Bush Poetry
(Warren Fahey) When I first started collecting folklore way back in the 1960s, I was always fascinated when old timers would recite bush poems into my tape recorder. I had initially gone out to collect ‘bush songs’ for my National Library of Australia Collection and for my own repertoire. It soon became obvious that poems, songs and, indeed, yarns were seen as a trio – most people I recorded, and after all these years, it still holds true, knew all three branches of the traditional tree. To them, it all came back to story-telling. I now see bush entertainment as a mighty gumtree with its branches including songs, poems, yarns, drinking toasts, slang, crafts, ghost stories, bush dance music played on a variety of simple instruments, including some homemade ones, and, yes, there are many other branches on that ever-growing tree.
Poetry is certainly one of the strongest branches of the bush tradition. It has a noble history starting with our transported convicts who used poetry to describe their misfortune, express their aspirations for freedom, and, of course, use humour to lighten their heavy hearts. The poems and monologues of Frank MacNamara, including his epic ‘Convict’s Tour of Hell’ are among the gems of Australian literature. As the colony moved from goal to adventurous ‘new land’, poetry became a popular vehicle to criticise and ridicule Government humbugs and haughty bigwigs. Magazines like ‘The Sydney Gazette’, ‘The Monitor’, ‘Sydney Punch’ and ‘Sydney Herald’ all carried poetry of this style. The discovery of gold in 1851 saw Australia’s population jump from around 400,000 to 1,250,000 in a decade. Gold also sent the colonies bouncing, and poetry was there to tell the stories of hopeful diggers, officious troopers, miners striking it rich and the desperate misery of failure. Poetry also travelled ‘up country’ to the ‘outback’ where it was recited ‘back of Bourke’, scribbled on the ‘black stump’ and sent to the local ‘one horse town’ newspaper. It was duly published as ‘original verse’. Poetry rejoiced as Australia rode the economic boom times of the second half of the 19th century. It was recited around campfires after a hard day’s droving, timber cutting, boundary riding or pushing stubborn bullocks over roads that barely deserve to be called so. It was there too in the homestead and the men’s huts after a day working the plough or shearing blade. It was also with those men and women ‘on the track’ as they humped their swags, making track for the next town and possibly the next job.
The stories told in these poems were often heartbreaking stories familiar to most frontier societies: memories of distant homes, missed loved ones, and the ever-present ache of separation. Some poems gave welcome ‘news’ of wealth and success and poems that related what must have sounded hysterically funny: describing the ‘arrival of the new chum’ dressed in England’s finest, including a top hat, plum in mouth, ready to meet the sheep and cattle. The bushmen also wrote and recited poems about their own lives – stories about dogs, dags, cantankerous sheep, trusty horses, crook tucker and the refreshing billies of tea that revived their drooping bodies and spirits.
Poetry was recited at country dances and parties when everyone had to have a ‘party piece’ be it a song, yarn, tune or poem. Some reciters knew hundreds of poems, including many of the lengthy ‘galloping rhymes’ so popular in our tradition. Like the bush singer, the reciter’s repertoire would range widely talking in various signposts of our history, including early bushranging ballads, the gold rushes through to the accepted ‘bush’ subjects, including bush travellers, bad food, grumpy cooks, going on the spree, hitting the big smoke, and poems about the men whom they worked alongside – the good, bad and ugly. We also liked a joke in our poems and it has been said many times that we Australians inherited a special sense of humour: dry, sardonic and one that likes to cut down ‘tall poppies’. We recited on horseback, around the fire and around the homestead hearth.
Around the time of Federation, in 1901, Australia experienced a major population shift where the bulk of the population, for the first time, now lived in the coastal cities rather than the bush. The country had seen lean times in the 1890s with massive labour strikes and devastating droughts, and, besides, the factories and work were located in the ‘big smoke’. Hundreds of thousands of bush people relocated to the cities, and in some ways, this should have rung the death knell for traditional entertainment. I can’t but think of that poignant line in A. B. Paterson’s ‘Clancy of the Overflow’ where the poet reflects on the hurrying, insensitive city people: ‘The townsfolk have no time to grow, they have no time to waste.’
Even though we were changing from a nation of people who used to entertain each other to a nation who ‘got entertained’, reciters, and I refer here to the published collections of poetry rather than the people who recite poems, continued to be popular in Australia. Older Australians will recognise these recitation books as part of their ‘elocution lessons’ where works like ‘Tangmalangaloo’ and ‘The Travelling Post Office’ were enunciated with dramatic (and often nervous) fervour. One of the most successful collections was titled ‘Australian Bush Recitations’ as edited by ‘Bill Bowyang’ (Alex Vennard). This reciter appeared as a series of six commencing in 1933 and contained poems from early newspapers and reader contributions.
Entertainment continued to change dramatically, especially after the introduction of commercially priced gramophone machines and, later, radio. There were many new recreational options, including shopping, parklands and beaches, sport, music hall, vaudeville, special exhibitions, and silent film theatres. Did traditional entertainment have a place in this new world? The answer is a firm ‘yes’, because we sorely missed the bush that had played such an important role in defining who we were as Australians.
We were of the bush, and we wanted to retain that link. The Bulletin had played a vital role in taking poetry to the isolated bush worker. From its first publication in 1880, this magazine, often known as ‘The Bushman’s Bible’, encouraged and published many bush poems from average workers. Well into the 20th century, it was still being read by city and country people alike.
WW1 cemented our distant relationship with bush poetry as the diggers embraced poems by Adam Lindsay Gordon, A B Paterson, Henry Lawson, Joseph Furphy and so many other Australians, because poetry provided a much-needed emotional conduit to country, home and family. Reading a poem about an old sheepdog, stubborn longhorn, or high-riding drover, immediately transported these soldiers from the front line to the back paddock. Many army kits included a battered and treasured copy of a classic bush verse collection. The same thing happened in WW2 and to some extent in Vietnam and later military involvements.
There’s a popular song from 1979 called ‘Video Killed The Radio Star’ however, it could be said that ‘radio killed the reciter’ as the spirit of much traditional entertainment disappeared with the increasing popularity of the wireless. Even bush folk abandoned their regular ‘get-togethers’ to tune into their favourite radio quizzes, serials and music programs. Poetry had no place on the radio and all seemed doomed. The advent of television in 1956 appeared to hammer the last nail into bush poetry’s coffin. Maybe surprisingly, this didn’t happen. Slowly the bush poetry tradition, alongside the singing and playing of bush songs, made a re-appearance at what was called ‘folk festivals’ and country music gatherings. The publication of ‘Australian Bush Ballads’, edited by Douglas Stewart and Nancy Keesing, by Angus & Robertson, in 1955, provided a landmark collection, combining classics with newly located unpublished bush verse. Here was a ‘bush bible’ of verse that spoke of our pioneering past and the professional and anonymous poet’s role in capturing our emotional and poetical history. A few years later, they were to do the same thing for the bush song in their publication, ‘Old Bush Songs’.
(Warren Fahey) In 2005 Graham Seal and I edited the original A B Paterson collection of this remarkable work, originally published by Angus & Robertson in 1905, in a centenary edition.
The next part of the revival came with the increasing attendance at the burgeoning folk and country festivals and in particular the large crowds who gathered for what had been dubbed ‘Poet’s Breakfasts’ – where reciters and poets would perform their own or classic Australian poems. Today these ‘Poet’s Breakfasts’ are open to all comers, and it is not unusual to see 500 or more eager poetry lovers listening to Paterson, Lawson or Jill and Joe Blow (who just happen to write poetry about the Australian way of life and strife), as the audience sip tea and munch toast. These later poems come in all shapes and sizes. Although we are still riding with the ‘man from the Snowy River’, still staring at the ‘faces in the street’, and looking out the window ‘like Clancy’, we are also reciting about lovesick bulls, stockmen riding motorbikes and bushmen riding to the ‘big smoke’ – in 4WDs. These newer poems prove that the interest in bush poetry is more than a nostalgic look back to ‘the good old days’, and also proof that we have not succumbed completely to the passive seat by the television and internet screen.
(Warren Fahey) In selecting the poems in this collection, I have tried to offer a book of ‘classic’ works that tell our story or some of them. Most have travelled long bush roads and stood the test of time. They are also poems that were recited rather than simply read. There are many famous names including that prolific contributor Anon. However, it is still just a sampling from a very deep swag.
Bush poetry is in good shape, and I hope this collection of Classic Bush Poems travels far into the 21st century. We need more stories in our 21st-century lives!
Warren Fahey has been collecting and performing Australian folklore, including classic bush poetry, for over fifty years. He has performed in front of Kings, Presidents, Governor Generals, State Governors, Prime Ministers, and blokes drinking tinnies on the edge of the Simpson Desert. He has spruiked at writer’s, folk, poet’s breakfasts, country music festivals, and several international festivals, including the Edinburgh Arts Festival, weddings, wakes, openings and closings. His repertoire includes a swag of bush yarns, ballads, drinking toasts, city ditties and, of course, Australia’s classic bush poetry. In 2004, he received the CMAA Tamworth Judith Hosier Golden Gumleaf Award for ‘Lifetime Achievement in Promoting The Bush Ballad’. The ‘Centenary Edition: ‘Banjo’ Paterson’s Old Bush Songs’ was awarded ‘Heritage Book of the Year’ in 2006.
CLASSIC BUSH VERSE
This collection of classic bush poems celebrates the great poets of Australia’s ‘colonial golden years’ – including Henry Lawson, A B ‘Banjo’ Paterson, C J Dennis, P J Hartigan (‘John O’Brien’), G H ‘Ironbark’ Gibson, Harry ‘The Breaker’ Morant, E G ‘Dryblower’ Murphy, Joseph ‘Tom Collins’ Furphy, Will Lawson, Adam Lindsay Gordon, Will Ogilvie, John Neilson, W T Goodge, and the prolific ‘Anonymous’. These are rip-roaring stories that tell us so much about our Australian identity.
Read them, recite them and rejoice in them!
But first here’s a few anonymous bush poetry classics to wet your whistle.
Warren Fahey recites ‘The Wombat’. For some strange reason, explained here after decades of poking and prodding, the mystery of why wombats have square turds is revealed by an anonymous poet.
Warren Fahey recites (with a little help from sound effects devised by Marcus Holden) ‘Queensland: Thou Art A Land of Pests’.
Warren Fahey recites ‘The Dog’s Meeting’ and thereby solves another age-old mystery: why dog’s delight in sniffing each others posteriors.
Warren Fahey recites ‘The Scratching of the Agates’ a poem collected in Bourke and, yet again, it solves a mystery.
Introduction
When I first started collecting folklore, way back in the 1960s, I was always fascinated when old timers would recite bush poems into my tape recorder. I had initially gone out to collect ‘bush songs’ for my National Library of Australia Collection, and for my own repertoire. It soon became very obvious that poems, songs and, indeed, yarns, were seen as a trio – most people I recorded, and after all these years it still holds true, knew all three branches of the tradition tree. To them it all came back to story-telling and I now see bush entertainment as a mighty gumtree with its branches including songs, poems, yarns, drinking toasts, slang, crafts, ghost stories, bush dance music played on a variety of simple instruments, including some homemade ones, and, yes, there are many other branches on that ever-growing tree.
Poetry is certainly one of the strongest branches of the bush tradition. It has a noble history starting with our transported convicts who used poetry to tell of their misfortune, express their aspirations for freedom, and, of course, to use with humour to lighten their heavy hearts. The poems and monologues of Frank MacNamara, including his epic ‘Convict’s Tour of Hell’ are amongst the gems of Australian literature. As the colony moved from goal to adventurous ‘new land’, poetry became a popular vehicle to criticise and ridicule Government humbugs and haughty bigwigs. Magazines like ‘The Sydney Gazette’, ‘The Monitor’, ‘Sydney Punch’ and ‘Sydney Herald’ all carried poetry of this style. The discovery of gold in 1851 saw Australia’s population jump from around 400,000 to 1,250,000 in a decade. Gold also sent the colonies bouncing and poetry was there to tell the stories of hopeful diggers, officious troopers, miners striking it rich and the desperate misery of failure. Poetry also travelled ‘up country’ to the ‘outback’ where it was recited ‘back of Bourke’, scribbled on the ‘black stump’ and sent to the local ‘one horse town’ newspaper, where it was duly published as ‘original verse’. It was poetry that rejoiced as Australia rode the economic boom times of the second half of the 19th century. It was recited around campfires after a hard day’s droving, timber cutting, boundary riding or pushing stubborn bullocks over roads that barely deserve to be called so. It was there too in the homestead and the men’s huts after a day working the plough or shearing blade. It was also with those men and women ‘on the track’ as they humped their swags making track for the next town, and possibly next job.
The stories told in these poems were often heartbreaking stories familiar to most frontier societies: memories of distant home, missed loved ones, and the ever-present ache of separation. There were poems that gave welcome ‘news’ of wealth and success and poems that related what must have sounded hysterically funny: describing the ‘arrival of the new chum’ dressed in England’s finest, including a top hat, plum in mouth, ready to meet the sheep and cattle. The bushmen also wrote and recited poems about their own lives – stories about dogs, dags, cantankerous sheep, trusty horses, crook tucker and the refreshing billies of tea that so revived their drooping bodies and spirits.
Poetry was recited at country dances and parties when everyone had to have a ‘party piece’ be it a song, yarn, tune or poem. Some reciters knew hundreds of poems including many of the lengthy ‘galloping rhymes’ so popular in our tradition. Like the bush singer the reciter’s repertoire would range widely talking in various signposts of our history including early bushranging ballads, the gold rushes through to the accepted ‘bush’ subjects including bush travellers, bad food, grumpy cooks, going on the spree, hitting the big smoke, and poems about the men who they worked alongside – the good, bad and ugly. We also liked a joke in our poems and it has been said many times that we Australians inherited a special sense of humour: dry, sardonic and one that likes to cut down ‘tall poppies’. We recited on horseback, around the fire and around the homestead hearth.
Around the time of Federation, in 1901, Australia experienced a major population shift where the bulk of the population, for the first time, now lived in the coastal cities rather than the bush. The country had seen lean times in the 1890s with massive labour strikes and devastating droughts, and, besides, the factories and work were located in the ‘big smoke’. Hundreds of thousands of bush people relocated to the cities and, in some ways, this should have rung the death knell for traditional entertainment. I can’t but think of that poignant line in A. B. Paterson’s ‘Clancy of the Overflow’ where the poet is reflecting on the hurrying, insensitive city people: ‘The townsfolk have no time to grow, they have no time to waste.’
Despite the fact we were changing from a nation of people who used to entertain each other, to a nation who ‘got entertained’, reciters, and I refer here to the published collections of poetry rather than the people who recite poems, continued to be popular in Australia. Older Australians will recognise these recitation books as part of their ‘elocution lessons’ where works like ‘Tangmalangaloo’ and ‘The Travelling Post Office’ were enunciated with dramatic (and often nervous) fervour. One of the most successful collections was titled ‘Australian Bush Recitations’ as edited by ‘Bill Bowyang’ (Alex Vennard). This reciter appeared as a series of six commencing in 1933 and contained poems from early newspapers and reader contributions.
Entertainment continued to change dramatically, especially after the introduction of commercially priced gramophone machines and, later, radio. There were many new recreational options including shopping, parklands and beaches, sport, music hall, vaudeville, special exhibitions, and silent film theatres. Did traditional entertainment have a place in this new world? The answer is a firm ‘yes’, because we sorely missed the bush that had played such an important role in defining who we were as Australians.
We were of the bush and we wanted to retain that link. The Bulletin had played a vital role in taking poetry to the isolated bush worker. From its first publication in 1880 this magazine, often known as ‘The Bushman’s Bible’, encouraged and published many bush poems contributed by average workers, and, well into the 20th century, was still being read by city and country person alike.
WW1 cemented our distant relationship with bush poetry as the diggers embraced poems by Adam Lindsay Gordon, A B Paterson, Henry Lawson, Joseph Furphy and so many other Australians, because poetry provided a much-needed emotional conduit to country, home and family. Reading a poem about an old sheep dog, stubborn longhorn, or high-riding drover, immediately transported these soldiers from the front line to the back paddock. Many army kits included a battered and treasured copy of a classic bush verse collection. The same thing happened in WW2 and to some extent in Vietnam and later military involvements.
There’s a popular song from 1979 called ‘Video Killed The Radio Star’ however it could be said that ‘radio killed the reciter’ as the spirit of much traditional entertainment disappeared with the increasing popularity of the wireless. Even bush folk abandoned their regular ‘get togethers’ to tune into their favourite radio quizzes, serials and music programs. Poetry had no place on radio and all seemed doomed. The advent of television in 1956 appeared to hammer the last nail into bush poetry’s coffin. Maybe surprisingly this didn’t happen. Slowly the bush poetry tradition, alongside the singing and playing of bush songs, made a re-appearance at what were called ‘folk festivals’ and country music gatherings. The publication of ‘Australian Bush Ballads’, edited by Douglas Stewart and Nancy Keesing, by Angus & Robertson, in 1955, provided a landmark collection, combining classics with newly located unpublished bush verse. Here was a ‘bush bible’ of verse that spoke of our pioneering past and the role of the poet, both professional and anonymous, in capturing our emotional and poetical history. A few years later they were to do the same thing for the bush song in their publication ‘Old Bush Songs’. In 2005 Graham Seal and myself edited the original A B Paterson collection of this remarkable work, originally published by Angus & Robertson in 1905.
The next part of the revival came with the increasing attendance at the burgeoning folk and country festivals, and in particular the large crowds who gathered for what had been dubbed ‘Poet’s Breakfasts’ – where reciters and poets would perform their own or classic Australian poems. Today these ‘Poet’s Breakfasts’ are open to all comers and it is not unusual to see 500 or more eager poetry lovers listening to Paterson, Lawson or Jill and Joe Blow (who just happen to write poetry about the Australian way of life and strife), as the audience sip tea and munch toast. These later poems come in all shapes and sizes and although we are still riding with the ‘man from the Snowy River’, still staring at the ‘faces in the street’, and looking out the window ‘like Clancy’, we are also reciting about lovesick bulls, stockmen riding motorbikes and bushmen riding to the ‘big smoke’ – in 4WDs. These newer poems are proof that the interest in bush poetry is more than a nostalgic look back to ‘the good old days’, and also proof that we have not succumbed completely to the passive seat by the television and internet screen.
In selecting the poems in this collection I have tried to offer a book of ‘classic’ works that tell our story, or some of them. Most have travelled long bush roads and stood the test of time. They are also poems that were recited rather than simply read. There are many famous names including that prolific contributor Anon, however, it is still just a sampling from a very deep swag.
Bush poetry is in good shape and I hope this collection of Classic Bush Poems travels far into the 21st century. We definitely need more stories in our 21st century lives!
Warren Fahey
Warren Fahey has been collecting and performing Australian folklore, including classic bush poetry, for nigh on forty years. He has performed in front of Kings, Presidents, Governor Generals, State Governors, Prime Ministers, and for blokes drinking tinnies on the edge of the Simpson Desert. He has spruiked at writer’s festivals, folk festivals, poet’s breakfasts, country music festivals, and several international festivals including the Edinburgh Arts Festival, weddings, wakes, openings and closings. His repertoire includes a swag of bush yarns, ballads, drinking toasts, city ditties and, of course, Australia’s classic bush poetry. He has been honoured with the Order of Australia, Advance Australia Medal, and Centenary Medal and, in 2004, the CMAA Tamworth Golden Gumleaf Award for ‘Lifetime Achievement in Promoting The Bush Ballad’. In 2006 his book, ‘Centenary Edition: ‘Banjo’ Paterson’s Old Bush Songs’ was awarded ‘Heritage Book of the Year’.
CLASSIC BUSH VERSE – BAIL UP!
Introduction
There was a general belief in colonial Australia that the bushrangers were simply average men trying to survive in a harsh and somewhat unfair world. The fact that they plied their ‘trade’ successfully in the Australian bush made it almost admirable. Much has been written about the highwayman tradition in Australia, including the studies of my old mate, Professor Graham Seal, who says, “The real and fictional elements of the bushranger tradition make for a lot of good yarns, involving fast riding, guns, wild and daring young men, shootouts with the police, pursuits through the bush and crimes often carried out with style and humour. These elements explain the ongoing appeal of the bushranger in literature, film, television, art and popular history.
Bold Jack Donohue ANON. John ‘Jack’ Donohoe was transported for life from Ireland to New South Wales in 1824-5. He escaped, or ‘bolted’, in 1827 and formed a gang with other escaped convicts to rob travellers. Donohoe was seen as a hero by the convicts, who celebrated his defiance of the law in this and a number of other poems. Versions of this ballad have often been collected by Australian (the spelling of the bushranger’s name also changes). This version from Paterson’s Old Bush Songs, 1905. In Dublin town I was brought up, in that city of great fame — My decent friends and parents, they will tell to you the same. It was for the sake of five hundred pounds I was sent across the main, For seven long years in New South Wales to wear a convict’s chain. Chorus Then come, my hearties, we’ll roam the mountains high! Together we will plunder, together we will die! We’ll wander over mountains and we’ll gallop over plains — For we scorn to live in slavery, bound down in iron chains. I’d scarce been there twelve months or more upon the Australian shore, When I took to the highway, as I’d oft-times done before. There was me and Jacky Underwood, and Webber and Webster, too. These were the true associates of bold Jack Donahoo. Chorus Now Donahoo was taken, all for a notorious crime, And sentenced to be hanged upon the gallows-tree so high. But when they came to Sydney gaol he left them in a stew, And when they came to call the roll they missed bold Donahoo. Chorus. As Donahoo made his escape, to the bush he went straightway. The people they were all afraid to travel night or day — For every week in the newspapers there was published something new Concerning this dauntless hero, the bold Jack Donahoo! As Donahoo was cruising, one summer’s afternoon, Little was his notion his death was near so soon, When a sergeant of the horse police discharged his car-a-bine, And called aloud on Donahoo to fight or to resign. ‘Resign to you — you cowardly dogs! a thing I ne’er will do, For I’ll fight this night with all my might,’ cried bold Jack Donahoo. ‘I’d rather roam these hills and dales, like wolf or kangaroo, Than work one hour for Government!’ cried bold Jack Donahoo. He fought six rounds with the horse police until the fatal ball, Which pierced his heart and made him start, caused Donahoo to fall. And as he closed his mournful eyes, he bade this world Adieu, Saying, ‘Convicts all, both large and small, say prayers for Donahoo!’ |
Streets of Forbes JOHN MCGUIRE The Ben Hall gang attracted public sympathy in a land where cattle and horse duffing seemed to be a national pastime. The young Hall and his gang went on to notch up the second most ‘Bail Ups’ in the western world and way after his early death the public still sympathised with him, believing he was badly done by. The cowardly circumstances of his death by police ambush supported his mythical status. ’Come all you Lachlan men, and a sorrowful tale I’ll tell, Concerning of a hero bold who through misfortune fell. His name it was Ben Hall, a man of good renown, Who was hunted from his station, and like a dog shot down. Three years he roamed the roads, and he showed the traps some fun, A thousand pounds was on his head, with Gilbert and John Dunn. Ben parted from his comrades, the outlaws did agree To give away bushranging and to cross the briny sea. Ben went to Goobang Creek, and that was his downfall, For riddled like a sieve was valiant Ben Hall. ‘Twas early in the morning upon the fifth of May, When seven police surrounded him as fast asleep he lay. Bill Dargin he was chosen to shoot the outlaw dead, The troopers then fired madly, and filled him full of lead. They rolled him in a blanket and strapped him to his prad, And led him through the streets of Forbes to show the prize they had. |
Brave Ben Hall ANON A passionate poem about Ben Hall and even its title rallies the support of its readers. After Hall’s death his son was reputed to travel the sideshow circuit as ‘The Leopard Boy’, displaying exactly the same marks on his body corresponding with the bullet wounds in his bushranging father’s body. Come all Australian sons with me For a hero has been slain And cowardly butchered in his sleep Upon the Lachlan Plain. Pray do not stay your seemly grief But let a teardrop fall For many hearts shall always mourn The fate of bold Ben Hall. No brand of Cain e’er stamped his brow, No widow’s curse did fall; When tales are read the squatters dread The name of bold Ben Hall. The records of this hero bold Through Europe have been heard, And formed a conversation Between many an Earl and Lord. Ever since the good old days Of Dick Turpin and Duval, Knights of the road were outlaws bold, And so was bold Ben Hall. He never robbed a needy man, His records best will show, Staunch and loyal to his mates, And manly to the foe. Until he left his trusty mates, The cause I ne’er could hear, The bloodhounds of the law heard this And after him did steer. They found his place of ambush, And cautiously they crept, And savagely they murdered him While the victim slept. Yes, savagely they murdered him, The cowardly blue-coat imps, Who were laid onto where he slept By informing peelers’ pimps. No more he’ll mount his gallant steed, Nor range the mountains high, The widow’s friend in poverty – Bold Ben Hall, good-bye. |
Ballad of the Kelly Gang ANON. The Kellys had a great deal of support from the small selectors and bush workers of north-east Victoria and also some sympathy in other quarters. Poems like these were composed by such people and quickly went into circulation. Ned Kelly, the sole survivor of the final shoot-out, was hanged on 11 November 1880, but his legend has grown to the point where his iron helmet is now an Australian icon. The first printed version of this ballad seems to have been in a Hobart broadsheet of 1879, a copy of which is held in the Mitchell Library, Sydney. This text collected by Warren Fahey from Joe Watson, Caringbah, NSW, 1973. Oh! Paddy dear and did you hear, the news that’s going round, On the head of bold Ned Kelly, they have placed two thousand pound, For Byrne, Steve Hart and Dan, two thousand more they’d give, But if the price were doubled, sure, the Kelly boys would live. It was in November ‘78 when the Kelly gang came down, Just after shooting Kennedy at famed Euroa town. Blood horses they all rode upon, with revolvers in their hands; They took the township by surprise and gold was their demand. Unto the bank Ned Kelly walked, to ‘Bail up!’ he did say, ‘Unlock your safes, hand out your cash, be quick, do not delay!’ Without a murmur they obeyed the robber’s bold command. Ten thousand pounds in silver and gold they gave into his hand. ‘And out with all the firearms you have,’ the audacious robber said, ‘Hand out all your cartridges, or a bullet through your head, Your wives and children must come, and make them look alive! Get into these conveyances and we’ll take ‘em for a drive.’ Oh, they drove them to a station about five miles away, Where twenty men already had been bailed up all that day, A hawker shared their fate, as everybody knows, He came in handy to the gang, supplying them with clothes. They destroyed communication by cutting down the wire, And of their left-off clothing they made a small bonfire. Throughout the whole affair, my boys, they never fired a shot, And the way they worked was splendid and they’ll never be forgot. It’s hard to think such plucky hearts in crime should be employed, But for police and persecution they’ve all been much annoyed. Revenge is sweet and in the bush they can defy the law; Such sticking up and plundering, colonials never saw. Oh then Paddy dear, do shed a tear, I can’t but sympathise, Those Kellys are the devil, and they’ve made another rise, This time to cross the Billabong Creek, near Morgan’s ancient beat, They’ve robbed the banks of thousands and in safety did retreat. Sure they rode into Jerilderie at twelve o’clock one night, They roused the police from their beds, who were in a hell of a fright, They took them in their nightshirts, though I’m afraid to tell, They covered them with revolvers and locked them in a cell. They then acquainted the womenfolk that they intended to stay, To take possession of the camp until the following day. They fed their horses in the stalls, without the slightest fear, And went to rest their weary limbs ‘til daylight did appear. So next morning being Sunday, of course they must be good, They dressed in trooper’s clothes and Ned he chopped some wood, No one there expecting them, for troopers they all passed, And Dan, the most religious, took the trooper’s wives to mass. They spent the day most pleasantly with plenty of good cheer, With beef steaks and onions, tomato sauce and beer, The ladies in attention indulged in pleasant talk, And just to ease the trooper’s minds – they took them for a walk! So on Monday morning early, still masters of the ground, They took their horses to the forge and had them shod all ‘round, Their packs were brought and mounted there, plans laid out so well, In company with the Bobbies, they stuck up the Royal Hotel! Sure, they bailed up all the servants and locked them in a room, Saying, ‘Do as we do bid you, or death will be your doom,’ A Chinese cook ‘No savvy!’ cried, not knowing what to fear, But they brought him to his senses with a lifting under the ear! So they shouted for all hands and they paid for all they drank, Then two of them remained in charge and two went to the bank, The manager could not be found, so Kelly in great wrath, Searched high and low – until they found him in his bath! But now where they’ve gone is a mystery, And the Bobbies cannot tell (Spoken with laughter) And, until I hear from them, I’ll bid you all farewell! |
Warren Fahey recites ‘Stringybark Creek’
Stringybark Creek ANON. Ned Kelly also holds a firm place in our national psyche and mythology. This poem, with its tongue-in-cheek line about the troopers, found popularity in the bush and was often recited as a voice of support for the Kellys. It also had circulation as a song. A sergeant and three constables set out from Mansfield town Near the end of last October for to hunt the Kellys down; They started for the Wombat hills and thought it quite a lark When they camped upon the borders of a creek called Stringybark. They had grub and ammunition there to last them many a week, And next morning two of them rode out, all to explore the creek, Leaving McIntyre, behind them at the camp to cook the grub And Lonergan to sweep the floor and boss the washing tub. It was shortly after breakfast Mac thought he heard a noise So gun in hand he sallied out to try to find the cause, But he never saw the Kellys planted safe behind a log So he sauntered back to smoke and yarn and wire into the grog. But Ned Kelly and his comrades thought they’d like a nearer look For being short of grub they wished to interview the cook; And of firearms and cartridges, they found they had too few, So they longed to grab the pistols and the ammunition too. Both the troopers at a stump alone they were well pleased to see Watching as the billies boiled to make their pints of tea; There they joked and chatted gaily never thinking of alarms Till they heard the fearful cry behind, ‘Bail up, throw up your arms The traps they started wildly and Mac then firmly stood While Lonergan made tracks to try and gain the wood, Reaching round for his revolver but, before he touched the stock Ned Kelly pulled the trigger and he dropped him like a rock. Then after searching McIntyre all through the camp they went And cleared the guns and cartridges and pistols from the tent, But brave Kelly muttered sadly as he loaded up his guns, “Oh, what a bloody pity that the bastard tried to run.” |
Ye Sons of Australia ANON It is probably not surprising that the majority of the bushranging ballads portrayed the highwaymen as latter day Robin Hoods although there is no evidence that any of them ‘robbed from the rich and gave to the poor’. These words must have summed up the hearts of many bush folk who believed the police had persecuted the Kelly family. Ye sons of Australia forget not your braves, Bring the wild forest flowers to strew o’er your graves, Of the four daring heroes whose race it is run, And place on their tombs the wild laurels they’ve won. On the banks of Euroa they made their first rush, They cleared out at Coppies, then steered through the bush, Black trackers and troopers soon did them pursue But cast out their anchor when near them they drew. The daring Kate Kelly how noble her mien As she sat on her horse like an Amazon queen, She rode through the forest revolver at hand’ Regardless of danger, who dare bid her stand. May the angels protect this young heroine bold And her name be recorded in letters of gold Though her brothers were outlaws, she loved them most dear, And hastened to tell them when danger was near. But the great God of Mercy who scans all her ways Commanded grim death to shorten their days, Straightway to Glenrowan their course did he steer To slay those bold outlaws and stop their career. The daring Ned Kelly came forth from the inn, To wreak his last vengeance he then did begin, To slaughter the troopers straightway he did go, And tore up the railway their train to o’erthrow. But the great God of Mercy, to baulk his intent, And stop the destruction, a messenger sent, A person named Curnow, who seemed in great dread, Cried out to the troopers, ‘There’s danger ahead!’ But Time hath its changes; how dreadful their fate, They found out their error when it was too late. The house was surrounded by troopers two-score, And also expected a great many more. The daring Ned Kelly, revolver in hand, Came to the verandah, the troopers he scanned, Said he ‘You cursed wretches, we do you defy, We will not surrender, we conquer or die.’ Like the free sons of Ishmael, brought up in the wilds, Amongst forests and mountains, and rocky defiles These brave lawless fellows could not be controlled, And fought ten to one, until dearth we are told. Next day at Glenrowan, how dreadful the doom, Of Hart and Dan Kelly shut up in a room, A trooper named Johnson, set the house all aflame To burn those bold outlaws, it was a great shame The daring Kate Kelly came forth from the crowd And on her poor brother she called out aloud, ‘Come forth my dear brother, and fight while you can’ But a ball had just taken the life of poor Dan. Next morning our hero came forth from the bush Encased in strong armour his way did he push. To gain his bold comrades it was his desire – The troopers espied him, and soon opened fire. The bullets bound off him just like a stone wall, His fiendish appearance soon did them appall. His legs unprotected a trooper soon found, And a shot well directed brought him to the ground. Now he arose captured, and stripped off his mail, Well guarded by troopers and taken to gaol. Convicted for murder, it grieved him full sore, His friends and relations his fate may deplore. Now, all you young fellows take warning by me, Beware of bushranging, and bad company, For like many others you may feel the dart Which pierced the two Kellys, Joe Byrne, and Steve Hart. |
CLASSIC BUSH VERSE – HARD YAKKA
Introduction
Australia was built on hard yakka. Convict labour chipped away at hard rock to build roads, quarry sandstone, and to build our first public buildings; early settlers forged their way into thick and unpredictable bushland to build modest homes and rambling sheep-runs; gold diggers sweated on riverbeds to cradle and pan elusive nuggets; shearers rolled up their sleeves to peel away greasy wool; stockmen, as drovers and boundary riders, sat high in the saddle under blazing sun to protect massive herds of cattle. There were, of course, many other work endeavours and, just as importantly, the colonial women worked like demons to build, clean and service their homes.
