Off the Blue Bush | Project Gutenberg

[167]
[Illustration: Man seated at desk]
THE WESTERN WRITER TO HIS MUSE.

I have no wild desire to sing, and sing,

Or kneel at Nature’s feet, and be her mummer.

Poetic fancies are not rioting

For liberty, like prisoned birds in summer.

No thoughts, like maidenhair, climb round and cling

To rhyming roosters writing on a thrummer;

But frowsy devils, round the camp to-night,

Suggest alone the commonplace and trite.

[168]
There is no bubbling spring within my clay;

I hold no lyrics straining at the tether;

My bones would drift right into blanket hay

If it were not such rough financial weather.

I’d never pen a par, or lay a lay,

Or deck ambition’s cady with a feather

If I could clutch a whisky piping hot,

A plate of hash, a pension and a pot.

No, she will never set the Thames a-flame,

Nor even churn a Western willy-willy,

My Muse! now growing greasy-heeled and lame:

She never was too sprightly as a filly;

But now, God bless my stars! her fires are tame—

They wouldn’t even boil a blanky billy,

Or grill a steak, or mull a glass of stout,

Garnished around with oysters—or without.

Get up, old girl! and give yourself a try—

A snort, a cough, a whistle, or a whinny—

Some folk are waiting now outside to buy,

If you’d display the spirit of a jenny!—

Prick up your ears! Just look a trifle spry,

And we may catch the nimble half-a-guinea.

· · · · ·

What! No? Well, dash my eyes, you are a cow,

To jib incontinently, here, and now!

[169]
THE MAN WHO “CAN TAKE IT OR LEAVE IT ALONE.”

“Now, you see,” said my friend, as we breasted a bar,

And he mentioned to Popsy, “A go of Three Star”—

“Now, you see, I am built on a different plan,

And avoid all extremes, like a moderate man—

But you! you can never touch liquor at all

Without kicking prudence right over the wall.

“You’ve a bad moral balance, a weakness somewhere,

A mental deficiency under your hair,

And large woolly rats get right into your ‘think’

The moment you open your gills for a drink—

Why not be like me? Have a will of your own,

And the firmness to take it or leave it alone.”

So we filled them again, and again, and some more,

While he started to probe the thing into the core;

Oh, he analysed drunkenness, torso and limb,

Till his phrases grew thick and his vision grew dim,

And he fully, but mildly, condemned as “a muff”

Any chap who said “Yes,” when he’d lowered enough.

“W’y the dickens,” he groaned and deplored, “cansh yer be

A (hic) moderate, senshible drinker, like me?

For”—he said as he sank to the floor with a groan—

“I’m a mansh (hic) can take it, or leave it alone.”

[170]
[Illustration: Woman presenting demonic pudding to man at table]
WHEN SUSY MAKES THE DUFF.

My Susy is a bird of Spring,

A home-bird sweet and shy,

With rainbow colours on her wing

And laughter in her eye:

My hopes in life flit round beneath

Her coronet of fluff:

One hidden thorn within the wreath—

She makes the Sunday duff!

When Susy makes the duff,

If man were sterner stuff,

He’d kneel and plead at Mercy’s seat

When Susy makes the duff.

It is not that she loves me less—

That rare hymeneal sin!

It is not that her morning dress

Cuts out the nimble “fin.”

It is not that her eyes of blue

Convey the cold rebuff—

(Oh, let me, friend! confide in you)

She makes the Sunday duff!

[171] When Susy makes the duff!

Love’s motor waxes rough,

And all the world gets out of joint

When Susy makes the duff!

I’ve tried all subtle arts and wiles

To lure her from her bent;

I’ve even said, ’twixt frowns and smiles,

That cooks are Devil-sent.

But “Oh,” she’ll say—and never show

The shadow of a huff—

“My dearest Jim, I know, I know—

I’ll make your Sunday duff!”

When Susy makes the duff

I groan “Enough, enough!”

A stricken dear, in frozen truth,

When Susy makes the duff!

Oh, shall I sigh and suffer still

To act the martyr’s part?

Or shall I brave dyspepsia’s ill

And indigestion’s smart?

