Article #258-2 | Gutenberg Articles

Excerpt

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

PREFACE.

The poems of Gordon have an interest beyond the mere personal one which
his friends attach to his name. Written, as they were, at odd times and
leisure moments of a stirring and adventurous life, it is not to be
wondered at if they are unequal or unfinished. The astonishment of those
who knew the man, and can gauge the capacity of this city to foster
poetic instinct, is that such work was ever produced here at all.
Intensely nervous, and feeling much of that shame at the exercise of the
higher intelligence which besets those who are known to be renowned in
field sports, Gordon produced his poems shyly, scribbled them on scraps
of paper, and sent them anonymously to magazines. It was not until he
discovered one morning that everybody knew a couplet or two of "How we
Beat the Favourite" that he consented to forego his anonymity and appear
in the unsuspected character of a versemaker. The success of his
republished "collected" poems gave him courage, and the unreserved
praise which greeted "Bush Ballads" should have urged him to forget or
to conquer those evil promptings which, unhappily, brought about his
untimely death.

Adam Lindsay Gordon was the son of an officer in the English army, and
was educated at Woolwich, in order that he might follow the profession
of his family. At the time when he was a cadet there was no sign of
either of the two great wars which were about to call forth the strength
of English arms, and, like many other men of his day, he quitted his
prospects of service and emigrated. He went to South Australia and
started as a sheep farmer. His efforts were attended with failure. He
lost his capital, and, owning nothing but a love for horsemanship and a
head full of Browning and Shelley, plunged into the varied life which
gold-mining, "overlanding", and cattle-driving affords. From this
experience he emerged to light in Melbourne as the best amateur
steeplechase rider in the colonies. The victory he won for Major Baker
in 1868, when he rode Babbler for the Cup Steeplechase, made him
popular, and the almost simultaneous publication of his last volume of
poems gave him welcome entrance to the houses of all who had pretensions
to literary taste. The reputation of the book spread to England, and
Major Whyte Melville did not disdain to place the lines of the dashing
Australian author at the head of his own dashing descriptions of
sporting scenery. Unhappily, the melancholy which Gordon's friends had
with pain observed increased daily, and in the full flood of his
success, with congratulations pouring upon him from every side, he was
found dead in the heather near his home with a bullet from his own rifle
in his brain.

Explanation

Detailed Explanation of the Preface to Poems by Adam Lindsay Gordon

This Preface—likely written by an editor, publisher, or close associate of Adam Lindsay Gordon—serves as both a biographical introduction and a literary defense of Gordon’s poetry. It frames his work within the context of his turbulent life, his reluctant emergence as a poet, and the tragic circumstances of his death. Below is a breakdown of its key elements, focusing on the text itself while also providing necessary background.

1. Context of the Source

Adam Lindsay Gordon (1833–1870) was an Australian poet whose work bridged Romantic traditions with the rugged, frontier spirit of colonial Australia. Though born in the Azores to a British military family, he spent most of his adult life in Australia, where he became a sheep farmer, horseman, gold miner, and steeplechase rider before gaining fame as a poet. His life was marked by financial failure, personal melancholy, and an early suicide, which lent his poetry a tragic, Byronic intensity.

This Preface likely accompanies a posthumous collection of his poems, aiming to:

Explain the uneven quality of his work (written "at odd times" in a "stirring and adventurous life").
Defend his poetic reputation against skeptics who might dismiss his verses as amateurish.
Mythologize his life, presenting him as a doomed, Romantic figure—a man of action who also possessed a sensitive, literary soul.

2. Themes in the Preface

The Preface introduces several central themes that recur in Gordon’s life and work:

A. The Conflict Between Action and Artistry

Gordon is portrayed as a man of physical prowess (horsemanship, steeplechasing) who hid his poetic talents due to shame:
"Intensely nervous, and feeling much of that shame at the exercise of the higher intelligence which besets those who are known to be renowned in field sports..."
- This suggests a cultural tension: in 19th-century colonial society, poetry was seen as effete compared to the masculine pursuits of farming, mining, and riding.
- His anonymity ("scribbled them on scraps of paper, and sent them anonymously") reinforces his reluctance to be seen as a "versemaker."

B. The Unlikely Birth of Poetry in a Harsh Environment

The Preface expresses surprise that such poetry emerged from Melbourne (a young, rough colonial city):
"The astonishment of those who knew the man, and can gauge the capacity of this city to foster poetic instinct, is that such work was ever produced here at all."
- This reflects the cultural inferiority complex of colonial Australia, which saw itself as a utilitarian, unrefined society compared to Europe.
- Gordon’s poetry, therefore, is framed as a miracle of sorts—proof that even in the wilderness, high art could flourish.

C. The Tragic Arc: Success and Self-Destruction

The Preface foreshadows Gordon’s suicide by hinting at his inner torment:
"the melancholy which Gordon's friends had with pain observed increased daily..."
- His sudden fame (after winning a steeplechase and publishing Bush Ballads) is contrasted with his descent into despair.
- The irony of his death—occurring "in the full flood of his success"—reinforces the Romantic trope of the doomed genius (similar to Byron or Shelley).

