Frere is a triumph of consistent literary portraiture. He is generally understood to have been a study from life. But as the official whose name has sometimes been associated with the character was a considerably more humane disciplinarian than the persecutor of Rufus Dawes, it must be assumed that Clarke aimed only at the representation of a type.

Brutes like Frere and his vindictive associates, Burgess and Troke, there undoubtedly were on the settlements, but the average official has probably a better representative in Major Vickers, the Commandant. Vickers is not an unkind man, but does not trust himself to do anything unprovided for in the 'regulations,' for which he has an abject respect. 'It is not for me to find fault with the system,' he says; 'but I have sometimes wondered if kindness would not succeed better than the chain-gang and the cat.' But he never gives intelligence, much less kindness, a fair trial.

Sylvia Vickers is the only complete picture of a good woman to be found in any of the author's stories. Taken in childhood by her parents to the penal settlements, and separated there for years from youthful society, familiarised with the constant aspects of crime and suffering, and habitually in the society of her elders, she early develops into a quaint, matter-of-fact little creature, such as might well disconcert a peacock like the Reverend Meekin.

To Frere, whose knowledge of other women has been mainly immoral, her innocence and wilfulness, and her instinctive dislike of him, serve as a strong attraction. Though he becomes her husband by means of a cruel fraud, he never fully gains her trust, and the estrangement so tragically sealed in the last chapter of the novel comes almost as a relief to the sympathetic reader of her sad history. Sylvia Vickers, despite the gloomy environment of her youth, is throughout an intensely womanly woman, the delicate conception of whose character surely places her creator far above the rank of the cynics in literature.

Not the least of the elements which combine to make His Natural Life one of the most remarkable novels of the century is the occasional skilful varying of its painful realism with a colouring of romance, as in the relations between Dawes and Sylvia: his absorbing devotion when she is so strangely made dependent upon him at the deserted settlement; his long-continued confidence that she will effect his vindication and deliverance; and, finally, the dominant motive of securing her safety against North with which he escapes from the gaol at Norfolk Island, and joins her in the doomed schooner on its last voyage to Van Diemen's Land.

What Oliver Wendell Holmes called 'the Robinson Crusoe touches' in the story—including the experiences of the marooned party at Macquarie Harbour, and those of Rex in his escape through the Devil's Blowhole—also help to leave with the reader of the novel an ineffaceable memory.



HENRY KINGSLEY.

What are the special qualities that constitute the permanent charm of Henry Kingsley's early novels? Some English critics, judging him by principles of literary art, have said that his best work is in many places of slovenly construction, deficient in dramatic power, and imitative in expression. A series of episodes, they observe, supply the place of a plot in The Recollections of Geoffry Hamlyn; the central motive of The Hillyars and the Burtons is an impossible story of a young woman's self-sacrifice; and the Thackerayan mannerisms in Ravenshoe are an offensive blemish upon an otherwise fine novel.

As a set-off to these defects, which are of less real consequence than may appear from their brief enumeration, Kingsley has been freely credited with a certain ever-pleasing vivacity and gallantry of style far too rare in literature to be overlooked. The warmest of his admirers in his own country have even attempted to raise him to a position above that of his more celebrated brother.

The task of comparing Kingsley the poet, preacher, and reformer, with Kingsley the laughing, genial teller of stories who never cherished a hobby in his life, would seem to be as superfluous on general grounds as it is premature in respect of the only possible question as to which of them is likely to be best remembered a generation or two hence. Only in one particular does it seem quite safe to predict—namely, that whatever may be the future standing of one who is said to have never penned a story without a didactic purpose of some kind, Henry Kingsley is certain of a permanent place in the literature of the young country where he encountered both the best and the worst experiences of his life.

The English estimate of his novels—mainly a technical one—having been recorded, it seems to the present writer that something of interest might be said of them from, as far as possible, the Australian point of view, the standpoint of the reader who knows the country of Sam Buckley and Alice Brentwood, and has lived some of their life. Two out of the three best novels are largely Australian in matter, and the reasons for their enduring popularity in the colonies are among the best grounds of the favour in which the author is held by the average English reader, to leave out of reckoning for the moment the literary expert. Geoffry Hamlyn and The Hillyars and the Burtons have obvious faults, but in most respects they are the highest, because the least artificial, expression of Kingsley's powers. A consideration of some of their more noticeable qualities will perhaps afford the clearest answer to the question which opens this essay.

Henry Kingsley was one of the many impecunious young Englishmen of education and adventurous spirit who sought fortune on the gold-fields of Australia between 1851 and 1860, and were rewarded in some cases with ready wealth, but in far more with bitter disappointment. Leaving Oxford without a degree in the company of two fellow-students, he hurried off to the Victorian gold-fields, which were then in the early sensational period of their development, and attracting people from all parts of the world. It was the time when the ordinary business of the colonies could scarcely be carried on at any sacrifice—when some of the more perplexed employers in the adjoining territory of New South Wales had urged Governor Fitzroy to proclaim martial law and peremptorily prohibit mining, 'in order that the inducement which seemed so irresistible to persons to quit their ordinary occupations might be removed.' In the country districts crops were left unreaped and sheep unshorn; in the towns masters did their own work or paid excessively to have it half done; while the harbours were filled with vessels whose crews had deserted to join in the general scramble for gold. No one was content to stand behind a counter all day and hear of nuggets being found up-country which sold for over four thousand pounds. 'As well attempt to stop the influx of the tide as stop the rush to the diggings,' was the reply given by Fitzroy to his petitioners.

Ex-military and naval officers, professional men, convicts from Van Diemen's Land, picturesque cut-throats from the Californian and Mexican mines, Chinese, and many other varieties of the human species, rubbed shoulders and lived generally in remarkable order and amity in the crowded canvas cities of Turon, Mount Alexander, Ballarat, and Bendigo. In 1852, the year before Kingsley's arrival, seventy thousand of them were toiling in Victoria alone.

Such were the times and the people which gave the future novelist his first practical experience of colonial life. The varied knowledge that he accumulated, first of the gold-fields and later of pastoral life and the towns, was the only reward of his five years' voluntary exile from England. During his absence he never wrote to his parents, and they thought him dead. His reticence as to his unsuccessful struggles was continued when he returned home, and not relaxed in later life even to his wife.

An interesting memoir by Mr. Clement Shorter, prefixed to a new edition of Kingsley's novels, briefly describes his school-days and literary career, but is almost wholly silent concerning the eventful years spent in the colonies. There is a single reference to the period which succeeded his gold-digging days, when want forced him to seek a less precarious occupation. For a time, it seems, he was a mounted policeman in New South Wales, until, 'compelled by duty to attend an execution, he was so much affected that he threw up the appointment in disgust.' Then, like many another unlucky digger, he was obliged to travel the country in search of work on the sheep and cattle stations.

A well-known pastoralist of the western district of Victoria, the late Hon. Philip Russell, was accustomed to describe to his friends the arrival at his station many years ago of a party of 'sundowners' (i.e., tramps), among whom was Kingsley, looking 'very much down on his luck.' Soon found to be no ordinary swagman, he was made a guest at the station, where he remained for several months. The most agreeable glimpse obtainable of his colonial life is given in Old Melbourne Memories, a little collection of sketches published by Rolf Boldrewood twelve years ago.

At the period which they recall, Boldrewood was a young man, and making the experiment in squatting which, though disastrous in its ultimate commercial results, was afterwards turned to a rich literary account by him. A friend of his named Mitchell occupied a station in western Victoria named Langa-willi, and there on one occasion Boldrewood met Kingsley. The passage in which he gracefully records the event is worth quoting in full.

'Why Langa-willi,' he says, 'will always be a point of interest in my memory, apart from other reasons, for I spent many a pleasant day there, was that Henry Kingsley lived there the chief part of a year as a guest of Mitchell's.

'It was at Langa-willi that Geoffry Hamlyn, that immortal work, the best Australian novel, and for long the only one, was written. In the well-appointed sitting-room of that most comfortable cottage one can imagine the gifted but somewhat ill-fated author sitting down comfortably after breakfast to his "copy," when his host had ridden forth with his overseer to make-believe to inspect the flocks, but in reality to get an appetite for lunch.

'I like to think of them both spending the evening sociably in their own way, both rather silent men—Kingsley writing away till he had covered the regulation number of sheets or finished the chapter, perhaps when the bushrangers came to Garoopna; Mitchell reading steadily, or writing up his home correspondence; the old housekeeper coming in with the glasses at ten o'clock; then a tumbler of toddy, a smoke on the verandah, or over the fire if in winter, and so to bed. Peaceful, happy, unexciting days and nights, good for Mitchell, who was not strong, and for his talented guest, who was not always so profitably employed. I suspect that in England, where both abode in later years, they often looked back with regret to the peerless climate, the calm days, the restful evenings spent so far beyond the southern main at Langa-willi.'

At least one of them must often have recalled those days as being among the happiest of a none too happy life. The main features of Kingsley's career after he returned to England may be summarised here in a few words. The distinct success as a novelist which he won during the first four or five years was not maintained. His work lessened in interest as he lost the verve of youth, increased his leaning towards romance, and became more conventional in his methods.