No need recurring dates to con,

Or write them on my cuff,

While Susy pins her apron on

To make the Sunday duff!

Ah, when she makes the duff,

No grump be I, or gruff;

But put the white man’s burden down

When Susy makes the duff!

[172]
A DRUNK’S DEFIANCE.

I would like to offer this word or two

In a straight and a manly way,

From the deadhead’s room, where a light shines through

With a dimmed and a sickly ray:

There are some folk born with a lucky caul,

And a hobby to ride at will,

While for others—it isn’t the Lord at all,

But the Devil, who drives the mill.

And though you may laugh on the mountain’s crown,

And though I may toil at the base,

It is neither he who is up nor down

Has himself to thank for his place;

But whether ’tis Fate, if you choose to say,

Or say, if you choose, ’tis chance—

No matter—the tune that their fingers play

Is exactly the step we dance.

Yet if all the tales that are told be wrong,

And though reason be topmost yet,

There’s a broken chord in the tempting song

And a “something” of cheap regret;

[173] But a fig for the tones of the broken chord!

And a fig for the tempting voice!

For a man must fight with a wooden sword

Where he only has Hobson’s choice.

And so, with his hand to the pewter pot,

And a smile on his frothy lip,

He follows the way of the drunken sot

Like a dog to his master’s whip;

And at last, with a curse on the hopeless strife,

He will knock at the Border Gate

As he slings his hat in the face of Life,

And his boots in the teeth of Fate.

[Decoration: Man with swag walking away]

[174]
BETWEEN TWO GATES.

“Good-day! Good-day, my ancient friend!”

We threw our swags beside the track—

For twenty solid years on end,

Spent as Life’s spendthrifts only spend,

I’d not met Jack!

A battered wreck, and tempest tossed,

This friend and brother tramp of mine,

With tangled, matted beard of frost—

As rough as seas that he had crossed

Since Auld Lang Syne!

I watched him for an answering glance—

Some sprig of memory, fresh and green,

Of days when through our merry dance

We wove a rough and rare romance

At Ballandean!

“Old Jack!” I said; “Old Jack McQuade!”

And grasped his lean and palsied hand—

“However wide our lives have strayed,

You surely recognise the shade

Of Charlie Brand?”

[175]
But still he munched his blackened clay;

I felt no warmth within his palm;

He shook his matted head of grey,

And clutched his prisoned hand away

In half alarm.

“Ah, no!” he answered; “Stranger, no!

No other life than this I’ve known.

For forty years of sun and snow,

As seasons come, and seasons go,

I’ve been alone!”

“But hark you back, McQuade!” I said—

“The days, the happy days, old mate!

We plucked the gums for roseleaf beds,

And rung, we two, the Southern sheds

To Delegate!

“You never thought that hearts could break,

You never thought that love could mar,

When, Jack! a jolly roving rake,

You kissed Good-bye to Mary Blake

At Freney’s bar!

“Come, come, old boy! chase back the cold,

And warm your heart at Friendship’s fire—

Be still the self-same Jack of old—

As true as steel, as good as gold,

As tough as wire!”

[176]
A phantom smile a moment played

Around his visage, worn and wan—

“Ah, friend! you’ve dreamt a dream,” he said:

“I’ve had no mate! I’ve loved no maid!”

And wandered on.

“Oh, stay!” I cried; “a thousand themes

Come thronging back at Memory’s call—

The gum-fringed plains, the oak-girt streams—

A wondrous sunlight glows and gleams

Above them all!”

He faded through the twilight grey.

A chill shot through my very spine—

A deadly chill, that seemed to say,

“And even like to him, are they—

All dreams of thine!

“They flit above some fancied sphere,

Those eyes that smile, those lips that pray.

The silent winds that blew last year

Along the banks of Windermere

Are more than they.”

“Then why,” I shrieked, “do gods create?”

As nightfall near and nearer drew,

On either side, a closèd gate ...

I stood, an old man, desolate,

Between the two.

[177]
A LASS, A LOAF, AND A GOOD CIGAR.

Ye, who are caught in the bonds of debt!

Ye, who are whipt with the thongs of scorn!

Feeding the ghost of some old regret

Born in a world that was tempest torn!

