No More Learning

Two men, Joseph Howe and George
Morris Grant, exercised by their voice and pen a powerful in-
fluence on the political thought of Canada. Their literary output
was slender and does not give the full measure of their ability
or influence.
There are some novels that have honestly died, and some that
have never lived. Canada's fiction may, with few exceptions, be
classed in one or other of these categories. The Bibliography
of Canadian Fiction gives the titles of nearly one hundred and
fifty novels written by authors deceased.
Mrs Brook has the distinction of producing, in 1769, the first
novel, Emily Montague, which essayed a description of Canadian
conditions at that interesting and remote time. Canadian fiction
proper is supposed to date from the year 1832, when John
Richardson published Wacousta. It is a curious book. To
a certain point midway in the narrative, it holds the reader's


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360
[CH. XI
English-Canadian Literature
attention, and then breaks down into a series of wildly impossible
situations without one redeeming human touch to save them from
utter absurdity. The Canadian Brothers is a still weaker effort.
Mrs Leprohon was a constant contributor in prose and verse to
The Literary Garland, a periodical of some repute in the middle
of the last century. Her novels are gracefully written, with some
idea of construction, and no little discernment of character and
motive. Antoinette de Mirecourt is the best of her eight books.
Catharine Parr Traill and Susanna Moodie were sisters who
diligently devoted themselves to writing. Mrs Traill, whose chief
distinction was gained in natural history, wrote also several novels,
of which Lost in the Backwoods, published in London in 1852,
under the title The Canadian Crusoes, is the best. Her sister
Mrs Moodie has been referred to for her interesting descriptions
of pioneer life. James de Mille was prolific and popular in his
day. His novels were extravagantly romantic.
William Kirby wrote the best Canadian novel, Le Chien d'Or,
or The Golden Dog, published in 1877. It is an ambitious book,
cast in a large historic mould. The scene is laid in the middle of
the eighteenth century, and the actors of the drama are the nota-
bilities of Quebec, with such subsidiary characters as are necessary
to drive the plot along. Signs of an unpractised hand abound in
the book, but its merits are very considerable.
William McLennan wrote two novels, a book of short stories and
a useful volume of verse, Songs of Old Canada, translated from
the French. Spanish John, his only independent novel, possesses
much literary merit which, until recent years, has not been a
conspicuous virtue among Canadian writers. The Span o' Life,
written in collaboration, is a stirring tale of the days of prince
Charlie. McLennan's collection of short stories In Old France and
New is described in its title. His habitant tales are an interest-
ing prose counterpart of the work of Drummond.


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CHAPTER XII
THE LITERATURE OF AUSTRALIA AND NEW ZEALAND
THE British settlement in Australia began only in the last
quarter of the eighteenth century; and, in the intervening years,
an increasing but still small population has been chiefly engaged
in agriculture and commerce. The class of settler needed for the
development of the country was not one, who, as in the settlement
of the American colonies, could carry with him to a new land the
traditions and civilisation of the old. The labour of laying the
material bases of prosperity was, for long, too severe to leave
time for intellectual cultivation; and the country has enjoyed
but little of the leisure which is favourable to the practice of
literature. Nevertheless, both the quantity and quality of English
literature produced in Australia give evidence of the vigour which
is characteristic of the Australian. If Australian life and thought
has no background of inherited romance and legend, it has its own
tales of heroism, its own strong colour and other incentives to
literary expression. Nature, here magnificently beautiful and
there desolate and terrible; the exploration of vast deserts; the
conflict with drought and storm; the turbulent period of the
gold-diggings; the free life in sparsely populated country; the
prevalence of horses; the neighbourhood of the sea and, in recent
years, the passionate assertion of democratic liberty-all these
have furnished material for literature, and, especially, for poetry,
with distinctive characteristics. Australian poetry shows a pre-
valence of swinging metres, which suggest the movement of horses,
or the roll of great waves. It consists largely of narrative and
character-sketch. Much of it is genially humorous; together with
a warm appreciation of heroism and devotion, it shows a delight
in the odd types of character (and rascality) fostered by the con-
ditions of life in a young country. Where it is serious, it frequently
expresses a gloomy view of life, induced, perhaps, by the hardships
and the uncertainty that attended the days of settlers, explorers
and gold-diggers.
The earliest Australian poetry was rather an inheritance from
Great Britain than a native growth. In 1819, Charles Lamb's


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362
[CH.
Australia and New Zealand
friend, Barron Field, who, in 1816, became judge of the supreme
court of New South Wales, and remained in Australia till 1824,
published in Sydney, for private circulation, First Fruits of
Australian Poetry. In 1823, a born Australian, William Charles
Wentworth, wrote in competition for the chancellor's medal at the
university of Cambridge a poem entitled Australasia, which was
printed in London and shortly afterwards appeared in the first
Australian newspaper, The Sydney Gazette. In 1826, another
Australian, Charles Tompson, junior, published in Sydney bis
poems, Wild Notes from the Lyre of a Native Minstrel. The
names of Australian fauna and flora and references to the aboriginal
races are found creeping further into English verse in the poems
of John Dunmore Lang, a presbyterian divine, who arrived in
New South Wales in 1823 and took a prominent part in Australian
politics. His Aurora Australis, published in Sydney in 1826, is
Australian at least in so far as it applies inherited modes of
expression to the beauties and characteristics of his adopted
country. Lang was not afraid to write : :
At length an occupant was given
To traverse each untrodden wild,
The rudest mortal under Heaven,
Stern Nature's long-forgotten child !
Compatriot of the tall emu,
The wombat and the kangaroo!
The decade 1840–1850, preceding the rush to the gold-diggings,
was an important period in the history of Australian poetry. The
development of New South Wales brought about an increase in
the number of newspapers, and the newspapers gave opportunities
for the publication of verse. Encouragement came, also, from
Sir Henry Parkes, who, having emigrated to Australia in 1839 at
the age of twenty-four, was enabled by his eminent position in the
political life of New South Wales to foster the production of poetry.
Parkes was, himself, a poet of some merit. Of the five volumes
of verse which he published in Sydney, the earliest was issued
in 1842; the best is probably the second, Murmurs of the Stream,
which came out in 1857; but poetry was to him the recreation
of a busy life, and his power of lyrical expression was not culti-
vated as it deserved. Other poets of the period were Daniel
Henry Deniehy, a graceful singer; Richard P. L. Rowe, a journalist
whose miscellaneous writings under the pseudonym 'Peter
Possum' were very popular with Australian readers, and whose
best poems show a subtle imagination and a delicate ear; Henry
Halloran, a fluent and straightforward versifier, and J. Sheridan


