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Excerpt

Excerpt from Poems by Adam Lindsay Gordon, by Adam Lindsay Gordon

I remember the lowering wintry morn,<br />
And the mist on the Cotswold hills,<br />
Where I once heard the blast of the huntsman's horn,<br />
Not far from the seven rills.<br />
Jack Esdale was there, and Hugh St. Clair,<br />
Bob Chapman and Andrew Kerr,<br />
And big George Griffiths on Devil-May-Care,<br />
And--black Tom Oliver.<br />
And one who rode on a dark-brown steed,<br />
Clean jointed, sinewy, spare,<br />
With the lean game head of the Blacklock breed,<br />
And the resolute eye that loves the lead,<br />
And the quarters massive and square--<br />
A tower of strength, with a promise of speed<br />
(There was Celtic blood in the pair).

I remember how merry a start we got,<br />
When the red fox broke from the gorse,<br />
In a country so deep, with a scent so hot,<br />
That the hound could outpace the horse;<br />
I remember how few in the front rank shew'd,<br />
How endless appeared the tail,<br />
On the brown hill-side, where we cross'd the road,<br />
And headed towards the vale.<br />
The dark-brown steed on the left was there,<br />
On the right was a dappled grey,<br />
And between the pair, on a chestnut mare,<br />
The duffer who writes this lay.<br />
What business had "this child" there to ride?<br />
But little or none at all;<br />
Yet I held my own for a while in "the pride<br />
That goeth before a fall."<br />
Though rashness can hope for but one result,<br />
We are heedless when fate draws nigh us,<br />
And the maxim holds good, "Quem perdere vult<br />
Deus, dementat prius."

The right hand man to the left hand said,<br />
As down in the vale we went,<br />
"Harden your heart like a millstone, Ned,<br />
And set your face as flint;<br />
Solid and tall is the rasping wall<br />
That stretches before us yonder;<br />
You must have it at speed or not at all,<br />
'Twere better to halt than to ponder,<br />
For the stream runs wide on the take-off side,<br />
And washes the clay bank under;<br />
Here goes for a pull, 'tis a madman's ride,<br />
And a broken neck if you blunder."

Explanation

Detailed Explanation of Adam Lindsay Gordon’s Excerpt from Poems

This excerpt is from the poetry of Adam Lindsay Gordon (1833–1870), an Australian poet of Scottish descent, often regarded as one of the most skilled bush balladists of the 19th century. His work frequently explores themes of adventure, horsemanship, danger, and the untamed Australian landscape, blending Romantic idealism with a rugged, often fatalistic outlook. This particular poem (likely from "The Sick Stockrider" or a similar hunting narrative) captures a fox hunt in the English Cotswolds, though Gordon’s own experiences in Australia deeply influence his poetic voice.

The passage is nostalgic, dramatic, and charged with masculine bravado, reflecting both the thrill of the chase and the ever-present specter of mortality. Below is a breakdown of its themes, literary devices, and significance, with a focus on the text itself.

1. Context & Setting

The poem recounts a fox hunt in the Cotswolds, a region in England known for its rolling hills and hunting traditions. However, Gordon—who spent much of his life in Australia—often infused his poetry with a colonial perspective, blending British sporting culture with the harsh realities of frontier life.

"The seven rills" likely refers to the River Coln or its tributaries in the Cotswolds, a picturesque but challenging terrain for hunting.
The hunting party is introduced with a mix of camaraderie and individualism, emphasizing both the shared thrill of the chase and the personal risks each rider faces.
The dark-brown steed (and its rider) is singled out as a symbol of strength and Celtic heritage, suggesting a connection to Irish or Scottish horsemanship traditions—a recurring theme in Gordon’s work, given his own background.

2. Themes

A. The Thrill & Danger of the Hunt

The poem is driven by motion and peril, capturing the adrenaline of the chase while foreshadowing disaster.

"The red fox broke from the gorse" – The hunt begins abruptly, with the fox’s escape setting the pace.
"The hound could outpace the horse" – The speed is so intense that even the dogs are faster than the riders, heightening the sense of competition and risk.
"A madman’s ride, and a broken neck if you blunder" – The final stanza’s warning underscores the life-or-death stakes of the jump, reinforcing the fatalistic tone common in Gordon’s work.

B. Masculinity & Recklessness

The poem glorifies boldness and endurance, but also critiques youthful arrogance.

