The Australian swag fashion is the easiest way in the world of carrying a load. I ought to know something about carrying loads: I've carried babies, which are the heaviest and most awkward and heartbreaking loads in this world for a boy or man to carry, I fancy. G.o.d remember mothers who slave about the housework (and do sometimes a man's work in addition in the bush) with a heavy, squalling kid on one arm! I've humped logs on the selection, "burning-off," with loads of fencing-posts and rails and palings out of steep, rugged gullies (and was happier then, perhaps); I've carried a shovel, crowbar, heavy "rammer," a dozen insulators on an average (strung round my shoulders with raw flax)-to say nothing of soldiering kit, tucker-bag, billy and climbing spurs--all day on a telegraph line in rough country in New Zealand, and in places where a man had to manage his load with one hand and help himself climb with the other; and I've helped hump and drag telegraph-poles up cliffs and sidings where the horses couldn't go. I've carried a portmanteau on the hot dusty roads in green old jackaroo days. Ask any actor who's been stranded and had to count railway sleepers from one town to another!

he'll tell you what sort of an awkward load a portmanteau is, especially if there's a broken-hearted man underneath it. I've tried knapsack fashion--one of the least healthy and most likely to give a man sores; I've carried my belongings in a three-bushel sack slung over my shoulder--blankets, tucker, spare boots and poetry all lumped together.

I tried carrying a load on my head, and got a crick in my neck and spine for days. I've carried a load on my mind that should have been shared by editors and publishers. I've helped hump luggage and furniture up to, and down from, a top flat in London. And I've carried swag for months out back in Australia--and it was life, in spite of its "squalidness"

and meanness and wretchedness and hardship, and in spite of the fact that the world would have regarded us as "tramps"--and a free life amongst _men_ from all the world!

The Australian swag was born of Australia and no other land--of the Great Lone Land of magnificent distances and bright heat; the land of self-reliance, and never-give-in, and help-your-mate. The grave of many of the world's tragedies and comedies--royal and otherwise. The land where a man out of employment might shoulder his swag in Adelaide and take the track, and years later walk into a hut on the Gulf, or never be heard of any more, or a body be found in the bush and buried by the mounted police, or never found and never buried--what does it matter?

The land I love above all others--not because it was kind to me, but because I was born on Australian soil, and because of the foreign father who died at his work in the ranks of Australian pioneers, and because of many things. Australia! My country! Her very name is music to me. G.o.d bless Australia! for the sake of the great hearts of the heart of her!

G.o.d keep her clear of the old-world shams and social lies and mockery, and callous commercialism, and sordid shame! And heaven send that, if ever in my time her sons are called upon to fight for her young life and honour, I die with the first rank of them and be buried in Australian ground.

But this will probably be called false, forced or "maudlin sentiment"

here in England, where the mawkish sentiment of the music-halls, and the popular applause it receives, is enough to make a healthy man sick, and is only equalled by music-hall vulgarity. So I'll get on.

In the old digging days the knapsack, or straps-across-the chest fashion, was tried, but the load pressed on a man's chest and impeded his breathing, and a man needs to have his bellows free on long tracks in hot, stirless weather. Then the "horse-collar," or rolled military overcoat style--swag over one shoulder and under the other arm--was tried, but it was found to be too hot for the Australian climate, and was discarded along with Wellington boots and leggings. Until recently, Australian city artists and editors--who knew as much about the bush as Downing Street knows about the British colonies in general--seemed to think the horse-collar swag was still in existence; and some artists gave the swagman a stick, as if he were a tramp of civilization with an eye on the backyard and a fear of the dog. English artists, by the way, seem firmly convinced that the Australian bushman is born in Wellington boots with a polish on 'em you could shave yourself by.