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X11]
Charles Harpur
363
Moore, who sang in easy style of Australian scenes. The same
decade, moreover, saw the publication of his first volume of poetry
by one whose work deserves more particular attention.
Charles Harpur may be considered the first distinctively
Australian poet. He was a student of Wordsworth and of Shelley,
and more than one of his lyric poems (for instance, that entitled
Words) suggest that he had read the lyric poems of Blake. In
this first volume, Thoughts : a Series of Sonnets, published in
Sydney in 1845, there is little that might not have been written
by one who had never seen Australia. The sonnets are well
performed exercises in poetry, not devoid of the commonplaces of
poetical diction, and, in spite of some fervour and fine imagination,
seldom rising above a moderate level of merit. As time went on,
Harpur, who was Australian born and spent much of his life in the
bush, came to trust more, for subject and for inspiration, to what
he himself felt and saw in his own life and surroundings. He was
the first Australian poet to give a worthy imaginative representa-
tion of Australian scenery and nature. The largeness of his vision
and the simplicity of his emotion suggest life in an undeveloped
and sparsely populated country; and, while he practised many
forms of lyrical poetry, he found his most suitable medium in
blank verse narrative and description. The Creek of the Four
Graves is the poem on which his fame is most firmly established,
and it is essentially Australian. His play, The Bushrangers,
published in 1853, is not a good play; but the volume in which
it appeared and the volume called The Power of the Dream,
published in 1865, contain some thoughtful and learned verse.
The rush for gold, which began just after the middle of the last
century, brought to Australia a great quantity of new life and
enterprise, which attracted thither a few men of intellectual
attainments. Among these was Richard Henry Horne (who, while
in Australia changed his second name to Hengist), the author
of Orion”, whose poetical works bear some traces of his seventeen
years' residence in Australia. Horne's chief influence on Australian
poetry, however, lay in the advice and encouragement which he
gave to younger poets. The same is true of James Lionel Michael,
who, soon after his arrival in Sydney, gave up the idea of gold-
digging and began to practise his own profession of solicitor.
Michael, a friend of John Everett Millais and a supporter of the
pre-Raphaelite movement in English painting, was a man of fine
intellect, and himself a ready and musical poet. His long narrative
and partly autobiographical poem John Cumberland, which was
1 See, ante, vol. XII, chap. v.


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364 Australia and New Zealand [CH.
published in Sydney in 1860, flows easily along in varied metres,
and, though an eccentric jumble of matter and manner, has
qualities of grace and refinement; but poetry, and Australian
poetry in particular, is less indebted to him for his own writings
than for his fostering care of one of the two greatest Australian
poets, Henry Clarence Kendall.
Kendall, born in Australia of English and Irish descent, was
employed by Michael in boyhood as clerk and amanuensis, and
to Michael is due the credit of having early discerned the boy's
poetical promise. His poems were sent to Parkes, who published
them in The Empire. Kendall was twenty-one years old when
he published in Sydney, in 1862, his first volume, Poems and
Songs. The book contained a good deal that was immature, and
Kendall later tried to suppress it. But the promise in it is
unmistakable; and so, in certain instances, is the achievement
One of the poems told in impressive fashion the story of the
explorers Burke and Wills, who had recently perished. In spite
of the opportunities granted by the newspapers, however, Australia
was not in those days a good field for poetry. Mistrusting their
own judgment, the Australian critics and reading public were
inclined to condemn any literature that had not won the approval
of the mother-country. Kendall, whose faith in his own powers
was not yet shaken by his inherited weakness of character and his
consequent unhappiness, boldly sent specimens of his work to
The Athenaeum, which, on 27 September 1862, printed some of
them with favourable comments, and on several later occasions
gave space and praise to Kendall's work. This was the first
recognition of Australian poetry by an English critical journal,
and Kendall was greatly encouraged. He continued contributing
poems to the newspapers and, seven years later, collected them,
with a few from his Poems and Songs, in a volume entitled
Leaves from an Australian Forest. Here he shows himself a
true poet, and a truly Australian poet. Though he had spent
some years in city life, which he disliked, his heart was always in
the country; and he stands in his generation for the poet of the
quieter side of Australian country life, and of the beauty of
Australian forests, streams and mountains. His third notable
volume was Songs from the Mountains, published in 1880. The
intervening years had been clouded. In the later poems there
are many touches of regret and remorse: on the other hand,
some of the poetry of Kendall's last years reaches a strength and
dignity unknown in his earlier work.
The best of his poetry is to be found in the three volumes


