Banjo

Andrew Barton ‘Banjo’ Paterson (1864 – 1941)  Born in NSW (south-west of Sydney) – country roots  Came from a farming background – his parents were ‘graziers’  ‘graziers’ – sheep and cattle farming – stock = wealthier than ordinary cultivators/farmers  Job in Sydney as a solicitor in a law firm  Writes poetry in spare time  Famous poems o The man from the snowy river o Clancy of the overflow o Waltzing Matilda

ORIGINAL POEM “Waltzing Matilda” - 1895 Once a jolly swagman camped by a billabong Under the shade of a coolibah tree, And he sang as he watched and waited 'til his billy boiled "You'll come a-Waltzing Matilda, with me" Waltzing Matilda, Waltzing Matilda "You'll come a-Waltzing Matilda, with me" And he sang as he watched and waited 'til his billy boiled, "You'll come a-Waltzing Matilda, with me". Down came a jumbuck to drink at that billabong, Up jumped the swagman and grabbed him with glee, And he sang as he shoved that jumbuck in his tucker bag, "You'll come a-Waltzing Matilda, with me". Waltzing Matilda, Waltzing Matilda "You'll come a-Waltzing Matilda, with me" And he sang as he shoved that jumbuck in his tucker bag, "You'll come a-Waltzing Matilda, with me". Up rode the squatter, mounted on his thoroughbred, Down came the troopers, one, two, three, "Where's that jolly jumbuck you've got in your tucker bag?" "You'll come a-Waltzing Matilda, with me". Waltzing Matilda, Waltzing Matilda "You'll come a-Waltzing Matilda, with me" "Where's that jolly jumbuck you've got in your tucker bag?", "You'll come a-Waltzing Matilda, with me".

MODERN ENGLISH       

Waltzing Matilda = to carry a ‘swag’ ‘Swag’ – rolled up backpack – a backpack with basic possessions for survival i.e. basic clothes, cooking utensils, bed roll. Matilda is the name of the swag Waltzing means to walk Hero is actually the swagman Colloquialism = a ‘local’ expression Idiomatic expression = a colloquialism

Swagman – traveller to find job, sometimes not honest, like this one in the poem Billabong – old part of a river – wet, swamp-like Coolibah tree – native Australian tree Billy – a metal container in which water is boiled over the campfire Jumback – 1890’s colloquialism of a sheep The swagman grabs it can kills the sheep and stores it way "You'll come a-Waltzing Matilda, with me" – you’ll coming with me in my travels Squatter – the owner of the land and maybe the sheep Thoroughbred- classy horses Troopers – the police "Where's that jolly jumbuck you've got in your tucker bag?" – Who’s sheep have you got in you bag?

Up jumped the swagman – he commits suicides rather than be captured.

Up jumped the swagman and sprang into the billabong, "You'll never catch me alive", said he, And his ghost may be heard as you pass by that billabong, "You'll come a-Waltzing Matilda, with me". Waltzing Matilda, Waltzing Matilda "You'll come a-Waltzing Matilda, with me" And his ghost may be heard as you pass by that billabong, "You'll come a-Waltzing Matilda, with me." "Oh, You'll come a-Waltzing Matilda, with me." “Clancy of the Overflow” 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

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The ‘overflow’ – the dry land and stream when fills up with rain water gets swampy – found in the northern region of Australia, especially the middle of Queensland The POV of a person living in NSW

Lachlan – the name of the river They met Clancy at the river years ago, he was shearing when I met him Paterson sends a letter to Clancy to where they first met. Just little chance to get to Clancy – it was addressed to Clancy the Overflow He got a reply eventually, written in tar with the thumbnail Used warm liquid tar to put on the shearing cut on sheep Clancy’s sheering mate wrote word for word, “Clancy has gone down driving (sheep/cattle) in Queensland...” Cooper’s creek – creeks that connects the Queensland overflow with SA’s lake Eyre In my dreams, I saw Clancy gone driving done to the coopers, where all the droves who work in the Western part of Australia ‘friends’ – bush animals – he can hear the cattle/sheeping noises too He can see the vision of the endless plains And the night where the glory of all the stars is seen Dingy – small Smelly and dirty city Stingy – very smelly air Paterson is comparing the revolting life in the city to the luckiness of Clancy in the outback

tall, And the foetid air and gritty of the dusty, dirty city Through the open window floating, spreads its foulness over all

Lowing = mooing 'buses making hurry down the street – everyone is in a hurry Bad language used by children in the city Constant sounds of....

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' “The Man from the Snowy River” 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.

Station- large property, animals (stock) grazing Colt- young male horse The expensive young son of a racehorse/ show horse had run away with the wild bush horses Crack- fantastic horse rider Fray- to the action All the best riders got together to the action. Muster- gather

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,

Snuff- Horses getting excited Harrison made money when his horse won. Harrison had snow white hair but a bad temper. He would ride anywhere with his horse. He was the best horseman ever, no horse ever threw him. He learnt while herding on the open plains.

Stripling- skinny, young man Skinny man with skinny horse (most of verse about horse) The horse was at least part thoroughbred, something prized by mountain horsemen. The horse was tough and not the type to give in. He had courage in his step and eye.

However he was scrawny, so he was under-estimated.

The alps were deemed too rough for the rider. Clancy stood up for his friend and was adamant he should come. The rider and the horse were both bred for the mountain.

They come from the Snowy River, which runs beside

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.'

Mt.Kosciusko. The hills there are rougher and steeper than most. Loose stones fall on each step. Riders of the Snowy River make their home on the mountains. Clancy says that this horseman is the best he’s 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.'