He essayed journalism for a time, first as editor of the Edinburgh Daily Review, and later as a correspondent of the same journal at the Franco-German War. As an editor he was a failure, through being without the necessary technical training, and it does not appear that he had much opportunity to distinguish himself as a war correspondent. The writing of fiction was his proper work, and his success at it seemed always to be in proportion to the amount of personal experience which he employed to support the superstructure of his somewhat reckless fancy. Those of Kingsley's friends who contribute to the brief memoir of his life bear unanimous testimony to the personal brightness and kindness of which he has left so worthy a memorial in his first novels.

It is characteristic of Kingsley that he never wrote an ungenerous word of the country which sent him away empty-handed from the store of its riches. Not even a suggestion of the fruitless toil and the disillusionment which he shared with scores of other amateur diggers during the first two years of his colonial life finds expression in any of his novels. His choice of incident and adventure in Geoffry Hamlyn seems to imply a deliberate ignoring of what was by far the most striking development of Antipodean life in the decade of 1850-60.

The gold-fields were then in a sense an epitome of the world, the centre at which all men's thoughts converged, an ever-changing spectacle, a daily source of novelty and suggestion. The life of the squatters was primitive, inferior in variety, and marked only by a rapid accumulation of wealth, which was in itself but a part of the general prosperity created by the discovery of gold. If Kingsley wished to repress memories which it would have been against his cheerful nature to perpetuate, he succeeded with singular completeness.

Save the technical knowledge of geology shown by Trevittick in The Hillyars and the Burtons, and by the encyclopaedic Dr. Mulhaus in his lecture at the picnic in the grass-covered crater of Mirngish, there is nothing to suggest that the author had any personal acquaintance with mining in the colonies. The experience that was so fresh and abundant in his mind is put aside in favour of a set of facts and pictures not even incidentally connected with life on the gold-fields.

As if to emphasise the motive of his choice, if motive there was, he selected the pre-auriferous period for the Australian parts of his stories. His squatters become wealthy by a comparatively slow process, extending over some sixteen years. The squatters of the gold period would certainly seem better adapted to the purposes of fiction. There is, indeed, more than a suggestion of romance in the sudden burst of fortune which within the first few years after 1851 raised so many of them from positions of struggling uncertainty to affluence, with incomes varying from ten to twenty thousand pounds, and in some few cases as high as thirty thousand pounds, a year.

The first and last use Kingsley made of his gold-fields experience is seen in the sketch of mining of the successful sort in the third volume of The Hillyars and the Burtons, but this is so slight that it might have been imagined by a writer who had never handled a shovel or a washing-cradle in his life.

The Australian people have so often been the subject of flippant and ill-natured criticisms, that they can readily appreciate any liberal estimate of themselves in whatever form it may be placed before their kindred in Great Britain. It is a fact, as natural as it is undeniable, that they are very sensitive to praise or blame. What wounds them more than adverse comment itself, is the circumstance of its often proceeding from persons who have accepted without warning their too prompt and trustful hospitality.

To anyone but the incorrigibly confident and good-natured Antipodean, the lesson would be obvious, namely, that the distinguished visitor should be petted less, and left more dependent upon his own devices in the collection of materials for the inevitable book or magazine article. Though the result might be the same, there would be no ingratitude, and the critic would be less able to pose as an impartial inside observer of Australian society.

Perhaps, indeed, though this implies a somewhat wild flight of imagination, he might altogether escape the fatal sense of compulsion towards printers'-ink, under which the traveller of a few weeks' or months' experience commonly labours when once he has extricated himself from the blandishments of Toorak or Darling Point.

It is true that Australia has received many a compliment from casual writers, but to Australians themselves it is always a question whether these kindnesses are not outbalanced by the inaccuracies which surround them. For it may as well be said at once that the younger colonists do not relish being denied all native individuality, and depicted with a complaisant condescension as mere imitators of English life. It is well to be a Briton, they say, but better to be an Australian. And who shall say that their self-satisfaction is not healthy and pardonable?

By contrast with the judgments of persons to whom candour concerning the colonies seems to be a stern duty, Henry Kingsley's pictures of the pioneer life of Australia fifty years ago, and his liberal estimate (since largely realised) of the future of the country, find more enduring appreciation than would, perhaps, be accorded such writing in ordinary circumstances.

The good feeling that shines on every page of Geoffry Hamlyn would earn gratitude from Australian readers were the story not in itself spirited and absorbing. If from the personal experiences with which this first novel is crowded Kingsley excluded everything that might be unfavourable to the reputation of Australia and its people, he at least told nothing that was untrue. His record of the country is a generous one, but there is no flattery—at least, none of the grosser sort.

It is one of his supreme qualities, too, that while delighting to preserve unmodified the British spirit and traditions in his emigrant colonists, he surrounds their offspring with a subtle distinction. Some of the manly strength and courtly serenity, the truth, honour, and delicacy of the ideal Englishman and Englishwoman they reproduce; and then there is added a something caught from the warm air and the broader expanses of the South—a new impulse, a deeper tinge in the blood, a greater trust in human nature.

As befitting the early period of which the novelist wrote, this difference is not strongly marked, and is more readily recognisable in the light of colonial experience than without it; but it clearly exists. Its continuation at the present day is far more apparent. Kingsley's young Australians are home-taught, and necessarily display most of the characteristics of their British parents. But, still, they show themselves types of a new race, which has now its hundreds of representatives in the homes of the Australian gentry.

Of such was the young squatter who so attracted the attention of Mr. Froude at the first station he visited in Victoria. 'He had till within a month or two been herding cattle in Queensland, doing the work for four years of the roughest emigrant field hand, yet had retained the manners of the finest of fine gentlemen—tall, spare-loined, agile as a deer, and with a face that might have belonged to Sir Lancelot.' Of course, the genial author of Oceana made no pretence of minute observation in the account of his travels. Had he not been content to fly through the country, viewing it mainly, as he admits, from 'softest sofas' of 'a superlative carriage lined with blue satin,' he might have seen not one, but many fine specimens of what Sir George Bowen has aptly called the working aristocracy of Australia.

The little Arcadian kingdom—cheerful, self-contained, and picturesque—of the Buckleys, the Brentwoods, and their historian, Geoffry Hamlyn, of the Mayfords, Tom Troubridge, Mary Hawker, and the rest, far from illustrates all the intermittent successes and hardships which have commonly attended squatting in Australia. The toil, loneliness, and monotony of the occupation are scarcely mentioned. The aspect represented is almost entirely the agreeable one.

There is, it must be admitted, some ground for the charge that he has made squatting life 'too much like a prolonged picnic.' Had Kingsley been himself a pastoralist, a hundred minute experiences might have obtained expression which he has avoided. In this respect the historical value of his work is less than it might have been. But the compensating gain in human interest more than justifies the author's choice of treatment. He never allowed himself to forget that he was telling a story, that he was writing the adventures of a small group of emigrant English families, not a history of colonial settlement and its difficulties. Nor does he ever take advantage of the fact that, with the exception of two or three others whose works are collections of sketches rather than novels, and whose names are now almost forgotten, he was the first to describe in fiction the rural life of the country, to recognise the beginning of an aristocracy of landholders, and to commemorate the pervading spirit of cheerful confidence to which so much of the rapid early development of Australia was due.

It may well be regretted that one who had so keen an eye for all that was best in the social life of the country, at one of its most interesting periods, should not have written a volume or two of reminiscences, but no colonial reader would wish Geoffry Hamlyn or The Hillyars and the Burtons to have been made the vehicle of more descriptive matter than they contain. Kingsley was more sparing in the use of local colour and incident than Boldrewood and some of the younger writers are, though in his first novel a few passages occur which may be considered unnecessary, including the story told by the hut-keeper to Hamlyn in the presence of the disguised bushrangers, the whisking of Captain Blockstrop and his friends on and off the stage, and the story of the lost child. The latter, however, like Dr. Mulhaus' geological lecture, has the merit of being one of the best pieces of prose the author ever wrote, and gives Sam Buckley and Cecil Mayford an opportunity for a dramatic settlement of the order of their suit for the hand of Alice Brentwood. In the main narrative the periods of 'dull prosperity' are expressly avoided. After that first beautiful picture of the pioneer settlement, 'the scene so venerable, so ancient, so seldom seen in the old world—the patriarchs moving into the desert with all their wealth to find a new pasture land'—the action of the story is rapidly advanced to the later days of their success. The estate which has been the home of Major Buckley's forefathers for generations no longer providing a competence, he has resolutely left it for the land where he is to find 'a new heaven and a new earth.' Unlike so many of the pioneers, he has bade a final good-bye to England, but that it is not 'for ever' one can safely predict from the outset. He sees the old country in long years after, when, with some of the wealth garnered on the rolling prairies of Northern Australia, his son has proudly bought back the family domain of Clere in all the completeness of its original acres. Within a few brief chapters the colonists are discovered in the security of assured wealth. Sitting under their station verandahs, they can contemplate almost with calmness the death of their cattle by hundreds, and the devastation of their runs by Bush fires. They have arrived at the period when 'there was money in the bank, claret in the cellar, and race-horses in the paddock.' Meanwhile, the old Devonshire life is becoming a dim memory. They have kept their promise to create a new Drumston in the wilderness, and are well content with their homes among the southern fern-clad hills. The history of their intercourse approaches the character of an epic. Over his structure of realism—of life as he saw it and lived it himself—the writer has cast a softening glow of romance, through which are seen the beauties of ideal friendship, of youthful love, family affection, pride of nationality, and charity towards all mankind.