There is an old saying: hard work never hurt anyone. Maybe so, but bush work certainly produced its aches and pains. Shearers in particular, usually worked and lived in poor conditions and, because of the nature of the work where they were paid for each sheep they shore, worked until they dropped. There are many accounts of shearers, especially the older brigade, crawling on all fours to get to their bunks, where they would immediately fall asleep, exhausted and racked with lumbago, rheumatism and arthritis.
The selection in this section covers some tragic stories and some tragically humorous ones. The bush workers tended to abstain from alcohol when ‘on the job’ and, of course, shearing stations banned all alcohol during the season. These ‘dry’ environments provided a good opportunity to homemade entertainment, chiefly playing cards, reading, playing music, or singing and reciting poetry. Many of the bushbrigade wrote poems and sent them for publication to The Bulletin, the ‘bushman’s bible’.
Warren Fahey sings an unaccompanied version of the poem.
A Bushman’s Song A. B. PATERSON Despite ‘Banjo’ Paterson’s widespread popularity in the bush, especially after the publication in 1895 of his first collection, ‘The Man From Snowy River And Other Verses’, very few of his songs actually found themselves accompanied by a tune. This is certainly an exception and it has been collected in the oral tradition several times as a song. It is also known in song as ‘Travelling Down The Castlereagh’. I had it from Joe Watson of Caringbah, NSW, in 1973. I’m traveling down the Castlereagh, and I’m a station hand I’m handy with the ropin’ pole, I’m handy with the brand, And I can ride a rowdy colt, or swing the axe all day, But there’s no demand for a station-hand along the Castlereagh. So it’s shift, boys, shift, for there isn’t the slightest doubt That we’ve got to make a shift to the stations further out, With the pack-horse runnin’ after, for he follows like a dog, We must strike across the country at the old jig-jog. This old black horse I’m riding – if you’ll notice what’s his brand, He wears the crooked R, you see – none better in the land. He takes a lot of beatin’, and the other day we tried, For a bit of a joke, with a racing bloke, for twenty pounds a side. It was shift, boys, shift, for there wasn’t the slightest doubt That I had to make him shift, for the money was nearly out; But he cantered home a winner, with the other one at the flog – He’s a red-hot sort to pick up with his old jig-jog. I asked a cove for shearin’ once along the Marthaguy: ‘We shear non-union here,’ says he. ‘I call it scab,’ says I. I looked along the shearin’ floor before I turned to go – There were eight or ten dashed Chinamen a-shearin’ in a row. It was shift, boys, shift, for there wasn’t the slightest doubt It was time to make a shift with the leprosy about. So I saddled up my horses, and I whistled to my dog, And I left his scabby station at the old jig-jog. I went to Illawarra, where my brother’s got a farm, He has to ask his landlord’s leave before he lifts his arm; The landlord owns the country side – man, woman, dog, and cat, They haven’t the cheek to dare to speak without they touch their hat. It was shift, boys, shift, for there wasn’t the slightest doubt Their little landlord god and I would soon have fallen out; Was I to touch my hat to him? – was I his bloomin’ dog? So I makes for up the country at the old jig-jog. But it’s time that I was movin’, I’ve a mighty way to go Till I drink artesian water from a thousand feet below; Till I meet the overlanders with the cattle comin’ down, And I’ll work a while till I make a pile, then have a spree in town. So, it’s shift, boys, shift, for there isn’t the slightest doubt We’ve got to make a shift to the stations further out; The pack-horse runs behind us, for he follows like a dog, And we cross a lot of country at the old jig-jog. |
Waiting For The Rain JOHN NEILSON Neilson wrote this poem as a song and included a chorus however it was not until the late 1950s that folklorist John Meredith recorded a version sung in the tradition. The poem offers a real insight into station life with the shearers glancing furtively at the sky, as the boss gets nervous about his unshorn sheep. The song version, as published in Paterson’s ‘Old Bush Songs’, 1905 edition, appears as ‘Another Fall of Rain’. The weather has been warm for a fortnight now or more, And the shearers have been driving might and main, For some have got the century who ne’er got it before; But now all hands are waiting for the rain. For the boss is getting rusty, and the ringer’s caving in, His bandaged wrist is aching with the pain, And the second man, I fear, will make it hot for him Unless we have another fall of rain. Some are taking quarters and keeping well in bunk While we shear the six-tooth wethers from the plain; And if the sheep get harder some more of us will funk, Unless we have another fall of rain. Some cockies come here shearing; they would fill a little book About this sad dry weather for the grain, But here’s lunch a-coming, make way for Dick the cook— Old Dick is nigh as welcome as the rain. But now the sky is overcast; the thunder’s muttering loud; The clouds are drifting westward o’er the plain, And I see the red fire breaking from the edge of yonder cloud I hear the gentle patter of the rain! So, lads, put on your stoppers, and let us to the hut, We all can do a full day’s rest again; Some will be playing music, while some play ante-up, And some are gazing outward at the rain. . . . And now the rain is over let the pressers spin the screw Let the teamsters back their wagons in again, We’ll block the classers up by the way we put them through For everything goes merry since the rain. Let the boss bring out the bottle, let him “wet” the final flock’ For the shearers here may ne’er meet all again; Some may meet next season, but perhaps not even then For soon we all will vanish like the rain. |
The Man From Ironbark A.B. PATERSON This is a great example of Paterson’s mastery over the so-called ‘galloping rhyme’ ever popular in both the bush and city. It is still to be heard and it is always funny and especially when the reciter moves it up a gear and offers characterizations of the threatened bushman, the gelded youths and the murderous barber. It was the man from Ironbark who struck the Sydney town, He wandered over street and park, he wandered up and down. He loitered here, he loitered there, till he was like to drop, Until at last in sheer despair he sought a barber’s shop. “‘Ere! shave my beard and whiskers off, I’ll be a man of mark, I’ll go and do the Sydney toff up home in Ironbark.” The barber man was small and flash, as barbers mostly are, He wore a strike-your-fancy sash, he smoked a huge cigar; He was a humorist of note and keen at repartee, He laid the odds and kept a “tote”, whatever that may be, And when he saw our friend arrive, he whispered, “Here’s a lark! Just watch me catch him all alive, this man from Ironbark.” There were some gilded youths that sat along the barber’s wall. Their eyes were dull, their heads were flat, they had no brains at all; To them the barber passed the wink, his dexter eyelid shut, “I’ll make this bloomin’ yokel think his bloomin’ throat is cut.” And as he soaped and rubbed it in he made a rude remark: “I s’pose the flats is pretty green up there in Ironbark.” A grunt was all reply he got; he shaved the bushman’s chin, Then made the water boiling hot and dipped the razor in. He raised his hand, his brow grew black, he paused awhile to gloat, Then slashed the red-hot razor-back across his victim’s throat: Upon the newly-shaven skin it made a livid mark – No doubt it fairly took him in – the man from Ironbark. He fetched a wild up-country yell might wake the dead to hear, And though his throat, he knew full well, was cut from ear to ear, He struggled gamely to his feet, and faced the murd’rous foe: “You’ve done for me! you dog, I’m beat! one hit before I go! I only wish I had a knife, you blessed murdering shark! But you’ll remember all your life the man from Ironbark.” He lifted up his hairy paw, with one tremendous clout He landed on the barber’s jaw, and knocked the barber out. He set to work with nail and tooth, he made the place a wreck; He grabbed the nearest gilded youth, and tried to break his neck. And all the while his throat he held to save his vital spark, And “Murder! Bloody murder!” yelled the man from Ironbark. A peeler man who heard the din came in to see the show; He tried to run the bushman in, but he refused to go. And when at last the barber spoke, and said “‘Twas all in fun— ‘Twas just a little harmless joke, a trifle overdone.” “A joke!” he cried, “By George, that’s fine; a lively sort of lark; I’d like to catch that murdering swine some night in Ironbark.” And now while round the shearing floor the list’ning shearers gape, He tells the story o’er and o’er, and brags of his escape. “Them barber chaps what keeps a tote, By George, I’ve had enough, One tried to cut my bloomin’ throat, but thank the Lord it’s tough.” And whether he’s believed or no, there’s one thing to remark, That flowing beards are all the go way up in Ironbark. |
Broken Down Squatter CHARLES A. FLOWER The combination of economic downturn, shearer’s strikes and continuing drought in the 1890s, forced many farmers to abandon their properties, leaving them ‘to the crows’. The author of this tragic story was the victim of such unfortunate circumstance and, one suspects from the reference in the last verse, without the support of the banks, he had no option but to walk away. From Paterson’s Old Bush Songs, 1905. The final verse, reproduced below, was located by Bill Scott in a notebook of Charles Flower. Some of the collected traditional versions have the ‘Jews’ replaced with ‘screws’ which could be either ‘the turning of the screw’ or ‘screw warders’ in prison. The song’s appeal could possibly be explained by the fact it is sung to a favourite horse, something most bushmen could understand. Come, Stumpy, old man, we must shift while we can; All your mates in the paddock are dead. Let us wave our farewells to Glen Eva’s sweet dells And the hills where your lordship was bred; Together to roam from our drought-stricken home — It seems hard that such things have to be, And its hard on a ‘hoss’ when he’s nought for a boss But a broken-down squatter like me! Chorus For the banks are all broken, they say, And the merchants are all up a tree. When the bigwigs are brought to the Bankruptcy Court, What chance for a squatter like me? No more shall we muster the river for fats, Or spiel on the Fifteen-mile Plain, Or rip through the scrub by the light of the moon, Or see the old stockyard again. Leave the slip-panels down, it won’t matter much now; There are none but the crows left to see, Perching gaunt in yon pine, as though longing to dine On a broken-down squatter like me. When the country was cursed with the drought at its worst And the cattle were dying in scores, Though down on my luck, I kept up my pluck, Thinking justice might temper the laws. But the farce has been played, and the Government aid Ain’t extended to squatters, old son; When my dollars were spent they doubled the rent, And resumed the best half of the run. ‘Twas done without reason, for leaving the season No squatter could stand such a rub; For it’s useless to squat when the rents are so hot That one can’t save the price of one’s grub; And there’s not much to choose ‘twist the banks and the Jews Once a fellow gets put up a tree; No odds what I feel, there’s no court of appeal For a broken-down squatter like me. They have left us our hides and but little besides, You have all I possess on your back. But Stumpy, old sport, when I boil my next quart We’ll be out on the Wallaby Track. It’s a mighty long ride till we cross the Divide And the plains stretching out like a sea, But the chances seem best in the far away west For a broken-down squatter like me. |
Warren Fahey recites ‘Said Hanrahan’
Said Hanrahan P J HARTIGAN (‘JOHN O’BRIEN’) The cry of: ‘We’ll all be ruined..” still raises a smile to anyone who is familiar with this poem, especially those who live in the weather-reliant bush. “We’ll all be rooned,” said Hanrahan In accents most forlorn Outside the church ere Mass began One frosty Sunday morn. The congregation stood about, Coat-collars to the ears, And talked of stock and crops and drought As it had done for years. “It’s lookin’ crook,” said Daniel Croke; “Bedad, it’s cruke, me lad For never since the banks went broke Has seasons been so bad.” “It’s dry, all right,” said young O’Neil, With which astute remark He squatted down upon his heel And chewed a piece of bark. And so around the chorus ran “It’s keepin’ dry, no doubt.” “We’ll all be rooned,” said Hanrahan, “Before the year is out. “The crops are done; ye’ll have your work To save one bag of grain; From here way out to Back-O’-Bourke They’re singin’ out for rain. “They’re singin’ out for rain,” he said, “And all the tanks are dry.” The congregation scratched its head, And gazed around the sky. “There won’t be grass, in any case, Enough to feed an ass; There’s not a blade on Casey’s place As I came down to Mass.” “If rain don’t come this month,” said Dan, And cleared his throat to speak – “We’ll all be rooned,” said Hanrahan, “ If rain don’t come this week.” A heavy silence seemed to steal On all at this remark; And each man squatted on his heel, And chewed a piece of bark. “We want an inch of rain, we do,” O’Neil observed at last; But Croke “maintained” we wanted two To put the danger past. “If we don’t get three inches, man, Or four to break this drought, We’ll all be rooned,” said Hanrahan, “Before the year is out.” In God’s good time down came the rain; And all the afternoon On iron roof and window-pane It drummed a homely tune. And through the night it pattered still, And lightsome, gladsome elves On dripping spout and window-sill Kept talking to themselves. It pelted, pelted all day long, A-singing at its work, Till every heart took up the song Way out to Back-O’-Bourke. And every creek a banker ran, And dams filled overtop; “We’ll all be rooned,” said Hanrahan, “If this rain doesn’t stop.” And stop it did, in God’s good time: And spring came in to fold A mantle o’er the hills sublime Of green and pink and gold. And days went by on dancing feet, With harvest-hopes immense, And laughing eyes beheld the wheat Nid-nodding o’er the fence. And, oh, the smiles on every face, As happy lad and lass Through grass knee-deep on Casey’s place Went riding down to Mass. While round the church in clothes genteel Discoursed the men of mark, And each man squatted on his heel, And chewed his piece of bark. “There’ll be bush-fires for sure, me man, There will, without a doubt; We’ll all be rooned,” said Hanrahan, “Before the year is out.” |
Warren Fahey recites ‘The Great Australian Adjective’
The Great Australian Adjective W T GOODGE How confusing is the Australian slanguage where a bastard can be a good bastard, rotten bastard, filthy bastard, luck bastard, generous bastard, mean bastard – or a thousand other categories of bastard. The same can be said of how we use the word ‘bloody’ and this poem was a firm favourite of our army diggers who used it liberally to remind them of home and country. The sunburnt___stockman stood And in a dismal___mood, Apostrophized his ___cuddy; “The___nag’s no___good, He couldn’t earn his___ food A regular___brumby, ____!” He jumped across the___horse And cantered off, of___course! The roads were bad and ___muddy; Said he, “Well, spare me___days The___Government’s ___ ways Are screamin’ ___funny, ____!” He rode up hill, down___dale, The wind it blew a___gale, The creek was high and___floody. Said he, “The___horse must swim, The same for___me and him, Is something__ sickenin’, ___!” He plunged into the___creek, The___horse was___weak, The stockman’s face a___study! And though the___horse was drowned The___rider reached the ground Ejaculating, “___?” “___!” |
Warren Fahey recites ‘Jones’ Selection’
Jones’ Selection G H GIBSON ‘IRONBARK’ Is this a poignant warning to ‘Collin’s’ and ‘Pitt Street’ city farmers who wear moleskins and R. M. William’s clobber, drive 4WD and work as stockbrokers and lawyers? I think so. You hear a lot of new-chum talk Of goin’ on the land. An raisin’ record crops of wheat On rocks and flamin’ sand. I ‘ates exaggerated skite, But if yer likes I can Authenticate a case in which The land went on the man. Bill Jones ‘e ‘ad a mountain block Up Kosciusko way, He farmed it pretty night to death, The neighbours used to say. He scarified its surface With his double-furrow ploughs, An’ ate its blinded hearted right out With sheep and milkin’ cows. He filled its blamed intestines up With agricultural pipes, An’ lime an’ superphosphates – fit To give the land the gripes Until at length the tortured soil, Worn out with Jones’s thrift, Decided as the time was come To up an’ make a shift. One day the mountain shook itself An’ give a sort of groan, The neighbours they was a lot more scared Than they was game to own. Their jaws they dropped upon their chests, Their eyes they opened wide, They saw the whole of Jones’s farm Upend itself and slide. It slithered down the mountain spur, Majestic-like an’ slow, An’ landed in the river bed, A thousand feet below. Bill Jones was on the lower slopes Of ‘is long-suffering farm, a-testin’ some new-fangled plough which acted like a charm. He’d just been screwin’ up a nut When somethin’ seemed to crack, An’ fifty acres, more or less, Come down on Jones’s back. Twas sudden-like, a shake, a crack, A slitherin’ slide, an’ Bill Was buried fifty feet below The soil he used to till. One moment Bill was standin’ up A-owning all that land, The next ‘e’s in eternity – A spanner in ‘is ‘and. They never dug up no remains Nor scraps of William Jones – The superphosphates ate the lot, Hide, buttons, boots and bones. For this ‘ere land wot Jones abused And harassed in the past ‘Ad turned an’ wiped ‘im out, an’ things Got evened up at last. From this untimely end o’ Bill It would perhaps appear That goin’ free-selectin’ ain’t All skittles, no, nor beer. So all you cocky city coves Wot’s savin’ up yer screws To get upon the land, look out The land don’t get on youse. |
When Stock Go By HARRY THE BREAKER MORANT ‘The Breaker’ must have been in a reflective mood when he penned this poem. It is chock-full of the imagery of a bushman observing silently, thinking of days gone by, and one can almost hear the shuffling of hooves. Ah me! How clearly they come back – Those golden days of long ago, When down the droughty Bogan track Tom came with stock from Ivanhoe. The cattle passed our hometead gate, Beside our well I watched them pass, While Dad was in a fearful state About his water and his grass. Tom rode a bonny dark haired nagg; He wore a battered cabbage-tree; And as I filled our water-bag, He came and asked a drink from me. Tom said that drink was just like wine; He said my eyes were soft and brown; He said there were no eyes like mine From Dandaloo to Sydney Town. I watched him with a trembling lip, Yet little thought I then that he Who asked a drink from me that trip, Would next trip ask my Dad for me! Tom’s droving days long since are done; The wet tear oft has dimmed his eye; For days when I was wood and won Come back to me – when stock go by. |
Shearing in the Bar H P DUKE TRITTON ‘Duke’ Tritton was a bushman, shearer and boxing champ. He was of the ‘old school’ and he loved poems and songs that told the Australian story. Tritton was the man who, in the 1950s, recalled the long-lost words and tune to the shearing song ‘Goorianawa’ that Banjo Paterson had sought when preparing his ‘Old Bush Songs’ collection in the 1890s. My shearing days are over, though I never was a gun I could always count my twenty at the end of every run I used the old Trade Union shears, and the blades were always full As I drove ’em to the knockers, and I clipped away the wool I shore at Goorianawa and didn’t get the sack From Breeza out to Compadore, I always could go back And though I am a truthful man, I find when in a bar My tallies seem to double, but I never call for tar Shearing on the western plains where the fleece is full of sand And the clover burr and corkscrew grass, is the place to try your hand For the sheep are tall and wiry where they feed on the Mitchell grass And every second one of them is close to the cobbler class And a pen chock full of cobblers is a shearers dream of hell So loud and lurid are their words when they catch one on the bell But when we’re pouring down the grog, you’ll have no call for tar For a shearer never cuts ’em, when shearing in a bar At Louth I caught the bell sheep, a wrinkled, tough wooled brute Who never stopped his kicking till I tossed him down the chute My wrist was aching badly, but I fought him all the way Couldn’t afford to miss a blow, I must earn my pound a day So when I’d take a strip of skin, I’d hide it with my knee Turn the sheep around a bit where the right bower couldn’t see Then try and catch the rousie’s eye and softly whisper “tar” But it never seems to happen when I’m shearing in the bar I shore away the belly wool and trimmed the crutch and hocks Opened up along the neck while the rousie swept the locks Then smartly swung the sheep around and dumped him on his rear Two blows to clip away the wig – I also took an ear Then down around the shoulder and the blades were open wide As I drove ’em on the long blow and down the whipping side And when the fleece fell on the board, he was nearly black with tar But this is never mentioned when I’m shearing in a bar Now when the seasons ended and my grandsons all come back In their buggies and their sulkies -I was always on the track They come and take me into town to fill me up with beer And I sit on a corner stool and listen to them shear There’s not a bit of difference – it must make the angels weep To hear a mob of shearers in a barroom shearing sheep For the sheep go rattling down the race with never a call for tar For a shearer never cuts ’em when he’s shearing in a bar Then memories come a crowding and they wipe away the years And my hand begins to tighten and I seem to feel the shears I want to tell them of the sheds, the sheds where I have shorn Full fifty years and sometimes more, before these boys were born I want to speak of yarragin, Dunlop or Wingadee But the beer has started working and I’m wobbling at the knees So I’d better not start shearing, I’d be bound to call for tar Then be treated as a blackleg when I’m shearing in a bar |
Introduction
The Australian bush was fuelled on alcohol, particularly Dutch gin and Jamaican rum, which was consumed neat but hardly tidy. Landlords operating establishments ranging from dubious tent shanties through to grand hotels usually administered ‘Grog’, a colourful word applied to any type of intoxicating liquor. Because of erratic supply in the early convict era much of the grog was controlled by the military that traded in rum as a currency. The Sydney taverns had a raw reputation for fighting, skiting and generally uncouth behaviour where wenches could be had, black-market goods traded and, for those ships needing a crew, men shanghaied. The discovery of gold in 1851 did little to improve drinking conditions in the bush. As hopeful diggers arrived so too did sly grog sellers who mostly operated from wayside tents as they served alcohol diluted with all manner of strange additions including slops and tobacco juice. The miners, especially those on the celebratory ran tan, were prepared to drink whatever was served up, and buckets of it. As the goldfields grew proper hotels were built, many of these establishments offered meals, accommodation and entertainment. Meanwhile, the colonial cities were growing rapidly including impressive grand hotels that boasted special saloons, dining rooms and even fancy drinks. In the height of the goldrush special ships travelled down from North America, mainly Boston, with a precious cargo of ice, much of it purchased by the large hotels to be used in cold drinks.
Australia’s economy boomed from the 1840s through to the early 1890s. After the gold rushes we found a new wealth on the land, particularly wheat, sheep and cattle. Men who worked in the bush as drovers, shearers, fruit pickers, timber cutters and stockmen were said to ‘work hard and play harder’ and, considering the high percentage of the male population lived and worked in the bush, it is not surprising that they were renowned drinkers. An old drinking toast offered:
The German likes his half-and-half,
The Englishman likes his cider.
The Scotsman likes his whisky tot,
The Irishman likes his whisky hot.
The Aussie has no national drink –
So he drinks the bloody lot!
The consumption of alcohol in the bush was the cause of many the heartache, headache and lost fortune. It was also the inspiration for many songs, yarns and bush poems. Some are tragic stories of broken men whilst others are gut-wrenchingly funny stories with that particularly ‘dry’ Australian sense of the ridiculous. These bush poems come in all shapes and sizes – some are epic tales and others whimsy short pieces.
