One can, perhaps, place Kipling more satisfactorily than by juggling with the words “verse” and “poetry” if one describes him simply as a good bad poet.
“Mr.[T.S.] Eliot describes Kipling’s metrical work as “verse” and not “poetry,” but adds that it is “great verse,” and further qualifies this by saying that a writer can only be described as a “great verse-writer” if there is some of his work “of which we cannot say whether it is verse or poetry.”
“At his worst, and also his most vital, in poems like “Gunga Din” or “Danny Deever,” Kipling is almost a shameful pleasure, like the taste for cheap sweets that some people secretly carry into middle life. But even with his best passages one has the same sense of being seduced by something spurious, and yet unquestionably seduced. Unless one is merely a snob and a liar it is impossible to say that no one who cares for poetry could get any pleasure out of such lines as: “For the wind is in the palm-trees, and the temple-bells they say:/Come you back, you British soldier; come you back to Mandalay!” and yet those lines are not poetry in the same sense as “Felix Randal” [Hopkins] or “When icicles hang by the wall” [Shakespeare] are poetry.
“There is a great deal of good bad poetry in English, all of it, I should say, subsequent to 1790. Examples of good bad poems–I am deliberately choosing diverse ones–are “The Bridge of Sighs,” “When all the World is Young, Lad,” “The Charge of the Light Brigade,” Bret Harte’s “Dickens in Camp,” “The Burial of Sir John Moore,” “Jenny Kissed Me,” “Keith of Ravelston,” “Casabianca.” All of these reek of sentimentality, and yet—not these particular poems, perhaps, but poems of this kind, are capable of giving true pleasure to people who can see clearly what is wrong with them. One could fill a fair-sized anthology with good bad poems, if it were not for the significant fact that good bad poetry is usually too well known to be worth reprinting. It is no use pretending that in an age like our own, “good” poetry can have any genuine popularity. It is, and must be, the cult of a very few people, the least tolerated of the arts. Perhaps that statement needs a certain amount of qualification. True poetry can sometimes be acceptable to the mass of the people when it disguises itself as something else. One can see an example of this in the folk-poetry that England still possesses, certain nursery rhymes and mnemonic rhymes, for instance, and the songs that soldiers make up, including words that go to some of the bugle-calls. But in general ours is a civilization in which the very word “poetry” evokes a hostile snigger or, at best, the sort of frozen disgust that most people feel when they hear the word “God.”
“If you are good at playing the concertina you could probably go into the nearest public bar and get yourself an appreciative audience within five minutes. But what would be the attitude of that same audience if you suggested reading them Shakespeare’s sonnets, for instance? Good bad poetry, however, can get across to the most unpromising audience if the right atmosphere has been worked up beforehand.
“The fact that such a thing as good bad poetry can exist is a sign of the emotional overlap between the intellectual and the ordinary man. The intellectual is different from the ordinary man, but only in certain sections of his personality, and even then not all the time. But what is the peculiarity of a good bad poem? A good bad poem is a graceful momument to the obvious. It records in memorable form–for verse is a mnemonic device, among other things–some emotion which very nearly every human being can share. The merit of a poem like “When all the World is Young, Lad” is that, however sentimental it may be, its sentiment is “true” sentiment in the sense that you are bound to find yourself thinking the thought it expresses sooner or later; and then, if you happen to know the poem, it will come back into your mind and seem better than it did before.”
……………………………………………………………………..–George Orwell, 1946