The swag is usually composed of a tent "fly" or strip of calico (a cover for the swag and a shelter in bad weather--in New Zealand it is oilcloth or waterproof twill), a couple of blankets, blue by custom and preference, as that colour shows the dirt less than any other (hence the name "bluey" for swag), and the core is composed of spare clothing and small personal effects. To make or "roll up" your swag: lay the fly or strip of calico on the ground, blueys on top of it; across one end, with eighteen inches or so to spare, lay your spare trousers and shirt, folded, light boots tied together by the laces toe to heel, books, bundle of old letters, portraits, or whatever little knick-knacks you have or care to carry, bag of needles, thread, pen and ink, spare patches for your pants, and bootlaces. Lay or arrange the pile so that it will roll evenly with the swag (some pack the lot in an old pillowslip or canvas bag), take a fold over of blanket and calico the whole length on each side, so as to reduce the width of the swag to, say, three feet, throw the spare end, with an inward fold, over the little pile of belongings, and then roll the whole to the other end, using your knees and judgment to make the swag tight, compact and artistic; when within eighteen inches of the loose end take an inward fold in that, and bring it up against the body of the swag. There is a strong suggestion of a roley-poley in a rag about the business, only the ends of the swag are folded in, in rings, and not 'tied. Fasten the swag with three or four straps, according to judgment and the supply of straps. To the top strap, for the swag is carried (and eased down in shanty bars and against walls or veranda-posts when not on the track) in a more or less vertical position--to the top strap, and lowest, or lowest but one, fasten the ends of the shoulder strap (usually a towel is preferred as being softer to the shoulder), your coat being carried outside the swag at the back, under the straps. To the top strap fasten the string of the nose-bag, a calico bag about the size of a pillowslip, containing the tea, sugar and flour bags, bread, meat, baking-powder and salt, and brought, when the swag is carried from the left shoulder, over the right on to the chest, and so balancing the swag behind. But a swagman can throw a heavy swag in a nearly vertical position against his spine, slung from one shoulder only and without any balance, and carry it as easily as you might wear your overcoat. Some bushmen arrange their belongings so neatly and conveniently, with swag straps in a sort of harness, that they can roll up the swag in about a minute, and unbuckle it and throw it out as easily as a roll of wall-paper, and there's the bed ready on the ground with the wardrobe for a pillow. The swag is always used for a seat on the track; it is a soft seat, so trousers last a long time. And, the dust being mostly soft and silky on the long tracks out back, boots last marvellously. Fifteen miles a day is the average with the swag, but you must travel according to the water: if the next bore or tank is five miles on, and the next twenty beyond, you camp at the five-mile water to-night and do the twenty next day. But if it's thirty miles you have to do it. Travelling with the swag in Australia is variously and picturesquely described as "humping bluey,"

"walking Matilda," "humping Matilda," "humping your drum," "being on the wallaby," "jabbing trotters," and "tea and sugar burglaring," but most travelling shearers now call themselves trav'lers, and say simply "on the track," or "carrying swag."

And there you have the Australian swag. Men from all the world have carried it--lords and low-cla.s.s Chinamen, saints and world martyrs, and felons, thieves, and murderers, educated gentlemen and boors who couldn't sign their mark, gentlemen who fought for Poland and convicts who fought the world, women, and more than one woman disguised as a man. The Australian swag has held in its core letters and papers in all languages, the honour of great houses, and more than one national secret, papers that would send well-known and highly-respected men to jail, and proofs of the innocence of men going mad in prisons, life tragedies and comedies, fortunes and papers that secured t.i.tles and fortunes, and the last pence of lost fortunes, life secrets, portraits of mothers and dead loves, pictures of fair women, heart-breaking old letters written long ago by vanished hands, and the pencilled ma.n.u.script of more than one book which will be famous yet.

The weight of the swag varies from the light rouseabout's swag, containing one blanket and a clean shirt, to the "royal Alfred," with tent and all complete, and weighing part of a ton. Some old sundowners have a mania for gathering, from selectors' and shearers' huts, and dust-heaps, heart-breaking loads of rubbish which can never be of any possible use to them or anyone else. Here is an inventory of the contents of the swag of an old tramp who was found dead on the track, lying on his face on the sand, with his swag on top of him, and his arms stretched straight out as if he were embracing the mother earth, or had made, with his last movement, the sign of the cross to the blazing heavens:

Rotten old tent in rags. Filthy blue blanket, patched with squares of red and calico. Half of "white blanket" nearly black now, patched with pieces of various material and sewn to half of red blanket. Three-bushel sack slit open. Pieces of sacking. Part of a woman's skirt. Two rotten old pairs of moleskin trousers. One leg of a pair of trousers. Back of a shirt. Half a waistcoat. Two tweed coats, green, old and rotting, and patched with calico. Blanket, etc. Large bundle of a.s.sorted rags for patches, all rotten. Leaky billy-can, containing fishing-line, papers, suet, needles and cotton, etc. Jam-tin, medicine bottles, corks on strings, to hang to his hat to keep the flies off (a sign of madness in the bush, for the corks would madden a sane man sooner than the flies could). Three boots of different sizes, all belonging to the right foot, and a left slipper. Coffee-pot, without handle or spout, and quart-pot full of rubbish--broken knives and forks, with the handles burnt off, spoons, etc., picked up on rubbish-heaps; and many rusty nails, to be used as b.u.t.tons, I suppose.

Broken saw blade, hammer, broken crockery, old pannikins, small rusty frying-pan without a handle, children's old shoes, many bits of old bootleather and greenhide, part of yellowback novel, mutilated English dictionary, grammar and arithmetic book, a ready reckoner, a cookery book, a bulgy anglo-foreign dictionary, part of a Shakespeare, book in French and book in German, and a book on etiquette and courtship. A heavy pair of blucher boots, with uppers parched and cracked, and soles so patched (patch over patch) with leather, boot protectors, hoop iron and hobnails that they were about two inches thick, and the boots weighed over five pounds. (If you don't believe me go into the Melbourne Museum, where, in a gla.s.s case in a place of honour, you will see a similar, perhaps the same, pair of bluchers labelled "An example of colonial industry.") And in the core of the swag was a sugar-bag tied tightly with a whip-lash, and containing another old skirt, rolled very tight and fastened with many turns of a length of clothes-line, which last, I suppose, he carried to hang himself with if he felt that way.

The skirt was rolled round a small packet of old portraits and almost indecipherable letters--one from a woman who had evidently been a sensible woman and a widow, and who stated in the letter that she did not intend to get married again as she had enough to do already, slavin'

her finger-nails off to keep a family, without having a second husband to keep. And her answer was "final for good and all," and it wasn't no use comin' "bungfoodlin'" round her again. If he did she'd set Satan on to him. "Satan" was a dog, I suppose.

The letter was addressed to "Dear Bill," as were others. There were no envelopes. The letters were addressed from no place in particular, so there weren't any means of identifying the dead man. The police buried him under a gum, and a young trooper cut on the tree the words:

SACRED TO THE MEMORY OF BILL WHO DIED.

"BUCKOLTS' GATE"

PROLOGUE

Old Abel Albury had a genius for getting the bull by the tail with a tight grip, and holding on with both hands and an obstinacy born of ignorance--and not necessarily for the sake of self-preservation or selfishness--while all the time the bull might be, so to speak, rooting up life-long friendships and neighbourly relations, and upsetting domestic customs and traditions with his horns.

Yes, Uncle Abel was always grasping the wrong end of things, and sticking to it with that human mulishness which is often stronger, and more often wearies and breaks down the opposition than an intelligent man's arguments. He was----or professed to be, the family said--unable for a long time to distinguish between his two grand-nephews, one of whom was short and fat, while the other was tall and thin, the only points of resemblance between them being that each possessed the old family nose and eyes. When they were boys he used to lay the strap about one in mistake for the other. They had a saying that Uncle Abel saw with ten squinting eyes.

Also, he could never--or would not, as the family said--remember names.

He referred to Mrs Porter, a thin, haggard selector's wife, as "Mrs Stout" and he balanced matters by calling Mrs Southwick "Mrs Porterwicket"--when he didn't address her as "Mrs What's-the-woman's-name"--and he succeeded in deeply offending both ladies.

Uncle Abel was Mrs Carey's uncle.

Down at the lower end of Carey's selection at Rocky Rises, in the extreme corner of the lower or outer paddock, were sliprails opening into the main road, which ran down along the siding, round the foot of a spur from ridge, and out west. These sliprails were called "The Lower Sliprails" by the family, and it occurred to Uncle Abel to refer to them as "Buckolts' Gate," for no other reason apparently than that Buckolts'

farm lay in that direction. The farm was about a mile further on, on the other side of the creek, and the gate leading to it from the main road was round the spur, out of sight of Carey's selection. It is quite possible that Uncle Abel reasoned the thing out for days, for of such material are some human brains. Sliprails, or a slip-panel, is a panel of fencing of which the rails are made to be slipped out of the mortise holes in the posts so as to give pa.s.sage to horses, vehicles and cattle.