Why Do We Drink? anon
We drink for joy and become miserable.
We drink for sociability and become argumentative.
We drink for sophistication and become obnoxious.
We drink to help us sleep and become exhausted.
We drink for exhilaration and end up depressed.
We drink to gain confidence and become afraid.
We drink to make conversation and become incoherent.
We drink to diminish our problems and see them multiply.
The New Chum Shearer ANON What a familiar story this must have been: the bush worker labours all season and eventually makes his way down to the ‘Big Smoke’ to have a spree in the pubs and the races, and it all ends in misery. He loses his money, his new-found friends and then tramps back to the bush to ‘wait for the season to start again.’ From Bill Bowyang’s Bush Reciter. Collected Vennard circa 1943. Bill Scott added the final verse of warning. The “Big Gun” toiled, with his heart Shearing sheep to make a roll, Out in the back-blocks, far away, Then off to Sydney for a holiday. Down in the city he’s a terrible swell Takes a taxi to the Kent Hotel. The barmaid says, “Why you do look ill, Must have been rough tucker. Bill.” In the city he looks a goat, With his Oxford bags and see-more He spends his money like a fool, of course. That he worked for like a blooming horse/ i He shouts for everyone round the place And goes to Randwick for the big horse race, He dopes himself with backache pills, And talks of high tallies and tucker bills. And when it’s spent he’s sick and sore. The barmaid’s looks are kind no more. His erstwhile friends don’t care a hoot, He goes to the bush per what?—per boot. Back in Bourke where the flies are bad He tells of the wonderful times he’s had, He tells of the winners he shouldn’t have missed, And skites of the dozens of girls he’d kissed. He stands at the corner cadging fags His shirt tail showing through his Oxford bags, He’d pawned his beautiful see-more coat, He’s got no money—oh, what a goat! He’s got no tucker and can’t get a booze, The soles have gone from his snake-skin shoes, He camps on the Bend, in the wind and the rain, And waits for shearing to start again. All you blokes with a cheque to spend Don’t go to the city where you’ve got no friends. Head for the nearest wayside shack, It’s not so far when you’ve gotta walk back. |
Warren Fahey recites ‘The Preservation of the Aussie Male’
The Preservation of the Aussie Male ANON. Australians see themselves as ‘professional drinkers’, ‘kings (and queens) of the grogging stakes’ and little poems like this one exist to prop us up at the bar. In fact, in days of old (before pubs were carpeted and homogenised) this type of poetry would have been stuck up on a wall. The horse and mule live 30 years And nothing know of wine and beers The goat and sheep at 20 die With never taste of scotch or rye The cow drinks water by the ton And at 18 years is mostly done The dog at 16 cashes in Without the aid of rum or gin The cat in milk and water soaks And then in 12 short years it crocks The modest, sober, bone-dry hen Lays eggs for nogs and dies at ten All animals are strictly dry They sinless live and quickly die But sinful gin-full, rum soaked men Survive for three score years and ten And some of us, the mighty few Stay pickled till we’re 92 |
Warren Fahey recites ‘Just An Empty Bottle Of Beer’
Just an Empty Bottle ANON. He called for me when going home just on the tick of eight Then walked along in silence though I was damp and cold He held me like a lover dear and would not release his hold Then he took me down a real dark lane where he could not be seen Then took the wrap right off me. I could not call or scream “I’ve loved you all these years,” he said, “although you’re a curse to me If I could ease my love for you, a godsend it would be He pulled my cap off my head and lifted me up high Then sealed his lips right over mine and sucked and sucked me dry Today as people pass down the street they see me lying here An empty bottle thrown away – once full of good cold beer He called for me when going home just on the tick of eight Then walked along in silence though I was damp and cold He held me like a lover dear and would not release his hold Then he took me down a real dark lane where he could not be seen Then took the wrap right off me. I could not call or scream “I’ve loved you all these years,” he said, “although you’re a curse to me If I could ease my love for you, a godsend it would be He pulled my cap off my head and lifted me up high Then sealed his lips right over mine and sucked and sucked me dry Today as people pass down the street they see me lying here An empty bottle thrown away – once full of good cold beer |
When the Army Prays for Watty HENRY LAWSON The ‘Army’ in this evocative poem is the Salvation Army. I suspect Henry Lawson, like many hardened drinkers, had a soft spot for the Sallies and probably bought the occasional War Cry or ‘kicked the tin’. When the kindly hours of darkness, save for light of moon and star, Hide the picture on the signboard over Doughty’s Horse Bazaar; When the last rose-tint is fading on the distant mulga scrub, Then the Army prays for Watty at the entrance of his pub. Now, I often sit at Watty’s when the night is very near, With a head that’s full of jingles and the fumes of bottled beer, For I always have a fancy that, if I am over there When the Army prays for Watty, I’m included in the prayer. Watty lounges in his arm-chair, in its old accustomed place, With a fatherly expression on his round and passive face; And his arms are clasped before him in a calm, contented way, And he nods his head and dozes when he hears the Army pray. And I wonder does he ponder on the distant years and dim, Or his chances over yonder, when the Army prays for him? Has he not a fear connected with the warm place down below, Where, according to good Christians, all the publicans should go? But his features give no token of a feeling in his breast, Save of peace that is unbroken and a conscience well at rest; And we guzzle as we guzzled long before the Army came, And the loafers wait for ‘shouters’ and—they get there just the same. It would take a lot of praying—lots of thumping on the drum— To prepare our sinful, straying, erring souls for Kingdom Come; But I love my fellow-sinners, and I hope, upon the whole, That the Army gets a hearing when it prays for Watty’s soul. |
Our Ancient Ruin “CRUPPER D” The bush has many secrets however they can usually be discovered, or a variation of them, over a few drinks in a local pub. The new chum leaned against the bar And tapped his boot and tipped his beer, Then, looking round, remarked: “Er – ar – One thing you chaps don’t have out here! You’ve churches, chapels, pubs and halls – Er – er – and such and so-and-so; But you’ve no ivied abbey-walls, No ancient ruins, don-cher-know!” Then Jack the Shearer left the bar (It might have been to dodge his shout!) – They filled ‘em up with Dick’s three-star, And scarcely noticed him go out. He came back, lugging by the hair Old Ned the Cook, all rags and beers – “Er- er!” the joker said. “Er – air – “We’ve got one ancient ruin here!” |
The Shearer’s Nightmare ANON The mental image of the burly shearer grabbing his better half in his sleep, and then proceeding to shear her, always brings a smile to my dial. I especially like the line where the terrified woman ‘dares not kick or wriggle, she’d seen him shear before’. Old Bill the shearer had been ‘phoned To hop the train next day; Had a pen at Munglndi, An early start for May. He rolled his swag and packed his bag, Then scurried off to bed. But sleep he could not steal a wink, To sooth his aching head. He heard the missus snoring hard, He heard the ticking clock; Heard a midnight train blow in, Then heard a crowing cock. At last Bill In a stupor lay, A dreaming now was he: All drawn for pens and loaded up – He shore in number three. He grabbed the missus in his sleep, Then shore her like a ewe. The first performance soon was done, Then up the neck he flew. As he turned to longblow her Like a demon now he shore; With his mighty knee upon her, And his grip upon her jaw. As he picked her up and dumped her, Down the whipping side he tore, She dare not kick or wriggle, She had seen him shear before. He was holding Jack the Ringer, He was leading Mick the Brute As he called tor tar and dumped her. Like a hogget down the chute. As he reached to pull the Lister, Now excited, out of gear. The electric light was shining And all was bright and clear. He gazed now out the window, Half awakened from his sleep, And out there on the footpath Lay the missus in a heap. Gawd blimey! I’ve had nightmares, After boozing up a treat. And walked without no trousers To the pub across the street, But this one here takes llckin’ And It’s one I’ll have to keep. I dare not tell the cobbers I shore the missus In my sleep. |
Introduction
We know quite a lot about the way our pioneers forged their way into the bush, and how they lived, but it is through the old poems we find much of the emotional history that allows us to enter their world. Early settlers, including convict ticket-of-leave men and free settlers, certainly referred to the Australian countryside as ‘the bush’. The fact that most of these people came from Britain and Ireland, both comparatively small territories, might have contributed to their desire to invent a suitable word to describe where they now lived. ‘Forest’ and ‘wood’ were far too restrictive for such a diverse and perverse environment. The word ‘bush’ quickly became a generalised word to describe anywhere outside the Sydney settlement. Many of the early poems refer to ‘the bush’ with a certain reverence as if an impenetrable natural wall.
The Old Bark Hut ANON. This was a much-loved and often recited poem. It also saw life as a song and has been collected several times. I had it from Mr Jacob Lollbach, who was 102 when I taped him for my National Library Oral History Collection, and he had been singing it in the Clarence River area, near Grafton, for over eighty years. It was also included in Paterson’s Old Bush Songs, 1905 edition. Will Lawson, in Australian Bush Songs and Ballads, attributed this song to William Perrie, adding, ‘These verses were written in the shepherding days – when fences were few and far between – at Dungog, NSW. William Perrie was a veterinary surgeon in practice there.’ Verses five, six and seven are from this version. My name is Bob the swagman, before you all I stand, And I’ve had many ups and downs whilst travelling through the land, I once was well to do, my boys, but now I’m all stumped up, And I’m forced to go on rations, in on old bark hut. Chorus In an old bark hut, in an old bark hut, I’m forced to go on rations in an old bark hut. Ten pounds of flour, ten pounds of meat, some sugar and some tea, That’s all they give a hungry man, until the seventh day, And if you’re not mighty careful, you’ll go with a hungry gut, And that’s one of the great misfortunes, in an old bark hut. Chorus In an old bark hut, in an old bark hut, That’s one of the great misfortunes in an old bark hut The bucket you boil your beef in has to carry water too, They’d say you’re getting mighty flash, if you should ask for two, I’ve a billy can and a pint pot and a broken handle cup, And they all adorn the table of my old bark hut. Chorus In an old bark hut, in an old bark hut, And they all adorn the table in the old bark hut. The table is not a bit of wood, as many you have seen For if I had one half as good I’d think myself serene. It’s only an old sheet of bark; God knows when it was cut, It was blown from off the rafters of that old bark hut. Chorus In an old bark hut, in an old bark hut, It was blown from off the rafters of the old bark hut And of furniture there’s no such thing, ‘twas never in the place, Except the stool I sit upon – and that’s an old gin-case, It does one as a safe as well – but you must keep it shut, Or the flies would make it canter round the old bark hut. Chorus In an old bark hut, in an old bark hut, Or the flies would make it canter round the old bark hut. If you should leave it open, and the flies should find your meat, They will not leave a single piece that’s fit for man to eat; But you mustn’t curse nor grumble, as the maggots out you cut – What’s out of sight is out of mind, in an old bark hut. Chorus In an old bark hut, in an old bark hut, What’s out of sight is out of mind, in an old bark hut. In the summer time, when the weather’s warm, this hut is nice and cool, The breezes blowing through the cracks are balmy, as a rule, You may leave the old door open, boys, but f you leave it shut, There’s no fear of suffocation in an old bark hut. Chorus In an old bark hut, in an old bark hut, There’s no fear of suffocation in an old bark hut. In winter time – preserve us all – to live in there’s a treat, Especially when it’s raining hard, and blowing wind and sleet. The rain comes down the chimney, and your meat is black with soot – There’s a substitute for pepper in an old bark hut. Chorus In an old bark hut, in an old bark hut, There’s a substitute for pepper in an old bark hut. I’ve seen the rain come in this hut, just like a perfect flood, Especially through that great big hole where once the table stood; There’s not a blessed spot, me boys, where you could lay your nut, But the rain is sure to find you in the old bark hut. Chorus In an old bark hut, in an old bark hut, But the rain is sure to find you in the old bark hut. So beside the fire I make my bed, and there I lay me down, And think myself as happy as the king that wears a crown. But as you’re dozing off to sleep a flea will wake you, but, ‘Tis useless cursing fleas and such in an old bark hut. Chorus In an old bark hut, in an old bark hut, ‘Tis useless cursing fleas and such in an old bark hut. Such packs of fleas you never saw, they are so plump and fat, If you should make a grab at one, he’ll spit just like a cat, Last night they found my pack of cards, and were fighting for the cut, And I thought the devil had me in the old bark hut. Chorus In an old bark hut, in an old bark hut, And I thought the devil had me in the old bark hut. And now, my boys, I’ve sung my song and that as well as I could, And I hope the ladies present will not think my language rude, And all you younger people, in the days when you grow up, Just remember Bob the swagman, in his old bark hut. Chorus In an old bark hut, in an old bark hut, Just remember Bob the Swagman, in his old bark hut. |
Give Me a Hut in My Own Native Land ANON. The Australia of the first half of the 19th century was a lonely place made more desperate by the scarcity of women. Many settlers took Aboriginal women as their ‘mate’ and successfully made a comfortable life in the new land. Australians are usually reserved about openly stating their love of country but this bush poem does not hold back. It is full of wonderful imagery as it brings in flora, fauna and landscape. The most important aspect is the desire for a ‘dear native girl who will share it with me’. From the text published in the Queenslander and taken from the Hurd Collection where it was titled ‘The Dear Native Girl’. It is also known as ‘Native Mate’ and ‘My Own Native Land’. Paterson included a version in the 1924 revised edition of Old Bush Songs as ‘Then Give Me A Hut In My Own Native Land’. Australia, dear land of my childhood and birth, I think of you still amidst beauty and mirth; Your forests, your mountains, their charms have for me, And the dear native girl who will share it with me. Chorus Then give me a hut in my own native land, Or a tent in the bush with the mountains so grand; With the scenes of my childhood contented I’ll be, And the dear native girl who will share it with me. I love far to roam where the emu does stray, Where the wild native dog cries aloud for his prey, Where the kangaroo, wallaroo, and wombat so rare Are found with the scrub turkey and native bear. How pleasant to rise at the dawn of the day, And chase the wild horses o’er the hills far away, Where he’ll prance and he’ll snort all alone in his glee Until he’s run down by hearts bold and free. When winter winds whistle and blast the sweet flowers, How happy and cheerful we’ll then pass the hours With the friends of our youth in song or in glee, And the dear native girl who will share it with me. Chorus |
The Ballad of the Drover HENRY LAWSON Lawson was so effective in telling his stories, our stories, and had an uncanny knack of taking his readers straight to the heart of his poetry. This poem offers so many familiar scenes that one can easily identify with ‘Young Harry Dale, the drover’ as he bravely battled with the flash flood, It is tale of tragedy that brought many a tear to the eye of readers and listeners alike. Across the stony ridges, Across the rolling plain, Young Harry Dale, the drover, Comes riding home again. And well his stock-horse bears him, And light of heart is he, And stoutly his old pack-horse Is trotting by his knee. Up Queensland way with cattle He travelled regions vast; And many months have vanished Since home-folk saw him last. He hums a song of someone He hopes to marry soon; And hobble-chains and camp-ware Keep jingling to the tune. Beyond the hazy dado Against the lower skies And yon blue line of ranges The homestead station lies. And thitherward the drover Jogs through the lazy noon, While hobble-chains and camp-ware Are jingling to a tune. An hour has filled the heavens With storm-clouds inky black; At times the lightning trickles Around the drover’s track; But Harry pushes onward, His horses’ strength he tries, In hope to reach the river Before the flood shall rise. The thunder from above him Goes rolling o’er the plain; And down on thirsty pastures In torrents falls the rain. And every creek and gully Sends forth its little flood, Till the river runs a banker, All stained with yellow mud. Now Harry speaks to Rover, The best dog on the plains, And to his hardy horses, And strokes their shaggy manes; ‘We’ve breasted bigger rivers When floods were at their height Nor shall this gutter stop us From getting home to-night!’ The thunder growls a warning, The ghastly lightning’s gleam, As the drover turns his horses To swim the fatal stream. But, oh! the flood runs stronger Than e’er it ran before; The saddle-horse is failing, And only half-way o’er! When flashes next the lightning, The flood’s grey breast is blank, And a cattle dog and pack-horse Are struggling up the bank. But in the lonely homestead The girl will wait in vain — He’ll never pass the stations In charge of stock again. The faithful dog a moment Sits panting on the bank, And then swims through the current To where his master sank. And round and round in circles He fights with failing strength, Till, borne down by the waters, The old dog sinks at length. Across the flooded lowlands And slopes of sodden loam The pack-horse struggles onward, To take dumb tidings home. And mud-stained, wet, and weary, Through ranges dark goes he; While hobble-chains and tinware Are sounding eerily. |
The Sick Stockrider ADAM LINDSAY GORDON This poem, a great reciter favourite, has twenty verses, yet this never seemed to deter people from learning it. It is typical of the longer bush poem with its serious and reflective tone. It touched many a heart. Hold hard, Ned! Lift me down once more, and lay me in the shade. Old man, you’ve had your work cut out to guide Both horses, and to hold me in the saddle when I sway’d, All through the hot, slow, sleepy, silent ride. The dawn at “Moorabinda” was a mist rack dull and dense, The sunrise was a sullen, sluggish lamp; I was dozing in the gateway at Arbuthnot’s bound’ry fence, I was dreaming on the Limestone cattle camp. We crossed the creek at Carricksford, and sharply through the haze, And suddenly the sun shot flaming forth; To southward lay “Katawa”, with the sandpeaks all ablaze, And the flush’d fields of Glen Lomond lay to north. Now westward winds the bridle path that leads to Lindisfarm, And yonder looms the double-headed Bluff; From the far side of the first hill, when the skies are clear and calm, You can see Sylvester’s woolshed fair enough. Five miles we used to call it from our homestead to the place Where the big tree spans the roadway like an arch; ’Twas here we ran the dingo down that gave us such a chase Eight years ago—or was it nine?—last March. ’Twas merry in the glowing morn, among the gleaming grass, To wander as we’ve wandered many a mile, And blow the cool tobacco cloud, and watch the white wreaths pass, Sitting loosely in the saddle all the while. ’Twas merry ’mid the blackwoods, when we spied the station roofs, To wheel the wild scrub cattle at the yard, With a running fire of stockwhips and a fiery run of hoofs; Oh! the hardest day was never then too hard! Aye! we had a glorious gallop after “Starlight” and his gang, When they bolted from Sylvester’s on the flat; How the sun-dried reed-beds crackled, how the flint-strewn ranges rang To the strokes of “Mountaineer” and “Acrobat”. Hard behind them in the timber, harder still across the heath, Close beside them through the tea-tree scrub we dash’d; And the golden-tinted fern leaves, how they rustled underneath! And the honeysuckle osiers, how they crash’d! We led the hunt throughout, Ned, on the chestnut and the grey, And the troopers were three hundred yards behind, While we emptied our six-shooters on the bushrangers at bay, In the creek with stunted box-tree for a blind! There you grappled with the leader, man to man and horse to horse, And you roll’d together when the chestnut rear’d; He blazed away and missed you in that shallow watercourse— A narrow shave—his powder singed your beard! In these hours when life is ebbing, how those days when life was young Come back to us; how clearly I recall Even the yarns Jack Hall invented, and the songs Jem Roper sung; And where are now Jem Roper and Jack Hall? Aye! nearly all our comrades of the old colonial school, Our ancient boon companions, Ned, are gone; Hard livers for the most part, somewhat reckless as a rule, It seems that you and I are left alone. There was Hughes, who got in trouble through that business with the cards, It matters little what became of him; But a steer ripp’d up MacPherson in the Cooraminta yards, And Sullivan was drown’d at Sink-or-swim; And Mostyn—poor Frank Mostyn—died at last a fearful wreck, In “the horrors”, at the Upper Wandinong, And Carisbrooke, the rider, at the Horsefall broke his neck, Faith! the wonder was he saved his neck so long! Ah! those days and nights we squandered at the Logans’ in the glen— The Logans, man and wife, have long been dead. Elsie’s tallest girl seems taller than your little Elsie then; And Ethel is a woman grown and wed. I’ve had my share of pastime, and I’ve done my share of toil, And life is short—the longest life a span; I care not now to tarry for the corn or for the oil, Or for the wine that maketh glad the heart of man. For good undone and gifts misspent and resolutions vain, ’Tis somewhat late to trouble. This I know— I should live the same life over, if I had to live again; And the chances are I go where most men go. The deep blue skies wax dusky, and the tall green trees grow dim, The sward beneath me seems to heave and fall; And sickly, smoky shadows through the sleepy sunlight swim, And on the very sun’s face weave their pall. Let me slumber in the hollow where the wattle blossoms wave, With never stone or rail to fence my bed; Should the sturdy station children pull the bush flowers on my grave, I may chance to hear them romping overhead. |
Mulga Bill’s Bicycle A B PATERSON The invention of the bicycle helped changed the face of Australia, especially of the many itinerant workers who cycled from station to station, finding the new invention easier to handle than the horse. Mulga Bill’s bicycle was a machine of a different breed altogether. ‘Twas Mulga Bill, from Eaglehawk, that caught the cycling craze; He turned away the good old horse that served him many days; He dressed himself in cycling clothes, resplendent to be seen; He hurried off to town and bought a shining new machine; And as he wheeled it through the door, with air of lordly pride, The grinning shop assistant said, “Excuse me, can you ride?” “See here, young man,” said Mulga Bill, “from Walgett to the sea, From Conroy’s Gap to Castlereagh, there’s none can ride like me. I’m good all round at everything as everybody knows, Although I’m not the one to talk – I hate a man that blows. But riding is my special gift, my chiefest, sole delight; Just ask a wild duck can it swim, a wildcat can it fight. There’s nothing clothed in hair or hide, or built of flesh or steel, There’s nothing walks or jumps, or runs, on axle, hoof, or wheel, But what I’ll sit, while hide will hold and girths and straps are tight: I’ll ride this here two-wheeled concern right straight away at sight.” ‘Twas Mulga Bill, from Eaglehawk, that sought his own abode, That perched above Dead Man’s Creek, beside the mountain road. He turned the cycle down the hill and mounted for the fray, But ‘ere he’d gone a dozen yards it bolted clean away. It left the track, and through the trees, just like a silver steak, It whistled down the awful slope towards the Dead Man’s Creek. It shaved a stump by half an inch, it dodged a big white-box: The very wallaroos in fright went scrambling up the rocks, The wombats hiding in their caves dug deeper underground, As Mulga Bill, as white as chalk, sat tight to every bound. It struck a stone and gave a spring that cleared a fallen tree, It raced beside a precipice as close as close could be; And then as Mulga Bill let out one last despairing shriek It made a leap of twenty feet into the Dean Man’s Creek. ‘Twas Mulga Bill, from Eaglehawk, that slowly swam ashore: He said, “I’ve had some narrer shaves and lively rides before; I’ve rode a wild bull round a yard to win a five-pound bet, But this was the most awful ride that I’ve encountered yet. I’ll give that two-wheeled outlaw best; it’s shaken all my nerve To feel it whistle through the air and plunge and buck and swerve. It’s safe at rest in Dead Man’s Creek, we’ll leave it lying still; A horse’s back is good enough henceforth for Mulga Bill.” |
Warren Fahey recites ‘A Bushman’s Farewell to Queensland’
The Bushman’s Farewell to Queensland ANON. I first came across this work of art in the 1960s and, because I realised no one else seemed to be reciting it, have only recently added it to my repertoire. Did bushmen really despise Bananaland so much? I doubt it. Mind you, one pearl I heard (referring to Queensland’s wet weather) offered: “I only stick to Queensland ‘cause Queensland’s always stickin’ to me.” Queensland thou art a land of pests From flies and fleas one never rests Even now mosquitoes round me revel In fact, they are the very devil, Sandflies and hornets just as bad, They nearly drive a fellow mad The scorpion and the centipede With stinging ants of every breed Fever and ague with the shakes Triantelope and poisonous snakes Goannas, lizards and cockatoos Bushrangers, lags and jackaroos Bandicoots and swarms of rats Bull dog ants and swarms of cats Stunted timber, thirsty plains Parched up deserts, scanty rains There’s rivers here you sail ships on There’s nigger women without shirts on There’s humpies, huts and wooden houses There’s men who don’t wear trousers There’s Barcoo rot and sandy blight There’s dingoes howling half the night There’s curlews wails and croaking frogs There’s savage blacks and native dogs There’s centralists, flowers and stinging trees There’s poisoned grass and Darling peas Which drive the horses and cattle mad Make the sheep, juts as bad And then it never rains in reason There’s droughts one year and floods next season Which wash the squatter’s sheep away And then there is the devil to pay To stay in Queensland, Oh land of mutton I would not give a single button But bid thee now a long farewell Thous scorching land of sunburnt hell |
Warren Fahey recites ‘The Spider By the Gwydir’
The Spider By The Gwyder ANON A comic poem where the drunken shearer is about to be ‘rolled’ by a couple of mugs, but a redback spider comes to the rescue saving the day and the pay. By the sluggish river Gwydir lived a hungry red-backed spider, Who was just about as wicked as could be; An’ the place that he was camped in was an empty Jones’s jam tin In a paddock near the showgrounds, at Moree. Near him lay a shearer snoozin’, he had been on beer an’ boozin’ All through the night and all the previous day; An’ the rookin’ of the rookers an’ the noise of showground spruikers Failed to wake him from the trance in which he lay. Then a crafty-lookin’ spieler with a dainty little Sheila Came along, collectin’ wood to make a fire. Said the spieler, “He’s a boozer, an’ he’s goin’ to be a loser; If he isn’t you can christen me a liar.” “Hustle round and keep nit, honey, while I fan the mug for money And we’ll have some luxuries for tea.” But she answered, “Don’t be silly; you go back and boil the billy, You can safely leave the mug to little me.” So she circled ever nearer till she reached the dopey shearer With his pockets bulgin’, fast asleep and snug; But she didn’t see the spider that was ringin’ close beside her For her mind was on the money an’ the mug. The spider sighted dinner. He’d been daily growin’ thinner; He’d ben fastin’ an’ was hollow as an urn. As she eyed the bulgin’ pocket, he just darted like a rocket An’ bit the spielers Sheila on the stern). Then the Sheila started squealin’ an’ her clothes she was unpeelin’, To hear her yells would make you feel forlorn. One hand the bite was pressin’ while the other was undressin’ An’ she reached the camp the same as she was born. Then the shearer, pale an’ haggard, woke, an’ back to town he staggered Where he caught the train an’ gave the booze a rest; An’ he’ll never know the spider that was camped beside the Gwydir Had saved him sixty smackers of the best. |
Introduction
Bush life was often hard but there were genuine pleasures to be found in its solace. As a people we developed a strong bond with the Australian environment but no more so than in the ‘golden years’ of the rural boom that followed the end of the goldrush era and continued up until 1890. These thirty or so years saw Australia riding high with record wheat, wool and beef prices. Work was plentiful; life was good. The pioneers had fought seemingly impenetrable bush, drought, flood, bushfire and pestilence – and usually won. We felt proud of being Australians and a certain ‘freedom’. The early 1890s saw dark clouds descend over the bush: the continuing struggle between labour and industry was experiencing painful and overdue arbitration. The shearing industry, which relied predominately on itinerant seasonal workers, had become more organised in their demands for better rates and conditions. The workers and pastoralists were at loggerheads and strikes erupted across the country. These were bitter times with the introduction of scab labour, vicious media campaigns (each side had their own newspapers) and inept colonial government interference. Crippling drought covered much of Australia intensifying rural problems. Many farmers walked off their properties in despair and out-of-work bush workers had no option that to take to the roads. Thousands ‘humped their blueys’ as swagmen, walking from town to town in search of work, or relying on handouts and sustenance rations.
One of the things that kept body, mind and soul together was the perceived freedom of the bush. The unemployed took shelter under towering gumtrees, camped near river bends or simply disappeared into the quietness of the bush.
It was this freedom on the wallaby that captured the spirit of men trying to survive lean times. The poets understood and many of the poems of the period talk of the beauty of silence, the smell of open air and the freedom of open plains and mountains high. Much of it romanticises the past referring to the excitement of the gold fields, the pluck of bushrangers and the might of shearers, drovers and bullock drivers. It was if the poets knew there were better times ahead.