List to the words of a creed benign

Preached through the ages by old Omar:

Content ye, then, with a flask of Wine,

A girl, a song—and a good cigar!

The years that vanish leave no redress;

Last evening never a bridge has spanned;

So loll we here in the wilderness

That Love has sown in the arid sand:

The bush-birds sing of a world divine

As Pomp rolls by in its gilded car;

And I sit just so—with your hand in mine,

A bottle of wine—and a good cigar.

Heed not the pestilent kill-joys’ screech

That dulls your ears to the voice of Sue!

Disdain the gospel that dour men preach

To hide the light of her eyes from you!

[178] Why should we sorrow, and sit supine

Or clutch the rays of some mystic star

While Love hangs near, on its drooping vine—

And smoke-wreaths curl from a good cigar?

This is the moment of all the year,

Casting a rose as it passes by—

Catch it quick! ere the leaves grow sere,

Blushing now ’neath an Austral sky;

For its petals whisper of His design,

Its heart is bursting with Life’s attar:

“A shady nook, with a flask of wine,

A lass, a loaf—and a good cigar!”

[Decoration: Man leading camel]

[179]
[Illustration: Four men in a bar]
I PROMISED SUE.

The night is waning—Good-night! Good-night!

—I promised Sue to be home by nine:

A sacred promise, though amber wine

Sparkles and laughs in the crystal bright,

But the hours fly by with an eerie flight

When friends grow mellow and glasses clink,

And I’ll venture not to the tempting brink

When the night is waning—Good-night! Good-night!

No, not another—the hop and vine

May wilt and wither like western grass;

Oh, well, if I must—in a final glass

I will drink a toast to a girl divine,

[180] I will drink a toast to this wife of mine,

A queen, enthroned in the hearts of men!

Eh! What’s that striking? It can’t be ten,

For I promised Sue to be home by nine.

Pshaw! Sue is tucked in the sheets, I guess,

And Towzer guards at my outer gate

With a sleepless eye and a fang-girt pate,

Cruel and callous and pitiless.

Then, what of a night the more or less?

Come, fill up the glasses from heel to brim!

Till daylight nears and the stars grow dim,

And the new day yawns from its drowsiness.

For lives are merry while hearts are true,

Though the sun may wink through the window pane

And she’ll say “Algernon! drunk again!”

With a limpid tear in her eyes of blue,

But I’ll stroke her hair of a flaxen hue,

And I’ll kiss her lips of a rosebud red

And, harness and all, I will flop to bed

And dream of the promise I made to Sue!

[181]
CHURNING “COPY” FOR THE PRESS.

Men are rushing through the level, or are delving in the shaft,

Or a-belting like the devil at a moil—

With a bitter curse for Adam, as the pioneer of graft

And the bloke who took a patent out for toil.

But they ought to mark a ticket at a game of pak-a-pu,

Or assume the thankful mien of holiness,

Since the Managing Director found them other work to do

Than that of churning “copy” for the press!

For the misbegotten smudger wends along his inky way,

Haply dodging past the commonplace and trite

As he follows on the faintest scent of ‘incident’ by day,

And he notes it on his washing bill by night;

But what time the Sunday Sun comes out from press, all piping hot,

He is tempted sore to sky the blanky wipe,

When he hears the dullest dunces in the town cry, “Tommyrot!”

And the johnny push abolish it as “Tripe!”

[182]
For at times the breath of Life grows cold, the outlook brown and flat,

And without one touch of colour there at all;

And there’s nothing but a vacancy beneath a rhymer’s hat,

And the pictures all are “turned towards the wall.”

Then he reaches for a bottle of Glen Shicker on the shelf,

As a cobber who may share the strain and stress

With a very seedy poet, who pours piffle out for pelf,

In the columns of the western Sunday Press.

And when those two collaborate, a change comes o’er the scene,

(It happens so when kindred spirits meet)

For here and there, a patch of red! and here and there, of green!

And a chirpy crowd goes laughing down the street!

The genial face of Friendship ’gainst the window-pane is pressed,

And an optimist keeps boredom well at bay,

Whilst a maiden comes a-tripping, with a rosebud at her breast,

Adown his mental corridors of grey.