I suppose Abel called it a gate, because he was always going to hang a proper gate there some day. The family were unaware of his new name for the Lower Sliprails, and after he had, on one or two occasions, informed the boys that they would find a missing cow or horse at the Buckolts'

Gate, and they had found it calmly camped at the Lower Sliprails, and after he had made several appointments to meet parties at Buckolts'

Gate, and had been found leaning obstinately on the fence by the Lower Sliprails with no explanation to offer other than that he _was_ waiting at Buckolts' Gate, they began to fear that he was becoming weak in his mind.

ACT I

It was New Year's Eve at Rocky Rises. There was no need for fireworks nor bonfires, for the bush-fires were out all along the ranges to the east, and, as night came on, lines and curves of lights--clear lights, white lights, and, in the nearer distance, red lights and smoky lights--marked the sidings and ridges of a western spur of the Blue Mountain Range, and seemed suspended against a dark sky, for the stars and the loom of the hills were hidden by smoke and drought haze.

There was a dance at Careys'. Old Carey was a cheerful, broad-minded bushman, haunted at times by the memories of old days, when he was the beau of the bush b.a.l.l.s, and so when he built his new slab-and-bark barn he had it properly floored with hard-wood, and the floor well-faced "to give the young people a show when they wanted a dance," he said. The floor had a spring in it, and bush boys and girls often rode twenty miles and more to dance on that floor. The girls said it was a lovely floor.

On this occasion Carey had stacked his wheat outside until after the New Year. Spring-carts, and men and girls on horseback came in from miles round. "Sperm" candles had been cut up and thrown on the floor during the afternoon, and rubbed over by feet cased tightly in 'lastic-sides; and hoops were hung horizontally from the tie-beams, with candles stuck round them. There were fresh-faced girls, and sweet, freckled-faced girls, and jolly girls, and shy girls--all sorts of girls except sulky, "toney" girls--and lanky chaps, most of them sawney, and weird, whiskered agriculturists, who watched the dancers with old, old time-worn smiles, or stood, or sat on their heels yarning, with their pipes, outside, where two boilers were slung over a log-fire to boil water for tea; and there were leathery women, with complexions like dried apples, who gossiped--for the first time in months perhaps--and watched the young people, and thought at times, no doubt, of other days--of other days when they were girls. (And not so far distant either, in some cases, for women dry quickly in the bush.)

And there were one or two old soldiers and their wives, whose eyes glistened when Jim Bullock played "The Girl I Left Behind Me."

Jim Bullock was there with his concertina. He sat on a stool in front of a bench, on which was a beer-keg, piles of teacups and saucers, several big tin teapots, and plates of sandwiches, sponge-cakes, and tarts.

Jim sat in his shirt-sleeves, with his flat-brimmed, wire-bound, "hard-hitter" hat on, slanting over his weaker eye. He held one leg loosely and the other rigid, with the concertina on his knee, and sw.a.n.ked away at the instrument by the hour, staring straight in front of him with the expression of a cod-fish, and never moving a muscle except the muscles of his great hairy arms and big chapped and sun-blotched hands; while chaps in tight "larstins" (elastic-side boots), slop suits of black, bound with braid, and with coats too short in the neck and arms, and trousers bell-mouthed at the bottoms, and some with paper collars, narrow red ribbon ties, or scarfs through walnut sh.e.l.ls, held their partners rigidly, and went round the room with their eyes--most of them--c.o.c.ked at the rafters in semi-idiotic ecstasy.