Warren Fahey recites ‘The Smiths’
The Smiths E G MURPHY ‘DRYBLOWER’ How many men travelled to the bush under a false name to escape from who knows what? The mental picture of these news hungry men, shuddering with fear as the mail arrived bearing the signature of a legal firm, is hilarious. We had many problems set us when Coolgardie was a camp, When the journey to the goldfields meant a coach-fare or a tramp; We had water questions, tucker ditto, also that of gold, How to clothe ourselves in summer, how to dress to dodge the cold. We marvelled how the reefs occurred in most unlikely spots, For the topsy-turvy strata tied geologists in knots; But though we plumbed the depths of many mysteries and myths, The worst we had to fathom was the prevalence of Smiths. To say they swarmed Coolgardie was to say the very least, For they over-ran the district like the rabbits in the East; The name predominated in the underlay and drive, The open-cut and costeen seemed to be with Smiths alive; Where the dishes tossed the gravel they had gathered from afar, They clustered at the two-up school and at the shanty bar; And while Jones and Brown were just as thick as herrings in a frith, It you threw a stone at random vou were sure to hit a Smith. There were Smiths from every region where the Smiths are known to grow, There were cornstalk Smiths, Victorian Smiths, and Smiths who eat the crow; There were Maori Smiths, Tasmanian Smiths, and parched-up Smiths from Cairns; Bachelor Smiths and widower Smiths and Smiths with wives and bairns. Some assumed the names for reasons that to them were known the best When silently they packed their ports and flitted to the West, Till every second man you met to yarn or argue with Was either a legitimate or else a bogus Smith. It really mattered little till the days the big mails came, And then began the trouble with that tar too-frequent name; For the Smiths rolled up in regiments when the letter “S” was called, To drive the post-officials mad and prematurely bald. Shoals o£ Smiths demanded letters that were never to them sent, Wrong Smiths got correspondence which for them was never meant; And many a Smith, whose facial calm shamed Egypt’s monolith, Bought jim-jams with the boodle sent to quite a different Smith. The climax came one Christmas Eve, the mail was on its way, And the post-officials yearned to block the Smiths on Christmas Day; So they faked an Eastern telegram by methods justified, Upon it put no Christian name and tacked it up outside; It was from a Melbourne lawyer, and addressed to “Smith, Esquire”, It was stamped “prepaid and urgent”, so ‘twould confidence inspire, And when Coolgardie sighted it and marked its pungent pith, There was pallid consternation in the habitat of Smith. “Our client has informed us you are over in the West,” Ran the message, “and she threatens your immediate arrest; She hears you’re known as Smith, but says you needn’t be afraid If you’ll come and face the music and redeem the promise made.” The population read it, and before the daylight came A swarm of Smiths rolled up their swags and took a different name, They declined to ‘face the music’ and return to kin and kith, And the maidens who were promised still await the absent Smith. |
Warren Fahey recites ‘Walks Like This’
Walks Like This G.A.P. Here’s an example of a practical joke put into the context of a poem. Hardened boozers were known to try anything to cadge a free drink but this one takes some beating. He was as dry as Georgie’s poodle and was quickly growing worse, but he didn’t hold the boodle – ’twas a fact that made him curse – But he was a man of mettle and was not exactly dumb, So he walked into McPherson’s bar and called for rum. So they handed him the bottle and he made that rum look queer, Swigged it off and asked politely: “Is Jim Smith a-staying here? – A peculiar sort of feller but a decent, Jimmy is, and he’s got a gammy left leg and he walks like this.” Then he limped (as his friend Smith did) to the door and did a git, And McPherson, realizing that he hadn’t paid his bit. Cursed until the glasses rattled and the beer-machine got jammed, Then he wound up with a homely phrase of: “Well I’m damned!” Now, the chap who ‘had’ McPherson thought the joke too good to lose, So he told a friend of his’n, who was dying for a booze, How he’d scored his cheap refreshment – though he didn’t tell him where – And that friend he struck McPherson’s and he called for beer. And they drew a quart of swanky – it was in a pewter pot – and he downed it with a single gulp, and said, “It’s mighty hot! Is Tommy Brown a-stayin’ ‘ere? E’s whiskers on his phiz, An ‘e’s kind o’ wooden-legged and he walks like this. Then McPherson waxed wrathly, there was murder in his gloat As he leapt him o’er the counter, seized that joker by the throat; And he shouted, “Brown’s not staying here, I don’t know who he is, But McPherson’s pretty handy, and he kicks like this!” |
Warren Fahey recites ‘Four Little Johnny Cakes’
Four Little Johnny Cakes ANON. A ‘Johnny Cake’ is a small damper made with flour, water, salt, a pinch of baking powder (the bush cooks used to call it ‘gunpowder’) and brown sugar and currants. The standard joke was that you could use flies if currants weren’t available – no one could tell the difference once they were cooked! A ‘moke’ is slang for horse. Hurrah for the Lachlan, boys, and join me in a cheer That’s the place to go to make an easy cheque each year With a toad-skin in my pocket I borrowed from a friend Oh, isn’t it nice and cosy to be camping in the bend? ch: With my little round flour-bag sitting on a stump My little tea-and-sugar bag looking nice and plump A little fat cod-fish just off the hook And four little johnny-cakes, a credit to the cook I’ve a loaf or two of bread and some “murphies” that I shook Perhaps a loaf of brownie that I snaffled from a cook A nice leg of mutton … just a bit cut off the end Oh, isn’t it nice and jolly to be whaling in the bend? I have a little book and some papers for to read Plenty of matches and a good supply of weed I wouldn’t be a squatter as beside my fire I sit With a paper in my hand and my old clay lit When shearing-time comes, I’m in all my glory then I saddle up my moke and I soon secure a pen I canter through the valley and gallop o’er the plain I shoot a turkey, stick a pig, and off to camp again Last Chorus With my little round flour-bag sitting on a stump My little tea-and-sugar bag looking nice and plump A little fat cod-fish just off the hook And four little johnny-cakes, I’m proud to be the cook! |
Freedom On The Wallaby HENRY LAWSON Lawson was a passionate republican and this could very well be seen as a patriotic ‘war cry’. I often wonder how Henry would view our Australia of the 21st century, and especially how our old ways are being changed for the worse. The final verse with its ‘So we must fly a rebel flag’ is particularly stirring for those of us who believe our culture is worth protecting from global cultural mediocrity. Australia’s a big country An’ Freedom’s humping bluey, An’ Freedom’s on the wallaby Oh! don’t you hear ‘er cooey? She’s just begun to boomerang, She’ll knock the tyrants silly, She’s goin’ to light another fire And boil another billy. Our fathers toiled for bitter bread While loafers thrived beside ’em, But food to eat and clothes to wear, Their native land denied ’em. An’ so they left their native land In spite of their devotion, An’ so they came, or if they stole, Were sent across the ocean. Then Freedom couldn’t stand the glare O’ Royalty’s regalia, She left the loafers where they were, An’ came out to Australia. But now across the mighty main The chains have come ter bind her – She little thought to see again The wrongs she left behind her. Our parentstoil’d to make a home – Hard grubbin’ ’twasan’ clearin’ – They wasn’t crowded much with lords When they was pioneering. But now that we have made the land A garden full of promise, Old Greed must crook ‘is dirty hand And come ter take it from us. So we must fly a rebel flag, As others did before us, And we must sing a rebel song And join in rebel chorus. We’ll make the tyrants feel the sting O’ those that they would throttle; They needn’t say the fault is ours If blood should stain the wattle! |
The Billy of Tea ANON. The campfire was the universal leveller of bush life for it was around its warmth that the boss and the men were equal. The mug of tea, often referred to as ‘jack the painter’ because of the stain the strong brew left around the mouth, was seen as the ‘peace pipe’. There was contentment and joy in sipping the sweet China tea as you shared a yarn, a song and, of course, a poem. From The Native Companion Songster. You can talk of your whiskey and talk of your beer, But there’s something much nicer that’s waiting us here. It sits by the fire beneath the gum-tree. There’s nothing guite like it – a billy of tea. So fill up your tumblers as high as you can, And don’t you dare tell me it’s not the best plan. You can let all your beer and your spirits go free – I’ll stick to me darling old billy of tea. Well I rise in the morning before it gets light, And I go to the nosebag to see it’s alright, That the ants on the sugar no mortgage have got, And straight away sling my old black billy-pot, And while it is boiling the horses I seek, And follow them down as far as the creek. I take off their hobbles and let them run free, Then haste to tuck into my billy of tea. And at night when I camp, if the day has been warm, I give to my horses their tucker of corn. From the two in the pole to the one in the lead, A billy for each holds a comfortable feed. Then the fire I make and the water I get, And corned beef and damper in order I set, But I don’t touch the grub, though so hungry I be – I wait till it’s ready – my billy of tea! |
Warren Fahey recites ‘The Tent Poles Are Rotten’
Are You the Cove? “TOM COLLINS’ JOSEPH FURPHY Hard-bitten swagmen were known as ‘sundowners’ because they always arrived at the station-door around sunset, to avoid the menial jobs usually exchanged for tucker rations. In this poem by the author of the classic book ‘Such Is Life’, our swagman attempts a clever routine to better the somewhat exasperated squatter. “Are you the Cove?” he spoke the words As swagmen only can; The Squatter freezingly inquired, “What do you mean, my man?” “Are you the Cove?” his voice was stern, His look was firm and keen; Again the Squatter made reply, “I don’t know what you mean.” “0! dash my rags! let’s have some sense – You ain’t a fool, by Jove, Gammon you dunno what I mean; I mean – are you the Cove?’ ‘Yes, I’m the Cove,” the Squatter said; The Swagman answered, “Right, I thought as much: show me some place Where I can doss tonight.” |
Introduction
The average bush worker of the nineteenth century was generally a shy personality. Men learnt to mind their own business. It was safer that way. Silence was the golden rule and passing travellers were hardly ever asked where they had been, this could imply some dark history, maybe even the ‘convict stain’, so far better to enquire where they were headed. If they talked it was usually about horses or dogs for both animals were held in the deepest of respect and affection. They were the real ‘mates’ and many the boundary rider had maintained sanity by conducting long campfire conversations with his dog.
There are so many classic poems about horses starting with Banjo Paterson’s epic Man From Snowy River with its graphic ride down the mountain that sent the flint stones flying. Reciters have always loved this poem as they take their audience into the saddle. Other great favourites included ‘The Mailman’s Ride’ ‘How We Beat The Favourite’, ‘The Black Warrigal Horse’, ‘The Stockdriver’s Ride’, ‘The Caulfield Cup’, ‘Flash Jack Nolan’s Ride’, ‘How A Roughrider Died’, ‘How The Sailor Rode The Brumby’, ‘Carbine’, ‘The Little Worn Out Pony’ – to name only a few.
We owe a great deal of gratitude to the horse in our history and most bush people acknowledge this fact.
Warren Fahey recites ‘The Outlaw and the Rider’
This was the very first poem I ever collected.
Where the Brumbies Come to Water WILL OGILVIE Some poems cry out to be songs, as if the sympathetic addition of music will carry the words and story to a new level. This poem does that for me and, luckily, the Queensland folklorist, Ron Edwards, collected a song version that marries the two beautifully. There’s a lonely grave half hidden where the blue-grass droops above, And the slab is rough that marks it, but we planted it for love; There’s a well-worn saddle hanging in the harness-room at home And a good old stock-horse waiting for the steps that never come; There’s a mourning rank of riders closing in on either hand O’er the vacant place he left us — he, the best of all the band, Who is lying cold and silent with his hoarded hopes unwon Where the brumbies come to water at the setting of the sun. Some other mate with rougher touch will twist our greenhide thongs, And round the fire some harsher voice will sing his lilting songs; His dog will lick some other hand, and when the wild mob swings We’ll get some slower rider to replace him in the wings; His horse will find a master new ere twice the sun goes down, But who will kiss his light-o’-love a-weeping in the town? — His light-o’-love who kneels at night beyond the long lagoon Where the brumbies come to water at the rising of the moon. We’ve called her hard and bitter names who chose — another’s wife — To chain our comrade in her thrall and wreck his strong young life; We’ve cursed her for her cruel love that seared like hate — and yet We know when all is over there is one will no forget, As she piles the white bush blossoms where her poor lost lover lies With the death-dew on his forehead and the grave-dark in his eyes, Where the shadow-line is broken by the moonbeam’s silver bars, And the brumbies come to water at the lightning of the stars. |
Warren Fahey recites ‘The Man From Snowy River’
Warren Fahey recites a parody ‘The Man From Kaomagma’
The Man From Snowy River A B PATERSON There was movement at the station, for the word had passed around That the colt from old Regret had got away, And had joined the wild bush horses — he was worth a thousand pound, So all the cracks had gathered to the fray. All the tried and noted riders from the stations near and far Had mustered at the homestead overnight, For the bushmen love hard riding where the wild bush horses are, And the stock-horse snuffs the battle with delight. There was Harrison, who made his pile when Pardon won the cup, The old man with his hair as white as snow; But few could ride beside him when his blood was fairly up— He would go wherever horse and man could go. And Clancy of the Overflow came down to lend a hand, No better horseman ever held the reins; For never horse could throw him while the saddle-girths would stand, He learnt to ride while droving on the plains. And one was there, a stripling on a small and weedy beast, He was something like a racehorse undersized, With a touch of Timor pony—three parts thoroughbred at least— And such as are by mountain horsemen prized. He was hard and tough and wiry—just the sort that won’t say die— There was courage in his quick impatient tread; And he bore the badge of gameness in his bright and fiery eye, And the proud and lofty carriage of his head. But still so slight and weedy, one would doubt his power to stay, And the old man said, “That horse will never do For a long and tiring gallop—lad, you’d better stop away, Those hills are far too rough for such as you.” So he waited sad and wistful—only Clancy stood his friend — “I think we ought to let him come,” he said; “I warrant he’ll be with us when he’s wanted at the end, For both his horse and he are mountain bred. “He hails from Snowy River, up by Kosciusko’s side, Where the hills are twice as steep and twice as rough, Where a horse’s hoofs strike firelight from the flint stones every stride, The man that holds his own is good enough. And the Snowy River riders on the mountains make their home, Where the river runs those giant hills between; I have seen full many horsemen since I first commenced to roam, But nowhere yet such horsemen have I seen.” So he went — they found the horses by the big mimosa clump — They raced away towards the mountain’s brow, And the old man gave his orders, ‘Boys, go at them from the jump, No use to try for fancy riding now. And, Clancy, you must wheel them, try and wheel them to the right. Ride boldly, lad, and never fear the spills, For never yet was rider that could keep the mob in sight, If once they gain the shelter of those hills.’ So Clancy rode to wheel them—he was racing on the wing Where the best and boldest riders take their place, And he raced his stock-horse past them, and he made the ranges ring With the stockwhip, as he met them face to face. Then they halted for a moment, while he swung the dreaded lash, But they saw their well-loved mountain full in view, And they charged beneath the stockwhip with a sharp and sudden dash, And off into the mountain scrub they flew. Then fast the horsemen followed, where the gorges deep and black Resounded to the thunder of their tread, And the stockwhips woke the echoes, and they fiercely answered back From cliffs and crags that beetled overhead. And upward, ever upward, the wild horses held their way, Where mountain ash and kurrajong grew wide; And the old man muttered fiercely, “We may bid the mob good day, No man can hold them down the other side.” When they reached the mountain’s summit, even Clancy took a pull, It well might make the boldest hold their breath, The wild hop scrub grew thickly, and the hidden ground was full Of wombat holes, and any slip was death. But the man from Snowy River let the pony have his head, And he swung his stockwhip round and gave a cheer, And he raced him down the mountain like a torrent down its bed, While the others stood and watched in very fear. He sent the flint stones flying, but the pony kept his feet, He cleared the fallen timber in his stride, And the man from Snowy River never shifted in his seat— It was grand to see that mountain horseman ride. Through the stringy barks and saplings, on the rough and broken ground, Down the hillside at a racing pace he went; And he never drew the bridle till he landed safe and sound, At the bottom of that terrible descent. He was right among the horses as they climbed the further hill, And the watchers on the mountain standing mute, Saw him ply the stockwhip fiercely, he was right among them still, As he raced across the clearing in pursuit. Then they lost him for a moment, where two mountain gullies met In the ranges, but a final glimpse reveals On a dim and distant hillside the wild horses racing yet, With the man from Snowy River at their heels. And he ran them single-handed till their sides were white with foam. He followed like a bloodhound on their track, Till they halted cowed and beaten, then he turned their heads for home, And alone and unassisted brought them back. But his hardy mountain pony he could scarcely raise a trot, He was blood from hip to shoulder from the spur; But his pluck was still undaunted, and his courage fiery hot, For never yet was mountain horse a cur. And down by Kosciusko, where the pine-clad ridges raise Their torn and rugged battlements on high, Where the air is clear as crystal, and the white stars fairly blaze At midnight in the cold and frosty sky, And where around the Overflow the reed beds sweep and sway To the breezes, and the rolling plains are wide, The man from Snowy River is a household word today.. |
The Geebung Polo Club A B PATERSON How popular was, and still is, this galloping poem of Paterson’s! In a ‘sport’s crazy’ nation such as ours the scene of struggling rough-and-ready bush riders mounted on confused yet determined ‘mountain horses’, meeting for a challenge with the toffs of the city ‘Cuff & Collar’ team, is full of laughing twists and turns. It was somewhere up the country in a land of rock and scrub, That they formed an institution called the Geebung Polo Club. They were long and wiry natives of the rugged mountainside, And the horse was never saddled that the Geebungs couldn’t ride; But their style of playing polo was irregular and rash – They had mighty little science, but a mighty lot of dash: And they played on mountain ponies that were muscular and strong, Though their coats were quite unpolished, and their manes and tails were long. And they used to train those ponies wheeling cattle in the scrub: They were demons, were the members of the Geebung Polo Club. It was somewhere down the country, in a city’s smoke and steam, That a polo club existed, called the Cuff and Collar Team. As a social institution ’twas a marvellous success, For the members were distinguished by exclusiveness and dress. They had natty little ponies that were nice, and smooth, and sleek, For their cultivated owners only rode ’em once a week. So they started up the country in pursuit of sport and fame, For they meant to show the Geebungs how they ought to play the game; And they took their valets with them – just to give their boots a rub Ere they started operations on the Geebung Polo Club. Now my readers can imagine how the contest ebbed and flowed, When the Geebung boys got going it was time to clear the road; And the game was so terrific that ere half the time was gone A spectator’s leg was broken – just from merely looking on. For they waddied one another till the plain was strewn with dead, While the score was kept so even that they neither got ahead. And the Cuff and Collar captain, when he tumbled off to die, Was the last surviving player – so the game was called a tie. Then the captain of the Geebungs raised him slowly from the ground, Though his wounds were mostly mortal, yet he fiercely gazed around; There was no one to oppose him – all the rest were in a trance, So he scrambled on his pony for his last expiring chance, For he meant to make an effort to get victory to his side; So he struck at goal – and missed it – then he tumbled off and died. By the old Campaspe River, where the breezes shake the grass, There’s a row of little gravestones that the stockmen never pass, For they bear a crude inscription saying, “Stranger, drop a tear, For the Cuff and Collar players and the Geebung boys lie here.” And on misty moonlit evenings, while the dingoes howl around, You can see their shadows flitting down that phantom polo ground; You can hear the loud collisions as the flying players meet, And the rattle of the mallets, and the rush of ponies’ feet, Till the terrified spectator rides like blazes to the pub – He’s been haunted by the spectres of the Geebung Polo Club. |
The Goanna G M SMITH ‘STEELE GREY’ One suspects that this poem was based on a true incident. Well, those goannas can certainly move and they can scoot up a drainpipe so why not a horse’s leg. Whatever the case it was a wild ride. On the Castlereagh some years ago We didn’t mind a buster, And some gay old sport we used to have When going out to muster. It was in the month of August Though the ground was not too damp We saddled up and started out To put on Brigalow Camp. And while riding across the plain Just in the usual manner, All at once we came upon An old man black goanna. “Hullo!” cried one. “Boys, here’s a lark! Out here he has no shelter, We’ll down upon him with our whips And send him helter-skelter!” Down came the whips, he stood it well, His hide was thick and tough, But soon he had to do a get The treatment proved too rough. Then for the creek he doubled quick And, in his headlong bolt, The first thing he encountered Was Kemp upon a colt. Now up that colt’s hind legs he went And large, sharp claws he had— You may talk about your wild west shows: That colt went ramping mad. But the more he bucked and the more he squealed They both hung on the faster; For Kemp was a chap who bore the name Of being a sticking-plaster. But still he served it out in style, The dust he fairly skied, It was plain if something didn’t come He’d surely shed his hide. Now the crupper went, the breast-plate too, The girths they burst asunder, The surcingle, it snapped in two And down they came like thunder. The goanna, he was underneath So Kemp was let off lightly, The goanna he was fairly squashed— We thought it served him rightly. That was many years ago But yet I’d bet a tenner, That colt and Kemp have not forgot That blooming black goanna, |
Warren Fahey recites ‘Holy Dan’
Holy Dan ANON. The story of ‘Holy’ Dan, ‘the bullock driver who never swore’, is a perennial favourite with reciters of bush poetry. In a country where bullock drivers were known as the most foul-mouthed brutes on the planet, this takes some beating. It was In the Queensland drought; And over hill and dell, No grass – the water far apart, All dry and hot as hell. The wretched bullock teams drew up Beside a water-hole – They’d struggled on through dust and drought For days to reach this goal. And though the water rendered forth A rank, unholy stench, The bullocks and the bullockies Drank deep their thirst to quench. Two of the drivers cursed and swore As only drivers can. The other one, named Daniel, Best known as Holy Dan, Admonished them and said it was The Lord’s all-wise decree; And if they’d only watch and wait, A change they’d quickly see. ’Twas strange that of Dan’s bullocks Not one had gone aloft, But this, he said, was due to prayer And supplication oft. At last one died but Dan was calm, He hardly seemed to care; He knelt beside the bullock’s corpse And offered up a prayer. “One bullock Thou has taken, Lord, And so it seemeth best. Thy will be done, but see my need And spare to me the rest!” A month went by. Dan’s bullocks now Were dying every day, But still on each occasion would The faithful fellow pray, “Another Thou has taken, Lord, And so it seemeth best. Thy will be done, but see my need, And spare to me the rest!” And still they camped beside the hole, And still it never rained, And still Dan’s bullocks died and died, Till only one remained. Then Dan broke down – good Holy Dan – The man who never swore. He knelt beside the latest corpse, And here’s the prayer he prore. “That’s nineteen Thou has taken, Lord, And now You’ll plainly see You’d better take the bloody lot, One’s no damn good to me.” The other riders laughed so much They shook the sky around; The lightning flashed, the thunder roared, And Holy Dan was drowned. |
Warren Fahey recites ‘Piddling Pete’
Piddling Tete ANON. Another great favourite for reciters is this tale of the dog who was ‘champion piddler’ of Australia – and, as the story unfolds, with good reason. A famous dog once came to town Whose middle name was Pete, His pedigree was two yard long, His looks were hard to beat, And as he trotted down the road ’twas beautiful to see, His work on every corner, His work on every tree. He watered every gateway, He never missed a post, For piddling was his masterpiece And piddling was his boast. The city dogs stood looking on With deep and jealous rage, To see this simple country dog, The piddler of his age, They smelled him over one by one, They smelled him two by two, The noble Pete in high disdain Stood still till they were through. They sniffed him over one by one Their praise for him ran high, But when one sniffed him underneath, Pete piddled in his eye. Then just to show the city dogs He didn’t care a damn, He strolled into a grocer’s shop And piddled on a ham! He piddled on his onions, He piddled on the floor, And when the grocer kicked him out, He piddled on the door. Behind him all the city dogs Debated what to do, They’d hold a piddling carnival To show this stranger through. They showed him all the piddling posts They knew around the town, They started out with many winks To wear the stranger down. But Pete was with their every trick With vigor and with vim; A thousand piddles more or less Were all the same to him… And on and on went noble Pete His hind leg kicking high, While most were lifting legs in bluff Or piddling mighty dry. And on and on went noble Pete, Watering every dale and hill, Till each and every city dog Was piddled to a standstill. Then Pete an exhibition gave Of all the ways to piddle, Like, double drips and fancy flips, And now and then a dribble. And all the while the city dogs Did neither wink or grin, Pete blithely piddled out of town As he had piddled in. The City Dogs said “so long Pete”, Your piddling did defeat us! But no one ever put them wise That Pete had diabetes. |
Warren Fahey recites ‘The Dog’s Meeting’
The Dog’s Meeting ANON. Another dog yarn set as a poem. This probably started life as a variant of a ditty penned by the great Robert Burns although it has obviously travelled the bush for this version. It is sometimes sung to the tune of the bawdy song ‘The Ball of Kerrimuir’. Oh, the dogs once held a concert, They came from near and far. Oh, some they came by bicycle And some by motor car. Before into the concert hall They were allowed to look, Each dog had to take his arsehole And hang it on a hook. (Repeat last two lines). Oh, hardly were they seated there, Each mother, son and sire, When a dirty little yeller dog Began to holler ‘Fire!’ Out they rushed in panic, They didn’t stop to look; Each dog just grabbed an arsehole From off the nearest hook. (Repeat last two lines) And that’s the reason why you see, On walking down the street, Each dog will stop and swap a smell With every dog he meets. And that’s the reason why a dog Will leave a good fat bone To go and smell an arsehole In hopes to find his own. (Repeat last tow lines) |
Mad Jack’s Cockatoo WILLIAM RYLAND Bush folklore sees a lot of animals and birds that ‘like a drink or three’ and, in this story, the boozer is a cockatoo. Believe it or not but I have seen men, silently drinking, sharing their beer with a sulphur-crested cockatoo who, when offered, seem to like a drop. There’s a man that went out in the floodtime and drought, By the banks of the outer Barcoo, And they called him Mad Jack ’cause the swag on his back Was the perch for an old cockatoo. By the towns near and far, in shed, shanty and bar, Came the yarns of Mad Jack and his bird, And this tale I relate (it was told by a mate), Is just one of the many I’ve heard. Now Jack was a bloke who could drink, holy smoke, He could swig twenty mugs to my ten, And that old cockatoo, it could sink quite a few, And it drank with the rest of the men. One day when the heat was a thing hard to beat, Mad Jack and his old cockatoo Came in from the West, at the old Swagman’s Rest, Jack ordered the schooners for two. And when these had gone down he forked out half-a-crown, And they drank till the money was spent, Then Jack pulled out a note from his old tattered coat, And between them they drank every cent. Then that old cockatoo, it swore red, black and blue, And it knocked all the mugs off the bar, Then it flew through the air, and it pulled at the hair Of a bloke who was drinking Three Star. And it jerked out the pegs from the barrels and kegs, Knocked the bottles all down from the shelf, With a sound like a cheer it dived into the beer, And it finished up drowning itself. When at last Mad Jack awoke from his sleep he ne’er spoke, But he cried like a lost husband’s wife, And each quick falling tear made a flood -with the beer, And the men had to swim for their life. Then Mad Jack he did drown; when the waters went down He was lying there stiffened and blue, And it’s told far and wide that stretched out by his side Was his track-mate — the old cockatoo. |
Going to School C J DENNIS It is easy to picture youngsters Billy, Kate and Robin perched high upon the back of Old Dobbin as they clip clop clip to school. This poem must have raised a familiar smile on many country people who had similar transport to school. Dave de Hugard set the poem to music and calls it ‘Three Kids On A Horse’. It is from ‘A Book for Kids’. Did you see them pass to-day, Billy, Kate and Robin, All astride upon the back of old grey Dobbin? Jigging, jogging off to school, down the dusty track – What must Dobbin think of it – three upon his back? Robin at the bridle-rein, in the middle Kate, Billy holding on behind, his legs out straight. Now they’re coming back from school, jig, jog, jig. See them at the corner where the gums grow big; Dobbin flicking off the flies and blinking at the sun – Having three upon his back he thinks is splendid fun: Robin at the bridle-rein, in the middle Kate, Little Billy up behind, his legs out straight. |
Introduction
Poetry has helped us in our search for the ‘Australian identity’, it still does. In the ‘golden years’ of the 19th century we were a nation of ‘new chums’ with strong ties to Europe and especially the Anglo Celtic tradition. In our cockeyed way we believed ‘Colonial born’ was superior to ‘Stirling’ (a reference to British born) even if many of us bore the ‘convict stain’. Bush folk were generally keen readers and subscribed to newspapers, magazines, book clubs and the networked School of Arts libraries. Poetry had an ‘everyman’ appeal and ranged from Tennyson and Byron to local doggerel. There was a certain pride to be had by reading and writing, even if the latter was sometimes done with a ‘thumbnail dipped in tar’.