Kingsley was a lover of his fellows, and wont to declare that the proportion of good to bad in human nature was as ten to one the world over. This tenet of his religion he infused in some measure into all his novels. It is this they teach if they teach anything. From it spring their most vital qualities. The best of the stories possess that 'certain intellectual and spiritual atmosphere,' which Matthew Arnold assigned as the gift of literary genius. Their virility and right feeling are unmistakable, and insensibly teach the practice of a silent and kindly forbearance towards the foibles of our fellow-creatures. The names alone of the principal characters in Geoffry Hamlyn recall scene after scene in their idyllic life to which it refreshes the mind to return. There is Major Buckley, a hero of Waterloo, gigantic in stature, refined, calmly courageous—a fitting leader of the settlement; Mrs. Buckley, high-bred, stately, self-reliant, a model English matron; Tom Troubridge, the big, merry Devonian, grown with prosperity weighty and didactic in his speech, and thinking of turning his attention to politics; Miss Thornton, the dignified, sweet old maid, born to spend her life in uncomplaining service of others; Mary Hawker, tragic, passionate, paying the slow penalty of youthful wilfulness; Captain Brentwood, of Wellington's artillery, and his gallant son Jim, who is sighing for a red coat and a commission; Sam and Alice, the young lovers so nearly lost to each other 'in the year when the bushrangers came down'; and Dr. Mulhaus, the mysterious German, with his good-humoured roar, first heard at old Drumston, and with us to the end, who is everybody's friend and counsellor, and beloved by all—except George Hawker, of whose 'tom-cat' skull he has made that amusingly audacious examination at the beginning of their acquaintance. It is delightful to find all the faces familiar in the old land reappearing in the new, even though the coincidences which attend their coming seem too good to be true.

But the reader forgets the occasional loose-jointedness of the story in contemplation of the swift succession of happy scenes created for him. In these there is nothing dubious or artificial. They are sketches straight from the life of the country, and it is their beauty that makes Geoffry Hamlyn a classic in Australian literature.

Among the characters, there are so many who inspire us with love rather than mere interest, that a multiplicity of similar scenes, of conversations, rides, pleasure-excursions, and other intercourse, which in another book might prove wearisome, becomes here the best enjoyment of the reader. With what vivacity and gusto the author describes the visits exchanged between the home stations, and the comforts and happiness which they reveal! Half the book is made up of them, and yet the majority remain sufficiently clear in the memory to be recalled separately. Brentwood, who is at first fifty miles away, buys a station near at hand, he and Buckley having become inseparable, and now Baroona, Garoopna, and Toonarbin are only a few miles apart. 'There was always a hostage from one staying as a guest at the other.' The visits were generally unannounced, and the visitors stayed as long as they felt inclined to. The effects of this custom are once amusingly illustrated at the home of Captain Brentwood. It is when the members of the little colony hear of the arrival of his beautiful daughter from Sydney, where she has been at school. 'That week one of those runs upon the Captain's hospitality took place which are common enough in the Bush, and, although causing a temporary inconvenience, are generally as much enjoyed by the entertainers as the entertained. Everybody during this next week came to see them, and nobody went back again. So by the end of the week there were a dozen or fourteen guests assembled, all uninvited, and apparently bent on making a long stay of it.' They help one another when there is work to be done, dine sumptuously, picnic luxuriously. Kingsley has properly made eating and drinking a noticeable part of the hearty full-bodied existence of his squatters and their friends.

There is no class of people who have a better capacity for enjoying the material comforts of life than the country gentlemen of Australia. Major Buckley is just the sort of person one might have expected to hold decided views on the subject of dining as an art. To dine in the middle of the day was, in his opinion, a gross abuse of the gifts of Providence. 'I eat my dinner not so much for the sake of the dinner itself as for the after-dinnerish feeling which follows—a feeling that you have nothing to do, and that, if you had, you'd be shot if you'd do it.'

On another occasion the author himself preaches a similarly agreeable doctrine, concluding with the advice: 'My brother, let us breakfast in Scotland, lunch in Australia, and dine in France, till our lives end.'

Nor is the kindred subject of lounging in midsummer forgotten. Anyone in an armchair under a broad Australian verandah, who fetched anything for himself, would, in the author's opinion, 'show himself a man of weak mind.' Niggers were all that a Southern gentleman wanted to complete his comfort when the sun was at baking-point. Mrs. Beecher Stowe's teachings undergo a playful deprecation. Did she know the exertion required for cutting up a pipe of tobacco in a hot north wind; or the amount of perspiration and anger superinduced by knocking the head off a bottle of Bass in January; or the physical prostration caused by breaking two lumps of hard white sugar in a pawnee before a thunderstorm? The Southern gentleman undertakes to affirm that she didn't.

In the conversation of Kingsley's colonists, the business of the squatter, his hopes, fears and struggles, find no place, and the idea of hard work is never obtruded for its own sake. The talk is the talk of a cultured class who live wholesome lives and have no cares. The twelve thousand miles that separate them from the centre of their intellectual life are obliterated. The men preserve their individual tastes, together with that comradeship and mutual considerateness which have their origin in the best traditions of college life. The same loyalty and chivalry are prominently reproduced in the characters of Ravenshoe and Silcote of Silcotes. But in Geoffry Hamlyn these qualities are perhaps more noticeable (at all events to a colonial reader) than in the later novels, because of the contrast they furnish to the essentially competitive life of modern Australia. Brentwood is 'excessively attached to mathematics, and has leisure to gratify his hobby'; Harding, 'an Oxford man,' is 'an inveterate writer of songs,' a pastime which only the annual business of shearing is permitted to interrupt; Buckley is intent on the education of his son, in which he is careful to provide for a knowledge of the Latin Grammar; while Doctor Mulhaus finds the new country an even better field than the old one for his researches as a naturalist and geologist. In telling his story, Kingsley seems, in short, to have treated pioneer squatting in Australia as the brighter aspects of English country life have been treated in fiction for generations past. He expends his best efforts in showing the picturesque surroundings and interior comfort of Australian homes. Neither their tables nor their bookshelves lack any of the best luxuries of the hour. The greyness and rawness of their environment are not touched upon. Marcus Clarke could never have shown the Australian people so much of the beauty of their strange fauna and flora as can be found in Geoffry Hamlyn. He would have allowed the budding civilisation of the country to be swallowed up in sombre desolate forests, or appear as lonely specks on bleached and thirsty plains. Though he might intend the contrary, that, substantially, would be the final impression left on the mind of the reader. Australian scenery awed and depressed him. With all his powers of graphic expression, he could seldom write of it without exaggeration. It was the fascination of the grotesque rather than the picturesque that he felt. Kingsley, though scarcely so graceful and vivid a describer, had a keener and more constant sense of natural beauty. His vision was unclouded by the peculiar susceptibility of temperament which narrowed the view of his brilliant contemporary. He could not have indulged in rhetorical flourishes at the expense of accuracy, as in the familiar passage professing to give the Australian view of 'our trees without shade, our flowers without perfume, our birds who cannot fly, our beasts who have not yet learned to walk on all fours.' A comparison of Marcus Clarke's too often quoted description with the sketches of landscape given in, say, the twentieth, twenty-eighth and thirty-sixth chapters of Geoffry Hamlyn and at the beginning of the third volume of The Hillyars and the Burtons curiously illustrates how far the appreciation of Australian scenery depends upon the point of view of the observer.

Kingsley's descriptions, like all else that he wrote of the country, breathe an unmistakable personal enjoyment. They are the natural expression of a happy disposition, just as is the boyish fun with which he surrounds the love-making of his characters. 'Halbert kicked Jim's shins under the table, and whispered: "You've lost your money, old fellow!"' when Sam Buckley, flushed and happy, rejoined his friends in the sitting-room at Garoopna, after proposing to Alice in the garden. Jim Brentwood had peevishly bet his friend that the lovers would go on shilly-shallying half their lives; but Halbert, with keener vision, had foreseen the very hour of their betrothal, and made a bet of five pounds on the event. More comical still is the spectacle of Hamlyn ducking under the bedclothes to escape the boot that is about to be flung at him, for laughingly discrediting the story of which his bosom-friend Stockbridge has tragically unburdened himself concerning the evaporation of his love for Mary Hawker.

Whether in recording the actions and dialogue of his characters, or in describing scenery and the habits of the birds and animals which figure so often in his first novel, Kingsley always reflected some of his own happiness. It is not wit nor subtle humour, but a combination of pure mirth with the enthusiasm of warm friendship, that maintains one's interest in the simple life of the new Drumston. There is an abundance of farcical fun and playfulness which force laughter, and never approach an unkindness. The men avoid being smart at each other's expense; and if they cannot claim to be clever or heroic, they are at least good fellows, any one of whom might serve as a model of manliness.

Kingsley's knowledge of household pets was of the kind exhibited by persons who have spent some period of their lives in loneliness, with only the companionship of dumb creatures. He was an acute observer of their peculiarities, with the noting of which he combined a whimsical exaggeration. The account of the menagerie which Sam Buckley found at Garoopna on the occasion of his memorable first meeting with Alice Brentwood is almost unique in Australian literature.

Buckley's ride to rescue his sweetheart from the bushrangers is one of the most moving and dramatic incidents in the book, and a good specimen of Kingsley's graphic narrative style. A band of the outlaws who were the terror of pioneer colonists fifty years ago have risen in the district, and, after committing outrages at one station, are reported to be riding on to another twenty miles distant. At the latter, Captain Brentwood's home, Alice happens to be alone. When the terrible news comes to her young lover, he is at Baroona, which by the shortest road is ten miles from Brentwood's. What start have the bushrangers had, and will they arrive before him?

