR 4854 T352 1926 [Autograph letter from Stephen Wheeler, editor of the Civil & Wheeler, Stephen, 1854-1937. 1882 BOOK PR 4856 A42 1882 military gazette, reporting his deputy [Diary, 1882].
    [Show full text]
  • View / Download the Full Paper in a New Tab/Window
    Drum-Taps: Whitman's Problematic Legacy as a War Poet Fahri Öz, Ankara University, Turkey The Asian Conference on Literature, Librarianship & Archival Science 2016 Official Conference Proceedings Abstract This paper analyzes Walt Whitman’s Civil War poems in Drum-Taps in comparison with the poetry written by British soldier-poets of WWI. These poems present Whitman as a problematic model for future generations of war poets since he hardly ever questions the meaninglessness of bloodshed in the battlefield, a trait which is almost a defining characteristic of WWI poetry. War poetry in this article stands for anti-war poems that question and criticizes bloodshed rather than celebrating it. Whitman the war poet encourages people to take part in the war without making it clear what one is supposed to fight for or against. His poems divest individuals of their personality and turn them into parts of the war machine. The poems in Drum- Taps depend heavily on the use of visual images, while his British successors opted for a variety of images that implied proximity. Whitman’s poetry suggests lack of involvement since he was not a solider-poet, which to a great extent renders him a questionable role model for future poets. Therefore, though some of his elegiac pieces may serve as models for future poets, Whitman’s legacy as a war poet poses a problem for his British antecedents with its, artistic, ethical and political implications. Keywords: Walt Whitman, Drum-Taps, war poetry, WWI British poets, tradition iafor The International Academic Forum www.iafor.org Introduction Nineteenth century American literati were concerned with establishing the identity of America through works of art, especially literature.
    [Show full text]
  • Unseen Poetry Preparation Anthology
    Unseen Poetry Preparation Anthology The Pearson Edexcel AS and A level English Literature Unseen Poetry Preparation Anthology can be used to prepare for Component 3 of your assessment Pearson Edexcel GCE in English Literature Approaching Contemporary Unseen Poetry: An Anthology of poems and resources For use with: GCE English Literature A level (9ET0) Component 3 Published by Pearson Education Limited, a company incorporated in England and Wales, having its registered office at Edinburgh Gate, Harlow, Essex, CM20 2JE. Registered company number: 872828 Edexcel is a registered trade mark of Edexcel Limited © Pearson Education Limited 2014 First published 2014 17 16 15 14 10 9 8 7 6 5 4 3 2 1 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 9781446913505 Copyright notice All rights reserved. No part of this publication may be reproduced in any form or by any means (including photocopying or storing it in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright owner, except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London, EC1N 8TS (www.cla.co.uk). Applications for the copyright owner’s written permission should be addressed to the publisher. See page 65 for acknowledgements. Contents 1 Introduction 4 2 How to approach
    [Show full text]
  • Introduction
    1 Introduction JAN MONTEFIORE Cities and Th rones and Powers Stand in Time’s eye Almost as long as fl owers 1 Which daily die. ipling’s brief elegy for the vanity of human deeds brings together three K themes of this collection of essays: the subjection of his own work and reputation to those processes of time and change of which his poem warns; his relationship to historical institutions of rule and dominance named as ‘Th rones and Powers’; and his many-sided artistry, manifested in this ironic vision of the fall of ancient empires mediated through echoes of Milton and Herrick.2 An account of Kipling ‘in Time’s eye’ necessarily begins with the changes in his reception, here represented in capsule form by the fi rst three essays from G.K. Chesterton (1905), George Orwell (1942) and Randall Jarrell (1961). His reputation has been notoriously changeable since he arrived in London in 1890 as the young genius from India who in one year had had ‘more said about his work, over a wider extent of the world’s surface, than some of the greatest of England’s writers in their whole lives’,3 in 1895 was sounded out as a possible successor to Tennyson as Poet Laureate,4 and whose near-death from pneumonia in 1899 was headline news in three continents. Praise was never undiluted: his ‘vulgarity’ was mocked by Oscar Wilde and attacked by Robert Buchanan and, more devastatingly, Max Beerbohm;5 and as Kipling’s imperialist opinions became more strident after the Boer War he lost the 9780719090172_C01.indd 1 11/10/13 12:02 PM 2 In Time’s eye esteem of British literary intellectuals, whom he in turn despised (his close friends included no fellow writer except Rider Haggard, author of thrillingly mythopoeic imperialist fantasy novels).