It is to our credit that we so enthusiastically supported poets who were describing the bush environment, the flora and fauna, the ‘outback’, and the people who were proudly calling themselves ‘Australian’. Poets like Adam Lindsay Gordon, Edward Harrington, Thomas Thierney, J.E.Liddle, Edward Sorenson, Randolph Bedford, Edward Dyson, George Essex Evans, Barcroft Boake, Will Ogilvie, W T Goodge, Mary Durack, P J Hartigan, C J Dennis, Edward Dyson, and, of course, A B Paterson and Henry Lawson, to name just some of the great storytellers, did us a service by honouring the pioneering spirit that brought us together, made us a nation, and gave us our unique identity as a people.
Where would we be without the poetical images of Clancy of the Overflow as he stares out of the window dreaming he could swap places with the free spirit of the drover; or the exhilaration of imagining that great flint-flying ride down the Snowy Mountain side; or the pleasure of watching the hilarious Geebung Polo match? Even our unofficial national anthem, ‘Waltzing Matilda’, allows us to dream, to travel, to smile and to feel part of a land that is unique and blessed.
Warren Fahey recites ‘Clancy of the Overflow’ and then a parody ‘Clancy Of The Underflow’
Clancy of the Overflow A B PATERSON At the time of Federation, at the beginning of the 20th century, the balance of our population had shifted toward the city rather than the bush. Factory and office work was the main reason. Paterson effectively caught the acute loss of freedom in this hugely popular poem where the city slicker, in this case the poet, is gazing out the window, dreaming he could change places with the bushman. I had written him a letter which I had, for want of better Knowledge, sent to where I met him down the Lachlan, years ago, He was shearing when I knew him, so I sent the letter to him, Just on spec, addressed as follows, “Clancy, of The Overflow”. And an answer came directed in a writing unexpected, (And I think the same was written with a thumb-nail dipped in tar) ’Twas his shearing mate who wrote it, and verbatim I will quote it: “Clancy’s gone to Queensland droving, and we don’t know where he are.” In my wild erratic fancy visions come to me of Clancy Gone a-droving “down the Cooper” where the Western drovers go; As the stock are slowly stringing, Clancy rides behind them singing, For the drover’s life has pleasures that the townsfolk never know. And the bush hath friends to meet him, and their kindly voices greet him In the murmur of the breezes and the river on its bars, And he sees the vision splendid of the sunlit plains extended, And at night the wond’rous glory of the everlasting stars. I am sitting in my dingy little office, where a stingy Ray of sunlight struggles feebly down between the houses tall, And the foetid air and gritty of the dusty, dirty city Through the open window floating, spreads its foulness over all. And in place of lowing cattle, I can hear the fiendish rattle Of the tramways and the buses making hurry down the street, And the language uninviting of the gutter children fighting, Comes fitfully and faintly through the ceaseless tramp of feet. And the hurrying people daunt me, and their pallid faces haunt me As they shoulder one another in their rush and nervous haste, With their eager eyes and greedy, and their stunted forms and weedy, For townsfolk have no time to grow, they have no time to waste. And I somehow rather fancy that I’d like to change with Clancy, Like to take a turn at droving where the seasons come and go, While he faced the round eternal of the cash-book and the journal— But I doubt he’d suit the office, Clancy, of The Overflow. |
Song of the Artesian Waters A B PATERSON Water, or lack of the darned stuff, is inexplicitly linked to the way we view the land, especially the remote inland. Artesian, or bore water, is a vital part of our water history. Now the stock have started dying, for the Lord has sent a drought But we’re sick of prayers and Providence—we’re going to do without With the derricks up above us and the solid earth below We are waiting at the lever for the word to let her go. Sinking down, deeper down, Oh, we’ll sink it deeper down: As the drill is plugging downward at a thousand feet of level If the Lord won’t send us water, oh, we’ll get it from the devil Yes we’ll get it from the devil deeper down. Now our engine’s built in Glasgow by a vey canny Scot And he marked it twenty horse-power, but he don’t what is what When Canada Bill is firing with the sun-dried gidgee logs She can equal thirty horses and a score or so of dogs Sinking down, deeper down, Oh, we’re going deeper down: If we fail to get the water, then it’s ruin to the squatter For the drought is on the station and the weather’s growing hotter But we’re bound to get the water deeper dovvm. But the shaft has started caving and the sinking’s very slow And the yellow rods are bending in the water down below And the tubes are always jamming, and they can’t be made to shift Till we nearly burst the engine with a forty horse-power lift Sinking down, deeper down, Oh, we’re going deeper down: Though the shaft is always caving, and the tubes are always hamming Yet we’ll fight our way to water while the stubborn drill is ramming While the stubborn drill is ramming deeper down. But there’s no artesian water, though we’ve passed three thousand feet And the contract price is growing, and the boss is nearly beat But it must be down beneath us, and it’s down we’ve got to go Though she’s bumping on the solid rock four thousand feet below Sinking down, deeper down, Oh, we’re going deeper down: And it’s time they heard us knocking on the roof of Satan’s dwellin’ But we’ll get artesian water if we cave the roof of Hell in Oh! we’ll get artesian water deeper down. But it’s hark! the whistle’s blowing with a wild, exultant blast And the boys are madly cheering, for they’ve struck the flow at last And it’s rushing up the tubing from four thousand feet below Till it spouts above the casing in a million-gallon flow Till it spouts above the casing in a million-gallon flor And it’s down, deeper down Oh, it comes from deeper down; It is flowing, ever flowing, in a free, unstinted measure From the silent hidden places where the old earth hides her treasure Where the old earth hides her treasure deeper down. And it’s clear away the timber, and it’s let the water run How it glimmers in the shadow, how it flashes in the sun! By the silent belts of timber, by the miles of blazing plain It is bringing hope and comfort to the thirsty land again Flowing down, further down It is flowing further down To the tortured thirsty cattle, bringing gladness in its going; Through the droughty days of summer it is flowing, ever flowing It is flowing, ever flowing, further down. |
There’s Only Two of Us Here EDWARD HARINGTON Ghost stories are widespread in the Australian bush and Harington’s comic poem captures the spookiness of the lonely bush as the ‘ghost’ repeats the words, “There’s only the two of us here”. I camped one night in an empty hut on the side of a lonely hill. I didn’t go much on empty huts, but the night was awful chill. So I boiled me billy and had me tea and seen that the door was shut. Then I went to bed in am empty bunk by the side of the old slab shed. It must have been about twelve o’clock – I was feeling cosy and warm – When at the foot of me bunk I sees a horrible ghostly form It seemed in shape to be half an ape with a head like a chimpanzee But wot the hell was it doin there, and wot did it want with me? You may say if you please that I had DTs or call me a crimson liar, But I wish you had seen it as plain as me, with it’s eyes like coals of fire. Then it gave a moan and a horrible groan that curdled me blood with fear, And ‘There’s only the two of us here,’ it ses. ‘There’s only the two of us here!’ I kept one eye on the old hut door and one on the awful brute; I only wanted to dress meself and get to the door and scoot. But I couldn’t find where I’d left me boots so I hadn’t a chance to clear And, ‘There’s only the two of us here,’ it moans. ‘There’s only the two of us here!’ I hadn’t a thing to defend meself, not even a stick or stone, And ‘There’s only the two of here!’ It ses again with a horrible groan. I thought I’d better make some reply, though I reckoned me end was near, ‘By the Holy Smoke, when I find me boots, there’ll be only one of us here.’ I get me hands on me number tens and out through the door I scoots, And I lit the whole of the ridges up with the sparks from me blucher boots. So I’ve never slept in a hut since then, and I tremble and shake with fear When I think of the horrible form wot moaned, ‘There’s only the two of us here!’ |
Australia’s On The Wallaby ANON This poem was first published in Old Bush Recitations, collected by ‘Bill Bowyang’ (Alex Vennard), in the 1930s. Some twenty-five years later the folklorist John Meredith recorded a sung version from Noah Warren, of the Lithgow district, including a final verse not included in Vennard’s collection. It is clearly a parody on Lawson’s ‘Freedom On The Wallaby’. Our fathers came to search for gold The mine has proved a duffer From bankers, boss and syndicate We always had to suffer They fought for freedom for themselves Themselves and mates to toil But Australia’s sons are weary And the billy’s on the boil Australia’s on the wallaby Just listen to the coo-ee For the kangaroo he rolls his swag And the emu shoulders bluey The boomerangs are whizzinq round The dingo scratches gravel The possum bear and bandicoot Are all upon the travel The cuckoo calls the bats and now The pigeon and the shag The mallee-hen and platypus Are rolling up their swaq For the curlew sings a sad farewell Beside the long lagoon And the brolga does his last-way waltz To the lyrebird’s mocking tune There’s tiger-snakes and damper, boys And what’s that on the coals? There’s droughts and floods and ragged duds There’s dried-up waterholes There’s shadeless trees and sun-scorched plains All asking us to toil But Australia’s sons are weary And the billy’s on the boil |
Warren Fahey recites ‘Reedy River’
Max Cullen recites and sings his arrangement of ‘Reedy River’ from ‘Dead Men Talking’.
Reedy River HENRY LAWSON This poem has a real pedigree in as much it had a huge effect on the history of Australian theatre. Dick Diamond used its title for his 1950s musical play based on bush life, and bush workers in particular. The poem, set to beautiful music by Chris Kempster, was a highlight of the play. Ten miles down Reedy River A pool of water lies, And all the year it mirrors The changes in the skies, And in that pool’s broad bosom Is room for all the stars; Its bed of sand has drifted O’er countless rocky bars. Around the lower edges There waves a bed of reeds, Where water rats are hidden, And where the wild duck breeds; And grassy slopes rise gently To ridges long and low, Where groves of wattle flourish And native bluebells grow. Beneath the granite ridges The eye may just discern Where Rocky Creek emerges From deep green banks of fern; And standing tall between them, The grassy sheoaks cool The hard, blue-tinted waters Before they reach the pool. Ten miles down Reedy River One Sunday afternoon, I rode with Mary Campbell To that broad bright lagoon; We left our horses grazing Till shadows climbed the peak, And strolled beneath the sheoaks On the banks of Rocky Creek. Then home along the river That night we rode a race, And the moonlight lent a glory To Mary Campbell’s face; And I pleaded for my future All thro’ that moonlight ride, Until our weary horses Drew closer side by side. Ten miles from Ryan’s crossing And five below the peak, I built a little homestead On the banks of Rocky Creek: I cleared the land and fenced it And ploughed the rich red loam, And my first crop was golden When I brought Mary home. Now still down Reedy River The grassy sheoaks sigh, And the waterholes still mirror The pictures in the sky; And over all for ever Go sun and moon and stars, While the golden sand is drifting Across the rocky bars; But of the hut I builded There are no traces now. And many rains have levelled The furrows of the plough; And my bright days are olden, For the twisted branches wave And the wattle blossoms golden On the hill by Mary’s grave. |
Tangmalangaloo P J HARTIGAN ‘JOHN O’BRIEN’ How many Australian kids learnt this tongue-twisting poem as part of their elocution class? It was certainly on the top of the list at my school, Marist Bros. Kogarah. The bishop sat in lordly state and purple cap sublime, And galvanized the old bush church at Confirmation time. And all the kids were mustered up from fifty miles around, With Sunday clothes, and staring eyes, and ignorance profound. Now was it fate, or was it grace, whereby they yarded too An overgrown two-storey lad from Tangmalangaloo? A hefty son of virgin soil, where nature has her fling, And grows the trefoil three feet high and mats it in the spring; Where mighty hills uplift their heads to pierce the welkin’s rim, And trees sprout up a hundred feet before they shoot a limb; There everything is big and grand, and men are giants too – But Christian Knowledge wilts, alas, at Tangmalangaloo. The bishop summed the youngsters up, as bishops only can; He cast a searching glance around, then fixed upon his man. But glum and dumb and undismayed through every bout he sat; He seemed to think that he was there, but wasn’t sure of that. The bishop gave a scornful look, as bishops sometimes do, And glared right through the pagan in from Tangmalangaloo. “Come, tell me, boy,” his lordship said in crushing tones severe, “Come, tell me why is Christmas Day the greatest of the year? “How is it that around the world we celebrate that day “And send a name upon a card to those who’re far away? “Why is it wandering ones return with smiles and greetings, too?” A squall of knowledge hit the lad from Tangmalangaloo. He gave a lurch which set a-shake the vases on the shelf, He knocked the benches all askew, up-ending of himself. And so, how pleased his lordship was, and how he smiled to say, “That’s good, my boy. Come, tell me now; and what is Christmas Day?” The ready answer bared a fact no bishop ever knew – “It’s the day before the races out at Tangmalangaloo. |
Bush Christmas C J DENNIS Christmas is traditionally associated with snow, raging fires and sumptuous hot dinners. This didn’t translate well to the Australian bush however our early settlers were determined to celebrate their Anglo heritage in true British style. Thankfully, nowadays, we have evolved to an Australian style of Christmas however, echoing C J Dennis’s last line: ‘and all that washing up still to be done.’ The sun burns hotly thro’ the gums As down the road old Rogan comes – The hatter from the lonely hut Beside the track to Woollybutt. He likes to spend his Christmas with us here. He says a man gets sort of strange Living alone without a change, Gets sort of settled in his way; And so he comes each Christmas day To share a bite of tucker and a beer. Dad and the boys have nought to do, Except a stray odd job or two. Along the fence or in the yard, “It ain’t a day for workin’ hard.” Says Dad. “One day a year don’t matter much.” And then dishevelled, hot and red, Mum, thro’ the doorway puts her head And says, “This Christmas cooking, My! The sun’s near fit for cooking by.” Upon her word she never did see such. “Your fault,” says Dad, “you know it is. Plum puddin’! on a day like this, And roasted turkeys! Spare me days, I can’t get over women’s ways. In climates such as this the thing’s all wrong. A bit of cold corned beef an’ bread Would do us very well instead.” Then Rogan said, “You’re right; it’s hot. It makes a feller drink a lot.” And Dad gets up and says, “Well, come along.” The dinner’s served – full bite and sup. “Come on,” says Mum, “Now all sit up.” The meal takes on a festive air; And even father eats his share And passes up his plate to have some more. He laughs and says it’s Christmas time, “That’s cookin’, Mum. The stuffin’s prime.” But Rogan pauses once to praise, Then eats as tho’ he’d starved for days. And pitches turkey bones outside the door. The sun burns hotly thro’ the gums, The chirping of the locusts comes Across the paddocks, parched and grey. “Whew!” wheezes Father. “What a day!” And sheds his vest. For coats no man had need. Then Rogan shoves his plate aside And sighs, as sated men have sighed, At many boards in many climes On many other Christmas times. “By gum!” he says, “That was a slap-up feed!” Then, with his black pipe well alight, Old Rogan brings the kids delight By telling o’er again his yarns Of Christmas tide ‘mid English barns When he was, long ago, a farmer’s boy. His old eyes glisten as he sees Half glimpses of old memories, Of whitened fields and winter snows, And yuletide logs and mistletoes, And all that half-forgotten, hallowed joy. The children listen, mouths agape, And see a land with no escape From biting cold and snow and frost – A land to all earth’s brightness lost, A strange and freakish Christmas land to them. But Rogan, with his dim old eyes Grown far away and strangely wise Talks on; and pauses but to ask “Ain’t there a drop more in that cask?” And father nods; but Mother says “Ahem!” The sun slants redly thro’ the gums As quietly the evening comes, And Rogan gets his old grey mare, That matches well his own grey hair, And rides away into the setting sun. “Ah, well,” says Dad. “I got to say I never spent a lazier day. We ought to get that top fence wired.” “My!” sighs poor Mum. “But I am tired! An’ all that washing up still to be done.” |
Santa Claus in the Bush A B PATERSON This long poem is a true classic. I remember, as a kid, being fascinated by the story as it unfolded and its bittersweet ending never failed to satisfy. We know Paterson was influenced by Rudyard Kipling however this work seems to also pay tribute to the ancient ballads that were so loved by the folk. It chanced out back at the Christmas time When the wheat was ripe and tall, A stranger rode to the farmer’s gate— A sturdy man and a small. “Rin doon, rin doon, my little son Jack, And bid the stranger stay; And we’ll hae a crack for Auld Lang Syne, For the morn is Christmas Day. “Nay noo, nay noo,” said the dour guidwife, “But ye should let him be; He’s maybe only a drover chap Frae the land o’ the Darling Pea. “Wi’ a drover’s tales, and a drover’s thirst To swiggle the hail nicht through; Or he’s maybe a life assurance carle To talk ye black and blue.” “Guidwife, he’s never a drover chap, For their swags are neat and thin; And he’s never a life assurance carle, Wi’ the brick-dust burnt in his skin. “Guidwife, guidwife, be nae sae dour, For the wheat stands ripe and tall, And we shore a seven-pound fleece this year, Ewes and weaners and all. “There is grass tae spare, and the stock are fat. Where they whiles are gaunt and thin, And we owe a tithe to the travelling poor, So we maun ask him in. “Ye can set him a chair tae the table side, And gi’ him a bite tae eat; An omelette made of a new-laid egg, Or a tasty bit of meat.” “But the native cats have taen the fowls, They havena left a leg; And he’ll get nae omelette at a’ Till the emu lays an egg!” “Rin doon, rin doon, my little son Jack, To whaur the emus bide, Ye shall find the auld hen on the nest, While the auld cock sits beside. “But speak them fair, and speak them saft, Lest they kick ye a fearsome jolt. Ye can gi’ them a feed of thae half-inch nails Or a rusty carriage bolt.” So little son Jack ran blithely down With the rusty nails in hand, Till he came where the emus fluffed and scratched By their nest in the open sand. And there he has gathered the new-laid egg’— ’Twould feed three men or four— And the emus came for the half-inch nails Right up to the settler’s door. “A waste o’ food,” said the dour guidwife, As she took the egg, with a frown, “But he gets nae meat, unless ye rin A paddy-melon down.” “Gang oot, gang oot, my little son Jack, Wi’ your twa-three doggies sma’; Gin ye come nae back wi’ a paddy-melon, Then come nae back at a’.” So little son Jack he raced and he ran, And he was bare o’ the feet, And soon he captured a paddy-melon, Was gorged with the stolen wheat. “Sit doon, sit doon, my bonny wee man, To the best that the hoose can do An omelette made of the emu egg And a paddy-melon stew.” “’Tis well, ’Tis well,” said the bonny wee man; “I have eaten the wide world’s meat, And the food that is given with right good-will Is the sweetest food to eat. “But the night draws on to the Christmas Day And I must rise and go, For I have a mighty way to ride To the land of the Esquimaux. “And it’s there I must load my sledges up, With the reindeers four-in-hand, That go to the North, South, East, and West, To every Christian land.” “Tae the Esquimaux,” said the dour guidwife, “Ye suit my husband well! For when he gets up on his journey horse He’s a bit of a liar himsel’.” Then out with a laugh went the bonny wee man To his old horse grazing nigh, And away like a meteor flash they went Far off to the Northern sky. When the children woke on the Christmas morn They chattered with might and main For a sword and gun had little son Jack, And a braw new doll had Jane, And a packet o’ screws had the twa emus; But the dour guidwife gat nane. |
Waltzing Matilda A B PATERSON Written as a poem but now better known as a song. Many would say it should be our national anthem but, in many ways, it is our unofficial national anthem and that’s probably good enough in this land of mutton. Oh! there once was a swagman camped in a Billabong, Under the shade of a Coolabah tree; And he sang as he looked at his old billy boiling, “Who’ll come a-waltzing Matilda with me?” Who’ll come a-waltzing Matilda, my darling? Who’ll come a-waltzing Matilda with me? Waltzing Matilda and leading a water-bag — Who’ll come a-waltzing Matilda with me? Down came a jumbuck to drink at the water-hole, Up jumped the swagman and grabbed him with glee; And he sang as he stowed him away in his tucker-bag, “You’ll come a-waltzing Matilda with me.” Down came the Squatter a-riding his thoroughbred; Down came Policemen — one, two and three. “Whose is the jumbuck you’ve got in the tucker-bag? You’ll come a-waltzing Matilda with me!” But the swagman he up and he jumped in the water-hole, Drowning himself by the Coolabah tree; And his ghost may be heard as it sings in the Billabong “Who’ll come a-waltzing Matilda with me?” |
Collected and edited by Peter Bridge with Gail Dreezens.
PETER BRIDGE:
This study shows how creative juices flowed in the late 19th and early 20th centuries
as shown through one original verse.
I am indebted to West Australian flag waver and author, Peter J Bridge, who has generously allowed me to publish his work on this site. Peter operates an independent publishing house: www.hesperianpress.com
– WF
On 9 April 1899 the Kalgoorlie Sun published the anonymous Ode to Westralia that immediately caught on across the land, resulting in widespread plagiarism, retorts and imitations which continued for many decades. The verse and variations has appeared in many papers and anthologies since then and has been used by politicians (Dr G Gallop, address to Australian Gold Conference, 9 April 2001) and playwrights to some effect.
A reminder though, to those whose angst against our West would have them use this verse splenetically, that it has in fact a solid foundation on t’otherside.This article is a preliminary attempt to trace the origins and influence of a doggerel verse, which like the ubiquitous Foo, crops up everywhere.Those who may find other instances of its use, and variations, are requested to forward the item to the publisher for inclusion in this sequence.
* * *
This is admittedly a great country for the working man. Almost every other country under the sun claims that it has some special attractions to offer the worker. But the worker, meanwhile, with a fine lack of discrimination, everywhere loudly proclaims his belief that the particular country in which he lives is the finest country in the world – to live out of. And he is nearly right. There seems to be no part of this planet that is all custard and watermelon for the working classes.
At one time this country was practically a working man’s country. There weren’t enough of him to go round, and consequently he was a much sought after person. If he thought the manager of show No.1 was not exactly gentlemanly in his demeanor, all he had to do was to tell him so and go over to show No.2 where he was certain to find a job awaiting his arrival. He was in the proud position of being able to tell his boss at any moment to “go to h—,” without suffering for it to any appreciable extent.
But those days are gone, and the working man of to-day finds himself as dependent upon the favor or caprice of his boss as if he were in the eastern colonies. Hence Westralia is as heartly (sic) cursed now as Victoria or Queensland. Even in the good days she was cursed up hill and down dale by thousands of men who didn’t know when they were well off. Men came over here from 10s. or 15s. weekly in the eastern colonies to £4 in this, and then groaned about the cursed country. It is quite likely that the writer of the following effusion is in a steady billet and has not known hardship since coming to the colony. Anyway, here it is:-
ODE TO WESTRALIA
Land of Forrests, fleas, and flies,
Blighted hopes and blighted eyes,
Art thou hell in earth’s disguise,
Westralia?
Art thou some volcanic blast,
By volcanoes spurned, outcast?
Westralia?
Wert thou once the chosen land
Where Adam broke God’s one command?
That He in wrath changed thee to sand,
Westralia?
Land of politicians silly,
Home of wind and willy-willy,
Land of blanket, tent and billy,
Westralia!
Home of brokers, bummers, clerks,
Nest of sharpers, mining sharks,
Dried up lakes and desert parks,
Westralia!
Land of humpies, brothels, inns,
Old bag huts and empty tins,
Land of blackest, grievous sins,
Westralia!
The contents, if not always the style, reminds one of Tom Hood, and its distant echoes evoke Bernard O’Dowd’s Australia, “A new demesne for Mammon to infest”, and his Last Stanzas of the Bush, but of course in a primitive ocker version.
The Ode was reprinted in the Sydney Truth of 21 May 1899. (later this original version appeared in Those Were the Days (1933), a Dorothy Hewitt play and Margins (1988).
Alan Deuchar, a Perth land-jobber, then used it in an ad in The West Australian of 3 June 1899, with a rider, As We See Ourselves :-
ALLAN DEUCHAR’S ODE TO WESTRALIA
As Others See Us
(by Sydney “Truth”)
Land of Forrests, Fleas, and Flies,
Blighted hopes and blighted eyes,
Art thou hell in earth’s disguise,
Westralia.
Art thou some volcanic blast,
By volcanoes spurned, outcast?
Art unfinished – made the last,
Westralia.
Wert thou once the chosen land,
Where Adam broke God’s one command,
That He in wrath changed thee to sand,
Westralia.
Land of Politicians silly,
Home of wind and willy-nilly,
Land of blanket, tent and billy,
Westralia!
Home of brokers, poor paid clerks,
Nest of sharpers, mining sharks,
Dried up lakes and desert parks,
Westralia.
Land of humpies, cabins, inns,
Old bag huts and empty tins,
Land of blackest, grievous sins,
Westralia.
AS WE SEE OURSELVES
Land of Fortunes, easily made;
The land where ‘tothersiders strayed,
To grab the dividends that are paid,
Westralia.
Thou art to us a chosen land;
We hold your gold at our command,
Your riches are not in the sand,
Westralia.
The Home to be of Dukes and Lords,
In the near future – mark my words –
This land shall best all best records,
Westralia.
You are but in your infancy;
The time is near when you shall be
The strongest, richest colony,
Westralia.
Your Gold mines are the richest, best,
And in your Coal mines we’ll invest.
Against the world you’ll stand the test –
Westralia.
Several lines had been altered to mould it to the sensibilities of the decidedly conservative West.
Amusingly, the Sunday Times reprinted the original version on 4 June 1899, but as a ‘pleasing pome from a Sydney paper’. This after it had appeared in the Sun, their associated WA paper, two months before!
The Kalgoorlie Miner of 6 June reprinted the Deuchar version from the West, but credited it to the Sydney Truth. It had originated a few hundred yards away! Truly we don’t have to go to the “heathen Chinee”, for “ways that are dark, and for tricks that are vain”. JJ Tucker then wrote,(Kalgoorlie Miner, 8 June 1899), To Westralia. The latter two were reprinted in the Kalgoorlie Argus of 15 June.
TO WESTRALIA
(For the Kalgoorlie Miner)
Land of forests, mother of gold,
Wealth of coal in dreams untold,
Land of vineyard, orchard, fold,
Westralia!
Basking last in Sol’s high noon,
First to greet the nascent moon,
Yielding neighbor lands a boon,
Westralia!
Immensity of fecund space;
No seemless scurry, no mad chase,
No Yankee nurse for Saxon race,
Westralia!
North the torrid riplet curls,
South th’ Antarctic current whirls,
Hail! Golden marvel! Set in pearls!
Westralia!
Heed no pen-prick, witless jube,
Windy-bellied diatribe,
Jealous spleen of hireling scribe.
Westralia!
A jest, our “billy” – still it teems;
A jeer, our “tent” – tho’ taut its seams;
Hysteric screeching, idiots screams –
Westralia!
Thy name the “t’othersiders” bless,
Nor love thee than their mother less,
Their port from eastern storm and stress –
Westralia!
Take the “white man’s burden” up;
If scant thy breakfast, rich shalt sup
From dish of silver, jewelled cup.
Westralia!
Empire-builders are thy stock,
Build thee up, as they, on rock;
Thy God-sent freedom recks no stock.
Westralia!
J.J. Tucker
Perth, June 1, 1899
The poetic ping-pong continued with the Kalgoorlie Miner and Argus of 15 and 22 June, publishing:-
TO WESTRALIA
A Retort
(For the Western Argus)
Land of Sir Forrests and convict tales,
Wealth of coal in dreamings sail;
Land where vineyards, orchards fail,
Westralia!