Sam's noble horse, Widderin, a horse with a pedigree a hundred years old, stood in the stable. The buying of that horse had been Sam's only extravagance, for which he had often reproached himself, and now this day he would see whether he would get his money's-worth out of that horse or no.

I followed him up to the stable, and found him putting the bridle on Widderin's beautiful little head. Neither of us spoke; only when I handed him the saddle, and helped him with the girths, he said, 'God bless you!'

I ran out and got down the slip-rails for him. As he rode by, he said, 'Good-bye, Uncle Jeff; perhaps you won't see me again'; and I cried out, 'Remember your God and your mother, Sam, and don't do anything foolish.' Then he was gone....

Looking across the plains the way he should go, I saw another horseman toiling far away, and recognised Doctor Mulhaus. Good Doctor! he had seen the danger in a moment, and by his ready wit had got a start of everyone else by ten minutes. The Doctor, on his handsome, long-bodied Arabian mare, was making good work of it across the plains, when he heard the rush of a horse's feet behind him, and turning, he saw tall Widderin bestridden by Sam, springing over the turf, gaining on him stride after stride. In a few minutes they were alongside of one another.

'Good lad!' cried the Doctor. 'On, forwards; catch her, and away to the woods with her! Bloodhound Desborough will be on their trail in half an hour. Save her, and we will have noble vengeance!'

Sam only waved his hand in good-bye, and sped on across the plain like a solitary ship at sea. The good horse, with elastic and easy motion, fled on his course like a bird, lifting his feet clearly and rapidly through the grass. The brisk south wind filled his wide nostrils as he turned his graceful neck from side to side, till, finding that work was meant, and not play, he began to hold his head straight before him, and rush steadily forward....

One stumble now, and it were better to lie down on the plain and die. He was in the hands of God, and he felt it. He said one short prayer, but that towards the end was interrupted by the wild current of his thoughts. Was there any hope? They, the devils, would have been drinking at the Mayfords', and perhaps would go slow; or would they ride fast and wild? After thinking a short time, he feared the latter. They had tasted blood, and knew that the country would be roused on them shortly....

Here are a brace of good pistols, and they with care shall give account, if need be, of two men. After that, nothing. It were better—so much better—not to live if one were only ten minutes too late.... Now he was in the forest again, and now as he rode quickly down the steep sandy road among the bracken, he heard the hoarse rush of the river in his ears, and knew the end was well-nigh come.... Now the house was in sight, and now he cried aloud some wild inarticulate sound of thankfulness and joy. All was as peaceful as ever, and Alice, unconscious, stood white-robed in the verandah, feeding her birds.

As he rode up he shouted to her and beckoned. She came running through the house, and met him breathless at the doorway.

'The bushrangers, Alice, my love!' he said. 'We must fly this instant; they are close to us now.'

She had been prepared for this. She knew her duty well, for her father had often told her what to do. No tears! no hysterics! She took Sam's hand without a word, and, placing her fairy foot upon his boot, vaulted up into the saddle before him.... They crossed the river, and dismounting, they led the tired horse up the steep slope of turf that surrounded a little castellated tor of bluestone....

'I do not see them anywhere, Alice,' said Sam presently. 'I see no one coming across the plains. They must be either very near us in the hollow of the river-valley, or else a long way off.'

'There they are!' said Alice. 'Surely there is a large party of horsemen on the plain, but they are seven or eight miles off.'

'Ay, ten,' said Sam. 'I am not sure that they are horsemen.' Then he said suddenly in a whisper, 'Lie down, my love, in God's name! Here they are, close to us!'

There burst on his ear a confused round of talking and laughing, and out of one of the rocky gullies leading towards the river came the men they had been flying from, in number about fourteen. They had crossed the river, for some unknown reason, and to the fear-struck hiders it seemed as though they were making straight towards their lair.

He had got Widderin's head in his breast, blindfolding him with his coat, for should he neigh now they were undone indeed! As the bushrangers approached, the horse began to get uneasy and paw the ground, putting Sam in such an agony of terror that the sweat rolled down his face. In the midst of this he felt a hand on his arm, and Alice's voice, which he scarcely recognised, said in a fierce whisper: 'Give me one of your pistols, sir!'

'Leave that to me!' he replied, in the same tone.

'As you please,' she said; 'but I must not fall alive into their hands. Never look your mother in the face again if I do.'

He gave one more glance around, and saw that the enemy would come within a hundred yards of their hiding-place. Then he held the horse faster than ever and shut his eyes.

Was it a minute only, or an hour, until they heard the sound of the voices dying away in the roar of the river, and, opening their eyes once more, looked into one another's faces? Faces they thought that they had never seen before—so each told the other afterwards—so wild, so haggard, and so strange.

If, as Professor Masson says, 'it is by his characters that a novelist is chiefly judged,' Henry Kingsley's future reputation will be found to depend almost solely on what he accomplished in Geoffry Hamlyn, The Hillyars and the Burtons and Ravenshoe. In the first two of these there is an abundance of original observation and little conscious study of character. The vivid Australian scenes of the one, and the Chelsea life of the other, are transcripts of the author's own memories. His knowledge of the squatters he got by working for them and living with them; what he knew of police and convicts and bushrangers he learned in doing police duty; the life of the Burtons, as told in 'Jim Burton's Story,' was that which the author saw during his boyhood round his father's old rectory on Chelsea Embankment.

'He seemed to me,' says Mrs. Thackeray Ritchie, 'to have lived his own books, battled them out and forced them into their living shapes, to have felt them and been them all.' Hardly all—one feels bound to say. The remark is entirely true of nearly everything in Geoffry Hamlyn and of three-fourths of The Hillyars and the Burtons, but to Ravenshoe it applies in a more limited degree, and to some of the later novels scarcely ever. Either through carelessness (of which one often suspects him) or deficiency of judgment, Kingsley more than once allowed the exigencies of his plots to destroy all consistency in his characters.

Thus, Squire Silcote, the clever old ex-lawyer, is made to retire from the world and brood for many years, and on quite insufficient grounds, in the belief that his first wife had been unfaithful, and had tried to poison him. Nothing short of a condition of semi-insanity could explain his conduct. In other respects the character is finely conceived. Emma Burton, too, is a perfectly natural and charming person until she is employed to revive the old problem of how far a sense of duty can triumph over the power of love. Her devotion to her deformed brother is wrong, because it is unnecessary. But even if this were not the case, it would be irrational in a woman so eminently sensible and unromantic as she is shown to be in the first half of the story. Almost at the beginning of her voluntary service she is represented as realising 'the hideous fate to which she has condemned herself in her fanaticism.' It is quite impossible to make the reader believe that, loving Erne Hillyar as she did, she could for years persist in rejecting him, and that her brother would permit so much sacrifice on his account.

The beautiful, crazy Gerty Neville is another instance of perversion. Her silliness is exaggerated in order that she shall weary and disgust the blase aristocrat who has married her. Some of her chatter is more inconceivable than the 'coo-ee-ing' which Mr. Hornung's 'Bride from the Bush' employed to attract the attention of a colonial acquaintance of hers in Rotten Row.

But the distortion which the character of Emma Burton undergoes, and the caricature of Gerty Neville, are, after all, easily pardonable faults in a story rich in noble thought and sympathy, bright with pretty, audacious nonsense, and containing such real personages as Jim Burton and his father and mother, Erne Hillyar, and the Honourable Jack Dawson.

Even in Silcote of Silcotes there are intermittent glimpses of finely-conceived character which almost outbalance the eccentricities of the Dark Squire and his sister, the fantastic meddler in foreign intrigue. Kingsley's skill lay chiefly in his portrayal of men, especially of young men, such as the dashing Charles Ravenshoe and his philosophic friend Marston (a study of the George Warrington type); Lord Welter, Lieutenant Hillyar, and Colonel Tom Silcote, reckless profligates, but likeable fellows all; Frank Maberly, the athletic curate; and Sam Buckley, the type of an Australian country gentleman. With old men he was less successful. Lord Saltire, the placid good-natured cynic of Ravenshoe, is, however, a clever exception. 'All old women are beautiful,' says Kingsley in one of his stories, and he never portrayed one that was not. His best are Miss Thornton and Lady Ascot. The younger women, excepting Mary Hawker and Adelaide Summers, are rather slightly drawn. Even Alice Brentwood is a somewhat indistinct personage compared with the Australian girls of Mrs. Campbell Praed and Ada Cambridge.

The superior position usually accorded to Ravenshoe among Kingsley's novels is merited more by the soundness of its plot than by the naturalness of its characters. It was the author's first essay in pure romance, and, with Henry Kingsley, to build character from imagination was always largely, sometimes extravagantly, to idealise. He loved to people old country houses with walking mysteries, to unravel tangled genealogies, and discover secrets of youthful folly, to apportion property to rightful heirs, and endow his characters with a superhuman generosity. When Charles Ravenshoe is recovering from the long illness which terminates the full series of his misfortunes, he sends for Welter, the man who might be considered his arch-enemy, who not so long before that had seduced Charles's sister and stole his fiancee. Ravenshoe is represented as forgetting all his newly-suffered wrongs, and thinking only of Welter as his favourite schoolfellow and youthful companion. Anticipating doubts as to the feasibility of this, the author proceeds to discuss the point with the reader, as he does in many similar instances throughout the story. He appears to have a constant anxiety about the impression he is making, and his comments and confidences certainly become distasteful. But this foible goes only a small way to discount the sterling merits of the novel.



