Stanza 1

The opening stanza of “If” emphasizes the importance of self-confidence while also advocating the courage to withstand unpopularity and dissent. However, it cautions against a self-assuredness that dismisses contrary viewpoints. Kipling creates a paradox by urging the reader to both disregard and consider doubt (lines 3 and 4). This paradox, which combines seemingly contradictory ideas to make a point, characterizes the poem's overall tone.

Line 5 emphasizes patience, line 6 underscores honesty, and line 7 highlights fortitude of character. These lines, along with the first four, collectively offer guidance on maintaining righteous behavior amid adversity. However, in line 8, Kipling quickly qualifies his advice by saying, “yet don’t look too good, nor talk too wise.” This suggests that while acting righteously, one should avoid appearing self-righteous.

The meter of the first stanza flows with a steady and predictable rhythm. If read aloud, the smooth cadence of the regular meter would convey a quiet tone—a tone reflecting the humility Kipling seems to advocate in the stanza's final two lines.

Stanza 2

The second stanza introduces variations in the meter. C. E. Carrington, in an essay for the Kipling Journal, specifically comments on line 12: “The reader finds his voice rising with a sort of indignation to a climax at the words those two imposters. (Read this line as an iambic pentameter and you kill it dead.)” According to Carrington, the consecutive stressed syllables are strikingly phrased, adding emotional intensity. This minor climax suits the stanza's theme, which cautions about the fleeting nature of both success and failure, and how publicly shared thoughts and dreams can be misused.

The first two lines (9 and 10) of the second stanza urge the reader to balance private ideals with public actions, warning against treating mental processes as ends in themselves. In essence, to be a leader, one must translate personal dreams and philosophies into public deeds. Yet, as in the first stanza, Kipling presents a contradiction by highlighting the risks of exposing private ideals to the public. As noted in line 1, once shared, private thoughts can be “twisted” from their original intent. The core message of this stanza is to encourage the reader to act on their ideals while also warning that such actions do not ensure lasting success. Lines 15 and 16 vividly depict the continuous effort required when ideals are put into practice.

Stanza 3

The third stanza is marked by the use of hyperbole, a literary device that relies on exaggeration. Following the second stanza's assertion that both “Triumph” and “Disaster” are inherently temporary, the first quatrain (four lines) of stanza three advises maintaining detachment from both. Kipling suggests “make one heap of all your winnings / And risk it on one turn of pitch-and-toss” to illustrate the level of detachment one should have towards both gains and losses, emphasizing their impermanence.

In contrast, the next four lines present a strong counterpoint by urging the reader to “Hold on!” This deliberate contradiction is a literary technique known as “paradox.” Kipling’s intention is not to suggest that exemplary leadership demands the impossible—namely, to embody contradictory behaviors and traits simultaneously—but rather to show that true leadership requires a nuanced, multifaceted, and ultimately inclusive worldview.

Stanza 4

The final stanza continues the theme of inclusiveness. It advises, in the first two lines, to “talk with crowds” without losing the “common touch,” even when striving for higher aspirations. The third and fourth lines further discourage favoritism, advocating for treating all people with equality.

The entire poem, as indicated by its title, is an extended “if/then” statement. The last line provides the resolution to every “if” posed throughout the poem: by embodying the traits of an ideal leader, one can achieve “manhood.” At this juncture, it becomes clear that the poem addresses a boy or young man specifically. Associating the attainment of “manhood” with the qualities and actions of a model leader highlights a societal view that excludes women from public leadership roles.

In the Kipling Journal, Carrington comments on the poem’s final line: “Hostile critics have made light of the final couplet, when the poet seems to descend from a high consideration of ethics to a final slangy compliment.” Carrington is quick to emphasize that the poem should be understood in the context of its original publication, which clarifies its intent. The poem is part of the children’s story collection Rewards and Fairies, making the final line an appropriately affectionate address from an older mentor to a young boy.