Then the murky fluid splashes, and his flagging pulses swell,

Till a neighbour’s rooster greets the morning star,

[183] And a sound comes floating westward, like the echo of a bell,

Calling men to where the loaves and fishes are.

For crude, unbroken fancies get the bit between their teeth,

While the earth puts on a very different guise,

And even Sorrow’s self assumes a far less sombre wreath

When the poet and the snifter fraternise.

They are rushing through the levels, and are drumming in the stopes,

And a-cursing at the ‘presser’ and the hose;

But they never took to dancing where the Printer pulls the ropes

And the Editor blue-pencils half their prose,

And the proofman designates their airy, fairy verse as ‘slim,’

And the staff guard by the door with broken bricks,

As they tremulously venture to suggest a modest ‘jim’

For a ‘liquid’ poem, costing eight-and-six!

[184]
[Illustration: Man asleep outdoors]
STAR GAZING.

I camped last night in a desert grey

’Neath the eyes of a million stars,

For they all had come in their vestments gay,

Like a laughing host in the wake of day,

To the shrine of the midnight bars.

And satyrs slid on the glinting spars

Of light, through the halls of space,

And Venus served from the vintage jars,

And a blossom shone on the nose of Mars

And a smile on the old Moon’s face.

[185]
My castle’s roof was the spangled sky

And its carpet of sea-green moss;

And its walls were curtained with tapestry, ...

And the face of her I had kissed Good-bye

Was enshrined in the Southern Cross.

As I gazed, the stars kept clustering,

And closer and closer crept,

Until I and they, we were all a-swing,

When an owl flew down on a drowsy wing

And we blew out the light ... and slept.

[Decoration: Mining equipment]

[186]
RHYMES AND RHYMERS.

Do you know, if a chap could write and write,

As editors pay and pay,

There’d be whips of sport

For the “shingle short”

On the rhymer’s inky way—

If the theme be bright and the hand as light

As the touch of a skeeter’s wing,

There is good red gold

In the Press-ship’s hold

For the songs that the rhymers sing.

There are stacks of room in the ranks of rhyme

For the persifleurs to fill—

There are plums and perks

For the bloke who works

With a tireless, lilting quill—

There are “values,” set in the measured line,

And “jim” in the tuneful scrawl,

Where the ore falls thick

To the light pen-prick,

And the sky is a hanging-wall.

[187]
There are no high backs in the rhymer’s stope,

No depths in the rhyming vein—

Not a drop of sweat

In the deft coup-let,

Or ache in a whole quatrain;

And editor-men, with their bags of gold,

Come out from their inky lairs,

And they doff their caps

To the rhymer-chaps,

As they bid for the rhymer’s wares.

So we sit aloft in our cushioned chairs

And scrawl for the world below,

And we smile aloud

At the toiling crowd,

As the toilers come and go—

For they say, of all at the desk or mine

Who drudge for a daily wage,

There are scores of men

With a rhymer’s pen

Who could blazon the world’s wide page!

And we glean from the supercilious bard—

The tilt of a scornful nose—

That the joyous call

Of a madrigal,

The voice of a wild red rose,

[188] Awake in his room when the lamp burns low,

And the buzz-flies sink to rest;

And his throbbing brain,

With a mad refrain,

Sings the Soul-Song of the West.

But we of the “Times” and the “Sunday Sin”

Are the recreants of rhyme,

For our hearts won’t thud

And our souls won’t bud

Till the Oof-bird calls the time.

And we write—just so—for the clink of coin

And the incense of a quid,

And the deathless name

On the scroll of fame,

My brothers! awaits your bid.

[Decoration: Black Swan]

[189]
A SONG OF COMPROMISE.

If you cannot be the needle, be the thread;

If you cannot ride a motor, be a ped.;

If you cannot cut the figure

Of a bloke chockful of vigour,

Please be dead—

’Tis the softest snap of any to be dead.

If you cannot be a hero, be a skunk;

If you cannot be the barman, be the drunk;

If you cannot scale Parnassus

Flop right down among the asses,

Friend! kerplunk—

Like a flapjack on a platter, lob kerplunk.

