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The King of Peru
(Who was Emperor too)
Had a sort of a rhyme
Which was useful to know,
If he felt very shy
When a stranger came by,
Or they asked him the time
When his watch didn't go;
Or supposing he fell
(By mistake) down a well,
Or he tumbled when skating
And sat on his hat,
Or perhaps wasn't told,
Till his porridge was cold,
That his breakfast was waiting -
Or something like that;
Oh, whenever the Emperor
Got in to a temper, or
Felt himself sulky or sad,
He would murmur and murmur,
Until he felt firmer,
This curious rhyme which he had:
Eight eights are sixty-four,
Multiply by seven.
When it's done,
Carry one
And take away eleven,
Nine nines are eighty-one
Multiply by three.
If it's more,
Carry four,
And then it's time for tea.
So whenever the Queen
Took his armour to clean,
And she didn't remember
To use any starch;
Or his birthday (in May)
Was a horrible day,
Being wet as November
And windy as March;
Or, if sitting in state
With the Wise and the Great,
He just happened to hiccup
While signing his name,
Or the Queen gave a cough,
When his crown tumbled off
As he bent down to pick up
A pen for the same;
Oh, whenever the Emperor
Got into a temper, or
Felt himself awkward and shy,
He would whisper and whisper,
Until he felt crisper,
This odd little rhyme to the sky:
Eight eights are eighty-one;
Multiply by seven.
If it's more,
Carry four,
And take away eleven.
Nine nines are sixty-four;
Multiply by three.
When it's done,
Carry one,
And then it's time for tea.
A. A. Milne’s The Emperor’s Rhyme is a deceptively simple poem that, beneath its playful surface, offers a rich meditation on authority, vulnerability, and the coping mechanisms humans—even emperors—rely upon to navigate life’s absurdities. Written in Milne’s signature lighthearted style, the poem subverts expectations of imperial grandeur, presenting instead a monarch who, like any ordinary person, must contend with embarrassment, frustration, and the need for emotional regulation. Through its rhythmic cadence, absurdist humor, and psychological insight, the poem transcends its nursery-rhyme aesthetic to explore deeper themes of control, performance, and the solace of ritual.
This essay will examine The Emperor’s Rhyme through multiple lenses: its historical and cultural context within early 20th-century British literature, its use of literary devices to underscore thematic concerns, and its emotional resonance as a work that balances comedy with pathos. Additionally, we will consider how Milne’s own life and philosophical outlook inform the poem’s construction, and whether the Emperor’s coping mechanism—his nonsensical rhyme—serves as a metaphor for poetry itself.
Milne wrote The Emperor’s Rhyme during the interwar period (1918–1939), a time when British literature oscillated between postwar disillusionment and a retreat into whimsy. Writers like Milne, P. G. Wodehouse, and Evelyn Waugh often used humor as both a shield and a subversive tool, masking deeper anxieties beneath layers of wit. Milne, best known for Winnie-the-Pooh, had a gift for blending childlike wonder with subtle existential commentary, and The Emperor’s Rhyme fits neatly within this tradition.
The poem’s setting—an imaginary Peru ruled by a bumbling Emperor—reflects a post-Edwardian fascination with exoticism and satire. The British Empire, though still vast, was beginning to show cracks, and the idea of a comically inept monarch may have resonated with audiences aware of real-world political absurdities. The Emperor’s struggles—forgetting the time, falling down wells, enduring cold porridge—are deliberately mundane, undermining the myth of imperial infallibility. This aligns with a broader modernist tendency to demystify authority figures, seen also in the works of Bertolt Brecht or even Charlie Chaplin’s The Great Dictator.
Milne employs several key literary devices to enhance the poem’s effect, most notably:
Repetition and Refrain – The poem’s structure hinges on recurrence: the Emperor’s repeated social blunders (falling, hiccuping, losing his crown) and his reliance on the rhyme as a mantra. The refrain-like return to arithmetic absurdity ("Eight eights are sixty-four...") mimics the way rituals provide comfort in chaos.
Juxtaposition of Grandeur and the Absurd – The Emperor’s regal status is constantly undercut by farcical mishaps. Sitting "in state / With the Wise and the Great," he hiccups while signing documents; his crown falls off as he reaches for a pen. This contrast highlights the fragility of power and the universality of embarrassment.
Mathematical Nonsense as Emotional Anchoring – The rhyme itself is a masterpiece of illogic. The calculations are deliberately wrong ("Eight eights are eighty-one"), suggesting that the Emperor’s coping mechanism is not about accuracy but about the act of recitation. This mirrors how children (and adults) use nonsense rhymes or routines to self-soothe.
Free Indirect Discourse – The poem shifts between third-person narration and the Emperor’s internal perspective, allowing the reader to inhabit his fleeting moments of frustration and relief. This technique fosters empathy, reminding us that even rulers experience social anxiety.
At its core, The Emperor’s Rhyme is about the tension between public image and private fallibility. Several key themes emerge:
Despite his title, the Emperor is profoundly relatable. His struggles—awkwardness, forgetfulness, temper—are human, not regal. Milne democratizes the idea of authority, suggesting that no one, not even a king, is immune to life’s minor humiliations.
The rhyme serves as a psychological anchor, a way for the Emperor to regain composure. This reflects real-world coping mechanisms, from counting to ten in anger to religious mantras. The fact that the math is incorrect underscores that the power lies not in logic but in habit.
The poem satirizes the performative aspects of monarchy. The Emperor must maintain dignity even when his porridge is cold or his crown slips off. The rhyme, then, becomes a private rebellion against the absurd demands of his role.
In a world that demands seriousness from its leaders, the Emperor’s nonsense rhyme is an act of defiance. It suggests that sometimes, the only sane response to life’s chaos is to embrace the irrational.
Milne’s poem belongs to a lineage of literary nonsense that includes Lewis Carroll’s Jabberwocky and Edward Lear’s limericks. Like Carroll, Milne uses absurdity to explore deeper truths about human psychology. However, while Carroll’s nonsense often feels anarchic, Milne’s is gentler, more therapeutic. The Emperor’s rhyme does not disrupt reality but helps him endure it.
A closer parallel might be W. H. Auden’s Funeral Blues, where rigid structure contrasts with emotional turmoil. Both poems use formality to contain chaos, though Milne’s approach is more optimistic.
Milne’s own life informs the poem’s tone. A veteran of World War I, he had seen the devastation of authority figures failing catastrophically. His turn to children’s literature may have been a conscious escape from gravity, making The Emperor’s Rhyme a subtle commentary on the need for lightness in a heavy world.
Philosophically, the poem aligns with existentialist ideas about creating meaning through repetition (Camus’ Myth of Sisyphus comes to mind). The Emperor’s rhyme is his Sisyphean ritual—a way to impose order on an unpredictable world.
The poem’s brilliance lies in its emotional duality: it is both funny and poignant. Readers laugh at the Emperor’s pratfalls but also recognize their own coping mechanisms in his rhyme. This balance of humor and empathy is Milne’s signature gift.
Ultimately, The Emperor’s Rhyme may be a metaphor for poetry’s role in human life. Just as the Emperor uses his rhyme to steady himself, we turn to art for comfort, clarity, and a way to make sense of the senseless. Milne reminds us that even in a world of falling crowns and cold porridge, there is solace in rhythm, in repetition, in the sheer act of murmuring words until we feel firmer.
In this light, the poem is not just about an emperor—it is about all of us, stumbling through life, whispering our own curious rhymes to the sky.
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