ADA CAMBRIDGE.

Towards the close of 1890 the Australian booksellers—a cautious, conservative class in their attitude towards new fiction, especially that produced by the adventurous female writer of these latter days—began to display so marked an interest in the work of Ada Cambridge, that one not acquainted with the circumstances of the case might have credited them with a friendly—possibly a patriotic—desire to give due place to a newly-risen native genius. And when, in the following year, another story from the same pen appeared, the popularity of the author was firmly established.

The neat red volumes were on every stall; the Mudie of Melbourne gave them a place of honour in his show-window, and the leading critical review said that the second story possessed a charm which ought to induce even the person who ignored fiction on principle to make an exception in its favour. It was the kind of gratifying recognition that the public always believes itself eager to offer the deserving young writer. Yet Ada Cambridge's literary work had extended over no less a period than fifteen years. Of course, much of this delay in securing recognition might have been avoided. Probably in England she could have won a substantial reputation in a third of the time, and with half the labour expended by her in contributing to the Australian press. But, as the wife of a country clergyman, she had other matters besides literature to occupy her attention, and was content to write when there happened to be leisure for it, and to see her work in a few of the leading colonial newspapers.

About half a dozen novels were issued in this way, besides occasional articles and poems. The publication of the longer stories in the Australasian, a high-class weekly journal, ought in itself to have made a name for the author, and possibly would have done so, were they not in most cases so obviously a local product, and therefore not to be seriously considered. It was a repetition of the experience of Rolf Boldrewood. In the end, as usual, it was the English public that first accepted her novels for what they were worth.

Ada Cambridge is a native of Norfolk, the lonely fens and quaint villages of which are a picturesque background of some of her best stories. In 1870, shortly after her marriage, she went with her husband, the Rev. George Frederick Cross, a clergyman of the Church of England, to Wangaratta, in Victoria. After residing successively in several other country towns of this colony, they settled in 1893 at Williamstown, a waterside suburb of Melbourne.

A novel entitled Up the Murray, dealing with life in the colonies, was published by Ada Cambridge (the author continues to issue her work under her maiden name) in the Melbourne press in 1875. Others of the same character followed at irregular intervals. Two were issued in book-form by a London firm of publishers, but did not attain to much more than a library circulation.

When the author again came before the English public, it was with a novel in which the purely Australian interest was rigidly subordinated to dramatic quality and a richly sympathetic study of character. A Marked Man is the story of a younger son of an old English county family who, while sharing the pride and indomitable spirit of his ancestry, develops a hatred for conventional prejudices and religious cant, and, after making a final assertion of independence by marrying a farmer's daughter, emigrates to New South Wales to establish a name and fortune on his own account.

The first half of the action takes place in England, the remainder in the colonies. The natural beauties surrounding the home of the Delavels at Sydney are not less delicately and poetically described than the village life they have left behind in the mother country—the patriarchal rule of an old-fashioned, rather pompous house, over a people retaining the hereditary respect of vassals for their feudal lord; but the view given of Australian society is, in keeping with the relation to it of Richard Delavel and his household, of the slightest kind.

Delavel and the only daughter whom he has trained to be his second self, whose comradeship makes him almost forget the long-drawn thraldom of his early mesalliance, live in a world so much and so necessarily their own, that one is grateful for the good taste which excluded from it the bustle and commoner interests of colonial life. The novel met with general, and in several instances cordial, favour in England, and since then the author has yearly increased her reputation.

Three out of five of the later novels are, like A Marked Man, made comparatively independent of the distinctively local interest to which we have been accustomed in the works of most Australian authors. It is not possible, for example, to point out anything in the shape of an essentially local first cause for any of the principal incidents of Not All in Vain and A Marriage Ceremony. The passionate half-brute, Neil Hammond, who pursues the heroine of the former story across the world, and terrorises her with his unwelcome attentions, would have met a violent death, or himself have murdered someone, in his own country or elsewhere as inevitably as in Australia; and the man who killed him would not have found Katherine Knowles less faithful during the long years of his imprisonment had her sacrifice been under the daily observation of Hammond's family and her own strait-laced aunts in their East Norfolk home.

In A Marriage Ceremony, the only advantage secured by taking the story from London to Melbourne—instead of to New York, let us say—seems to lie in whatever added strength the sense of greater distance imparts to the temporary appearance of a final separation between Betty Ochiltree and her strangely-wedded husband. The marriage that was a condition of their inheritance having been performed, bride and bridegroom part in accordance with a previous agreement. The former reappears as a prominent figure in the society of modern Melbourne—the Melbourne of 1893, when the failure of banks and land companies was a regular subject of morning news.

Here, it might be supposed, was an opportunity for one or two vivid and instructive sketches of the sensational period that witnessed the proof of so much folly and its punishment, and wrought so many more effects on all classes of Australian society than could be noted in the common records of the time. But the great crisis is almost ignored in the novel. There are merely a few passing references to its progress, and a mention of the loss on the part of Mrs. Ochiltree of some of the wealth which she is beginning to regard as having been rather spuriously acquired.

Even the very successful story of the Three Miss Kings and A Mere Chance tell little of the city life of Australia, though their action is placed in it almost exclusively. The latter is a tale of match-making intrigue and money-worship in Toorak, but the main interest of the plot apart, the account of fashionable Melbourne is a singularly colourless one. As for Mrs. Duff-Scott and her Major, the amiable pair who in the character of leaders of Melbourne society undertake to find husbands for Elizabeth King and her sisters, and whose benevolent intentions are so effectually forestalled, they are as conventionally English as though they belonged to the pages of Miss Braddon or Mrs. Henry Wood.

Again, though during half of Fidelis we are given occasional impressive and delightful glimpses of Nature under southern skies, the principal characters are English, and in England is centred first and last the dominant pathos of the story. A complete absence of dialect from the novels helps to emphasise the author's slender use of extraneous aids to interest.

The influence of Ada Cambridge's twenty-five years' Australian experience is shown in her general outlook upon life, rather than in the details of her work. The prevailing tone of her books is one of marked cheerfulness, sincerity, and simplicity; she has a hearty dislike for conventional stupidities, especially for the mock-modesty that stifles honest sentiment; and she gives emphatic endorsement to the pleasant dictum (which seems so much more feasible in sunny Australia than in colder northern lands) that the second half of life is not less fruitful and satisfying than the first.

As the general effect of Ada Cambridge's teaching, so far as it can be gathered from her plots, and the few instances in which she has permitted herself anything in the shape of didactic expression, is to make us more patient with life's complexities and perceptive of its compensations, and more content with whatever happiness may be drawn in our way by the chain of accidents called Destiny, so do her principal characters, in their foibles and their strength—in the little acts and impulses which qualify alike their heroism and their baseness—tend to make us more discriminative and charitable.

In almost every case they are strong studies from some point of view. Of deliberate analysis there is very little; but there are numerous realistic touches not commonly admitted in fiction, which, handled with skill and insight, keep the character within the pale of common experience and increase rather than alienate the reader's sympathy. Thus, Richard Delavel's outburst of relief upon the death of his first wife, so far from being vulgar and brutal, as it might have seemed in other circumstances, recalls and emphasises the high sense of duty and honour and the iron self-restraint which had enabled him to be in all essentials a good husband for twenty-five years to a cold-hearted creature, between whom and himself there had never been either common interest or feeling, and for whose sake he had relinquished the woman that would have been his real mate in intellect and sympathy. Delavel's housekeeper, who is also a privileged friend, takes him to task for his unseemly hurry to go in search of this old love before his wife had been a week in her grave. He makes no secret of his relief. 'The sense that I am free is turning my brain with joy,' he confesses.

'I say it because I feel it. I am aware that it is in very bad taste, but that doesn't make it the less true. Do you suppose people are never glad when their relations die? They are—very often; they can't help it; only they pretend they are not, because it seems so shocking. I don't pretend—at least, I need not pretend to you. The fault is not always—not all—on the side of the survivors, Hannah. I don't think I am any worse than those who pretend a grief that they don't feel. I was never unkind to her—never in my life, that I can remember. I did not kill her; I would have kept her alive as long as I possibly could. I think—I hope—that if I could have saved her by the sacrifice of my own life, I should have done it without a single moment's hesitation.'

'I am sure you would,' said Hannah.

'But,' he continued, with that unwonted fire blazing in his eyes, 'since dead she is, I am glad—I am, I am! I am glad as a man who has been kept in prison is to be let out. It is not my fault; I would be sorry if I could. Some day, Hannah—some day, when we have been dust for a few hundred years—perhaps for a few score only—people will wake up to see how stupid it is to drive a man to be glad when his wife is dead. They are finding out so many things; they will find that out too in time.'

Probably it will still appear to many that Delavel's admission was at least indelicate and inconsistent with his chivalrous nature. It is not here possible to convey an adequate impression of his fiery spirit, his long heart-hunger, and the magnitude of the loss which a wholly uncongenial marriage must ever mean to such a man. When the full story of his life and that of his quietly 'implacable' wife is read, his conduct seems natural and excusable. It is as much a part of himself as the tremulous tenderness with which he ministers to the comfort of the frail Constance Bethune, after finding and bringing her home, or as his fierce grief when she dies.