Mimosa- wattle tree

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

From the jump- As soon as they jump, go Everyone went, going towards the foot of the mountains. Wheel them- to turn them around Clancy was told to herd the horses to the right, as soon as they jumped, because they couldn’t do anything once the horses got the hills.

Clancy went, riding where the best riders do. He got to them and everything was going well. But then the horses saw the mountains and charged past Clancy and his horse.

Scrub- scattered trees (not thick)

The riders pursued the horses. (Describing the landscape)

Mountain ash and Kurrajong (Aussie trees) The wild horses kept going higher into the mountains. Took a pull- Stopped his horse The old man’s orders were to stop while on this side, because no one stood a chance on the other side. Clancy (the best rider) even stopped at the top of the mountain. (Describing landscape) Clancy’s friend (the man from the Snowy River) charged down the other side of the hill, with everyone watching in fear.

Flint stones- loose rocks Loose rocks fell, but the horse kept balance, jumping over fallen logs. The rider never flinched, in perfect balance the entire time. It was a sight to watch him ride. Stringy bark- tree He was charging down, without stopping until the bottom. He was still chasing the horse. He lost them once, but caught them again. He followed steadily. The horses gave in and he brought them back by himself. The horse was bleeding. Pluck- courage Cur- coward (Describing landscape)

On a dim and distant hillside the wild horses racing yet, With the man from Snowy River at their heels.

Everyone speaks of his tale.

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 reedbeds sweep and sway To the breezes, and the rolling plains are wide, The man from Snowy River is a household word to-day, And the stockmen tell the story of his ride.

BUSH POETRY – it’s popular! Waltzing Matilda – Swagman (the anti-hero) Clancy the overflow Clancy (is a drover) The man from the snowy river - mountain cattleman/bush worker + horse

Themes – bush distinctive Australian images (landscape - Distinctive characters in Australia - Contrast of bush life (good) with the city life (which is not!)

For Question 2 on Analytical Task (find relevant paintings – those in Australia)  Most people lived in the city – as they do now  same everywhere (in all cities?)  The different thing = life in the bush (where a minority of people lived)  Abstract ideas – romanticised images  Different, distinctive but not typical characters (male), very romanticised images associated with the life in the bush Art – in the late 1800, early 1900  Australian art o What were the artists painting? o Why did they choose those themes? o What were they influenced by? o Australian group of artists ‘Heidelberg school’ From 1788 onwards:  Challenges of painting/sketching the landscape?  Apparent emptiness – “far horizon”  Animal life very unusual  Indigenous people (Australians) were often painted as Europeans with dark skin  Light is harsh and sharp - glary Challenges of European artists in the late 1800’s and early 1900:  Light – the harshness and brightness  Colours of Australia – greyish green, olive green, browns and yellows

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Influences – Impressionism plein air “fresh air” – they painted outside, not in studios Speed in capturing the light Heidelberg school – the members Tom Roberts Frederick Mc Cubbin Arthur Streeton “Australian” themes  landscape  People (sometimes people at work – a particular environment) The artists painted: portraits, scenes that are set overseas

THOMAS WILLIAM ROBERTS

Aka Tom Roberts Born: 9 March 1856 Dorchester, Dorset, England - immigrated to Australia 1869 Died: 14 September 1931; Kallista, Victoria  A key member of the Heidelberg School  Known after his death, as 'the father of Australian landscape painting'. Outline of Career:... 3 Examples of their Arts (for each of the paintings – write a short paragraph on theme, distinctive aspects, and ‘challenges’ Shearing the Rams 1890

Theme – Cattle, farming (sheering sheep for wool) Techniques used – Has a very red colour

Opening of the First Parliament, “The Big Picture”

Theme – Parliament speech Techniques used - Although indoors, there is clearly a window of some sort letting in the light

The Sunny South 1887

Theme – Techniques used-

ARTHUR STREETON Born: 8 April 1867 Duneed, Victoria Died: 1 September 1943  An official war artist  Moved to Richmond in 1874 with family Outline of Career: Sunlight Sweet

Theme – old style fishing Techniques used – Bright sunny day

Circular Quay 1893

Themes- The quay Techniques used – Dark and gloomy – washed out blue used Residence of J. Walker, Esq., Gembrook 1888

Themes – Woody lands/forests of Australia Techniques used – forest is a smooth emerald green (these darker greens = English style greens), not really – Australian forests and trees they are more of a blue-green, olive-green colour Golden Summer Eaglemont (Eaglemont is a place)

Themes – people in the area with sheep/cattle Capturing the light – painting scene is in daytime Techniques used - Use of yellow as main shade of this painting – depicts the Australian bush (gold to yellow)

The Untidy Bush

Themes – Australian temperate rainforest (just the bush on a sunny and hot day) Techniques used – Light colours to show light The green as the leaves aren’t as appropriate

Across to the Dandenong Ranges (Tom Roberts)

At Templestowe/ The Road to Templestowe (Arthur Streeton)

Question 2: What other images were part of a sense of Australian identity at the end of the 19th and the start of the 20th centuries? Briefly explain each – aspects of Australian environment. Use quotes – from poetry Incorporate one or two paintings – just include most of your research. Assume the person reading this a complete blank - inform In the late 1800’s and the early 1900’s, other images such as poetry and paintings were part of the sense of Australian identity.

Question 3: The themes/images covered:  Pride in British heritage  Racial ideas – white superiority  The Bush as a distinctive symbol/image of Australia THE QUESTION ASKS THAT IF THESE THINGS STILL APPLY TODAY. Do you think that any of these aspects of Australian identity, referred to in Questions 1 and 2, are still relevant today? Why/why not?