## p. 365 (#395) ############################################

XII]
Adam Lindsay Gordon
365
mentioned, for his efforts in satire and comic writing are negligible.
Kendall was not a keen student of the great English poets of the
past. His fancy was all for the writers of the nineteenth century;
and some of his poetical weakness may be due to ignorance of the
greatest models. At times, he seems to be merely an imitator,
now of Poe, now of Longfellow, now of Moore. He is not strong
in narrative, nor profound in perception of character. But there
is grandeur in such poems as his blank verse address to a
Mountain, and a fine lyrical quality in his poems of nature and
of domestic joy or grief. A gentle, sensitive dreamer, he shows
poetry at home in Australia, drawing beauty and sweetness from
the poet's surroundings, without defiant or subservient glances at
other lands.
Contemporary with Kendall, though some eight years older,
was the most famous of all Australian poets, Adam Lindsay
Gordon. Like Horne and Michael, Gordon, who arrived in
Adelaide in 1853 at the age of twenty, brought to Australia a
classical education and the traditions of a cultivated home.
Through most of his varied, difficult and unhappy life, he was an
eager reader of the great poets, from Homer to Swinburne. His
poetry, however, was a more direct and personal expression of
its author's own thoughts and feelings even than that of Kendall;
and his thoughts and feelings were, far more than Kendall's, those
of the majority of the Australians of his time.
The influence of old ballads, of Macaulay, of Browning, of
Swinburne and others is patent in Gordon's metres and diction;
it could scarcely be otherwise in the case of a poet with whom to
read once attentively was to know by heart. But his poetry
remains so personal in manner, and springs so directly out of his
own mind and experience, that Kendall's poetry seems by com-
parison the fruit of culture. Opinion is divided as to whether
Gordon is a distinctively Australian poet. One good Australian
authority says : 'Beyond dispute Gordon is the national poet of
Australia? '; another says : 'Gordon's work cannot be considered
as peculiarly Australian in character? ' Unless the two state-
ments are compatible, the popularity of Gordon's poetry in
Australia, and the number of quotations from his work which
are current in Australian speech would seem to imply that the
former expresses the truth. As mounted trooper, as horse-breaker,
as steeple-chase rider, as livery-stable keeper, Gordon spent most
1 Humphris, E. and Sladen, D. , Adam Lindsay Gordon, p. 254.
Stevens, B. , The Golden Treasury of Australian Verse, p. XXV.
2


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366
[CH.
Australia and New Zealand
of his Australian life among horses. He composed many of his
poems while on horseback in the bush, and the rhythm of horse-
hoofs seems to beat in most of his metres. Not letters but horses
were his trade; and he sings not the dreams of a remote spirit,
but the joys and sorrows, the hope and despair, the energy and
the weariness of the man of action, concerned in the common life
of his place and period. To English readers Adam Lindsay
Gordon's poetry seems the very voice of Australia.
The reason of this is not any great prevalence of local colour
in his writings. Most of his narrative and descriptive poems,
such as The Sick Stockrider and Wolf and Hound, were written
in the last year of his life, when his fame was achieved in Australia
and rapidly growing in England. Apparently, his short sight
prevented him from seeing many of the details of nature which
give particularity to the descriptions of Kendall and other
Australian poets. He was the poet of Australia because he was
the poet of the sportsman and the adventurer. The youth whose
wildness had unfitted him for English life found in the new country
the proper field for his daring and high spirit. Partly owing to
his own recklessness and extravagance and partly to a hereditary
taint of melancholy, his life was unhappy, and he ended it by his
own hand; but, in the saddle and out of it, he was adventurous,
brave, 'a thorough sportsman. ' His poetry is the voice of men
who lead adventurous lives, who fight gallantly against long odds,
and take defeat almost as a matter of course. It is melancholy in
so far as it despairs of success or reward; but it is joyous in its
love of the fight for its own sake.
Gordon was a poet from his youth. On leaving England, in
1853, he wrote a poem of farewell to home which already showed
his characteristic pride and defiance. Some years, however, were
to pass before he published anything of importance. In 1865, he
contributed to Bell's Life in Victoria what purported to be
merely one of the riming tips for horse-races that were not
infrequent in that journal, but was, in fact, a fine poem, in which
his passion for horses, for the sea and for life alike found ex-
pression. More of these racing poems followed; contemporary
racing in Australia and memories of hunting and steeple-chasing
in his youth at home supplied him with subjects during the
remaining five years of his life. With the possible exception of
Whyte Melville, whom he greatly admired and to whom he
dedicated, in a beautiful poem, his volume Bush Ballads, Gordon
is the only poet who has used sport as the medium for the


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XII] Adam Lindsay Gordon 367
expression of his views on life. All his gallant, despairing
philosophy finds voice in these poems; and, where other poets
have turned to tales of ancient heroism at sea or on the battle-
field, Gordon turned to a race-meeting. On these sporting poems,
rather than on his reflective poems or his dramatic narratives,
Gordon's popularity rests, not only in Australia but among
English readers in all countries. And that popularity is deserved.
The best of them have not only an irresistible fire and pace:
Gordon, seeing sport as the best thing in life, could give dignity
to its treatment, while his knowledge of poetry and his natural
gifts made him a secure, if not an original, metrist.
Poems in Bell's Life in Victoria and in The Australasian
came frequently from his pen; and, in 1867, he collected some of
them into a volume, Sea Spray and Smoke Drift. The same year
saw the issue of a long poem, Ashtaroth, partly founded on
Goethe's Faust, which contains much that is characteristic of
Gordon with very little that was of his best. In 1868, Marcus
Clarke persuaded him to contribute poems to The Colonial
Monthly, and he began with the mournful poem Doubtful
Dreams. In 1869, full of trouble, he found refuge for a time
at a friend's house, where he wrote his best dramatic lyrics,
The Sick Stockrider, The Ride from the Wreck, Wolf and Hound
and his most famous racing poem, How we beat the Favourite.
In 1870, he published his volume Bush Ballads and Galloping
Rhymes and, a few months later, died by his own hand.
Gordon occasionally handled old themes, and some of his ballads
are stirring. Among his autobiographical poems, Whisperinge
in Wattle-Boughs, in which he looks back to his wild youth, is
full of music and pathos. Many of his reflective poems finely
express his ardent joy in activity and effort and his profound
melancholy, although in these his metrical debt to Swinburne
or another is more insistently noticeable than in his narratives
or poems of sport. If Gordon is not a poet of the first rank,
he is one in whom both the learned and the unlearned can take
pleasure. His spirit of daring, of joy in the fight for the fight's
sake, would appear to be alive yet in Australia; and there is much
of Gordon, though there is no imitation of Gordon, in the frank
feeling and defiant gladness of the recently published Book of
Anzac, over which the Australasian soldiers in Gallipoli have made
English readers laugh and weep.
To the same period as Gordon's poetry belong the comparatively
few poetical works of Marcus Clarke, journalist, dramatist and