    [Show full text]
  • English Literature Workbook 2020
    Where will English take you? English Literature A level Booklet Summer 2020 AQA A Level English Literature Course Overview Paper 1: Love through the Ages Section A: Shakespeare: One passage-based question with linked essay (25 marks) Section B: Unseen poetry: Compulsory essay question on two unseen poems (25 marks) Section C: Comparing texts: (study a prose text and a bank of poems in AQA Anthology) One essay question linking two texts (25 marks) 3 hour Exam Open Book Total 75 marks Paper 2a Texts in Shared Context Section A: Set texts. One essay question on set text (25 marks) Section B: Contextual linking One compulsory question on an unseen extract. (25 marks) One essay question linking two texts (25 marks) 2 hours 30 minutes exam Open Book Total 75 marks Non Examined Assessment (NEA) Comparative critical study of two texts - at least one of which must have been written pre- 1900 One extended essay (2500 words) and a bibliography Assessed (50 marks) Assessment Objectives AO1 Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression. (28%) AO2 Analyse ways in which meanings are shaped in literary texts. (24%) AO3 Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received. (24%) AO4 Explore connections across literary texts. (12%) AO5 Explore literary texts informed by different interpretations. (12%) Set Texts Paper 1 Shakespeare text Pre 1900 prose Bank of poetry – AQA Anthology Paper 2a Regeneration by Pat Barker Up the Line to Death ed.
    [Show full text]
  • 'The Hun Is at the Gate': Rudyard Kipling's Poetry
    “The Hun Is at the Gate”: Rudyard Kipling’s Poetry of the First World War Brian Abel Ragen History, in every sense, is the central subject in Kipling’s mature work. In his early, Indian period, he describes a limited social milieu—and those tales of the flirtations of officers and the sufferings of common soldiers help create the modern short story. As time goes on, however, Kipling comes more and more to see the individual as part of a larger story, one that has been developing through the ages. In the children’s books Puck of Pook’s Hill and Rewards and Fairies, he probes the roots of English culture, with its various strands of Roman, Saxon, and Norman. In many poems and stories intended for adult audiences, he both commented on the events that were shaping the history of his time and used the history of earlier ages as the vehicle through which those events might be understood. Some of Kipling’s most interesting poems are the products of the First World War. Kipling had, like many others, expected a war with Germany, and when the war came, he threw himself into the cause, writing a number of ephemeral works on the Army and Navy as well as some powerful stories. The war became a personal calamity, as well as a public cause, in 1915, when Kipling’s only son John was reported missing during the battle of Loos. The young officer, who was just 18 and going into action for the first time, was probably killed and buried by a shell.
    [Show full text]
  • War, Grief and Experiences of the Asylum, 1915 - 1935
    University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 2013 Bereft: War, grief and experiences of the asylum, 1915 - 1935 Jennifer Roberts University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Roberts, Jennifer, Bereft: War, grief and experiences of the asylum, 1915 - 1935, Doctor of Philosophy thesis, School of History and Politics, University of Wollongong, 2013.
    [Show full text]
  • Performance of Bereavement: 'Ritual' in Kipling's Great War Texts
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE Performance of Bereavement: ‘Ritual' in Kipling's Great War Texts Toko Omomo John Kipling, Rudyard Kipling's only son, went missing on 27 September, 1915, during the battle of Loos, and his remains were never found. This tragic episode about the famous writer's son attracted much attention when the TV drama My Boy Jack was broadcasted on Armistice Day in 2007. The TV programme, adapted by the actor David Haig from his own play, which was first staged in 1997, starred such well-known actors as Daniel Radcliff and Kim Catrell. Dorothea Flothow argues that the story of Rudyard and John Kipling has become popular, because it is well matched with a popular myth of the Great War‘: The story of this unremarkable young man and his famous father serves as a symbol of what this conflict stands for to this day'.1 The popular memory of the First World War is not the war's factual account but a widespread feeling dominated by numerous stereotypical images or a myth, which Samuel Hynes defines as‘ a term to identify the simplified, dramatised story that has evolved in our society to contain the meanings of the war that we can tolerate, and so make sense of its incoherence and contradictions.'2 The Great War consists of the‘ myth of the lost generation', that of promising youths killed just before their prime, and the‘ myth of disenchantment', that of innocent young men sent off to war, believing in the ideals of Honour or Glory, and finding themselves shocked and disillusioned － 1 － by their war experiences, partly because of the ineptitude of stupid old generals.