But there was tall, graceful, pink-and-white Bertha Buckolt, blue-eyed and blue-black-haired, and little Mary Carey with the kind, grey eyes and red-gold hair; there was Mary's wild brother Jim, with curly black hair and blue eyes and dimples of innocence; and there was Harry Dale, the drover, Jim's shearing and droving mate, a tall, good-looking, brown-eyed and brown-haired young fellow, a "better-cla.s.s" bushman and the best dancer in the district. Uncle Abel usurped the position of M.C., and roared "Now then! take yer partners!" and bawled instructions and interrupted and tangled up the dancers, until they got used to taking no notice of his bull voice. Mary Carey was too shy--because she loved him, and secretly and fondly hoped and doubted that he cared for her--to be seen dancing more than once with Harry Dale, so he shared Bertha Buckolt, the best girl dancer there, with Jim Carey, who danced with his sister when Harry was dancing with Bertha Buckolt, and who seemed, for some reason best known to himself, to be perfectly satisfied with the arrangement. Poor little Mary began to fret presently, and feel a little jealous of Bertha, her old schoolmate. She was little and couldn't dance like Bertha, and she couldn't help noticing how well Bertha looked to-night, and what a well-matched pair she and Harry made; and so, when twelve o'clock came and they all went outside to watch the Old Year out and the New Year in--with a big bonfire on the distant ridge where the gra.s.s fires had reached a stretch of dry scrub--and to join hands all round and sing "Auld Lang Syne," little Mary was not to be found, for she was sitting on a log round behind the cow-yard, crying softly to herself.

And when about three o'clock they all started home, Mary gave Bertha her cheek to kiss instead of her mouth, and that hurt Bertha, who had _her_ cry riding home, to the astonishment and irritation of her brother Jack, who rode home with her. But when they were all gone Mary was missing again and when her mother called her, and, after a pause, the voice of Harry Dale said, respectfully, in the darkness, "She's here, Mrs Carey, she's all right," the two were discovered sitting on a convenient log of the wood-heap, with an awkward and overacted interval of log between them.

Old Carey liked Harry Dale, and seemed very well satisfied with the way things appeared to be going. He pressed Harry to stay at the selection overnight. "The missus will make you a shake-down on the floor," he said. Harry had no appointments, and stayed cheerfully, and old Carey, having had a whisky or two, insisted on Mary making the shake-down, and the old folks winked at each other behind the young folks' backs to see how poor little Mary spread a spare mattress, with redhot, averted face, and found an extra pillow and a spare pair of ironed sheets for the shake-down.

At sunrise she stole out to milk the cows, which was her regular duty; there was no other way out from her room than through the dining-room, where Harry lay on his back, with his arms folded, resting peacefully.

He seemed sound asleep and safe for a good two hours, so she ventured.

As she pa.s.sed out she paused a moment looking down on him with all the lovelight in her eyes, and, obeying a sudden impulse, she stooped softly and touched his forehead with her lips, then she slipped out. Harry stretched, opened his eyes, winked solemnly at the ceiling, and then, after a decent interval, he got up, dressed, and went out to help her to milk.

Harry Dale and Jim Carey were going out to take charge of a mob of bullocks going north-west, away up in Queensland. And as they had lost a day and night to be at the dance, they decided to start in the cool of the evening and travel all night. Mary walked from the homestead to the Lower Sliprails between her brother, who rode--because he was her brother--and led a packhorse on the other side, and Harry, who walked and led his horse--because he was her sweetheart, avowed only since last night.

There were thunderstorms about, and Mary had repented sufficiently with regard to Bertha Buckolt to wear on her shoulders a cape which Bertha had left behind her last night.

When they reached the Lower Sliprails Jim said he'd go on and that Harry needn't hurry: he stooped over his horse's neck, kissed his sister, promised to keep away from the drink, not to touch a card, and to leave off fighting, and rode on. And when he rounded the Spur he saw a tall, graceful figure slipping through the trees from the creek towards Buckolts' Gate.

Then came the critical time at the Lower Sliprails. The shadows from the setting sun lengthened quickly on the siding, and then the sun slipped out of sight over a "saddle" in the ridges, and all was soon dusk save the sunlit peaks of the Blue Mountains away to the east over the sweeps of blue-grey bush.

"Ah, well! Mary," said Harry, "I must make a start now."

"You'll--you'll look after Jim, won't you, Harry?" said Mary.

"I will, Mary, for your sake."

Her mouth began to twitch, her chin to tremble, and her eyes brimmed suddenly.

"You must cheer up, Mary," he said with her in his arms. "I'll be back before you know where you are, and then we'll be married right off at once and settle down for life."