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368
[CH.
Australia and New Zealand
novelist, who wrote some pretty lyrics and clever parodies, and
the earlier work of two poets of considerable merit, Thomas
Bracken and Arthur Patchett Martin. Martin's lyrical poems are
thoughtful and musical, tinged with the sadness of one who, in his
youth, had high faith in freedom, but lost it as time went on.
Bracken was a facile and rather sentimental poet, whose lyrics
have more sweetness than strength. One of them, Not Understood,
is widely known. Bracken was by birth a New Zealander, and not
a few of his poems are based on Maori legends or history. The
poet of the Maoris, however, is Alfred Domett, the friend of
Robert Browning, who went to New Zealand in 1842 and lived
there for nearly thirty years. Before leaving England, Domett
had published poems, among them a long lyric on Venice (1839).
His longest work, Ranolf and Amohia, he put forth after his
return home in 1872. In a great variety of lyrical metres it
describes the scenery of New Zealand and narrates a story of
Maori life. Had these been Domett's only objects in writing the
poem, he would probably have left a better memorial of his
undeniable poetic gift. His descriptions of the romantic scenery
of the islands and the mythology and customs of the Maoris are
often very beautiful and interesting. In the prefatory poem he
says:
Well, but what if there gleamed in an Age cold as this,
The divinest of Poets' ideals of bliss ?
Yea, an Eden could lurk in this Empire of ours,
With the loneliest love in the loveliest bowers.
The answer he gives is convincing: but he had a further object
which interfered with the success of his work. He wanted to talk
about theism and positivism; and, though his philosophising is
very interesting in itself, his disquisitions break the flow of his
poem. Domett's last volume, Flotsam and Jetsam, published in
1877, contains many beautiful descriptions of places which he had
visited in his European travels, and some glowing expressions of
his opinions and hopes.
To the period of Kendall and Gordon belongs also the earlier
work of the Queensland poet, James Brunton Stephens, a Scot
who went to Australia in 1866. The popularity of Stephens rests
chiefly on his humorous poems, such as To a Black Gin and
Universally Respected; and these vigorous and hearty sketches
make him the Bret Harte of Australia. They do not, however,
show his talent at its best. Stephens is a poet of great strength
and fine imagination. His first poem, Convict Once, is a tale of


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X11]
Fiction
369
remarkable power and gloom; and among his lyrics are several
which, for their music and their passion, are much to be prized.
Technically, Stephens is noteworthy for his strong handling of
dactylic metres. Another good Queensland poet, George Essex
Evans, belongs to a later date, since his first volume was not
published till 1891. Evans shared Stephens's lofty belief in the
destinies of Australia. His Australian Symphony and his
patriotic poems are full of passion for his country and of a more
manful and ambitious love of it than Kendall or any other
Australian poet had expressed. His long narrative poem, The
Repentance of Magdalene Despar, is strong and tragic, and in his
lyric poems he shows a command of original metres and cadences
and a choice fancy.
In the decade 1880—90, there began a new era in Australian
poetry, possibly due, in some measure, to the new pride and
confidence which was the natural result of the increased interest
in Australia after the International Exhibition at Melbourne in
1880—1 and the Colonial and Indian Exhibition in London in
1886. At any rate, it is the poetry of a civilised country, with
leisured and cultivated inhabitants. The poems of Philip Joseph
Holdsworth, of Francis Adams, of James Lister Cuthbertson, of
Robert Richardson, of William Gay, of Grace Jennings Carmichael,
of Barcroft Henry Boake and of Victor James Daley show poetry
firmly established in Australia, well received by a public that can
judge for itself, and flowering with a peculiar vigour. It is the
poetry of refined and cultivated minds; but it is free from wilful
strangeness and from any native or imported taints of morbidity.
Meanwhile, John Farrell had set the vogue for racy, free-and-easy
poetry of common life, which his successors are practising with
greater skill and verisimilitude than himself. In origin it doubt-
less owes something to Bret Harte: but it is enriching the English
language with vigorous colloquial expressions, and providing
readers with excitement and amusement.
The best literary genius of Australia turns to poetry; but good
work has been done in fiction. Henry Kingsley's Geoffrey Hamlyn,
though a story of Australia, founded on the author's experiences
during his brief stay in the colony, can scarcely be considered
a novel of Australian origin; and William Howitt's A Boy's
Adventures in the Wilds of Australia stands in the same
category. Perhaps the earliest properly Australian novels were
Clara Morison and others by Catherine Helen Spence, who was
better known as a political writer; and Charles Rowcroft's colonial
24
E. L. XIV.
CH. XII.