"The duffer who writes this lay" – The speaker mockingly refers to himself as an inexperienced rider ("this child"), yet he persists in the dangerous ride, embodying the pride that "goeth before a fall."
"Quem perdere vult Deus, dementat prius" (Latin: "Whom God wishes to destroy, He first makes mad") – This classical allusion (often attributed to Euripides) suggests that recklessness is a precursor to doom, a theme Gordon explores in many poems (e.g., "The Swimmer").
"Harden your heart like a millstone, Ned" – The stoic advice to the rider (possibly the speaker himself) reflects a code of unyielding courage, even in the face of certain danger.

C. Nostalgia & Mortality

The poem is framed as a memory, lending it a bittersweet, elegiac tone.

"I remember the lowering wintry morn" – The past tense and wintry imagery create a melancholic atmosphere, hinting at loss or death (a common motif in Gordon’s work, given his own tragic life).
The detailed description of the horses (especially the dark-brown steed) suggests a fond recollection of strength and vitality, now possibly gone.

D. The Bond Between Rider & Horse

Gordon, a skilled horseman, often personifies horses as extensions of their riders’ spirits.

"A tower of strength, with a promise of speed / (There was Celtic blood in the pair)" – The horse and rider are united in heritage and purpose, reinforcing the mythic connection between man and beast in hunting culture.
The chestnut mare, dappled grey, and dark-brown steed are described with almost heroic detail, elevating them to comrades in the chase.

3. Literary Devices

A. Imagery & Sensory Language

Gordon’s vivid, cinematic descriptions immerse the reader in the hunt.

Visual:
- "The mist on the Cotswold hills" – Creates a gloomy, atmospheric setting.
- "The dark-brown steed… clean jointed, sinewy, spare" – The horse’s physique is rendered with almost sculptural precision.
Auditory:
- "The blast of the huntsman’s horn" – The sudden, sharp sound signals the hunt’s beginning.
- "The stream runs wide on the take-off side" – The rushing water adds to the sense of impending danger.
Tactile/Kinetic:
- "Solid and tall is the rasping wall" – The obstacle feels almost tangible, emphasizing the physical challenge.

B. Metaphor & Simile

"Harden your heart like a millstone" – The heart as an unfeeling, grinding stone suggests emotional detachment in the face of danger.
"A tower of strength" – The horse is compared to a fortress, reinforcing its reliability and power.
"The pride that goeth before a fall" – A biblical allusion (Proverbs 16:18), foreshadowing the speaker’s inevitable downfall.

C. Rhyme & Meter

The poem follows a ballad-like structure, with alternating tetrameter and trimeter, giving it a rhythmic, galloping quality that mimics the hunt’s pace.
The ABAB rhyme scheme (e.g., hills/rills, Clair/Kerr) creates a musical, almost chant-like effect, enhancing its oral tradition feel.

D. Irony & Foreshadowing

The speaker acknowledges his own incompetence ("What business had this child there to ride?") yet proceeds recklessly, setting up the inevitable disaster.
The Latin maxim at the end seals the fate—the rider’s madness (his refusal to turn back) will lead to his ruin.

4. Significance & Gordon’s Style

This excerpt is classic Gordon—a blend of Romantic adventure, Australian grit, and tragic fatalism.

Colonial Identity: Though set in England, the poem reflects Gordon’s frontier experiences, where horsemanship and risk-taking were survival skills.
The Bush Ballad Tradition: Gordon’s work helped shape Australian poetry, moving away from sentimental European pastoralism toward a raw, action-driven style.
The Doomed Hero: Many of Gordon’s poems feature tragic, defiant protagonists (e.g., "The Swimmer", "How We Beat the Favourite"), and this excerpt fits that mold—the rider’s recklessness is both admirable and doomed.

5. Line-by-Line Breakdown of Key Passages

Stanza 1: The Hunting Party Assembles

"I remember the lowering wintry morn, / And the mist on the Cotswold hills..."

Nostalgic opening, setting a cold, foreboding tone.
The huntsman’s horn is a call to adventure, but the wintry mist suggests obscured danger.

"Jack Esdale was there, and Hugh St. Clair, / Bob Chapman and Andrew Kerr..."

The listing of names creates a sense of camaraderie, but also individuality—each rider will face the challenge alone.

"And one who rode on a dark-brown steed... (There was Celtic blood in the pair)."

The dark-brown steed and its rider are singled out as exceptional, with Celtic heritage implying wildness and endurance.

Stanza 2: The Chase Begins

"I remember how merry a start we got, / When the red fox broke from the gorse..."

"Merry" contrasts with the life-or-death stakes, showing the thrill of the hunt.
The fox’s escape is the catalyst for chaos.