    [Show full text]
  • A Bibliography of the Works of Rudyard Kipling (1881-1921)
    GfarneU UntUKtattjj Siibrarg 3tlrara, Htm $nrk BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 Cornell University Library Z8465 -M38 1922 Bibliography of the works of Rudyard Kip 3 1924 029 624 966 olin The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://archive.org/details/cu31924029624966 Of this booh 450 copies have been printed, of which £00 are for sale. This is No.M TO MY MOTHER A BIBLIOGRAPHY OF RUDYARD KIPLING c o o o ^ U rS Frontispiece.} A BIBLIOGRAPHY OF THE WORKS OF RUDYARD KIPLING (1881—1921) X ,' ^ BY E. W. MARTINDELL, M.A.IOxon.), F.R.A.I. Bairister-at-Law. LONDON THE BOOKMAN'S JOURNAL 173, FLEET STREET, E.C.4. NEW YORK JAMES F. DRAKE. INC. 1922 z f\5as oz^l — PREFACE To the fact that in the course of many years I gathered tog-ether what became known as the most comprehensive collection of the writings of Rudyard Kipling, and to the fact that no-one has compiled an exhaustive bibliography of these writings is due this work. How great has been the need for a full and up to date bibliography of Kipling's works needs no telling. From Lahore to London and from London to New York his various publishers have woven a bibliographical maze such as surely can hardly be paralleled in the literature about literature. The present attempt—the first which has been made in England, so far as I know, on any extensive scale—to form a detailed guide to this bibliographical maze is necessarily tentative; and despite all errors and omissions, for which, as a mere tyro, I crave indulgence, I trust that the following pages will provide not only a handy record for collectors of the writings of our great imperialist poet and novelist, but a basis for the fuller and more perfect work, which the future will bring forth.
    [Show full text]
  • 2020 Media Guide
    2020 FACTBOOK A NEW LEVEL OF RACING January 24–May 2 1 MEDIA GUIDE TABLE OF CONTENTS 4 26 42 ABOUT OAKLAWN LIVE MEET STATISTICS TRAINER BIOGRAPHIES 6 28 48 BOARD OF DIRECTORS HANDLE & ATTENDANCE JOCKEY BIOGRAPHIES 8 30 54 SENIOR MANAGEMENT SEASON PURSE DISTRIBUTION OAKLAWN CHAMPIONS 9 32 58 RACING & CASINO MANAGEMENT SEASON CHAMPIONS 2020 STAKES SCHEDULE 10 34 60 OAKLAWN HISTORY OAKLAWN TRACK RECORDS OAKLAWN STAKES HISTORIES & CANCELLATIONS 22 36 94 COMING SOON TO OAKLAWN OWNER BIOGRAPHIES HORSES OF THE YEAR 3 ABOUT OAKLAWN ocated in the heart of history: Pan Zareta, Old Rosebud, schedules. Horses of the Year Cigar, Hot Springs National Park, and Exterminator – all members of Azeri, Zenyatta, Havre de Grace along L Oaklawn has been one of the the National Museum of Racing and with champions Bayakoa, Temperence premiere Thoroughbred racetracks in Hall of Fame. This began a tradition Hill, Will Take Charge, Accelerate, and the country since 1904, best known as of attracting the best horses in the most recently Mitole and Midnight home of the $1 million Arkansas Derby country to race in Hot Springs. Bisou have left their mark on Oaklawn. (G1). Founded by brothers Louis and And, while Oaklawn has become Today, Oaklawn is not just live Charles Cella along with John Condon synonymous with Triple Crown race racing. It also offers a casino, and Dan Stuart it wasn’t the first track success, especially over the past 15 sports book, year-round simulcast in Hot Springs, but by 1920, it was the years thanks to horses such as Smarty racing, and Oaklawn Anywhere, an only one.
    [Show full text]