If you cannot be the ocean, be a drop;

If you cannot be the sergeant, be a cop;

It is not the act of falling

That is said to be appalling,

But the stop—

There’s a prejudice, somehow, against the stop.

[190]
If you cannot win the heiress, take the cook;

If a failure as a burglar, be a “hook”;

’Tis the worst of all life’s phases,

If you’re on the road to blazes,

To go crook—

And the world just guys you worse for going crook.

If you can’t get gin and bitters, stick to rum;

If you cannot be a spendthrift, be a hum;

If your credit grows so slender

That you can’t dig up a bender,

Take a thrum—

There’s a dim religious light about the thrum.

If you cannot be the candle, be the moth;

If you cannot be the weaver, be the cloth;

If Life’s waitresses say “Dicken!”

When you reach out for the chicken,

Cop the broth—

There’s a deal of consolation in the broth.

Doesn’t matter if you’re single or you’re wed,

Still the rose-leaves always crumble in your bed;

But the sea ahead is placid,

Just a dose of prussic acid,

And you’re dead—

Those alternatives won’t matter when you’re dead.

[191]
A SHATTERED ILLUSION.

No heart-whole songs of the Golden West

Come ever at night to me,

Who suckled not at her broad, brown breast

Nor played at her giant knee,

Nor laughed or cried

By her ingle-side,

As a kid in his ain countree.

I find no warmth in the gleam of gold,

No soul in the West’s expanse;

And actors, cast in a heavy mould,

All people the day’s romance;

And pipe I still

With a right good will,

Yet the fays of the stage won’t dance!

I know full well that the fault is mine—

That the skies are just as blue,

That life is fair, and the lights that shine

In your sweetheart’s eyes are true;

And twilights gray

And the break of day

Have a message to tell to you.

[192]
But I hear it not, or only hear

As a dull and prosy theme—

Then drift away to a day somewhere

In the wake of Fancy’s team,

That travels straight

For an old swing gate,

By the side of an oak-girt stream.

’Twas not the lure of a gate that led,

Nor yet of an oak-fringed creek,

But the memory of a gold-thatched head

And a tear-besprinkled cheek—

A stifled sigh,

And a last good-bye

In the language that love can speak!

I pictured Kate at the cottage door,

Like a home-bird by her nest,

With the self-same summer dress she wore

On the day I moved out West—

The self-same shoes

And the same heart-bruise

And the same pink rose at her breast.

I urged my team with a supple wrist,

And they scampered over the grass ...

With Katie Clare I must keep the tryst

Of a lover with a lass ...

[193] Oh, I minded well

Of her eyes’ soft spell;

But forgot how the years may pass!

I drew a rein ... ’Neath the trysting tree

Were a matron and her brood;

And I said, “My sweetheart waits for me

In this half-enchanted wood:

And the fairest fair

Is my Katie Clare,

Of the whole world’s sisterhood!”

Then the matron stared with a puzzled stare

That changed to a gloomy frown

(I marked her looks were the worse for wear,

And her heels were somewhat down),

And she snapped, “Ah! Kate?

She went out of date

When I married old Pigweed Brown.”

Then I thanked my stars, and left the team,

As I gripped the paw of Fate

And air-planed over the oak-girt stream,

And over the old swing gate—

And cried not crack

Till I landed back

In this hub of the Western State.

[194]
NO MORE VERSES IN PRAISE OF WINE!

No more verses in praise of Wine!

No more gauds for the gods of Woe!

Better by far to sit supine

Watching the current of strong life flow,

Crouched by a hearth where the false fires glow;

Conning the comedy, line by line—

No more gauds for the gods of Woe!

No more verses in praise of Wine!

Shirking the fight that a man should fight,

Dodging the joys that a man should know,

Scorning the breath of a plumed thought’s flight,

Down with the swine and the husks below—

’Tis thus we reap from the seed we sow!

Hearts grow withered and locks grow white,

Dodging the joys that a man should know,

Shirking the fight that a man should fight.

No more verses in praise of Wine!

Where are the glorious days we knew

Touched with the rays of a light divine,

Decked with a garland of thyme and rue?

[195] Where is their glamour for yours and you?

Where is their laughter for me and mine?