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370 Australia and New Zealand [CH.
6
stories showed that Australian fiction was struggling into
being. With the fiction of Marcus Clarke a further stage is
reached. His novel Heavy Odds is now negligible; but his
chief work, His Natural Life, is not only a vivid and carefully
substantiated tale of a penal settlement, but a powerful work
of fiction. Between its serial publication in The Australian
Journal and its issue as a book in 1874, Clarke revised his
story, with the assistance, it is said, of Sir Charles Gavan
Duffy; and in its final form, though a gloomy and horrible tale,
it is one of the best works of fiction that have been produced
in Australia Clarke's shorter stories of Australian life in the
bush and the town, idyllic, humorous or tragic, are also good and
sincere pieces of fiction. The next eminent name on the list of
Australian novelists is Thomas Alexander Browne, who, under the
pseudonym ‘Rolf Boldrewood,' won wide popularity both in his
own country and in Great Britain. Boldrewood was a squatter,
a police magistrate and a warder of goldfields; and he knew
thoroughly the life that he described. Those who are in a
position to speak on the subject say that A Squatter's Dream
and A Colonial Reformer are the best pictures extant of the
squatter's life. To English readers, Boldrewood is best known
by Robbery Under Arms, the story of the bushranger, Captain
Starlight, which was published as a book in 1888, some years after
its serial issue in The Sydney Mail, and The Miner's Right,
published in 1890. In these four novels lies the best of Rolf
Boldrewood's work. The two last mentioned contain plenty of
exciting incident; but these tales of bushranging, of gold-digging
and of squatting have little in common with the merely sensational
fiction of which, it must be admitted, Australia has produced a
plentiful crop. They are the work of a keen observer and a man of
sound commonsense. If the character-drawing is simple, it is
true to nature and to the life described; and, though a finer artist
in fiction would have drawn the threads of the stories closer,
Boldrewood's vigour in narrative and breezy fancy give life and
interest to these faithful pictures of times that are gone. Com-
pared with Rolf Boldrewood, the many novels of Guy Boothby,
though exciting in incident, are poor in conception and slipshod
in execution, and the novels of Benjamin Leopold Farjeon will
count for little in the development of Australian fiction.
Travel and exploration in Australasia have been the subject
of many books, most of which were written by Englishmen; the
subject has been admirably summarised by Julian Edmund Tenison


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X11]
Historians
371
Woods, the friend of Adam Lindsay Gordon, in his History of the
Discovery and Exploration of Australia, published in 1865. The
historians and political writers of Australia have appealed almost
entirely in the past to a special audience; but the foundations
of future work in these fields have been firmly laid. In 1819,
W. C. Wentworth published a Description of New South Wales and
Van Diemen's Land, which fiercely attacked the existing form of
government. Among the many writings of John Dunmore Lang,
there is a discursive and confusing Historical and Statistical
Account of New South Wales, first published in 1834 and reissued,
with new matter, in 1852 and 1875. Samuel Bennett's accurate
and lucid History of Australian Discovery and Colonization,
published in 1867, brings the story down to 1831. William
Westgarth began his important series of reports and books on
Australian history and politics with a report on the aborigines
issued in 1846. They include Australia Felix; an Account of
the Settlement of Port Philip (1843); Victoria, late Australia
Felix (1853); and Victoria and the Australian Goldmines in 1857
(1857); while his Personal Recollections of Early Melbourne and
Victoria (1888) and Half-a-Century of Australian Progress;
a personal Retrospect (1889) are full of interest and knowledge.
The decade 1850—60 saw the publication of some of William
Howitt's accounts of Australian life and affairs, and of R. H. Horne's
very lively and amusing Australian Facts and Prospects, which
was prefaced by the author's Australian Autobiography, a vivid
account of his adventures as gold-escort in the early days of the
diggings. James Bonwick's chief interest in life was the compiling
of his invaluable collections of facts bearing upon early colonial
history, and his Last of the Tasmanians and Daily Life and
Origin of the Tasmanians, both published in 1870, are important
contributions to anthropology. Alexander Sutherland's sumptuous
work on Victoria and its Metropolis, published in 1888, is the
leading work of its kind in a later period.
Finally, mention should be made of Australian journalism,
which has from the first been vigorous and prolific, and has
contrived to be independent and vivacious without stooping, in
any marked degree, to scurrility or vulgarity. The Australian
newspapers have not only recorded and commented upon the
interesting and exciting development of the country; they have
provided opportunities to poets, occasional essayists and writers of
fiction who might otherwise have found no field for their self-
expression.
24--2


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CHAPTER XIII
SOUTH AFRICAN POETRY
To give in brief, and yet in true perspective, a summary of the
poetical literature of South Africa is no easy task, not because
the material is large, but for the very opposite reason. It is very
limited, but its parts are disproportioned and incommensurable.
It is like a geological system which is full of faults,' the
earlier strata being cut off by cataclysms from the later. The
greatest of these cataclysms is the war of 1899–1902, which
produced a crop of poetry of its own, and was followed by later
developments which, as the work of living authors, do not fall
within the scope of this chapter.
But there had been lesser wars and lesser convulsions before
that great struggle. The chief advantage of the war just named,
so far as literature was concerned, was to make the scene and the
main features of the country familiar and intelligible to the
general reader. The kopje and the kloof, the veldt and the vlei,
the Karroo and the Drakenberg, the Modder, the Vaal and the
Orange, became household words. But the earlier poetry had
dealt with the same country in quite a different way. To show
this in detail and connectedly, to give any continuous and repre-
sentative account of that poetry, is difficult; for the material is
both scanty and scattered. Some day, it may be done by a
critic on the spot, who has access to the remains, such as they
are, contained, as everyone acquainted with South African
literature says, in files of forgotten newspapers, in the dry-as-
dust pages of old Cape magazines and journals, and who can
trace by family tradition or documents the history and circum-
stances of the writers. Meanwhile, the present section must be
regarded as 'autoschediastic,' a first essay, an attempt rather to
indicate the lie of the land than to cover the whole ground.
Rudyard Kipling, himself, in a sense, thu foremost English