Basking last in Sol’s high noon,
Last to raise a golden boom;
With a most ungodly tune,
Westralia!
Immensity of barren waste,
No fertility and much less grace;
Nor the energy of Saxon race,
Westralia!
North the dusty willy’s curl,
South the wild cat currents whirl;
Full of gold and dust – not pearls,
Westralia!
Too thick skined to feel a jibe,
Always ready for a bribe;
Jealous of all t’otherside,
Westralia!
Our jest – “the tin dog,” in it turns
Our jeer – “the Government,” red-taped seems;
Go to – all addled pated idiots scream,
Westralia!
Thy name, the t’othersiders’ curse
Nor love thee, than the Devil worse;
Thy port that’s emptied many a purse,
Westralia!
Put the “bluey” once more up,
If scant thy breakfast – less to sup;
In drinking the dregs of a bitter cup,
Westralia!
T’othersiders, of hardy stock
Built thee up; as they, of rock,
And given the Gropers a sudden shock,
Westralia!
Not to be outdone Billy Clare in his Clare’s Weekly,
LAPSUS LINGUAE
There is a land of “pure” delight,
Where flies do swarm, and skeeters bite,
A land where often might seems right,
‘Tis W.A.
It has been called “the promised land,””
Its natives are a happy band,
And terra-firma there, is sand,
In W.A.
There “all that glitters is not gold,”
Of this I could a tale unfold,
Ah! many a man’s been “had” and “sold”
In W.A.
There “pleasures are like poppies spread,”
As Bobbie Burns so wisely said –
“They’ll bring you nought but fear and dread,”
In W.A.
A mighty man does there hold sway,
He’s been there long – and means to stay,
Some say he’s had his little day,
In W.A.
Of “Gropers” they have had a feast,
Let’s have some “wise men from the East,”
That’s what the people say, at least,
In W.A.
They’ve got a Mint, they’ve got a Zoo.
They’ve “Tattersall,” with big sweeps too,
And other “comforts,” not a few,
In W.A.
That land is fair, the climate’s good,
If one and all did what they could,
They’d make that country what they should,
That W.A.
[The logic contained in the last verse must make itself clear to the most ordinary mind. – Ed]
The disease was spreading:-
“Ex-Hillite,” Kanowna, wrote:-
“Some weeks ago you published an Ode to W.A. I sent a copy to a friend in Broken Hill, and by the last mail he favors me with the enclosed Ode to the Barrier, You might like to insert it.”
Sorry we can’t oblige. We have already rejected several better verses than those of the Barrier bard. No room for pointless doggerel.
The Boulder Bard writes:-
“Some time back I sent you an Ode to Westralia, considering it malevolent enough to be humorous. You paid me so well for it that I was saved for a week from those pangs of poverty so ably described in last issue by “Nomad.’ Since then the ‘ode’ has been printed by three editors, without acknowledgment to the SUN. Reaching Sydney, it was copied by John Norton’s un-Truth, and then some bounder who sells swampy Perth lots to distant dupes reproduced it as an advt., with some doggerel of his own as answer. Whereat my gorge has risen as high as Mt. Burgess, and from my Parnassus I fling forth the following:-
ODE TO PRESS – TRALIA
Band of robbers, jobbers, crimps,
Fat man’s tools and bully’s pimps,
Clique of deadheads, blackmails, imps,
In W.A.
You will publish unpaid screed,
Bury principle for greed;
Of the poor you take no heed,
In W.A.
Allan Deuchar, come along!
Honest pressmen you would wrong;
I will write you song for song,
In W.A.
11-6-1899 The Sun, Kalgoorlie
The Sunday Times of 1 October 1899 reprinted this from the Orange Leader:-
ANOTHER FEDERAL ODE
Hail, Australia! Land of beauty,
Sovereign of the Southern Seas!”
Where the policemen do their duty
Or neglect it, as they please!
Land of undetected robbers,
Where the murderer roams at large,
And the statesmen are all jobbers
At a reasonable charge!
Land of tricks and mining swindles!
Land of banks completely bung!
How our manly bosom kindles
When thy praise is nobly sung!
Own your failings, don’t dissemble ’em,
Why extol the kangroo?
If you want a national emblem,
Surely a Pea-hen will do?
There the matter appears to have rested. Perhaps the clipping of Deuchar’s wings also trimmed the feathers of the poetic flights of others.
Alleged False Pretences. A Partnership Dispute
At the City Police Court yesterday, before Mr. A.S. Roe, P.M., Allan Deuchar was charged by Ebenezer Allen with obtaining from him £400 by falsely representing that the profits in his business exceeded the actual amount, Mr. Clydesdale appeared for the prosecutor, and Mr. Ewing for the defendant.
17 July1900, The West Australian
By 1902 the feathers had grown again. The Southern Cross Times of 8 February, 1902:-
PERIGRINATIONS
by “The Nomad”
Here, land o’dust, and thirsty sots,
From dead goat end to railway plots,
If there’s a hole in yer coats
I rede you tent it:
A chiels amang you taking notes
The TIMES will prent it.
Then a distant echo in The Sun of 11 September, 1904:-
IN MEMORIUM
News item: Hine’s Hill refreshment rooms recently burned down, will, in view of the putting on of dining cars, in all probability not be rebuilt.
Farewell, O, tinned dog, fare thee well;
Farewell, O, half-cold coffee,
Farewell, the meal you used to sell,
To swaggie or to toffie,
Farewell unto the ancient snack,
The tea and sandwich hurried,
Farewell to that mysterious tack,
Scrub-mutton, hashed and curried,
Farewell to that pyjamaed horde
Who early in the morning
Foregathered at the “festive board,”
With mouths agape and yawning,
Farewell the mob’s impatient cry,
Farewell the answer shirty,
Farewell the good old possum pie,
Farewell the “hot-and-dirty,”
Farewell the cutlery superb,
The cloth and napkins “snowy!”
Farewell the adjective and verb,
At puddings dark and doughy.
Farewell the dogs who snarled for bones,
Farewell their flealets frisky,
Farewell the guard’s stentorian tones,
And O! farewell the whisky!
The scene changes, a new act begins. The Sunday Times of 3 December, 1905. This was rediscovered by The Northern Times of 28 October, 1911 – “one of the North-West’s first locally made poems” and The Hedland Advocate of 4 November, 1911 with the comments from the latter
NOR’-STRALIA
Described in Quatrains
A Broome man brought this shriek along. He said it was published in the Dampier Despatch (alias “Dampier Despair”) on September 16:-
Land of outcasts, fleas and flies,
Ruined health and blighted eyes;
Art thou hell in earth’s disguise?
Nor’-stralia.
Wert thou once the promised land,
Where Adam broke God’s own command,
That he in wrath turned thee to sand?
Nor’stralia.
Or art thou some volcanic blast,
By e’en volcanoes spurned, outcast,
Art still unfinished, made the last?
Nor’stralia.
Land of chain-gangs, poor paid clerks,
Nest of sneiders, pearling sharks,
Dried up lakes, and desert parks.
Nor’-stralia.
Land of murderers, colored mobs,
Willy willy wrecks and cock-eye-bobs,
Land of gamblers, arrant snobs.
Nor’stralia.
Land of humpies, so-called inns,
Wicked men and faithless gins:
Land of blackest, grievous sins.
Nor’stralia.
Where pearls are stolen every day,
Where wrong is right the gamblers say,
Beyond redemption! who’ll say nay?
Nor’stralia.
The following was written by a resident of Broome and published in the Dampier Despatch (a typewritten sheet) about eight years ago. The author is dead. The Proprietor of the Despatch lost 12 of his 16 subscribers through publishing the above, and we are given to understand that Green refused to publish it for fear of a somewhat similar fate.
NORSTRALIA
An angry Carnarvon poet, after reading the verses on Norstralia in last week’s issue, strode belligerently into our office, and seizing our ink and several envelopes, relieved himself of the following:-
Land of brave men, intent to rise
To nationhood. This goal their eyes
Constraining; swerving not for lies –
Norstralia.
Still thou art the promised land
For old world slaves. Jah’s command
Provides for fruit from all thy land –
Norstralia.
If Volcan built in ages past,
Or later; whether first or last,
O’ershadows not thy future vast
Norstralia.
Land of free and smiling homes,
Bark-roofed, bough, or gilded domes
Is thy guerdon. Poetaster!
Thy dread list of black disaster
Nathless. Shivering pessimist,
Liar also; wits moonkissed
Thine must be. Australind stands clean
Despite thy vapour; charges mean
And filthy, such as dragged to light
By thee from their own native night
Or colored by thy “snobs and gins,”
Associates fit for thine own sins –
Avail not. Liar, cur and friend
Of liars! I for one make end
And pray – Relief from thee God send
To fair
Norstralia.
4 November, 1911. The Northern Times.
This was reprinted the next week with corrections, “on account of two errors that escaped notice, due, of course, to the scribes calligraphy. “The Kalgoorlie Miner and Argus finally discovered the original Norstralia and printed it in January and February, 1914. Now (23 October, 1919. The Western Mail) the imitations became spread out:-
I had a visit a few days ago from a gaunt and unhappy-looking party with a grievance. He told me he had lived all his life in Western Australia, was a servant of the State and in receipt of a salary which any self-respecting member of the Industrial Union of Amalgamated Navvies would reject with gaudily-trimmed scorn. He handed me about five feet of verse, which he said, embodied in tuneful measure, his opinions about the West and some of its most prominent citizens. I quote the only verses that are quite free from doubly distilled essence of libel.
“Hail, West Australia! blessed clime,
The lovely land of my adoption,
I never would have seen the spot,
If I had had the slightest option.
Hail, glorious gums of mighty height!
Whose heads the very skies pervade.
Whose tops and trunks yield vast supplies,
But not a particle of shade.
Hail, West Australia, once more hail!
That man indeed is surely rash,
Who cannot live content in thee,
Or wants for anything – but cash.”
and of course war propaganda never goes astray:-
The Hun, who is obliged, to be responsible for the following lines, will probably become a professor in a German university. He has all the qualifications. The “howling” dingo is a picturesquely Prussian touch.
THE DEPORTED HUN’S FAREWLL TO AUSTRALIA
Australia, thou art a land of pests,
For fleas, flies and bugs one never rests,
E’en now mosquitoes round me revel,
In fact they are the very devil.
Sandflies and hornets just as bad,
They nearly drive a fellow mad.
Parched up deserts, thirsty plains,
Parched deserts, scanty rains,
There’s rivers where you can’t sail ships on,
There’s nigger women without shifts on.
There’s humpies, huts, and wooden houses,
There’s nigger men who don’t wear trousers.
There’s barcoo rot and sandy blight,
There’s dingoes howling all the night?
There’s curlews, quails, and croaking frogs,
There’s savage blacks and native dogs.
There’s scentless flowers and stinging trees,
There’s poisonous grass and darling peas
Which drive the cattle raving mad.
Make sheep and horses just as bad,
And then it never rains in reason,
There’s drought one year, and floods next season.
Which sweep the squatters’ sheep away,
And then there is Old Nick to pay.
To stay in thee, oh! land of mutton,
I would not give a single button.
To Germany I’ve got a passage
And soon will have sauer-kraut and sausage.
24 December, 1919. The Western Mail
or social comment:-
Nomadic Niggers. A Katanning Komplaint. Dogs, Gins, Fleas, And Flies
It may, or may not, be generally known that there is a native settlement at Carrolup, handy to Katanning. Quite obviously it is not a complete success, and the Southern Districts Advocate (Katanning) has no hesitation in saying it is a failure. The Advocate claims to be quite calm and restrained on the subject. If that is so, and the paper carries out its threat to really “let itself go” later on, well then there will be something doing. The Advocate writes under the heading of
THE NOMADIC NIGGER NUISANCE
Frowsy kids and filthy rags,
Well-picked bones and tattered bags,
Dirty bucks and greasy gins,
Broken bottles and empty tins,
Lousy camps and mangy dogs,
With swarms of flies and smold’ring logs.
And there you have it. The above few lines were suggested yesterday afternoon, when we made it our business to take a walk across the commonage at the south end of the town. We had noticed for some time past that quite a tribe of niggers had been meandering about the streets and not far from our humble habitat the air for many evenings had been pierced by the yells of piccaninnies, and sometimes by, as we afterwards learned, the weird wailings of disobedient gins, who were being given a gentle lesson in domestic felicity.
8 October, 1921.The Truth
COCKIES’ FAREWELL TO YILGARN
by ‘Boomerang’
(Dedicated to Inspector Buttfield)
Oh Yilgarn, thou art a land of pests,
From dust and flies one never rests;
E’en now mosquitoes about me revel,
And dingoes play the very devil.
There’s farms up here that are not tres bon,
Gristling wheat lands with no wheat on;
There’s humpies, huts and tin-can houses,
There’ll soon be cockies minus trousers.
Parched up paddocks, scanty rains,
Hell fire dust storms, scrubby plains;
Goannas, snakes and shrewd brer rabbit,
All make this cocky slick to swag it.
I’m leaving here before I’m starving,
Gone’s the home I thought of carving;
Cockies’ life is only bubble,
Heaps of debt and tons of trouble.
I will not have thee, poverty point,
I’m off to find another joint;
And bid thee now a last farewell,
Thou scorching, sunburnt land of hell.
25 January, 1930. The Southern Cross Times
By the end of the depression memories were getting a little hazy:-
LAND OF NICKNAMES
The Western Mail, 22 October, 1936.
Dear “Non-Com” – Some people refer to that country which lies far to the north as the Land of Lags, Swags, Dags, Nags, Fags and Waterbags, and although the several “ags” are doubtless well represented, I always like to think of it as the Land of Nicknames.
For here the nickname flourishes and few are spared. Usually it is well chosen and gives an idea of the owner’s habits or characteristics. ‘Stirrup Iron’, Wubin.
15 December, 1938. The Western Mail
Could any of the team oblige me with the words of a poem which goes like this:-
Australia, thou art a land of pests,
For fleas and flies one never rests,
Barcoo rot and sandy blight
And dingoes howling all the night
Then there’s another which goes:-
He who runs when dingoes howl
Should stay at home like some other fowl.
I’m not sure that they don’t both belong to the one item
‘Cheedarra’, Youanmi
FARMER’S FAREWELL?
12 January, 1939. The Western Mail.
Dear “Non-Com,” – “Cheedarra” is inquiring for the words of a poem commencing “Australia, thou art a land of pests.” I enclose one version which sounds to me like a farmer’s farewell to his farm.
When crops were poor
And prices low,
The mortgage large
And he had to go.
‘Hazeldine’, Lake Grace
The verse is as follows:-
THE BUSHMAN’S LAMENT
Australia, thou are a land of pests;
For flies and fleas, one never rests.
E’en now mosquitoes round me revel.
In fact, they are the very devil.
Sandflies and hornets just as bad.
They nearly drive a fellow mad.
The scorpion and centipede,
With stinging ants of every breed.
Fever and ague, with the shakes,
Tarantulas and poisonous snakes,
Iguanas, lizards, cockatoos,
Jackaroos, dogs and kangaroos,
Bandicoots and swarms of rats,
Bulldog ants and native cats,
Stunted timber, thirsty plains,
Parched up deserts, scanty rains.
There’s humpies, huts and wooden houses
And nigger men who don’t wear trousers,
There’s barcoo rot, and sandy blight
There’s dingoes howling all the night,
There’s curlew’s wails and croaking frogs,
There’s savage blacks and native dogs.
There’s scentless flowers and stinging trees,
There’s poisonous grass and buzzing bees,
Which drive the cattle raving mad,
Make sheep and horses just as bad,
And then, it never rains, in reason,
There’s drought one year, and rain next season,
Which sweeps the squatter’s sheep away
And then there is “the devil” to pay.
To stay in thee, oh land of mutton,
I would not give a single button,
But bid thee now a long farewell,
Thou scorching, sunburnt land of hell.
LAND OF OPPORTUNITY!
The Western Mail, 9 February 1939.
Dear “Non-Com,” – I have read with interest the verses that have appeared from time to time in the Highway and Dolly Pot. Some were amusing, others enlightening – all were good reading. Here is one I’d like to add. It concerns a “t’othersider” and his impressions of this State. I do not know the author.
FAREWELL TO WESTRALIA
Land of politicians silly,
Land of dust and willy-willy.
Land of blankets, tent and billy.
Westralia.
Land of dingoes, dagos, flies,
Blighted hopes and blighted eyes,
Art thou Hell in Earth’s disguise?
Westralia.
I could some stories of thee tell,
What matter now? To thee farewell.
Thou dirty, sunburnt land of Hell,
Westralia.
RED O’SHANE, Kennedy Ranges
However the Ode had its ancestors in WA and t’otherside. Here we have the first glimmerings of its life in Western Australia:-
18 June, 1887. The Weekly Times.
In Australia everything is so horribly new, one is so continually being reminded that we live in a country without a vestige of old associations, that it is a pleasure to be now and then brought face to face with some rite or ceremony that carries the thoughts back to the old world, and to a period when the
“Land of gum and Mallee tree,
Land of kangaroo and wallaby,”
had yet to wait many a century before it should be needed as an overflow reservoir for the Anglo-Saxon race.
* * * *
If any of my readers are curious on the subject of quotations I may tell that, to the best of my knowledge, they will not find the couplet, “Land of gum, &c.,” in the works of any English or Australian poets. They have an history of their own. Though not of my composition, it is the first time, I believe, that they have figured in print. Some years ago I happened to be travelling with sheep up the river Murray in South Australia towards the New South Wales border. Our party stopped for one night at a place known as Develin’s Pound, where there is a dilapidated edifice that had once done duty as a public-house, but was then, and had, for several years, been deserted. This building was a favorite resort for “sundowners” on their way up the river, and it walls were a repository of their thoughts and opinions, both sacred and profane – with the profane decidedly preponderating. Many of the scribblings struck me as possessing a certain amount of rude originality, but in nearly all of them the “rudeness” – to use a mild term – was so very marked, that they are unfit to be put in print. My quotation is a copy of one of the inscriptions at Develin’s Pound, and as it is somewhat more refined than the others I give it in full.
“Land of gum and Mallee tree,
Land of kangaroo and wallaby,
Squatters home, and squatters hell,
Land of beggars fare thee well!”
The poet, I should explain, is speaking of South Australia, which colony he is forsaking for New South Wales.
22 May, 1894. The Geraldton Murchison Telegraph. The Sydney correspondent of the London Figaro writes:-
Australia just now has a very bad attack of gold-fever. I have just returned to Sydney after a tour through the interior of New South Wales. Everywhere I met men packing up their traps preparatory to embarking for West Australia. The “rush” of the early days was not more pornounced than that of the present, though the gold-seekers of to-day set out with a wider knowledge of mining and minerals than their fore-fathers. From Coolgardie, the centre of the new mining district, come reports of a contrary character. To some men fortune has been kind. These find West Australia, if not a pleasant place, at least one that can be endured. Others describe the field and its surroundings as “Hell” itself. The other day I came across a poem by a disgusted prospector, which hits the situation to a nicety.
Here ‘tis:-
Land of scrub dust and desert sand
Whose arid plains will not yeald food for man
Whose mighty lakes are naught but leads of salt
Where the weried traveler cannot hault
To quench his burning thirst with Adam’s ale
Or wash his hide from dust most stale
Whose great rich mines are skite and gass
Boomed up by men with lying tongues and cheeks of brass
You other siders take heed in time
Come not near this curset rechet clime
There is nothing here but scrub sault and sand
Western Austrelea is old hell for a free white man.
Advance Australia
Latest version (1 June, 1894, Victoria Express)
Advance Australia! Chosen land
Of blackguards, great and small
Where rogues and cheats and scoundrels band
To prey on people all.
Where Legislators mostly are
A very mouldy lot!
Where Editors WOULD BE on a par
With Solon; but ARE NOT!
Where Chinkies, Japs and Afghans roam
Abroad, at their sweet will;
Where Leprosy stalks near our home
And hideous fears instil.
Where every vice in man is found,
And youth is vicious, too! –
Where fraud and treachery rank abound
And murder’s nothing new!
Advance Australia! Yes you may
In a very far off day;
When all these blots are wiped away
And better men have sway.
Ex.
27 April, 1895. The Eastern Districts Chronicle
COOLGARDIE. – A correspondent writes in the following strain to a Sydney contemporary concerning Coolgardie. The paragraph runs: –
‘This is an accursed country – the worst outside Gehenna. It is the birthplace of beautiful mirages, – of deadly insects, and lovely-hued reptiles; of songless birds, of venomous flies, of undrinkable water, immersion in which peels the skin from the hardest hand; and of the most virulent ‘Barcoo rot’ in any part of the Australias. But it is a land fairly teeming with gold, and one that will vie with any known area in gold production. The more I see of the country the more am I satisfied that it is too huge to be coped with in a decade. Picture an auriferous area of over 200,000 square miles, and constantly extending to every quarter of the compass. Consider that, collectively, at insignificant intervals, thousands of claims have been located; that each of these claims is intersected by a lode, whether good, bad or indifferent, and then sit down and solemnly sum up the net potentialities of such a field. The one thing necessary to success is a bountiful water supply. That is merely a question of a couple of millions of money. In two years Esperance Bay will undoubtedly be brought to the back doors of Coolgardie. Then not only will the mines, for various reasons, be on a better footing for economical working than any other group in Australasia, but the country will be rendered fit for man and beast. I am no optimist. Five years hence let this picture be brought to light.
8 April, 1895. The Coolgardie Miner.
What weak-minded efforts at describing Coolgardie are made by some of the “Jackaroo” visitors. One named Doolake, a crow-eater, dubs the field “the land of sin, sand, salt, sorrow and sore eyes.” He should have added swelled head, also.
10 May, 1895. The Geraldton Express.
You can always tell a Westralian letter by the colour of the envelope. There are stains and streaks of reddish dust all over it, and, in addition to the dust, there is often a faint, sickly, perfume attached to the epistle – an odour of desert and flies and old meat-tins and other things too numerous to mention. Westralia has a smell that is all its own, and whoever has been there and met it will remember it ever after as the smell of a lost land, and a busted mine, and a lying prospectus, and a fishy Government, and a God-for-gotten population, and as the odour of the last scrag-end of the world generally. Having got these remarks off its chest, the Bulletin feels rather better. – Bulletin.
26 June 1896. The Geraldton Express.
In the Ovens and Murray Advertiser (Vic.) the irrepressible Frank Weston writes long and appreciative articles upon the Murchison goldfields. It is refreshing to find someone ‘boosting up’ the Murchison in the Eastern Press, and the Geraldton Chamber of Commerce ought to be duly grateful to Frank. His appreciation stops at the mines, though. The lines which he quotes (from an anonymous writer) are not likely to boom Westralia as a picturesque health-resort. Here they are:-
Farewell To The Fields
Land of deceitfulness and lies,
Of large “Bungarrows,” dust and flies,
Whose rivers, save it rains or snows,
Are beds in which no water flows –
Why call them rivers, goodness knows!
No plumed songster greets the eye,
For all the birds in silence fly,
Save Daw and Crow with hideous cry;
Whose history will hand down to fame
The “Wealth of Nations” fearful shame;
Whose beef and mutton taste the same.
Thou, land with no good thing whatever,
I leave thee now, I trust forever,
The greatest sinner here I trow,
With brand of Cain upon his brow,
Summoned to answer judgment’s knell
Would gladly take his last farewell
To seek some better place in H—l.
Land only fit for Natives few,
I bid thee now a long adieu!
P.P.C. To The Murchison Fields
(By a Fever-Stricken Disappointed Prospector)
15 July 1896. The Murchison Times and Day Dawn Gazette.
Land of the Red-spot-spider, fare thee well!
Region of sin, sand, centipede and sorrow.
No more within thee shall my footsteps dwell,
If Gascard’s coach is outward bound to-morrow!
Home of the “wild-cat” and the “duffing” reef,
Whose “surface shows” pinch out at fifty feet,
Sump hole for cash, wrung from a boom as brief,
As “two-ounce crushings” when a sale’s complete!
Chosen abode of Barcoo and “bung-eye;”
Gaunt breeding place for all Earth’s myriad flies,
Where typhoid stalks through camp, and bush, and mine,
Carving on brightest hopes and lives – “here lies – –“
Desert of Mulga-bush and red hot earth
Salt as Lot’s wife, and parched as Sodom’s site;
Tired winds moan through thy countless leagues of dearth,
Sighing to tell whose bones bleach there so white!
In thy drear waste, mid drought and dust – and thirst
Made maddening by “tinned-dog” for daily tuck—
I’ve lingered long; and may I perish first
Ere I return; for here I cut my luck!
If for my sins and follies, Fates decree
That somewhere vile in penance I shall dwell,
Calmly I’ll choose that realm (if choice be free)
Beneath; but not these environs of h-ll!
Thus! From my feet thy ochreous dust I shake!
My homeward fare I’ll raise – steal, beg, or borrow.
And everlasting leave of thee I’ll take
When Gascard’s coach is outward bound to-morrow!
“S.”
4 October, 1896. The Geraldton Express
A few weeks ago the aspect of this district could only be characterised as an “abomination of desolation;” and the expression “Thou scorched and sunburnt land of Hell,” originally addressed by an exasperated “new chum” to Western Queensland, might far more appropriately have been applied to this part of Westralia. But Jupiter Pluvius has changed all that! And the æsthetic sense of an admirer of Nature, would be delighted by a glimpse of the landscape, which is now spread before our eyes. The prospect from Mount Hall, of the silvery lake with its verdant islands, stretching away to the “far blue hills” in the distance, might well remind a person of poetic temperament – if such an unlucky being exists in Nannine – of the lines of Tennyson, descriptive of the legendary Avilion:-
………… “It lies
Deep meadowed, happy, fair,
With orchard-lawns, and bowery hollows,
Crowned by Summer seas.”
Nannine, March 25th, 1896
10 April, 1897. Tothersider
The insect world of W.A.
O, blighting fly and bumble bee.
O, centipede and Esperance flea.
O, scorpions fierce and thrifty ants,
That often clamber up my ——–
18 June, 1897. The Geraldton Express
A daily paper says that “a belief prevails in some scientific quarters that at a certain depth gold exists in vast masses as a virgin ore, and may be hewn out like coal.” This, of course, refers to Westralia, which is well-known (by mining experts and company promoters) to consist simply of a superstratum, more or less thick, of sand, scrub, mosquitoes. Six Families, corned-beef tins, rum shanties, and blasphemy resting on a bed of solid bullion. There is no telling, except by experiment, just how thick this superstratum may be. But the British investor may rest assured that if he will keep on (which, just now, it seems he won’t) sending out money the Westralian miners will eventually strike the gold, even if they have to dig down to the centre of the earth for it. – Melbourne Punch.
The origins and spread of the verse and its corollaries widen with research. In The Poet’s Discovery (ed. Jordan and Pierce) MUP, 1990, appears the following which is unfortunately not referenced:-
Scraps from a Bushman’s Note Book
Port Phillip! Land of many wonders;
Land of lightning; land of thunders;
Land of various reptiles evil;
Land of heat would scorch the devil;
Land of every savage vice;
Land of Christian avarice;
Land of emus, kangaroos;
Land of parrots, cockatoos;
Land of pelicans, black swans;
Land of possums and tuans;1
Land of bandicoots, wild cats;
Land of Platipusses, rabbit rats,2
Land of march flies and mosquitos;
Land of pumpkins and tomatoes;
Land whose various winged tribes
Are yet unsung by learned scribes;
Land of gloomy desolation;
Land of reckless dissipation;
Land of damper, tea, and mutton,
Enough to satiate a glutton;
On damper, mutton, and bohea,3
Poor bushmen fare three times a day.
Land of murderers, burglars, robbers;
Pickpockets, lawyers, and landjobbers.4
From every turn my fate directs,
I feel the gloomiest effects-
By day by hosts of flies invaded,
At night by wild dogs serenaded.