"Though rashness can hope for but one result, / We are heedless when fate draws nigh us..."

The speaker acknowledges his folly but cannot resist, embodying the tragic flaw of overconfidence.

Stanza 3: The Final Obstacle

"Solid and tall is the rasping wall / That stretches before us yonder..."

The wall is personified as a menacing opponent, a test of skill and courage.

"'Twere better to halt than to ponder, / For the stream runs wide on the take-off side..."

No time for hesitation—the moment demands action, even if it’s suicidal.

"Here goes for a pull, 'tis a madman’s ride, / And a broken neck if you blunder."

The final warning is both a challenge and a death sentence, leaving the reader in suspense—will the rider make it?

6. Conclusion: Why This Excerpt Matters

This passage encapsulates Gordon’s signature themes:

The glory and peril of the chase (a metaphor for life’s risks).
The defiant, doomed hero (a recurring figure in his work).
The bond between rider and horse (a symbol of trust and shared fate).
The inevitability of failure (framed by nostalgia and fatalism).

Gordon’s poetry bridges Romantic idealism and harsh reality, making his work both exhilarating and tragic. This excerpt, with its pulsing rhythm, vivid imagery, and looming disaster, is a perfect example of his ability to capture the thrill—and cost—of living dangerously.

Would you like a deeper dive into any specific aspect (e.g., historical context of fox hunting, Gordon’s biography, or comparisons to other bush poets like Banjo Paterson)?

Questions

Question 1

The speaker’s reference to "Quem perdere vult Deus, dementat prius" serves primarily to:

A. underscore the inevitability of divine punishment for human arrogance.
B. position the hunt as a metaphor for spiritual trial and redemption.
C. frame recklessness as a psychological precursor to self-destruction.
D. invoke classical authority to legitimise the speaker’s fatalistic worldview.
E. contrast the speaker’s secular bravado with the moral gravity of Latin maxims.

Question 2

The description of the dark-brown steed as "a tower of strength, with a promise of speed" functions most significantly to:

A. establish the horse as a literal embodiment of the rider’s Celtic lineage.
B. foreshadow the physical resilience required to survive the impending jump.
C. elevate the horse to a symbolic equal in the hunt’s high-stakes partnership.
D. critique the romanticisation of animals in traditional hunting poetry.
E. highlight the disparity between the speaker’s inexperience and the horse’s competence.

Question 3

The line "You must have it at speed or not at all" is most effectively read as an example of:

A. a fatalistic ultimatum that collapses agency into inevitability.
B. a pragmatic assessment of equestrian physics in high-risk terrain.
C. a rhetorical flourish designed to heighten the poem’s dramatic tension.
D. an intertextual nod to the "all or nothing" ethos of bush balladry.
E. a critique of the aristocratic excesses inherent in fox hunting culture.

Question 4

The speaker’s self-deprecating phrase "the duffer who writes this lay" primarily serves to:

A. preemptively undermine the poem’s reliability as a firsthand account.
B. align the speaker with a tradition of antiheroic confession in Romantic poetry.
C. create ironic distance between the narrator’s bravado and his actual competence.
D. invite the reader to question the authenticity of the hunting party’s camaraderie.
E. signal a shift from collective memory to individual fallibility in the narrative.

Question 5

The poem’s closing warning—"'tis a madman’s ride, / And a broken neck if you blunder"—derives its power most directly from:

A. the contrast between the huntsman’s stoic advice and the speaker’s youthful impetuosity.
B. the accumulation of kinetic imagery that renders the jump’s peril visually immediate.
C. the unresolved tension between the ride’s inevitability and the rider’s lingering choice.
D. the juxtaposition of the hunt’s communal excitement with the solitude of facing death.
E. the transformation of a sporting challenge into an existential metaphor for risk.

Solutions and Explanations

1) Correct answer: C

Why C is most correct: The Latin phrase "Quem perdere vult Deus, dementat prius" (often translated as "Whom God wishes to destroy, He first makes mad") is deployed to psychologise recklessness—not as divine retribution (A) or spiritual trial (B), but as a cognitive unravelling that precedes self-destruction. The speaker’s inclusion of the maxim retrospectively frames his own rashness ("the pride that goeth before a fall") as a symptom of impending doom, aligning with Gordon’s fatalistic themes. The phrase doesn’t merely invoke classical authority (D); it diagnoses the mental state that enables disaster. Nor does it contrast secular and moral tones (E)—it unifies them in a portrait of human folly.