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6
CH. XIII]
Thomas Pringle
373
poet of South Africa, when asked what South African poetry there
was beside his own, replied:
As to South African verse, it's a case of there's Pringle, and there's
Pringle, and after that one must hunt the local papers. There is also, of
course, F. W. Reitz's Africaanse Gedigte, songs and parodies in the Taal,
which are very characteristio.
Roughly speaking, this is a pretty fair summary of the earlier
South African poetry; but it includes Cape-Dutch' verse, which
'
does not come within our purview. Kipling's judgment was
confirmed independently by a living South African writer,
R. C. Russell, himself a poet, who wrote: “There do not appear
to have been any poets of note between Pringle's time and the
generation which has just passed away. '
The first thing to do, then, is to give some account of Pringle.
Thomas Pringle is called by the South Africans themselves
the father of their poetry. He was a remarkable man, and
in every sense of the word, a pioneer. A somewhat younger
contemporary of Wordsworth, Coleridge and Scott, a nearer
contemporary of Byron, Shelley and Keats, he fell under the
influences of the former group. Born in 1789, near Kelso, the
son of a border-farmer, he achieved a literary position in
Edinburgh, gaining the friendship of Sir Walter Scott and the
acquaintance of the Edinburgh literati, and became editor of
The Edinburgh Monthly Magazine, now Blackwood's Magazine.
His first volume of poems was published in 1819; but literature
proved unremunerative, and he decided to emigrate to South
Africa, and went out to Cape Town in that year. He settled his
family in the bush, and then, with a friend, attempted to achieve
a literary career in Cape Town, being appointed, through the
influence of Sir Walter Scott and others, librarian of the govern-
ment library. He made a promising start in this office, but was
ruined by quarrelling with the governor, lord Charles Somerset,
and in particular by making, as Scott said, 'the mistake of trying
to bring out a whig paper in Cape Town. After a farewell visit
to his friends in the bush, he returned to London to seek redress,
but without avail. He associated bimself with the men who were
working for the abolition of slavery, notably with Wilberforce,
Coleridge and Clarkson, but fell ill just when his labours for
abolition were reaching success, in the summer of 1834, and died in
London in the same year at the early age of forty-six. In that year,
besides a new edition of his poems, he published a prose work,
Narrative of a Residence in South Africa, which he was revising


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374
[CH.
South African Poetry
just before his death. It was a striking work, and made much
impression. Its influence may be read in the wellknown lines
of Locksley Hall :
Slowly comes a hungry people, as a lion creeping nigher,
Glares at one that nods and winks behind a slowly dying fire;
which, Tennyson records, were suggested to him by a passage
in Pringle's book.
Coleridge expressed a very high opinion of Pringle's poems.
Little known in Scotland or England, they have had a great
and a good influence in South Africa. As a recent South African
poet, Vine Hall, sings :
Pringle, we love thy scorn of wrong,
Thy simple, heartfelt song,
A knightly soul unbought and unafraid,
This country oweth much to thy two-edgòd blade.
The characteristics of his spirit, as shown in his poetry, were
love of freedom, personal and public, love of the native, love of
nature, and an old-fashioned refinement and classic taste. An
Edinburgh student, he quotes his Lucretius and his Vergil, and
uses his Latin phrases with practised skill. These characteristics
were no small inheritance to South Africa. It is not easy to select
from his poems, for, though faithful and sincere, and written with
an eye on the objects, they are somewhat faint in hue and at times
diffuse. The Songs of the Emigrants are an echo of the then new
and fashionable poem, Byron's Childe Harold, including an imita-
tion of his 'Adieu, adieu, my native land. '
More original and of more permanent interest as a graphic
and vivid picture of the Cape Colony of those days, still the
unsubdued home of the wild beast, long since driven far toward
the equator, is A far in the Desert. This was pronounced by
Coleridge to be one of the two or three most perfect lyric poems
in the language. Its opening lines carry the reader at once into
the midst of its scene:
Afar in the Desert I love to ride
With the silent Bushboy alone by my side,
Away, away, from the dwellings of men,
By the wild deer's haunt, by the buffalo's glen,
By valleys remote where the oribi plays,
Where the gnu, the gazelle and the hartebeest graze,
And the koodoo and eland untamed recline
By the skirts of grey forests o’er-hung with wild vine,


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XI1]
The Bechuana Boy
375
Where the elephant browses at peace in his wood,
And the river-horse gambols unscared in the flood,
And the mighty rhinoceros wallows at will,
In the fen where the wild ass is drinking his fill.
No wonder that it has been translated into Cape Dutch, and is
loved by both races alike! .
The spirited Lion Hunt, a poetic sketch by a poet who, like
Homer, had seen real lions and real hunts, ends with an allusion
to Sir Walter Scott:
His head, with the paws, and the bones of his skull,
With the spoils of the leopard and buffalo bull,
We'll send to Sir Walter: Now boys let us dine,
And talk of our deeds o'er a flask of old wine!
.
And Pringle added a note that this intention had actually been
carried out, and that, in 1834, the trophies ‘had the honour to
form part of the ornaments of the lamented poet's antique armoury
at Abbotsford. '
The Lion and Giraffe is also an exceedingly graphic snapshot
of a scene which Pringle, if he had not witnessed it, had heard
described at first hand, and displays all his powers of imagination,
observation and description. But the piece, perbaps, which more
than any other marks this pious Scottish farmer's son for a real
literary artist, the brother at once of Burns and Scott and
Livingstone, is The Bechuana Boy. This touching and beautiful
piece, part fact, part fiction, truth arranged with art, was based
on the story of a Bechuana orphan boy, who had been carried
off from his native country by the mountain tribes, half-bred
Hottentots, and who fell under Pringle’s protection. The touch
of the pet springbok was suggested to Pringle by his seeing, a few
days afterwards, a slave child playing with a fawn at a farmer's
residence. The real little African boy brought by Pringle and
his wife to England became their devoted protégé and almost
adopted child, but died, like many at that time, of an affection
of the lungs.
I sat at noontide in my tent,
And looked across the Desert dun,
Beneath the clondless firmament
Far gleaming in the sun.
1 Ver in de Wildernis, a rendering by F. W. Reitz, a poet of mark, who was
president of the Orange Free State in the years 1889 to 1896, is a most successful
effort and indeed a significant token of the essential affinity of the two races.
Nowhere, perhaps, is this better shown than in the last line, practically identical in
both tongues:
Want ver is der mensch, MAAR GOD IS NABY.