[Anon]
1 Aboriginal name for the flying glider.
2 The jumping mouse or hapalote.
3 Low grade tea.
4 Land sharks, who make excessive profits from land speculation.
Land of Promise (in With Malice Aforethought by Bill Wannan.) appears to date from the 1860s.
Land Of Promise
From A.B. Paterson’s collection, Old Bush Songs (1905). Paterson noted: ‘Mr Jordan was sent to England by the Queensland Government in 1858, 1859, and 1860 to lecture on the advantages of immigration, and told the most extraordinary tales about the place.’
Air: Four and Twenty Blackbirds
Now Jordan’s land of promise is the burden of my song.
Perhaps you’ve heard him lecture, and blow about it strong.
To hear him talk you’d think it was a heaven upon earth,
But listen and I’ll tell you now the plain unvarnished truth.
Here mutton, beef, and damper are all you’ll get to eat
From Monday morn till Sunday night, all through the blessed week.
And if the flour-bag should run short, then mutton, beef, and tea
Will be your lot, and whether or not, ‘twill have to do, you’ll see.
Here snakes and all vile reptiles crawl around you as you walk,
But these you never hear about in Mr Jordan’s talk;
Mosquitoes, too, and sandflies, they will tease you all the night,
And until you get quite colonized you’ll be a pretty sight.
Here are boundless plains where it seldom rains, and you’ll maybe die of thirst;
But should you so dispose your bones, you’ll scarcely be the first,
For there’s many a strong and stalwart man come out to make his pile
Who never leaves the fatal shore of this thrice accursed isle.
To sum it up in few short words, the place is only fit
For those who were sent out here, for from it they cannot flit.
But any other men who come a living here to try
Will vegetate a little while, and then lie down and die.
The Walkabout of October, 1951 has a version thought to have been written in the 1880s
Land Of Contrarieties
Sir,
Some time ago in a parcel of old books which were sent to me from England I came across these lines. The original ink manuscript is very faded.
The lines probably had their origin in Australia as my mother’s brother married in Australia somewhere about the ‘80’s and I am firmly of the opinion that the original was sent home in a letter, and probably the handwriting is that of my aunt, whom I never saw and who is long since deceased.
There is a land in distant seas
Full of all contrarieties.
There beasts have mallards’ bills and legs,
Have spurs like cocks, like hens lay eggs.
There parrots walk upon the ground,
And grass upon the trees is found;
On other trees – another wonder –
Leaves without upper side or under.
There pears you’ll scarce with hatchet cut;
Stones are outside the cherries put;
Swans are not white, but black as soot;
There neither leaf, nor root, nor fruit
Will any christian palate suit;
Unless in desperate need you’ll fill ye
With root of fern and stalk of lily.
There missiles to far distance sent
Come whizzing back from whence they went.
There a voracious eye-sheep crams
Her paunch with flesh of tender lambs;
While ‘stead of bread and beef and broth,
Men feast on many a roasted moth.
There quadrupeds go on two feet
And yet few quadrupeds so fleet;
There birds, although they cannot fly,
In swiftness with the greyhound vie.
With equal wonder you may see
The foxes fly from tree to tree;
And what they value most, so wary,
These foxes in their pockets carry.
The sun when you to face him turn ye
From right to left performs his journey.
The north winds scorch; but when the breeze is
full from the south, why then it freezes.
Now of what place can such strange tales
Be told with truth, but New South Wales.
North Perth, W.A. John Allen
Perhaps this from an undated postcard is from the same period. The sentiments appear to have originated long before the rush to Western Australia, as the above and following show:-
The Pommes Farewell
AUSTRALIA! thou art a land of pests,
For flies and fleas one never rests;
E’en now mosquitoes round me revel;
In fact they are the very devil.
Sandflies and hornets just as bad –
They nearly drive a fellow mad.
The scorpion and centipede,
With stinging ants of every breed,
Fever and ague with shakes,
Tarantulas and poisonous snakes;
Iguanas, lizards, cockatoos,
Bushrangers, logs and jackeroos,
Bandicoots and swarms of rats,
Bulldog ants and native cats,
Stunted timber, thirsty plains,
Parched up deserts, scanty rains.
There’s rivers here you can’t sail ships on,
There’s nigger women without shifts on.
There’s humpies, huts, and wooden houses,
And nigger men who don’t wear trousers.
There’s Barcoo rot and sandy blight,
There’s dingoes howling all the night,
There’s curlews’ wails and croaking frogs,
There’s savage blacks and native dogs.
There’s scentless flowers and stinging trees,
There’s poisonous grass and Darling peas,
Which drive the cattle raving mad,
Make sheep and horses just as bad.
And then it never rains in reason –
There’s drought one year and floods next season,
Which sweep the squatter’s sheep away,
And then there is the devil to pay.
To stay in thee, Oh! Land of Mutton!
I would not give a single button.
But bid thee now a long farewell,
Thou scorching, sunburnt land of Hell!
The Bushman’s Farewell To Queensland
There are several versions of this bit of old folklore still in circulation. The present one has been slightly abbreviated, not for reasons of censorship but because it seemed to me boringly over-long.
In With Malice Aforethought, edited by Bill Wannan.
Queensland, thou art a land of pests;
For flies and fleas one never rests.
E’en now mosquitoes round me revel –
In fact they are the very devil.
Sandflies and hornets, just as bad,
they nearly drive a fellow mad;
With scorpion and centipede
And stinging ants of every breed:
Fever and ague, with the shakes,
Tarantulas and poisonous snakes;
Iguanas, lizards, cockatoos,
Bushrangers and jackaroos,
Bandicoots and swarms of rats,
Bulldog ants and native cats;
Stunted timber, thirsty plains,
Parched-up deserts, scanty rains;
There’s rivers here you can’t sail ships on,
There’s native women without shifts on;
There’s humpies, huts, and wooden houses,
And native men who don’t wear trousers;
There’s Barcoo rot and sandy-blight,
There’s dingoes howling all the night;
There’s curlew’s wail, and croaking frogs,
There’s savage blacks and native dogs…
To stay in thee, O land of mutton,
I wouldn’t give a single button,
But bid thee now a long farewell,
Thou scorching, sunburnt land of hell!
From New Zealand, pre World War Two (?) and the pen of the Hon. John Burke O’Brien (?) appears a snippet of our old friend from a swagmans viewpoint. It appears in Roughnecks, Rolling Stones and Rouseabouts by JA Lee, Whitcoulls, 1977.
Whatever else rhymes did, they told fellow travellers where to expect kindness and where not to linger. Rhymes like:-
Land of rocks and rabbits too,
Rotten squatter, cockatoo;
Squatter heaven, swagger hell,
Land of rabbits fare thee well.
Who would want to venture on a track after reading such a warning?
And finally perhaps Australian troops took this to Egypt in the wars as a fitting resting place for such abuse. (Kiss Me Goodnight Sergeant Major by Martin Page, 1973):-
Land Of Heat And Sweaty Socks
To the tune of ‘There is a Tavern in the Town’
Land of heat and sweaty socks,
Sin and sand and lots of rocks,
Streets of sorrow, streets of fame,
Streets to which we give no name.
Streets of filth and stinking dogs,
Harlots, thieves and festering wogs,
Clouds of choking sand that blinds,
And drives poor airman off their minds.
Aching hearts and stinking feet,
Gippo guts and camel meat.
The Arab’s heaven – airmen’s hell.
Land of Pharaohs – FARE THEE WELL.
The following charming story was published in 1919 and provides some examples of how city folk viewed the language of the bush.
THE LANGUAGE OF THE BUSH
At a station but a few days ago I heard a boundary rider say to his mates as one of the hands rode away: “Look at Harry, off to M–. He’s done-up like a sore finger.” The reference was top Harry’s clothes. He had his best rig-out on, including what the bushmen call a boiled shirt. Remarks like these are typical of the language of the bush. No bushman ever uses plain English if he knows of a roundabout synonym; and he is an inveterate user of similes. Many of his similes are wonderfully vivid and descriptive, and would delight even a university professor (of English). The point of the ‘sore finger’
Simile is fairly evident. It is directed at the white shirt, with a passing reference to the care and attention usually bestowed on a sore finger.
On another occasion, I heard a bush dandy described as “got up like a wedding cake”. This was a particularly good simile. Another time I was watching a group of men shifting a stable, bodily. The boss grew gradually exasperated at the slow movements of one of his hands, and at last yelled, “For heaven’s sake get a move on, Tommy. You turn round like a bullock team.”
The most numerous of the bush similes refer to fighting, and there are some very graphic ones. I heard a shearer discussing, contemptuously, the claims of a station hand to prominence in this connection: “Him fight! Bugger me, he couldn’t fight his way out of a paper bag.” Another was dismissed with even less courtesy, “Why, he couldn’t frighten a goose off her nest.” A group were talking about the possibility of Bill Blank winning the high jump somewhere. “Bill win it!” broke in one of the hands, “Poor, Bill couldn’t win an argument.” Some of the similes are exceedingly striking. I heard a woolscourer ask a shearer if he had any money, as he wanted to borrow some. “No, Bill,” was the reply; “I’m as bare of money as a frog is of feathers.” Could anything be more explicit?
Most bushmen are, as the Scottish people say, ‘unco guid at the uptake’. They see a point at once. I saw a big, raw-boned bushman on a small pony, along whose side his exceptionally long feet were very noticeable. A shearer eyed him attentively, and, then, with an impressive glance at his foot, which bore a distant resemblance to a shaft, he remarked, “Breaking him in to harness at the same time, Sammy?” The riders aw the joke at once, and smiled appreciatively. One afternoon I was among horse=-breakers. There was one particularly good rider, and many encomiums were passed on his work. The best was this, delivered as his mount was trying to tie himself in a knot: “Yes, he’s here for good. He can stick like a postage stamp.”
The true bushman has a thorough scorn for the loafer, and charity is abhorrent to him. He has also a healthy contempt for what he calls “crawling jobs” – that is, a bush job where the worker is brought much into personal contact with his boss. I heard one bushman, discussing the offer of one of these billets, declare fervently that he “would sooner take a job of chewing crusts for sick parrots.” We had a small fiddling, pernickety chap on our selection once. He was of very little use, but he somehow was kept on. A boundary rider summed him up at once: “Tom ought to work for a grocer. He could sit all day picking sugar out for flies’ toenails.” We had another chap, who always had a cheerless and dilapidated appearance. He appeared one morning looking even worse than usual. The cook took one look at him and then broke out, “Gord’s truth,” he exclaimed, “Look at Jimmy – like something the cat would bring in, of a wet night.” The sting of this simile is in the last four words. It is certainly a very graphic one, and is much used in the bush. I heard a similar character, another time, described as “looking as if he’d been pulled backwards through a hedge.” The word ‘backwards’ gives splendid point to this comparison.
So far as his English goes, the average bushman does not leave much to be complained on. Most bushmen have had a state school education, and papers, especially weeklies, are plentiful enough, and widely read. I heard a curious remark once, based on a paper. A boundary rider was referred to as being well equipped with sporting information. A little one-eyed tanksinker squinted up at the disputants, and said. “Oh, I’ve met Andy’s sort. His missus wrapped his dinner up once in the sporting pages, and now he’s it.”
Racing is probably the leading conversational topic amongst bushmen, and their language is often very picturesque. Apart from the omnipresent blanky, bush language, as a rule, is the reverse of lurid. I say “as a rule” advisedly, as I have at times heard truly terrific language. Once, on the Paroo, the language was so appalling that one of the men laughingly remarked, “God’ll hear you in minute, George.” George interrupted the torrent of profanity for a moment to say: “God! Why you blanker, don’t you know that God never crosses the Darling!” This is a common remark all over the Western Division of New South Wales, and is due to the absence of religion across the darling, in the Far West as a rule.
Meanness is an unpardonable sin in the bush. Yet there are some men whose meanness is almost miraculous in its methods. I heard a station-owner described as so mean as to compel his cook to “catch flies in the sugar basin, and shake the sugar out of their feet.” I heard a particularly mean man described as one who would “steal potatoes from a blind pig.” Of another it was said, “he would kiss a child – and steal its potato.” The third describes the mean man as ”stealing a sick child’s soup.” Some similes are exceedingly short and correspondingly graphic. I asked a shearer once how a common friend was, “Bad,” was the reply; “he’s as thin as twine.” He couldn’t well be thinner. “As fine as wire.” is another for thinness.
Their dogs – the sheep and cattle dogs – give rise to much picturesque bush language. I heard some doggy talk one day, at a northern pub, which was ended by a big red Riverina man, who declared that his pup could “put a blowfly into a bottle.” This ended the claims of all the other dog owners.
Common in most of the bush, particularly in Western Australia, is the quaint habit of using a phrase with the same lingual sound for another word. For example, a bushman will say, “Oh, she’s all right; still, she’s nothing to go silk-hanky over.” “Silk hanky” of course, represents the word ‘cranky’ I have heard a bushman ask another to have a “you and me” meaning a pannikin of tea. A match is called a ‘tear and scratch’. I fancy this rather ridiculous custom is an imported done. Sometimes the imitation words are amusing or witty, but usually they are neither.
The usual bushman is rarely at a loss for a word. His vocabulary, like that of Brett Harte’s hero, is often “frequent, and painful, and free.” But, if he can’t think of the right word, he flings out a big, high-sounding word of some sort. Often the words are homemade. “How do you sagaciate?” is often used for “How are you?” and so on. But, one way or another, the bushman can convey his meaning, and as this is the primal use of language, the language of the bush may be termed as generally successful whatever other qualities it may have.
George Caley. Sydney Truth. 18/7/19
CLASSIC BUSH VERSE – JACK MOSES
The famed songwriter and poet, Jack Moses, was born in Sydney at the height of the 1860 rush for gold.
His most famous song is Nine Miles From Gundagai
Nine Miles From Gundagai
I’ve done my share of shearing sheep,
Of droving and all that,
And bogged a bullock team as well,
On a Murrumbidgee flat.
I’ve seen the bullock stretch and strain,
And blink his bleary eye,
And the dog sit on the tucker box,
Nine miles from Gundagai.
I’ve been jilted, jarred, and crossed in love,
And sand-bagged in the dark,
Till if a mountain fell on me
I’d treat it as a lark.
It’s when you’ve got your bullocks bogged
That’s the time you flog and cry.
And the dog sits on the tucker box,
Nine miles from Gundagai.
We’ve all got our little troubles,
In life’s hard, thorny, way.
Some strike them in a motor car
And others in a dray.
But when your dog and bullocks strike
It aint no apple pie,
And the dog sat on the tucker box,
Nine miles from Gundagai.
But that’s all past and dead and gone,
And I’ve sold the team for meat,
And perhaps some day where I was bogged,
There’ll be an asphalt street.
The dog, Ah! well he took a bait,
And thought he’d like to die,
So I buried him in the tucker box,
Nine miles from Gundagai.
These lyrics, based on an earlier mythical story, found favour with the bush and, like some of Lawson’s and Paterson’s works, found themselves travelling the bush with a different tune and lyrics.
Jack Moses also travelled the bush in life for he was a travelling salesman for wine. He was a regular and welcome face at the various agricultural shows and, according to history, good at both spruiking wine and reciting poetry. According to an article by ‘El V’ (Bulletin 5 May 1938), Moses’ father ‘came out from London in Macquarie’s day to marry a merry Irish girl. This fact possibly explains Moses’ love of the bush ballad.
He must have attained quite a reputation for the 1920 publication The Bulletin Book of Humorous Verses and Recitations was dedicated to him as a ‘Good Australian’ who was ‘for many years a Bulletin reciter in the bush.’
One of his favourite authors was Henry Lawson, who in the poem Joseph’s Dreams (1923) refers to Moses in stating ‘my best friend was a Yid’; Moses recalled their friendship in Henry Lawson by His Mates (1931). (a ‘yid’ was a reference to a Jew however, according to Jewish law, if his mother was Irish (as above), then Moses was not technically Jewish). The word ‘yid’ (short for Yiddish) has gone out of popular use. It was used by Jewish comedians like Roy Rene against themselves.
Jack Moses was a long-time contributor to the Bulletin, the Sydney Mail, Smith’s Weekly and many other journals and newspapers.
This little humorous verse by Jack Moses could possibly be based on truth. Maybe not!
When The Police Force Couldn’t Spell
Years ago when our land was new
Scholars then were very few
A poor old cabby’s horse dropped dead
In Castlereagh Street, it is said.
Policeman ‘9’ was standing by
And saw the neddy fall and die
“on this I must at once report –
Can I spell Castlereagh?’ he thought.
God bless the force!
They’re never beat.
He dragged the horse into King Street.
‘Nine Miles from Gundagai’ was published in 1938 as a volume of verse.
Like much of Australia’s early folklore, the origins of the Dog on the Tuckerbox are comparable to the ongoing debate about the origins of Waltzing Matilda.
There is every reason to believe the tale was based on fact. The roads, if one could call them that, were little more than tracks and prone to either dust or mud. The giant iron wheels of the bullock wagons would have tore the dirt road to pieces and, with the first downpour of rain, would become muddy bogs. Easy conditions to snap an axle and snap a bullock driver’s determination. It’s probably one of the reasons bullockies had such a fearsome reputation as swearers.
It was also not unusual for a bullocky to leave his trusty dog in charge of the camp and bullocks, when he trudged off to the nearest homestead or town for assistance. One can almost picture the dog sitting on the tucker box waiting for his master’s return.
In the 1850s, hot on the tail of this legend, came a poem by anonymous scribbler called ‘Bowyang Yorke’. This is the poem that inspired Moses to write his poem.
As I was coming down Conroy’s Gap,
I heard a maiden cry;
‘There goes Bill the Bullocky,
He’s bound for Gundagai.
A better poor old beggar
Never earnt an honest crust,
A better poor old beggar
Never drug a whip through dust.’
His team got bogged at the nine mile creek,
Bill lashed and swore and cried;
‘If Nobby don’t get me out of this,
I’ll tattoo his bloody hide.’
But Nobby strained and broke the yoke,
And poked out the leader’s eye;
Then the dog sat on the Tucker Box
Nine miles from Gundagai.
(the ‘beggar’ could quite possibly be ‘buggar’)
Jack O’Hagan continued the legend in his version of the song in 1937. This song firmly put Gundagai on the world map and became a firm radio and gramophone popular hit. It has been recorded by hundreds of artists and is considered quintessentially Australian.
Charming historic township on the banks of the Murrumbidgee River
Gundagai is situated on the Murrumbidgee River at the foot of Mt Parnassus, 387 km south-west of Sydney. It is located just off the Hume Highway about halfway between Yass and Holbrook at an elevation of 225 m. The monument of the Dog on the Tuckerbox lies about five miles (eight kilometres) north of the New South Wales town of Gundagai and has become an icon of Australia’s past.
The big question about Jack Moses’ poem is whether the dog ‘sat’ or ‘shat’ in or on the box! Did the poet willingly censor himself?
The answer to this can be found in a booklet published in 1932 for the commemorative ceremony unveiling the monument at Gundagai. The booklet explains the early myth and relates how one dog, near Five Mile Creek, actually shat in the tucker box while waiting for his master’s return.
On hearing this Moses wrote a ditty:
Good morning mate, you are too late,
The shearing is all over,
Tie up your dog behind the log
Come in and have some dover.
For Nobby Jack has broke the yoke,
Poked out the leader’s eye
And the dog … in the tucker box,
Five miles from Gundagai.
So, that’s the original anonymous piece that inspired the Moses poem and, later, the O’Hagan song.
After his retirement Jack Moses settled in Sydney, where he was a affectionately regarded as a ‘character’, who distributed postcards of his poems.
He died the year before I was born, in 1945.
© Warren Fahey
SCHOOLS OF THOUGHT – The Life and Writings of Will Carter
I have lost count of the year I first came across the poem Tumba-bloody-Rumba about the bushman who, after being a shearer, rabbit trapper, stacker and a few other jobs to boot, ended up ‘shooting kanga-bloody-roos at Tumba-bloody-rumba”. It would have been in the early 1970s and it led me to John Wolfe, a local poet, who swore black and blue he wrote it. We had a bit of correspondence and John gave me the green light to put his poem to music. I did, and have been singing it ever since.
Here’s John Wolfe’s version.
TUMBA-BLOODY-RUMBA
He asked for work at muster-time,
We tried him as a rider,
We tried him out as the rouseabout,
And as the cook’s off-sider,
He had sailed the seven seas,
He’d been up in Alaska,
He’d been in every western state
From Texas to Nebraska.
He said he’d shorn a sheep or two,
And cut a bit of lumber,
And waged war on the kangaroo,
At Tumba-bloody-rumba.
We had him in the shearing shed,
We put him on the stacker,
We tried him digging rabbits out,
He wasn’t worth a cracker,
He had a shop in Singapore,
He owned a pearling lugger,
He was a champ at baccarat,
Australian rules and rugger.
He never showed his aptitude,
On work he was allotted,
But showed his skill upon the drinks,
And cigarettes he botted,
He said he’d climbed the Materhorn,
He’d been a union leader,
And years ago in Adelaide
He was a pigeon breeder.
We tried him cutting fencing posts,
We tried to find his caper,
Until that happy pay-day when
He got his piece of paper.
I wonder what he’s doing now,
Perhaps back on the lumber,
Or shooting kanga-bloody-roos,
At Tumba-bloody-rumba.
(A recorded version appears in my ABC Music CD series and the music notation in the accompanying book ‘Australia: Its Folks Songs & Bush ballads’)
A recently published book on Will Carter (By Ron and Catherine Frew) now has me confused over the authorship of the poem. More likely there have been more than one version of the poem floating around and, as often the case, people add a verse, change a few things, and claim it as their work. These versions are, of course, correct in some degree and this is often the way oral transmission of folk song and poetry works. In their introduction to the book the Frews point to the Tumbarumba poem as having a life of its own and one possible contender, because he was an active poet, was their subject, Will Carter. This was not to be the case and the Frews point to the original version, or possible one of the original versions was more likely the work of John O’Grady, best known for his work as ‘Nino Culotta’ and ‘They’re A Weird Mob’. In a round about way the Frews chasing of the Tumbarumba poem led them to Will Carter.
Will Carter was born in 1867. With a life of 88 years he spanned significant changes in Australia. The gold rushes tripled the population; gold was replaced by the new fortunes of wool, wheat, beef and coal; our colonies had federated to become a nation; the population had shifted to living primarily in the cities, and we had seen ourselves fighting in WW1. Carter, like many of his time, was interested in the development of the Australian identity. Carter was a prolific writer and Ron and Catherine Frew have used his words to provide us with a unique insight into one man’s vision of Australia. Carter was a schoolteacher and, in his way, a documenter of life. He contributed to local newspapers and The Bulletin. He was also an accordion player, bush dance MC and a dab sketcher in the style of Hop and Lindsay.
Back to Old Sofala
Said young Sofala Present unto old Sofala Past,
Whose eyes had still a sparkle, and whose thoughts were backward cast,
Come, walk with me, and talk to me, of old familiar ways,
And of places, and of people, who lived in early days.
Come,point me out a cottage where so-and-so was born,
And tell of jovial diggers who have rolled their swags and gone.
The rambling street was full of inns, they say, in days of yore,
What wasn’t then a public house was bound to be a store.
Old timbers still are standing, and monuments of stone,
And scattered bricks have stories of an interest all their own,
And you’ll awaken echoes in telling this and that,
Of ‘George the Snob’, ‘The Jingler’ and ‘Mick of Monday Flat’.
As a contributor to The Bulletin he used several pseudonyms, mainly ‘The Prooshan’. 29 March 1906 “The Prooshan” : Many bushfolk claim that snakes have a dislike for the smell of geraniums – so great that these plants, set liberally round a house, prevent the undesirable reptile calling in.
Another piece was of particular interest to me as it contained a bullocky’s call. These calls, usually containing the name of the bullocky’s horses or bullocks, were used to goad the beasts on in their work. I must admit to a fondness for these calls as one of the very first people I ever taped was a retired teamster who impressed me with his love of his team. ‘The Prooshan’ 31 January 1907, Re: ‘the Prawn’s’ comment (B. 10/1/07) on my bullock nomenclature par. I spoke of everyday bullock-punching names. Certainly there are faddish or freakish bullock-punchers. One I know plied between Tumut and Tumbarumba. He love the sea and all that on it had been, from Ulysses right along; and, punctually at 3 o’clock o’ Mondays, we’d hear, from t’other side of ‘our hill’, “Gee Nelson, Woa Rodney, up Drake, Come-e-way Howard. Stand over Hawkins, Over there Raleigh.” Then we boys drifted down with poles to prod Nelson in the ribs, or give Howard of Effingham a belt across the rump, and so help the load up the hill.
One of the things that fascinated me about The Bulletin was the fact that they actively encouraged people like Carter to contribute. The rule of thumb was that the magazine welcomed contributions of up to 300 words. In a way this gave the readers a certain ‘ownership’ of the magazine and, in its way, encouraged writers.
I thought this book might be yet another local history collection but it is far more than that. It’s a fascinating journey through the eyes and work of a little-known bush scribe that has been put together in an intelligent and readable format that salutes history and bush poetry. There are some cracker old photographs featured in the book and I especially like the one on page 51 showing the Courabyra School Picnic luncheon, 18 March 1904. A grand affair! One disappointment was the fact the Frews could not locate a photograph of Will Carter and his button accordion. Oh well, at least the man has been put down in print again and his life documented for the future.