Another very human spectacle that illustrates the author's method is the reunion of Betty and Rutherford Ochiltree—the frank selfishness of their mutual joy while the poor woman who had been an unconscious barrier between them lies dead under their roof. It is a somewhat painful episode, and precludes anything like high esteem for Rutherford, but it has the quality of intense actuality.

In like manner is Adam Drewe shorn of some of the merit of his devotion to the heroine of Fidelis by being shown in successive attachments to other women during his long exile in Australia. The author recognises that, 'the laws of literary romance being so much at variance with the laws of Nature,' Adam is certain to suffer in the reader's good opinion for having 'continued to hunger for feminine sympathy as well as his daily dinner.' No doubt his stature as a hero lessens when it appears that though the absent Fidelia was ever in his thoughts, and a daily source of inspiration to him as a writer, he twice narrowly escaped marriage—first with a servant girl at his lodgings, and afterwards with the daughter of his landlady—and that at another period of his colonial life he became involved in a disreputable kind of Bohemianism. But he is not disgraced by these lapses to the extent that the author anticipates; at all events, they make him more human than he could otherwise have been.

It is this power of infusing a robust humanity into her characters that makes the distinctive feature of Ada Cambridge's best novels. In each, whatever the quality of the plot, there are always two or three personages who talk and act as real men and women do—now rationally or in obedience to custom, now passionately or with that perversity which, as the author once describes it, 'is like a natural law, independent of other laws, the only one that persistently defies our calculations.' They are mostly big people with big appetites. The beauty of the women is the beauty of mind and of sound physical health.

Susy Delavel was tall, well grown, straight and graceful, with an intelligent, eager face, though 'her mouth was large, her nose not all it should have been, and her complexion showed the want of parasols and veils.' She was 'not handsome at all, but decidedly attractive.'

Sarah French, the girl in Fidelis whose comeliness so nearly drew the hero from his old allegiance, has 'a strong and good, rather than a pretty, face,' with a 'large and substantial figure.' Adam Drewe concluded on first sight of her that she was a nice woman. Later on he finds her 'looking the very incarnation of home, with her cheerful healthy face, her strong busy hands, her neat hair, her neat dress.... She might have sat for a statue of Motherhood—of Charity with a babe at her ample breast, and others clinging to her supporting hand; Nature had so evidently intended her to play the part.'

Katherine Knowles has fine physical symmetry and a strong, frank face. While lacking 'the airs and graces, the superficial brightness, of conventional girlhood,' she is 'singularly vivid in her more substantial way.'

Betty Ochiltree's beauty, too, is of the kind that wears well. She has a face 'frank and spirited, firm of mouth and chin, kind and sweet, as honest as the day,' surmounting an ample body, and she carries herself with dignity, 'as few Australian girls can do.' And how impressive and consistent with her character is the noble, placid figure of Elizabeth King, 'perfect in proportion, fine in texture, full of natural dignity and ease!'

The author is fond of showing the attractiveness of such women at the age of thirty, or even more. 'In real life,' she once observes, 'the supremely interesting woman is not a girl of eighteen, as she is in fiction. Every man worth calling a man knows that. A girl of that age ... knows as much about love as does a young animal in the spring, and not a bit more. And the human male of these days—so highly developed, so subtly compounded—has grown out of the stage when that much would satisfy him. I mean, of course, the human male who in real life answers to the hero in fiction—a man who must have left, not only his teens, but his twenties behind him.'

When one comes to the heroes, it is easy to recall half a dozen commanding figures who blunder in the most natural and amiable manner in their affairs; who think a good deal more of their immediate personal comforts than of religious or ethical abstractions; who like their own way and try to get it; who, in short, are mostly what the author wishes them to appear—'the men out of books that we meet every day.' Of little men, in the physical sense, there are only two of any importance, but even these are virile and masterful. A general aim of the stories would seem to be to show the sexes what each chiefly admires in the other. It is first a sort of apotheosis of the mens sana in corpore sano, and after that an illustration of the independent attractions of sympathy, gentleness, culture, and high character.

Though in most cases the strongest attachments are formed between men and women arrived at an age to discriminate beyond mere physical charm, nevertheless physical charm is the most powerful, though not always acknowledged, motive of their choice. 'Because of this,' says the pathetic Hilda Donne in A Marriage Ceremony, touching her cheek, which is terribly disfigured by a birth-mark, 'I have never had love. Can you think what that means? You can't. Once I thought I was not going to be quite shut out—once; but I was mistaken. I have found out that it is for one's body that one is loved, and not for one's soul.'

Hilda unconsciously exaggerates, for it appears that Rutherford Hope, though at first affected with disgust by her disfigurement, and convinced that no healthy man could consort with 'so unnatural a woman,' had come at last to regard her as a possible wife—before he was confronted with the sudden temptation to secure a fortune by wedding Betty Ochiltree, in compliance with the conditions of her millionaire uncle's will. Yet Hilda's comment is substantially sound. Even Rutherford, with all the sense of his mature years, and all the culture that enabled him to appreciate her poetic gift, would have had to argue himself into a marriage with her.

The ugliness of Adam Drewe, from which his mother turned in disgust at his birth, and which in youth drove him across the seas in an agony of sensitiveness from the woman he loved, was a less serious affliction than that of Hilda Donne; but we know that he continued to be keenly reminded of its disadvantages long after time had proved the sterling qualities of his manhood, lessened his deformity, and brought him fame and wealth.

Compared with the previous illustration, however, his case is at fault in failing to give a sufficient description of his deformity. But that he himself long thought it an insuperable bar to his happiness is clear. When he fell in love with Fidelia Plunket, she was temporarily blind. His affection for her was returned, and he knew it, but dreading the disillusionment that would ensue when her sight was restored, he fled to Australia and determined to abandon all thought of her as a wife. Urged to return, because 'when a woman is a woman,' and really in love with a man, 'there's no camel she won't swallow for him,' Drewe replied that his camel was just the one camel that no woman had been known to swallow, or, at any rate, to digest. And he remained—for twenty years.

The plots of Ada Cambridge's novels are of the episodical order, and the author, despite her openly-expressed scorn for the unnaturalness of the average conventional novel, has not disdained employment of some of its time-honoured methods. Occasionally she is at pains to explain the feasibility of coincidences employed to secure dramatic interest. They are certainly never of an impossible kind, and no one would deny the truism that real life abounds in them. But has not a distinguished writer aptly pointed out that there are matters in which fiction cannot compete with life? As a rule, however, where a few such weaknesses exist, they do not count for much with the average reader when the principal scenes are as finely drawn as those in A Marked Man or Fidelis, or The Three Miss Kings. The latter story in some details puts a greater strain upon the credulity than any of the other novels, yet so well conceived and absolutely natural are the characters of the three girls, and so humorously and pictorially presented the chief incidents in their development, that the dubious points of the plot become almost insignificant. The qualities of the novel as a whole are similar to those which obscure the artistic defects of Geoffry Hamlyn, and which for thirty-seven years have made it one of the most popular of Australian stories.

In the presentation of tragic or pathetic incidents lies Ada Cambridge's chief power, as far as her plots are concerned. In A Marked Man it is accompanied by her highest achievements in portraying a variety of well-contrasted character. Fidelis, which opens at the Norfolk village of the earlier novel, and reintroduces the Delavels, contains fewer developed characters, as may also be said of A Marriage Ceremony. But the three novels are equal in the high standard of their emotional quality. No quotation of moderate size could do justice to any of the principal scenes of A Marked Man: the chivalrous sacrifice of Richard Delavel's youthful marriage; the inward repentance of it for twenty-two years; the revival of his love for Constance Bethune; his painful anxiety for her health, hungry enjoyment of her companionship, and anguish at her death; and his own death soon afterwards. In the more briefly detailed tragedy that brings into such striking relief the sprightly drama of A Marriage Ceremony, there is a scene giving a fair example of the author's style in touching passages. When Hilda, deeply in love with Rutherford Hope, hears of his union with another woman, she takes the readiest means of effacing herself by suddenly marrying a shallow coxcomb who seeks her for mercenary reasons, and going with him to Australia. Years afterwards she is so affected by the sudden reappearance of Rutherford, and by subsequent ill-treatment received from her jealous husband, that an exhausting illness follows, and to save herself from insanity she commits suicide. Meanwhile the long separation of Rutherford and Betty Ochiltree, which began on the day of their marriage, is coming to an end, and Hilda's death removes the final impediment. Together they pay a last visit to the dead woman:

Incapable of speech, he lifted a tress of hair—flowing free over the rigid arms, because it was really pretty, and thus had to be made the most of—and pressed it a moment to his bearded mouth. In that gesture he seemed to ask her forgiveness for having been a man like other men, as Nature made them.

'Kiss her,' Betty whispered, pushing him a little. She, too, felt that it would be something, if not much, to put to the account that was so frightfully ill-balanced—a kiss from Rutherford before all was wholly over.

He stooped and laid his lips—scarcely laid them—on the waxen forehead. And he thought how he had nearly kissed her once, in the scented spring dusk, at her father's gate, and been repelled at the last moment by the thought of something that he could not see.... He turned back the sheet and straightened it, and nobody but hired undertakers had anything more to do with Hilda Donne. He put out the lamps, leaving her in the dark, which, as a living, nervous woman, she had always been afraid of; and he took Betty in his arms to comfort her a little, before he opened the door upon the light and life of their own transfigured world.