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376
[ch.
South African Poetry
When from the bosom of the waste
A swarthy stripling came in haste
With foot unshod and naked limb;
And a tame springbok followed him.
With open aspect, frank yet bland,
And with a modest mien he stood,
Caressing with a gentle hand
That beast of gentle brood;
Then meekly gazing in my face,
Said in the language of his race
With smiling look yet pensive tone,
'Stranger-I'm in the world alone! '
*
来
​*
*
来
​"Thus lived I, a lone orphan lad,
My task the proud Boor's flocks to tend;
And this poor fawn was all I had
To love, or call my friend;
When suddenly, with haughty look
And taunting words, that tyrant took
My playmate for his pampered boy,
Who envied me my only joy.
6
'High swelled my heart! But when a star
Of midnight gleamed, I softly led
My bounding favourite forth, and far
Into the Desert fled.
And here, from human kind exiled,
Three moons on roots and berries wild
I've fared; and braved the beasts of prey,
To 'scape from spoilers worse than they.
'But yester morn a Bushman brought
The tidings that thy tents were near,
And now with hasty foot I've sought
Thy presence, void of fear:
Because they say, 0 English Chief,
Thou scornest not the Captive's grief:
Then let me serve thee, as thine own-
For I am in the world alone! '
Such was Marossi's touching tale,
Our breasts they were not made of stone;
His words, his winning looks prevail-
We took him for 'our own. '
And One, with woman's gentle art
Unlocked the fountains of his heart;
And love gushed forth-till he became
Her Child in everything but name.
Many other pieces testify sympathetically to the noble, indeed
often heroic, character of the Kaffirs, and to their capacity both
for poetry and religion, elements not to be forgotten in any
account of South African poetry. Such are The Ghona Widow's


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ị ]
XIII
Africander's Songs
377
Lullaby with its quotation from the famous Ntsikana's Hymn, or
The Captive of Camalu or The Koranna.
Pringle then, is historic, and anyone who wishes to know what
the colour and circumstances of South African life were at the
beginning of the last century will find it nowhere so well as in
his book. Some of the pieces in it to which reference has been
made may remind us that South Africa is the home of at least
two white and many black races, and that in various ways all
these appear in its literature. A volume published as long ago
as 1884, entitled Klaas Gezwint en Zijn Paert, contains not
only specimens of Pringle's poems, but verses by a number of
other verse writers of that and previous generations. The first
piece in the volume, The British Settler's Song, composed by
an early settler, A. G. Bain, and sung by him at the Settlers'
Commemoration Dinner at Graham's Town, bears the stamp of
its era upon it, and is very characteristic.
So, too, is the next piece, The Africander's War Song, an
adaptation of A' the Blue Bonnets are over the Border,
beginning :
March! March! Cabo and Caledon!
Mount your fleet steeds, they are sleek-in good order.
March, march, Stellenbosch, Swellendam,
Every brave Burgher must off to the Border!
Two others, written as companion poems, entitled Cutting
Capers and Caper Sauce, comparing, or contrasting the advantage
of England and Cape Colony, give a lively picture of some promi-
nent features. The second and most unique portion of the volume,
the Volk's Liederen, or poems in the Taal or Cape Dutch, to which
reference has already been made, we must here unwillingly pass
by. Many of them are parodies of wellknown English and Scottish
pieces, especially the latter. The Maid of Athens appears as
Sannie Beyers ; The Laird of Cockpen as Gert Beyers; Duncan
Gray as Daantjie Gouus; The Cotter's Saturday Night as Die
Boer zijn Zaterdag Aand, and Tam o' Shanter as the piece which
gives its title to the volume, Klaas Gezwint ?
The best collection of English South African poetry is The
Treasury of South African Poetry and Verse, collected from
various sources and arranged by Edward Heath Crouch, of
Cambridge, South Africa. The first edition, published in 1907,
almost at once sold out, and a second edition followed the next
1 A later volume containing pieces of a similar character but more original, is
Grappige Stories en Andere Versies in Kaaps-Hollands (Comic Tales and other Verses
in Cape Dutch), by Melt J. Brink, published in 1893.