Wilf Carter
OF INTEREST:
You can purchase the book by mail order directly from Ron and Catherine Frew at
PO Box 15
Tumbarumba. NSW 2653
or email
the frews@dragnet.com.au
Will Carter’s manuscript collection is housed at the Mitchell Library, Sydney, MLMSS3372
THE STORY OF WILL H. LISTER – AUSTRALIAN BUSH HUMOURIST
I am an inveterate explorer of second-hand bookshops and book fairs. In 2002, at a Kings Cross antiquarian book fair I found a slightly damaged copy of a book titled Me – Und Schmertzer by ‘Heinrich Scheinloof’. I wouldn’t normally pick up a book in what looked like German, but I recalled having seen the name before. In fact it has been mentioned in an interview I did with a German Australian, Jacob Lollbach, in Grafton, in 1973. I recorded Jacob (who was 102 years old) and his son, Charlie, for my National Library of Australian Folklore Collection.I took the book home and straight into my library with the other magazines and books I had nabbed. It wasn’t until six years later that I took it down and started to read the poems and uncover the story.‘Heinrich Scheinloof’ was actually a native-born Queenslander named William Henry Lister. He was born 28 October 1866 and died 1935. He was educated in Roma and Brisbane and went on to lead a varied working life as a journalist. He was editor of Toowoomba’s Biz newspaper and owner of the North Coast Star and the Moreton Mail. He had three books published: Heinrich Scheinloof: His book (Self-published, 1896, Toowoomba), Me – Und Schmertzer (Published Brisbane, W.H. Wendt, 1905) and Thoughts For Tonight (Published Brisbane, Read Press, 1926 and based on his 4QG broadcasts). Lister also contributed verse to The Bulletin, The Queenslander, The Daily Mail, The Observer, The Courier and, of course, The North Coast Star, which he owned. A search for his newspapers in Queensland’s Oxley Library shows the Moreton Mail was established 9 January 1886 but there is no reference for either Biz or the North Coast Star however the fact that one of his books was published in Toowoomba in 1896 suggests he had been editing Biz at that stage.Lister’s characters were down-to-earth German settlers experiencing familiar challenges such as snakes, drought, stubborn cows, petty local government, visiting dignitaries, the Brisbane Exhibition and various family celebrations. There is also a considerable body of political comment, especially about the rumblings in Europe, suggesting Lister was actually of German heritage.Me – Und Schmertzer was distributed by Gordon & Gotch and was 21.5 x 14 cm, soft paperback, 126 pages and my copy was inscribed ‘review copy’. It cost one shilling and appears to be under represented in the national collections. Two copies in the Oxley marked as having particular Queensland relevance. The cover carries a note: ‘A liddle nonsense fon mine pen, vos haf some senses now and den’ and the cover illustration of a pipe-smoking ‘Heinrich’ exclaims ‘Dot’s Me!’ The book offers around 85 poems and various short humorous sketches from ‘Heinrich’ plus a series of nature photographs of landmarks such as ‘Crooked Neck’ (Glass House Mountains), ‘Lake Eacham, Mount Morgan mines, Dagg’s Falls, Killarney and the Railway Bridge at Caboolture River. Some have accompanying verse. It should be mentioned that at the time the book was published reciting was popular. Lister even makes mention of this in his introduction:
‘An effort has been made throughout to cultivate a bright genial spirit, and if the perusal or recitation of the sketches should in any way serve to excite merriment, and enable the weary to lay aside, for the nonce, the worries and cares of life, the object of the writer will be accomplished.’ |
Garbled English, often referred to as ‘broken English’ is a fascinating study and appears to have been a part of popular Australian entertainment for quite some time, probably originating in English vaudeville and landing here during the 1850s goldrush. It is no coincidence that many German immigrants came to search for gold.Although they seem to have disappeared the most common forms of Australian broken English were German, Dutch, Yiddish and Aboriginal so called ‘pigeon English’.Mark Schuster has done considerable work on German traditions in Australia, including several oral history recordings for the National Library, and has been very generous in my own research into Will H. Lister. Mark is himself of German background and explains that gemixt idiom is regional, and referred locally as Barossa Deutsch; Lockyer-Deutsch; Fassifern-Deutsch etc. and that the regional German-English languages were subtly different. ‘Some had a large smattering of ‘low’ (Platt) German words embedded. One or two variants would be very hard for us to understand. Most people spoke the Platt – whereas ‘Hoch’ Deutsch was used for schooling/Church.’ Mark reinforced that the majority of German settlers had a good attitude to life, enjoyed drinking, socializing, music and joke telling. One can imagine the pioneer families, with a smattering of English, trying to communicate with the dry-as-a-bone Australians, and the invention of a humorous broken German/English would have produced laughter on either side of the fence. Much of our pioneering spirit could be summed up as ‘what else could one do but laugh’.The term ‘double Dutch’ will be familiar to many readers. Dutch, like German, is a guttural language and presents certain difficulties in pronouncing words like with which becomes mit, where becomes dere and they becomes dey – and these examples are only the easy ones! The Jews were a popular target for humour and, considering the number of Jewish stage performers in London, Manchester and New York at the end of the 19th century, it is interesting to note that much of the seemingly racist material emanated from their own acts. One of Australia’s most gifted and popular entertainers, Roy ‘Mo’ Rene, was a Dutch London Jew (his real name was Van der Sluice) from Adelaide and much of his humour was based on Yiddish put downs, including songs. Aboriginal ‘pigeon’ was also a point of humour and references also appear in songs like the final verse of The Old Bullock Dray’ and ‘Old Black Alice’. Most of the Aboriginal material was of the ‘Witchetty’s Tribe’ variety in as much as it was condescending and would be thought inappropriate nowadays.One of the questions arising from these various groups is whether they were seen as racial slurs. The Germans and Dutch broken–English songs, jokes and monologues do seem to place their subjects as dumbkofs or bumpkins. Lister’s ‘Heinrich Schmertzer’ and his German associates are not portrayed as fools but as kind, sometimes bumbling, pioneer settlers facing the usual rural challenges but addressing them in a German Australian comic way. They also express a passionate love of Australia, something most native-born Australians found it difficult to express. Lister’s works also point to a concern over the, at the time, growing disquiet in Europe over Germany’s imperialistic moves. This must have been a difficult position for German Australians and, of course, news from Europe to the backblocks was unreliable, usually out of date, and prone to misinterpretation.A pioneer of German broken English song was J.Emmet who was an Adelaide-based vaudeville artist. His Emmet Songster, published by Coles Book Arcade (Adelaide Branch) in 1877, included such titles as ‘Schneider, How Vas You?’, ‘Shonnie Vos A Nice Young Man’, ‘De Vatercress Girl’, ‘Sauer Kraut Recipe’ – all sung by his internationally renowned character ‘Fritz’.Many Germans came to Australia for the goldrushes and German named towns and landmarks cover Australia. I was curious why Will H. Lister would have chosen to work with a German character (if he himself was possibly not of German extraction) and Mark Schuster explains some of the background to German immigration flows:
‘Germans came to Queensland because of the immigration agents (Heussler) who roamed the northern German countryside/billboards. We need to remember the colony of Queensland had its own immigration agents. Squatting runs were broken up in the 1870s/1880s. Prior to this shepherds were needed; post 1880s selectors were needed when the ‘runs’ were broken up resulting in enormous immigrations through Moreton Bay and Maryborough. I know of many Tenterfield settlers coming from Brisbane. Grafton and Hunter Valley Germans were vine dressers/tradesmen from Central Germany. Riverina settlers were 1st/2nd generation settlers from Wimmera/SA. There were German ‘enclaves’ through NSW, but not as numerous, or as large, as the many QLD settlements.’ He continues, ‘Once the Germans had settled in Queensland they wrote to their relatives about the cheap land, good soil and, importantly, no conscription. Many came and few went back Home.’(Mark has collected some lovely old poems about homesickness) |
The other issue facing German Australians was that of the threat of war. Lister’s book has several poems about the changing climate in Europe and a series of verse calling for peace. The harsh reality came when, in both WW1 and WW2, German Australians were sent to camps ‘where they could be watched’. Mark’s father, grandfather and uncles were sent to such camps and he explains that the internment is still a sensitive matter with many families. In WW1 many were sent to Holsworthy and in WW2 to Tatura – where they were retained throughout the entire war. ‘This is such a big thing. It still hurts in my own (loyal Australian) farming family, and many oldies still cry over the situation. The majority of the public has no idea of what really happened.’
I am indebted to Joan Emslie Coxsen, great-grand daughter of Will Lister, for forwarding Will’s marriage certificate and a signed photocard.
Dear Mr. Fahey,I found your story of William Henry very interesting. My Great grandfather was Williams younger brother Frederick. You state that maybe William was of German heritage, No his ancestors actually came from Manchester, England. His grandfather George along with his family and his sisters family came to Brisbane, Australia in 1854. Williams great grandfather Thomas Lister was a Cotton Mill Manager of Manchester. Two of his uncles Alfred and Frederick Lister became Council members of Gympie and Frederick actually became Mayor around 1905. William lived in later life in Sandgate and it is his verse on the War Memorial in Sandgate,( He didn’t want to be noted for it by having his name added as it was a memorial for the brave soldiers) He was also very involved in the Sandgate Council.Once again thank you for the interesting information on my great uncle William Henry Lister.yours sincerelyAnnette Loibl (July 2010)
MOLEY HOSES! ‘Moley Hoses’ was one of his character’s favourite expressions. Schmertzer von day oxed me vot a “bigot” vos. und I told him. “Moley Hoses,” he says, “is dot so?” Und he told me dot his liddle poy vos been ox him vot id vos, und he told him dot dey vos dose ting’s dot eats der holes in der scheeses.. Schpeaking or der roads apoud der country, Christy vonce told me dot he met a teamster mit a load of pine logs und a bullock team. Dot team vos schtuck by der mud in der creek, und der lankwidge der cofe used made Christy’s hair stand by ids end oop. He vos schvearing like tunder! “Look here, mate,” said Schmertzer, “uf you schvear like dot, you don’d go by Heafen already.” “I oxbose not.” Said der teamster, “und uf i don’d schvear I gets me not oud of dis bog!” Schmertzer vos down der road a gouple of veeks ago und some poys vos making’ fun mit him. He told me apoud id. He said dot he don’d vos shoost feeling’ so goot in healt as yenerally alvays, und in schpeaking to der missus he habbened to say dot der cow seemed as uf id vos getten ‘tick fever’, und at der same dime he said be don’d vos feeling too veil himseluf. His liddle poy Gottleib told der teacher by der school dot der cow don’d vos veil, und his farder vos got der ‘tick fever’. Dot’s vot der poys vos making fun mit. Von day Christy Schmertzrr vos been told me dot mempers fon Shire Gouncil near his blace, vos been going on a debutation to der Minister, to ox him to lend dem some monish, might dey put some fences round der cemetry dere. I says to him. “Votefer for do dey vont to fence der cemetery in?” “Veil,” he says, “to keep beeples oud, I oxpose.” Und I schimiled at him. “Look here, Christy,” I say “Dot’s der funny part of der bizness — dose beeples dot vos oudside dot cemetery don’d vont to get in, und dose dot’s inside don’d can werry well got oud, so vots der use mit a fences, dot’s vot I vont to know.” Und Schmerter haf been buzzling himseluf efer since. Schmertzcr vos telling me apoud Gottleib Wiemer’s de odder day. Gottleib had shot Carl Handsundfeet’s dog und dere vos some droubles in der Police Court. Der magisdrate says to Gottleib “Did you shoot der dog in self-defence?” “Nein, not at all.—I shot him in der pack und he yumped der fence.” “No, no, dot’s not vot I mean,” said der magisdrate, “I mean did der dog adtempt to go for you?” “Go for me.'” says Gottleib, “No he don’d go for me, he go for home so sooner as lightnings ven he felt dol shot in him.” Der magisdrate don’d know him how to got ofer der bizness, “Veil.” he say at last, “I fine you vot der dog’ is vert—ten shiillinks.” “By Shimniiney, I pays dot soi villing as efer,” says Gottleib. Und now Carl Handsundfeet vos been rearing anodder dog. Schmertzer vos telling me apoud a new schurn schap dot vos gome to york on der farm already. Schmertzer don’d tink much of dot immigration goncern, he says, uf dey don’d get besser schaps dan der von he had. “Why,”says Christy, “I gafe him del halter to go down der paddock und pring de old grey mare oop, und ven he got to her he schtood as uf gonsidering vedder to put id round her neck or round her vaist or vherefer as novhere – und by der dime he vos decided der mare took fright und ve don’d got her not for an hour sooner as after pefore.” “Nefer mind, Christy,” I say lo him, “you voner vos a new schum.” “Dot’s drue, Heinrich,” he say, “but I alvays could told vich end of a horse vent first der road along, und uf dey gafe me a halter, I don’d put id on der tail.” Schmertzer came to mine blace der odder morning such a wreck. “Mine cracious! Vot’s der matter mit?” I exclaimed. His face vos plack, his clothes vos cofered mit ashes, und he had a vild look in his eyes; his mout und viskers vos full mit soot, und he seemed as uf he’d met an earthquake. “Oh, Heinrich,” he said, ven he had his voice found, “dot young Hans vos been der death fon der families, und dese English history cofes by der school vill haf some droubles to answer for.” “Vhy,” I oxed, ” haf you been by dor school?” “Nein, you dunder kopht,” he say, “dere is some history vot tells apoud some gunpowder goncern, und Hans he lets some cracker off, shoost ven I vos making der tea dis morning by der kitchen fire, und turning der pacon mit der fork ofer. “Moley Hoses!'” I say to him – vot you doing?” “Ho! Hurrah!'” he say, “dis vos Guy Fork’s day.” “Vell, vell,” I say, “Schmertzer, don’d got angry, dot poy vos right – you had der ‘fork’ und he’s made a ‘guy’ of you, dot’s certain.” Schmertzer vonce made a schpeech at a show dinner. He said.— “Schentlemen, I gets me oop to probose der healt of der Bresident fon dis society und I hopes dot you vil] fill yourselves oop—no, I mean your glasses fon der pottle oop, und trink id dry -I mean vet. Dere vos dimes ven ve vont vet und dere vos dimes ven ve vont dry—to-day ve haf bote. Der Bresident vos a man dot haf creat inderest token mit dis society, und I am bleased to tink dot on dis ocgasion he don’d ve vos able to haf a trink—pecause ve haf der trink inschtead, on acgount of dot ve vos been trink his healt. Before I sit down I vould like to schtand oop, und schpeak vot I vos tinking.— Uf I vos Bresident I vould not do as vot he has—keep der best pottle for himseluf—uf he shoost passes id along, id vos besser dot I trinks his healt fon id, as for him to trink odders” und he reached oud und got id. After dot dinner vos ofer I oxed Schmenzer vot made him look so sad—”Heinrich, ‘he say. ” Der pottle dot der Bresident had vos full mit coffee, und I nefer got such a fright mine inside pefore. I thought id vos Hock.” – I got a bit avay, und I said, “Hockactly.” I remempor ven Schmetzer had der tootake. Von night he vos reading his paper und eating’ apples, ven all mit a sudden he git’s A yump—whoop! Id seemed as if somevon vos shot him, und his hands go to his face, der schair vos kicked ofer, und his vife don’d know vere to get oud of der vay. Ven he vos got kerviet, his vife got sometings, und puts id in his toot. und says, “Now, Christy, do be batient.” “Batient”‘ he shouds oud, “Batient!” vy, der bain vould kill fifteen voomen a minute'” Den he holds his face by dot fire, und tings go on so as before again, und his vife goes on mit her sewing. “Oh, oh, oh! hokey stars!”—der cotton fell oud. His vife once more fixes tings oop again und kervietness rests on dot house some more. Shoost den I tropped in to see dem, und pegan to gif adwice apoud der toot. “Now, look here, shoost keep kerviet till der morning und go by dot dentist, und after he vos cut dot toot, und poked some vire dot hole in, und smashed id oop bit by bit, und left der stump dere, und schvore dot he haf id oud or die—” Dose vords go to his heart, und as I left der house, bote his schlippcrs hit der front gate. Me und Schmertzer vos von day schprecken apoud der drams in Brisbane ven comes Exhibition time, und he told me how vonco his missus vos been von too many for von of dose conductor schaps. Dey bote got on to a dram und bote sat in a schmoker’s seat. “Dis is a schmoker’s seat,” said de conductor. “Oh,” says she, “dot don’d madter: you know me und de old man vos been down for de Exhibition; ve only got here dis morning apoud an hour ago, but ve intended dot ve got here gesterday, but shoost pefore ve vos gotten avay, some of der cows got avay into a neighbour’s paddock und de old man he vos loosen him time pringing de’n home, so ve don’d got sooner here as an hour ago.” “Yes, dot’s allus reicht,” said dot conductor, “but dis seat vos researfed for schmokers.” “Vos dot so?” she say, “und vos dere any extra scharges ?” “Oh, no,” he said. “Den, I schtop me here already mit Christy.” Und she did! |
HEINRICH’S TROPS FON DE PEN A schmoker may not be allowed to schmoke in Heaven, but id don’d madter somevhere else – aind’t id? A schap vill vait in der cold an hour for his schveetheart, but ven she’s his vife he’ll growl uf he has to vait five minutes for his dinner. Dere’s many a schap who says vot he tinks, dot should be ashamed to tink what he says. Uf you are going to be goot – be goot for sometings. Ven you see cats fighting – id vos a scratch match – vot? Dey call a ship a ‘she’ becos der rigging costs monish. De easiest tings to do are dose tings ve don’d ought to do. Plenty beeples vould know more uf dey thought dey knew less. |
Der Farmer’s Eight Hours (Mit apologies.) Ven der vheat vos in der schtook, und the rain vos threaten soon, Und der night wos suiting grand, for some carting by der moon, Ven der farmer tinks he’ll save, all his crop ven comes der morn, He hears his vorkmen singing, in a vay dot sounds forlorn – Ve haf vorked eight hours today Farmer cart your own darn hay; Ve don’d vill move a hand To go oud on your land. For ve couldn’t vork a half-a-minute long –! Ven der cow vas getten bogged in der creek not far avay, Und shoost a knock-off dime a neighbour calls to say, Dot he‘d gif a hand to helup, uf der vorkmen on der fram, Vould also gome und get der cow from oud by any harm – But – ve’fe worked eight hours today Und ve don’d got too much pay, Let der cow got tead! Vere der vords dey said – For ve couldn’t vork a half-a-minute longer! Ven der bush fire’s raging high around dot homestead farm, Und der farmer from his home vos filled mit alarm, Ven he goes to ox his ploughman or der poy dot vos schtart – Ve haf worked eight hours today, Let der fire shoost blaze avay – Ve couldn’t schange our mind, So tink us not unkind – But ve couldn’t vork a half-a-minute longer. Ven der shoost vos gomen, in der schun der poy vos turn, Und der clock vos schtrike der hour – den der farmer he vould learn, Dot der handle goes no more around, der poy vos left und gone Und der air vos filling mit der vords of dis old silly song – I haf worked eight hours today, Let der cream till der morning schtay – Id’s a sorrowful job, But, so help me bob – I couldn’t vork a half-a-minute longer. Dee man schtarts off mit a load of schaff, packed tightly on der dary, I schmile me at vot he did cos he’d vorked eight hours dot day; But in der schtreet, a hundred yards fon der schtore he schtarted for He took oud der horse und sat on der curb – he don’d could do no more. For I’fe vorked eight hours today, Hang der boss’s moke und dray – Let der beeples laugh, At dot load of schaff But I couldn’t vork a half-a-minute longer! |
Braat Wurst I’m yenerally alvays de cofe dot vos had, I don’d can told vhy—I reckon id’s bad, But I oxbose dot I’m soft und easily led, Und silly und all sorts, or wrong- in der head. Howefer, I told you vot habbened von day, Ven somevon a liddle game on me vos b!ay. Und uf I could cotch him, I g’if him a scharge Dot vould send him sky high—id vouldn’t be large. An old friend of mine who knew I vos schveet On goot braat wurst dot don’d ccuid be beat, Somedimes used to send me a parcel along, Addressed to mineseluf so dey couldn’t go wrong. I used to vos take dem horne to mine frau, To be cooked as so besser no von knew how, Und veekly ve looked for dis liddle treat, Till somevon, by Shimminey, I likes to him meet. He took fon de parcel dose sausaqes oud, Und filled id again so peautiful stoud Mit some fon a butcher at tuppence a pound, Until I got home I don’d nefer dis found. I say to mine missus, “Villemena, mine tear, Ve haf some goot sausage each weeck in de year.” But yen she vos oben de parcel I’d prought, She didn’t say much—I know vot she tought;. Mine friend de next day, I habbened to meet Shoost ven he vos going oop down by der street. I told him apoud id und he hit on a plan, By vich I could find dot vicked bad man. But de next dime he nefer vos schange dem no more, I forgot dot goot plan, till so after before : For mine missus und me vos so sick und so sad, Instead of de cofe who vos vicked und bad. |
Schmertzer’s Barty Schmertzer had a daughter dot shoost vos dwenty-von, Und so he gate a barty so all could haf some fun; He sent oud inwitations to all dose beeples round, ‘Und a finer lot of Schermans don’d novhere could be found. Der vos derder Rienkies und der Specs, der Kriebkes fon der blain, Der Kaysers, Rumfs, und Blitzkens ve meet some more again; Der Scheinloofs all vos dere, mine Fritz, also mine frau, But der old Schmertzer mit his flute, vos make der mostest row. Ve voltzed around his lofely barn, und did dor skvare dance too, Und der pastor he vos sing. ” Und schtill his viskers grew.” I danced dot Irish ”proke me down”—I don’d do id pooty veil, Id proke me down, dot’s right genuf—”I like a soldier fell.” Der younger beeples kept it oop undil der “un vos rise, I close oop vos aschleep, I don’d could voke mine eyes: But ven I heard mine missus say, “You’d besser haf some vine”- Vell, dot’s der ding to settle id—und Schmertzer’s vos so fine. Now scharge your glasses,” Christy said (mine vos made mit tin) “I vont to told you sometings apoud mine daughter Min.” Und so all vos listen, bur soon vos schmell a mouse, For ve saw a schmiling couple gomen ofer fon der house. “Mine daughter she vos married by der pastor soon as now, So I vont you trink der health fon Gottleib und his frau,” Und as dey schtepped into dot barn id vos a lofely sight, Ve saw at Schmertzer’s barty on dot morning after night. A birthday und a vedding, Schmenzer’s barty did for bote, So der pastor und dot Schmertzer dis dime vos men of note; For der pastor, he made two in von, und Schmertzer von in two, He thought der birthday barty, vos do dot vedding too. |
Federated Australia Mine Fritz und mine old missus, mineself so likevise too, Os haf an argument von day apoud some tings ve do; I vont to haf id done dis vay, und Fritz vos vont annoder, I argued mit him haluf an hour. und den he oxed his mudder. Und Shimminey Grismas, help me bob, she vent anodder vay. So obbosite to bote of us—I don’d forget de day. Und Fritz he vent und tried to do – his vay vos not like mine. Ve all vos been at logger-heads, ve kicked up sooch a schein. Und so at last Frirz said to us. ‘Shoost let me have some talk And see uf ve can’t gompromise—Ve don’d get pig from pork. Und so ve talked der matter oud, und to an end ve come. So now ve all vos pull von vay und peace vos getting some. So Federation vos like dot, ven all vos pull togedder. Ve don’d vill care uf storms arise, or ve get schtormy vedder For ven de boat vos manned by dose who pull de selfsame vay, Ve’re pound to haf sugcessful dimes, und pright vill dawn der dav. But uf von schap vos pulling wrong, id might upset de boat, Dere’s some von’t care uf he falls oud or curs his ploomin troat, But dere de cofes dot haf not vouce deir hearts some vishes in For von Australian Nation, a nation ‘bound to vin.’ So let us von und all stand firm, a nation dot’s to be Australia for Australians, a beeple proud und free; A nation made fon all ids sons, und some fon efery land, A vhite man’s Paradise on earth, mit brudders hand in hand. |
Foundation Day [On January 18th, 1871, the German Empire was founded, and at Dutton Park a gathering of Germans from al! parts of Southern Queensland took place last Tuesday, to do honour to the occasion.—News par. Me und Schmertzer der vere to der Park dot nodder day, To celebrate Foundation Day – in our own liddle vay: Ve met some blendy beeple’ on shoost der self same game, Ve don’d vos been so sorry, dot eider of us came. Dere vos Kreutzer. Horner, Schniffleburg, und Kriebke—he vos dere, Der pand blayed shoost such moosie you don’d got eferyvhere. ‘Der lager und der sauer kraut vos remind mit long past years, Ven I don’d like now, vos haf to trink shost common sort of beers. Veil, der beeples dere vos plendy, der names I don’d forgot, Dere vos Zoller, Leibke. Handsunfeet. und dotzens on der schpot, Und Himschftcld, Schwatz, und Howsyerheadt, a noble iiddle band, Who trank so many lagers, as me und Schmertzer schtand. Dot’s shoost some introductions, for I must make von remark, Not by vay schpoiling tings, but shoost I have some lark; Der gaddering vos most serious, as all vill understand. Dot know der kind of beeples dot left den Faterland. Und avay fon schildhood’s home, oud on dis Austral shore, Dey tink dem of der bygone days, vonce yet again some more ; Deir hearts go oud dot Nation to of vich dey vere a part, Before dey came oud here, und gafe Britain hand und heart. “Lebe wohl, auf wiedersehn”— let der vords reach oud afar. Let Sherman’s hear de echoes vherefer yet dey are, For though dey’re British subjects dere’s a lofe for dose at home, For who forgets his Faterland, ven he sets oud to roam? “Breathes dere a man” I read me vonce, dot haf mit soul so tead Dis is my native home, who nefer vonce vos paid. So ven I tinks me tack some more “I lofe my natif land,” Schtrike oop “Der Wacht am Rhine'”—tune oop der plooming band! Und let us here join vonce again, und in memory of der past, Und as ve hope to helup id much, let our vishes, vich vill last— Be dot der Scherman beeples vill friends to Britain be Und lif in lofe und peace, like deir sons across der seas. |
A Schnake Schtory I knew der schnake so very vell, I saw him efery day, Dey kept him in a great big cage, shoost oud of beeple’s vay Dey fed him oop on rats and mice—he vos a beauty pet, But uf dey opened oop der door, dis cofie did a “get.” Von day dot doer don’d fastened vos, und Schnakey vos got oud, He had a grawl around der yard, und had a look apoud, But nefer found dot cage no more, he lost vos oud of sight, Dey nefer saw him all that day—dey nefer looked at night! Der schap dot owned schnake—don’d told he’d lost his pet So dot der schnake got far avay, so far already yet, Dot he vos blessed und satisfied, und sure dot he vos free, But only for a liddle vile, as you vill shortly see. He got into a biziness blace, vhere girls vos tack und sew, Und vhere dey haf a vire ding, on vich to dresses show. A ding dey called a “dummy”—shoost like a vooman’s shape, All cofered oop mit calico, und fastened oop mit tape. Dot schnake he dought dot he vos stay in comfort here to schleep, Und yently made a schnakey vow, dis blace dot he would keep, He glided oop inside der ding, und hung upon der vire Ven bresently a scream was heard!—you’d tink id vos a fire! But no, id don’d vos any fire, dot gif dose girls a fright, Id shoost vos Schnakey settling down to spend anodder night, Und ven he tried to fix himself upon der vires inside, Der blessed ”dummy” vobbled round, shoost efery dime he tried. Now, can you fancy in your mind, some schtartled maids, a score Who votch a ding dot moves apoud, shoost nefer as before, Deir eyes fon oud der heads near fell, dey tought of ghosts unheard, Deir liddle hearts vos beating hard – dey don’d could schpoke a word. But suddenly dot schnake gets vild. und flips himself around, Und “dummy” does a somersault mit sooch a deafening sound. Und oud fon doors und windows fly, dose girls who tack and sew, Dey nefer look behind some more—dey seen genuf, you know. |
Schmertzer’s Dance Der corn crop vos been gathered, under der husking vos all done. Und der clearing of der barn had shoost apoud begun, Ven Schmertzer’s daughter Lizzie vos suggest mit him a dance,. Dere vos lots of room genuf — besser not been lose a chance. So old Christy vos agreed mit und der barn vos schvept oud glean,. Der floor vos voshed all ofer as before don’d vos been seen, Dey made some paper flowers und festooned der rafters round, Und dey made a schandalier mit some hoop iron dot dey found. Und der cracks between der schlabs vos mit paper cofered ofer, Und Schmertzer looked so bleased, as a pig dot’s in der clover; For yet so long as many years, he’d nefer had a schpree. So, “he meant to make der best of id,” he told mine frau und me. He oxed der beeples near and far, some terventy couples schtrong. Und uf dey prought a friend or two dey don’d vos do no wrong, Den he oxed old Krompton for M.C., you don’d could get a finer, Und efery schap vos come along, und pring mit him a kliener. Und Gottleib Housen’s concert-screemer, vos been der moosic play, Oxcept some vhere a gouple of notes don’d vos der tune been say; But Gottleib vos got ofer dis, by vissling vhere id schlipped. Und der dancers voltzed around, as der floor dey firmer gripped. Ven comes der midnight hour around, old Schmertzer took der floor,. Und announced refreshments vhile he sang, ” Ve parted on der shore;” Some odder songs vos follow, und his frau sang, ” Wacht am Rhine”— Und ve all schoined der chorus in—I told you id vos fine. Und I vos make some speeching, extending thanks to Chris., His frau, und also schildren, for such a schpree like dis— Und den ve bid ” goot morning”—as de air around did ring, Mit a mighty sound of woices—”Gott save our gracious King’.” But ven der daylight vos come oud, vot a mess old Schmertzer saw Der hob-nailed boots of all der schaps had schpoiled his lofely floor, Dere vos schplinters here und eferyvhere, but den on hunting round,, Old Gottleib Housen’s missing notes in der vine cask vos been found. |
Kerveensland Kerveensland! Der prightest gem in Austral’s crown, Uf you’ll excuse me saying so, I’ll mark id down – Broad acres vait der farmer man, der grazier und der rest, Her vealth of soil vos such, dot millions may be blest. Kerveensland! Her peauty schpots are marvellous und rare, Und some mit world-famed sights mighteasily compare, So pardon me uf loud I make der trumpets blow – She vos my natif land – you’re sure dot fact to know. Kerveensland! As son to mudder lofes, so shoost do I – Und all her sister States beneat dis Austral sky, Haf lofe fon me, because God made us von in name, A nation middout loss of life – First on der schroll of fame. |