There is a characteristic vein of realism in the subsequent view of the lovers' self-absorption and short-lived sorrow, and the callousness of Donne.

No later than the same Saturday afternoon [Hilda was buried in the morning], her Edward was cheering himself with his preparations for New Zealand, whither he was easily persuaded to set off at once as a means of distracting his mind from his domestic woes, and of retiring gracefully from a Civil Service that was otherwise certain to dismiss him; and there he shortly found a number of absorbing interests, including—as Rutherford had predicted—a rosy-cheeked second wife, who, as he wrote to Mrs. Ochiltree when announcing his engagement, was all that heart could wish, and had apparently been made on purpose for him.... No later than Saturday afternoon—and early at that—Rutherford, having parted with the widower and seen him off the premises, ran upstairs to his wife's door, with a spring in his step and a light in his eyes that plainly showed his mourning to be over. Hilda was dead and gone, but Betty was alive in her splendid strength and beauty, and he was her husband and bridegroom, and his hour had come! The grave had closed over that broken heart, which had ached as long as it could feel, and ached most for him; but the world was still glorious for him and his love, and never so glorious as now. They began to bask in their happiness, as the house in the sunshine that flooded it, now that the blinds were drawn up. The shadow of death, close and terrible as it was, could not dim it for them any more.

In all the novels there are memorable scenes of tenderness, among the best of which are those between Fidelia and Adam Drewe, first in their brief meetings as girl and youth—she with her weak eyes bandaged, but reading him through his voice and bashful deprecation; he yearning to remain with her, but forcing himself away—and then in long years after, when he returns to find her in widowhood and poverty, and to all seeming hopelessly blind.

The conception of the latter scene is quite the best to be found in the whole of Ada Cambridge's work, and has not been equalled in its kind by any other Australian writer. The simplicity and verbal reticence of this chapter of intense feeling gives also a good sample of the author's style of expression. Seldom ornate or much studied, it is ever a lucid and easy style. As a narrative specimen, the following, from the same novel, is conveniently quotable:

It was not much of an accident, but it was enough. The engine buried its fore-paws in the soft earth of the embankment, where engines were not meant to go, and then paused abruptly in the attitude of a little dog hiding a bone in a flower-bed; the embankment sloped down instead of up, and the monster hung upon the edge of it, nose to the ground and hind-quarters in the air, looking as if a baby's touch would send it over. Several carriages, violently running upon it and being checked suddenly, stood on tip-toes, so to speak, and fell into each other's arms with a vehemence that completely overset them; one rolled right down the bank, head first, and the others tumbled upon its kicking wheels. It was all over in a moment; and the dazed passengers, realising in a second moment that the end of the world was still an event in the future, picked themselves up as best they could. No one was killed, but some were badly shaken, and most of them screamed horribly. The sound of those screams, mingled with the clanking and crashing of riven wood and metal, and the hissing of escaping steam, conveyed the idea of such an appalling catastrophe as would make history for the world.

Though not a satirist—she does not hate well enough to be that—Ada Cambridge has occasionally a neat and forcible way of describing character. Richard Delavel's first wife was 'a gentle and complaisant being, soft and smooth, apparently yielding to the touch, but dense, square, and solid as a well-dumped wool-bale.' When opposed in will or contradicted in her opinion, she smiled resignedly, and, if it appeared due to her dignity, sulked for a period. Yet generally she was 'the evenest-tempered woman that ever a well-meaning husband found it difficult to get on with.' A pattern of order and conscientiousness, 'governed by principles that were as correct as her manners and costume, and as firmly established as the everlasting hills,' she might have made an admirable wife for a clergyman, but was totally unsuited to Delavel, as he to her.

Still, she was very proud of the look of 'blood' in her Richard, and when he became wealthy, and she a fashionable hostess in Sydney society, nothing delighted her more than her opportunities of making the aristocratic connection known. Her own origin as the daughter of a farmer was quite forgotten. 'Annie might have been a Delavel from the beginning, in her own right, for all the recollection that remained to her of the real character of her bringing up.... Years and certain circumstances will often affect a woman's memory that way—a man somehow manages to keep a better grasp of facts.'

Yelverton, the lover of Elizabeth King, an English aristocrat spending some of his wealth in lessening the misery and vice of London, was 'not the orthodox philanthropist, the half-feminine, half-neuter specialist with a hobby, the foot-rule reformer, the prig with a mission to set the world right; his benevolence was simply the natural expression of a sense of sympathy and brotherhood between him and his fellows, and the spirit which produced that was not limited in any direction.'

His friend, Major Duff-Scott, 'an ex-officer of dragoons, and a late prominent public man of his colony (he was prominent still, but for his social and not his official qualifications), was a well-dressed and well-preserved old gentleman who, having sown a large and miscellaneous crop of wild oats in the course of a long career, had been rewarded with great wealth, and all the privileges of the highest respectability.'



ADAM LINDSAY GORDON.

The strongest note of Adam Lindsay Gordon's poetry is a personal one. When he represents Australia best, he best represents his own striking character. Yet that character had clearly shown itself, as had also his lyric gift, before he saw Australia. He is the favourite poet of the country by a happy fortuity rather than by the merit of special native inspiration. Those tastes of the people which he has expressed in manner and degree so rare as to make a parallel difficult of conception were also his own dominant tastes. From early boyhood they had controlled his life, and in the end they wrecked it.

That any man living an adventurous and precarious life, often in rude associations and without the stimulus of ambition or of intellectual society, should write poetry at all is a matter for some wonder. And when several of the compositions of such a writer are marked by rare vigour and melody, and some few are worthy to rank with the best of their kind produced in the century, it must be held that the gift of the author is genuine and spontaneous. It is impossible to believe that Gordon would have been less a poet had he never lived under the Southern Cross; that he would have cared less for horses and wild riding, for manliness and the exhilaration of danger. Had he become a country gentleman in England, or a soldier, like his father, should we not still have had 'The Rhyme of Joyous Garde,' 'The Romance of Britomarte,' 'By Flood and Field,' and 'How we beat the Favourite.' And do these not form the majority of his best poems? A man apt alike for the risks of the chase or the cavalry charge, with a delicate ear for the music of words, with natural promptings to write, would in any conditions have found time to celebrate the things which his daring and gallant spirit loved. Had he not ridden as well as written the rides related by his 'Sick Stockrider,' he might have been foremost in that more glorious one so often present to his fiery fancy, and have wielded

'The splendid bare sword Flashing blue, rising red from the blow!'

Gordon was a true soldier in sentiment all his life, as he was also a true Englishman, and it is the soldier and the Englishman in him far more than the Australian that the people of his adopted country, consciously or unconsciously, admire. It is yet difficult to consider his work as a writer apart from his personality. And it is natural that this should be so in the case of a man whose career was itself a romance, who led as strange a double life as ever poet lived, and who, through all, retained the marked essentials of a gentleman.

In his character as a sportsman and a rider there is an element of the ideal which largely helps to commend him to the majority of Australians. Though his liking for horses and the turf became a destroying passion, there was never anything sordid in it. He was not a gambler, for long after he had won recognition as the first steeplechase rider in a country of accomplished riders, he declined payment for his services on the race-track, accepting it only when compelled at last by poverty to do so; and the distaste with which he had always viewed the meaner associations of the sport latterly became dislike and scorn. In the period of disappointment that preceded his death he refused a remunerative post on the sporting staff of a leading Melbourne journal because he wished to dissociate himself completely and finally from everything connected with the professionalism of sport.

As a Bush rider he became noted for the performance of feats which no one else would think of attempting. The Australians often speak and write of it as courage absence of fear—but it surely had a large admixture of pure recklessness. It is at least evident that danger had a certain irresistible fascination for him. 'Name a jump, and he was on fire to ride at it,' is the description given of this curious predilection which made his company in a riding party a somewhat exciting pleasure. The day in 1868 when he won three steeplechases at Melbourne is still remembered; and at Mount Gambier, in South Australia, a granite obelisk marks where once he leaped his horse over a fence surmounting the headland of a lake, and then across a chasm 'more than forty feet wide.' A single false step would have cast horse and rider into the lake two hundred feet below. Of the same wild character was his riding during boyhood in the hunting-fields of Gloucestershire. It would be natural to suspect some measure of vanity or bravado in all this, but no hint of either is given by any of his acquaintances; and the few who knew him well are emphatic in placing him, as a man and a sportsman, apart from and above the majority of those with whom the conditions of his life brought him into contact. 'Gordon,' says one of his intimate friends, 'was always a quiet, modest, pure-minded gentleman.... I never knew such a noble-hearted man, especially where women were concerned.'

The deep melancholy in many of Gordon's poems has been attributed to the influence of Australian scenery, and to the loneliness of the earlier years of his life in the colonies. This explanation, if not wholly erroneous, is at least much exaggerated. It ignores the most obvious elements of the poet's temperament. It takes no account of the history of wasted opportunities and regrets, of defeat and discontent, of self-wrought failure and remorse, that may plainly be read in 'To my Sister,' 'An Exile's Farewell,' 'Early Adieux,' 'Whispering in the Wattle Boughs,' 'Quare Fatigasti,' 'Wormwood and Nightshade,' and other poems. The writer, as he himself says, has no reserve in the criticism of his own career.

'Let those who will their failings mask, To mine I frankly own; But for their pardon I will ask Of none—save Heaven alone.'