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378
South African Poetry [CH.
a
year. It is divided into two sections, the longer secular portion,
and a smaller collection at the end of religious and metaphysical’
poems. Several of the authors, Pringle amongst them, appear in
both. Fortunately for themselves, but unfortunately for the
purpose of this brief survey, the authors of many of the best
pieces contained in this collection are still alive, and cannot there-
fore be treated here.
Among those who have passed away may be mentioned John
Fairbairn, the contemporary and friend of Pringle, whom the
latter invited to join him at the Cape. Pringle thought well
of his poetry, quoting in his autobiography more than one of
Fairbairn’s pieces and ranking them above his own; and expressed
a regret that one who had written so well had written so little.
A poet of some merit, with an eye and voice for the character-
istics of South African nature, was E. B. Watermeyer. Some lines
of his, happily prefixed to the Dutch collection mentioned above,
are well worth remembering :
‘English are you? or Dutch ?
Both; neither;' How?
The land I dwell in Dutch and English plough.
Together they have been in weal and woe;
Together they have stood to breast the foe;
A name of future days, in Time's far scope
May tell perhaps the nation of 'Good Hope'!
A sea piece by the same writer entitled After a Storm, is a
sincere and appealing study of nature.
Another poet of more variety and range is A. Haynes Bell.
His Knight of Avelon is a romantic story in the manner of
Tennyson, and a skilful and pleasing poem in that style. The
poem, To a Sea Conch, is also early, or middle, Victorian, with
perhaps some echo of Longfellow and Oliver Wendell Holmes.
martial piece, The Last Stand, is interesting as being one of the
earlier South African poems of empire:
Comrades, wake! 'tis morn!
See, the foe draws near!
Britons we were born,
Britons then appear!
Death we laugh to scorn;
Shame alone we fear.
There are many,
true;
We are but a score,
But, though we are few,
Honour makes us more;
So we'll count anew
When the fight is o'er.
6


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X11]
The Last Stand
379
Now for all we love-
King, and Empire, friends;
Now for God above,
Who the right defends.
Strike, nor recreant prove
To our Country's ends.
Freedom, justice, peace,
These we bring to all.
'Tis our faith too; these
Are our Empire's wall.
Grow with its increase,
Perish with its fall.
"Tis a sacred cause
Summons to the fray;
Not for vain applause
Or the fame we pray.
For our Country's laws
Stand we here today.
Stern will be the strife;
Let us do or die.
Honour's more than life,
More than victory.
More than children, wife ;
Let us do or die.
Each, then, do his part;
Fight, lads, with a will.
Many a gallant heart
Will the tidings thrill;
Many a tear will start
To our memory still.
And should we prevail,
As by grace we may,
What a shout will hail
This triumphant day!
How the foe will quail!
What will England say ?
Steady, lads! lie low!
See, the foe appears.
Let us treat him now
To three British cheers;
Then the victor's brow
Or a nation's tears.
The influence of Tennyson, as was only natural, may be traced
in much of the poetry of South Africa at this period. He had
a great vogue there. A friend of the writer of this chapter, who
knew South Africa well and who lost his life in the South African
war, told of an old Boer farmer who, when his last days came,
4


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380
[CH. XIII
South African Poetry
wandered down to a stream on his farm, and was heard repeating
the wellknown verses of The Rivulet :
No more by thee my steps shall be,
For ever and for ever.
When Cecil Rhodes himself lay dying he quoted, as many will
remember, the words of In Memoriam :
So little done, so much to do.
But perhaps still more striking testimony was that rendered
by a divine of the Dutch church, H. S. Bosman, who shortly after
the war, preached a remarkable sermon at Johannesburg, in July
1902, advocating the keeping alive of the Dutch ideals, and who,
when called in question, justified himself by quoting a passage
from Tennyson's Cup, beginning :
Sir, if a State submit
At once, she may be blotted out at once,
And swallow'd in the conqueror's chronicle.
Whereas in wars of freedom and defence
The glory and grief of battle won and lost
Solders a race together.
To the influence of Tennyson succeeded naturally that of
another poet, who has spent much time in the country, knows it,
and is known by it, well. But of Rudyard Kipling and his
influence on many, if not most, of the living poets of this part
of the empire it is not permissible to take this occasion of speaking.
Suffice it, therefore, to say that in letters as in action, in poetry
as in politics and war, South Africa shows today the promise and
the potency of achievement worthy of its own growing greatness
and of the still vaster empire, and the noble aspirations, for which
it has given, and is giving, at this hour, its best blood, and the
travail alike of its sword and its soul.


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CHAPTER XIV
EDUCATION
THE latter half of the eighteenth century was marked by an
hitherto unprecedented development of science. Mathematics,
physics and astronomy made notable advances, the foundations of
modern chemistry were laid, the idea of biological evolution was
being carefully studied a century before the appearance of Darwin's
Origin of Species (1859); the speculations of the early French
economists were focused in Adam Smith's Wealth of Nations
(1776). But the most striking results of scientific research and
experiment were to be found in the applied sciences and in
mechanical inventions. From the later years of George II onwards,
there was an extraordinary growth in the number of labour-saving
machines, more especially of those employed in the cotton and
woollen industries, inventions which multiplied almost incalcul-
ably the resources of the manufacturing districts of the north and
middle of England. On the heels of these inventions came the
work of great engineers, Watt, Boulton, Rennie, Stephenson. The
enormous economy of labour, the much greater mechanical pre-
cision of the output and the increased facility of transport, all com-
bined to bring about an industrial expansion, which, assisted by the
commercial, activity of the earlier part of the century, was deep
enough and broad enough to merit the name 'revolution. Amidst
such circumstances, it was inevitable that the critics of contem-
porary education should condemn its almost absolute disregard of
useful knowledge and of modern studies.
A new people and a new order of civilised society appeared.
Population increased, great urban communities arose in the mid-
lands and in northern England, there was a general movement
away from the rural districts; a hitherto unwonted aggregation
of capital altered the scale of industrial operations. While wealth
increased, so, also, did poverty; it would be difficult to parallel
in the previous history of England the wretched state of the


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382
Education
[CH.
labouring poor during the last years of the eighteenth and the
first decades of the nineteenth century. The educational provision
for the mass of English children in charity, parish and Sunday
schools was very insufficient, and commonly unsuitable in character.
The desperate plight of parents and the unsparing employment
of children in mills and factories would, in many cases, have
made the offer of a complete provision little more than a mockery.