Where are the glorious days we knew

Ere knees were bent to the gods of Wine?

See our boat, with a broken mast,

Cleaving a sea that is rough and grey!

Cargoes come to the port at last:

Ashes and Dead Sea fruit are they.

The climax this of a soul-less play—

We were the stars of a soul-less cast—

Over a sea that is rough and grey

Drifts our boat, with a broken mast.

No more verses in praise of Wine!

Yet, through a tangle of years and strife,

Constant still do her true eyes shine—

Mother, or sweetheart, or child, or wife.

Is there a haven where Hope is rife,

Holding a remnant of life’s design?

Is there a light on the shores of life,

Pointing a course from the sea of Wine?

[196]
OUR LIMITATIONS.

We singers standing on the outer rim,

Who touch the fringe of poesy at times

With half-formed thoughts, rough-set in halting rhymes,

Through which no airy flights of fancy skim—

We write just so, an hour to while away,

And turn the well-thumbed stock still o’er and o’er,

As men have done a thousand times before,

And will again, just as we do to-day.

We have no fire to set men’s brains aglow;

We have no tune to set the world a-swing;

There is no throb within the songs we sing

To flush the heart where passions ebb and flow.

We have no master’s hand to strike the keys;

We lay no claim at all to bardic bays,

But write (for coin) our topic-tinctured lays

And come, and go, like any evening breeze.

But I, for one, would never weep the lack

Of monumental works, and noble themes,

But rest content by slopes where Demos dreams

And leave Parnassus’ heights upon my back,

[197] If I could write (as any man should write)

About the world within my garden wall,

And never dream inspired dreams at all

To live still on when I had sought the night.

If I could take that rosebud from its stem

And weave its petals in a simple rhyme,

So you could hear the bells of springtime chime,

And you could see the flower-soul in them—

Or else, we’ll say, a magpie on a limb,

Greeting the sunrise with its matin song—

To catch the music as it floats along,

And link its spirit to a bush-child’s hymn.

Or if—but, then, the limitations rise

Like barriers across the mental plain,

And mists and things obscure the rhymer’s brain

And dull his ears, and cloud his blinking eyes.

And so we write as Nature sets her gauge—

No worse than most, and better, p’raps, than some,

But should a man remain for ever dumb

When only rhythm fills his aimless page?

[167] [Illustration: Man seated at desk] THE WESTERN WRITER TO HIS MUSE.

[169] THE MAN WHO “CAN TAKE IT OR LEAVE IT ALONE.”

[170] [Illustration: Woman presenting demonic pudding to man at table] WHEN SUSY MAKES THE DUFF.

[172] A DRUNK’S DEFIANCE.

[174] BETWEEN TWO GATES.

[177] A LASS, A LOAF, AND A GOOD CIGAR.

[179] [Illustration: Four men in a bar] I PROMISED SUE.

[181] CHURNING “COPY” FOR THE PRESS.

[184] [Illustration: Man asleep outdoors] STAR GAZING.

[186] RHYMES AND RHYMERS.

[189] A SONG OF COMPROMISE.

[191] A SHATTERED ILLUSION.

[194] NO MORE VERSES IN PRAISE OF WINE!

[196] OUR LIMITATIONS.

[167]
[Illustration: Man seated at desk]
THE WESTERN WRITER TO HIS MUSE.

[169]
THE MAN WHO “CAN TAKE IT OR LEAVE IT ALONE.”

[170]
[Illustration: Woman presenting demonic pudding to man at table]
WHEN SUSY MAKES THE DUFF.

[172]
A DRUNK’S DEFIANCE.

[174]
BETWEEN TWO GATES.

[177]
A LASS, A LOAF, AND A GOOD CIGAR.

[179]
[Illustration: Four men in a bar]
I PROMISED SUE.

[181]
CHURNING “COPY” FOR THE PRESS.

[184]
[Illustration: Man asleep outdoors]
STAR GAZING.

[186]
RHYMES AND RHYMERS.

[189]
A SONG OF COMPROMISE.

[191]
A SHATTERED ILLUSION.

[194]
NO MORE VERSES IN PRAISE OF WINE!

[196]
OUR LIMITATIONS.