Gordon's youth was wild and ungoverned. Before his twenty-first year his folly had lost him home, friends, love, and the one profession that might have steadied him, as well as afforded him distinction. He was the son of Captain Adam D. Gordon (an officer who had seen service in India) and the grandson of a wealthy Scotch merchant. Captain Gordon settled at Cheltenham in the later years of his life, and intended that his son should study for the army; but a mad wilfulness and passion for outdoor sport had taken possession of the youth, and nothing could be done with him. He rode to hounds with all the daring that marked his horsemanship in later life; he rode in steeplechases, he frequented the company of pugilists at country fairs and public-houses, and joined in their contests; he was removed from two schools for unruly conduct, and a more serious escapade, though innocent of any bad intention, nearly caused his arrest by the police. At last it was agreed that he should emigrate to Australia. He was glad to go, but bitter at the thought of what his going implied. The knowledge that he suffered solely through his own fault did not make less disagreeable to him the censure of others, even that of the gallant father whom, in his wildest moments of rebellion, he never ceased to love and admire. The unhappiness attending this severance from the home that he felt he would never see again is told in a poem to his sister, written (August, 1853) a few days before he sailed.

'Across the trackless seas I go, No matter when or where; And few my future lot will know, And fewer still will care. My hopes are gone, my time is spent, I little heed their loss, And if I cannot feel content, I cannot feel remorse.

'My parents bid me cross the flood, My kindred frowned at me; They say I have belied my blood, And stained my pedigree. But I must turn from those who chide, And laugh at those who frown; I cannot quench my stubborn pride, Or keep my spirits down.

'I once had talents fit to win Success in life's career; And if I chose a part of sin, My choice has cost me dear. But those who brand me with disgrace, Will scarcely dare to say They spoke the taunt before my face And went unscathed away.'

The stanzas (there are ten more in the poem) have all the bitterness of a youthful sorrow and all the vigour of a youthful defiance. But at the moment of his deepest depression it is upon himself that the writer casts the real blame. This is characteristic of his judgment of himself throughout life. He has ever too much honour and spirit to shirk the responsibility of his own acts. And the same qualities keep him from doing injury to others. He is consoled by remembering this in bidding good-bye to his native land.

'If to error I incline, Truth whispers comfort strong, That never reckless act of mine E'er worked a comrade wrong.'

As a colonist, Gordon might have justified his Scotch descent by making a fortune. Wealth was to be gained in other and surer ways than by groping for it in the goldfields. But he was indifferent, and allowed himself to drift. Australia was attractive to him only as a place of adventure, of freedom, of retirement, of oblivion. All but the latter he found it. He readily adapted himself to the rough conditions of the country, but could never overcome the thought that in those first false steps he had lost all worth striving for. Time softened the gloomy defiance of his farewell verses, but did not alter his determination to efface himself, to be forgotten even by his family. He held no communication with anyone in England, and heard nothing from his home until ten years later, when a lawyer's letter notified him that both his mother and father were dead, and that under the will of the latter he was to receive a legacy of seven thousand pounds. Meanwhile, Gordon appears to have made no attempt to win any of the prizes that were the common reward of pluck and industry in the Australia of the fifties. He joined the mounted police force of South Australia, but, impatient of its discipline, soon left it, and for long afterwards was content with the rough employment of a horse-breaker.

A curious, pathetic figure he makes at this time. He broke in horses during the day, and read the classic poets at night. Think of the refined Englishman in blue blouse, fustian, and half-Wellington boots, seated among the boisterous company of a 'men's hut' on a Bush station, reading Horace by the aid of a rude lamp, 'consisting of a honeysuckle cone stuck in clay in a pannikin, and surrounded with mutton fat!' Or sitting at some Bush camp of his own, and imagining, as he so finely did, the famous Balaclava Charge, which set Europe ringing with pity and admiration a year after he arrived in Australia. How he would have liked to be among the actors in that scene!

'Oh! the minutes of yonder maddening ride Long years of pleasure outvie!'

he exclaims, and wishes that his own end could be fair as that of one 'who died in his stirrups there.'

Gordon seemed not only to be reconciled to his Bush life, but to have become attached to it. He once declared it to be better in many respects than any other. He was temperate, skilful in his work, and as popular as one of reserved manner can be. Most of the squatters of the period made it a practice to receive into their social circle any companionable and educated man, whether their equal in position or not. It was a generous custom, typical of the most hospitable country in the world, and worked well on the whole. But Gordon, unlike Henry Kingsley and others of the same class, took no advantage of it. That the squatters did not themselves recognise the worth of one so unassertive was not to be wondered at. He saw this, and never blamed them. They could not, as he remarked on one occasion, be expected to know that he was as well born as any of them, and perhaps better educated. One of them saw there was 'something above the common' in him; but that was all. At length he was discovered by a good-natured and scholarly Roman Catholic priest (the Rev. Julian E. Tenison Woods), who, though he does not say so, evidently took a pleasure during the five years of their acquaintance in making the merits of the solitary Englishman known in the colony. Their tastes accorded excellently. They talked 'horses or poetry' as they rode together, or smoked by their camp-fires. Gordon's reserve thawed for the first time. He had a well-trained memory, and occasionally would recite Latin or Greek verse, or a scene from Shakespeare, or passages from Byron and other modern poets. Greek he had taught himself in lonely hours after his arrival in Australia, having neglected it while at college.

In the end his disposition left the good cleric, like many another, much puzzled. Was there anything of foolish pride or misanthropy in Gordon's avoidance of society that would have welcomed him? Both his recorded speech and his poems are without evidence of either. Those who remember his taciturnity and little eccentricities also speak of his kindness of heart, generosity and trustfulness of others. Did he ever complain that he was oppressed and saddened by his self-chosen life in the Bush? We have seen the high estimate he once gave of it; and Mr. Woods, who has recorded many proofs of close observation of his friend, testifies that the melancholy of his poems found little or no expression in his conversation. Gordon may have been shy (as Marcus Clarke noted), but he early formed a fairly accurate judgment of his literary powers. He said 'he was sure he would rise to the top of the tree in poetry, and that the world should talk of him before he died.' Coming from one who was far from being vain or boastful, the remark suggests hope and ambition. But neither, it would seem from his colonial career, was ever more than a passing mood with him. Why did he remain in obscurity during several of the best years of his life, doing rough and dangerous work, when he might have obtained some remunerative post in one of the cities? Why did he marry a domestic servant—one who could never be an intellectual companion for him?

It appears that he considered himself to have 'irretrievably lost caste.' It is a fantastic idea, and could not have any justification in a country where an Englishman of good manners and behaviour need never want congenial society. Gordon was abnormally proud, independent and sensitive: an unfortunate disposition for anyone who has his way to make in an imperfect world. Such a man constantly misunderstands himself and is misunderstood. He takes severe, unpractical views of his own character and of life generally. Not necessarily morose or ungenial, he is always apt to be thought so. Gordon's conclusion that he had lost caste is a proof of supersensitiveness, and the deep effect produced upon his temperament by the incidents of his youth.

There is a touching and significant little story of an acquaintance which he formed with a young lady at Cape Northumberland, and how he ended it. We are delicately told that, having become a warm admirer of his dashing horsemanship, the lady used to walk in early morning to a neighbouring field to see him training a favourite mare over hurdles. Something more than a mutual liking for horses and racing is plainly hinted at as existing between them. But after they had met thus a few times, Gordon asked abruptly whether her mother knew that she came there every morning to see him ride. She replied in the negative, adding that her mother disapproved of racing. 'Well, don't come again,' said he; 'I know the world, and you don't. Good-bye. Don't come again.' Surprised and wounded, the lady silently gave him her hand in farewell. 'He looked at it as if it were some natural curiosity, and said, "It's the first time I have touched a lady's hand for many a day—my own fault, my own fault—good-bye."'

For a brief period after the receipt of his father's legacy Gordon looked towards his future with some interest and confidence. He spoke of a proposal to undertake regular journalistic work at Melbourne, and to make an attempt at writing novels. It was at this time also that he foresaw that he would make a name as a poet. The people of Mount Gambier, finding him presently settled as the owner of a small estate in the district, made him their representative in the Legislative Assembly of South Australia. In this new character he seems to have achieved only a reputation for drawing humorous sketches. Having delivered a few speeches highly embellished with classical allusions which failed to make any impression upon the plain business men of the House, he subsided, and was afterwards seldom heard. And when his seat became vacant in due course, he did not seek re-election. He had been unable to take his Parliamentary experience seriously. He is said to have always looked back upon it as something of a joke.

And now, with a revival of his former attachment to the excitements and uncertainties of the turf, begin a series of misfortunes which pursued him until his death. His property, mismanaged and neglected, had to be sold, and he set out a poor man once more for the adjoining colony of Victoria. Here, while suffering ill-health and poverty—starving in his own proud way—after failing in a small business which he had undertaken, Gordon learned that he would probably come into possession of the barony of Esselmont in Scotland, then producing an income of about two thousand pounds a year. But on further inquiry it was found that his title to the estate ceased with the abolition of the entail under the Entail Amendment Act of 1848. The excitement of his ill-fortune and the effects of a recent wound on the head combined to unhinge his mind, and in June, 1870, at the age of thirty-seven he ended his life by shooting himself at Brighton, near Melbourne. In comparing the impressions of Gordon's disposition given by his friends, it is curious to note that among the few things in which they agree is an absence of surprise at his suicide.