D. The Myth of the "Noble Savage" Poet

Gordon is presented as a man of contradictions:
- A sportsman (renowned for riding) who secretly loved Browning and Shelley.
- A failure in practical life (lost his farm, struggled financially) who excelled in artistic expression.
- A colonial outsider who gained international recognition (his work was praised in England).
- This duality makes him a quintessential Romantic figure—both of the wild and above it.

3. Literary Devices in the Preface

The Preface itself is a persuasive, elegiac piece of writing, using several rhetorical and stylistic devices to shape Gordon’s legacy:

A. Juxtaposition & Contrast

Physical vs. Intellectual:
"owning nothing but a love for horsemanship and a head full of Browning and Shelley"
- The rough, masculine (horsemanship) vs. the refined, literary (Browning, Shelley) creates a dramatic tension in his identity.
Public Success vs. Private Despair:
"in the full flood of his success... he was found dead in the heather"
- The abrupt shift from triumph to tragedy heightens the pathos of his story.

B. Irony

Situational Irony:
- A man who hated being seen as a poet became famous for poetry.
- His greatest success coincided with his self-destruction.
Dramatic Irony:
- The reader knows (or is told) that his melancholy will lead to suicide, making his early fame bittersweet.

C. Hyperbole & Emotional Appeal

"The astonishment... is that such work was ever produced here at all."
- Exaggerates the unlikelihood of poetry in colonial Australia, making Gordon seem exceptional.
"the unreserved praise which greeted 'Bush Ballads' should have urged him to forget or to conquer those evil promptings..."
- Implies that fame was not enough to save him, deepening the tragedy.

D. Allusion & Intertextuality

References to Browning and Shelley align Gordon with Romantic poets known for their intensity, rebellion, and early deaths.
The mention of Major Whyte Melville (a British sporting writer) suggests Gordon’s transnational appeal—his work was respected even in England.

E. Symbolism

"found dead in the heather near his home"
- The heather (a wild, natural setting) symbolizes his connection to the Australian bush and his untamed spirit.
- The bullet from his own rifle reinforces the violence of his end—a man who lived by physical daring died by his own hand.

4. Significance of the Preface

This Preface is not just an introduction—it is a myth-making document that shapes how Gordon was (and is) remembered. Its significance lies in:

A. Establishing Gordon as Australia’s "National Poet"

Before Gordon, Australian literature was largely derivative (imitating British models).
His work—rooted in bush life, horsemanship, and colonial struggle—was seen as distinctly Australian.
The Preface elevates him as a unique voice, despite his British heritage.

B. The Romanticization of the "Bush Balladeer"

The Preface glorifies the idea of a poet who lives by action, not just words.
This archetype (the poet-rider, poet-miner) became central to Australian literary identity, influencing later writers like Banjo Paterson and Henry Lawson.

C. The Tragic Artist as a Cultural Trope

Gordon’s suicide at the height of fame fits the Romantic myth of the doomed genius (like Keats, Shelley, or Byron).
The Preface enshrines this narrative, ensuring that his life story becomes as famous as his poetry.

D. The Tension Between Colonial and Cosmopolitan Culture

The Preface acknowledges the cultural limitations of colonial Australia ("the capacity of this city to foster poetic instinct").
Yet, it celebrates Gordon as proof that great art could emerge from the wilderness.
This duality (local vs. universal) remains a key theme in Australian literature.

5. Close Reading of Key Passages

To fully grasp the Preface’s rhetorical power, let’s examine two crucial sections:

Passage 1: The Shame of Poetry

"Intensely nervous, and feeling much of that shame at the exercise of the higher intelligence which besets those who are known to be renowned in field sports, Gordon produced his poems shyly, scribbled them on scraps of paper, and sent them anonymously to magazines."

"Shame at the exercise of the higher intelligence"
- Suggests that intellectual pursuits were looked down upon in a physical, masculine culture.
- Gordon’s anonymity reflects social pressure—he feared being seen as soft or pretentious.
"Scribbled them on scraps of paper"
- Implies spontaneity, lack of polish—his poems were not labored over but born from raw experience.

Passage 2: The Paradox of Success and Death

"Unhappily, the melancholy which Gordon's friends had with pain observed increased daily, and in the full flood of his success, with congratulations pouring upon him from every side, he was found dead in the heather near his home with a bullet from his own rifle in his brain."

"In the full flood of his success"
- The word "flood" suggests overwhelming force—his fame was too much, too fast.
"Found dead in the heather"
- The pastoral imagery (heather) contrasts with the violence of suicide, reinforcing the Romantic ideal of nature as both beautiful and deadly.
"Bullet from his own rifle"
- A symbol of self-destruction, but also control—he chose his fate, like a Byronic hero.

6. Conclusion: Why This Preface Matters

This Preface is not just about Adam Lindsay Gordon—it is about:

How a nation constructs its literary heroes.
The conflict between art and action in colonial society.
The enduring appeal of the "doomed poet" myth.

Gordon’s life and work embodied the struggles of colonial Australia—a land of hardship and beauty, where poetry and survival were often at odds. The Preface ensures he is remembered not just as a poet, but as a symbol—of Australian identity, Romantic tragedy, and the power of art to emerge from unlikely places.

His legacy endures because, in many ways, he was the first to give voice to the Australian bush in verse, and this Preface immortalizes him as both a man and a myth.

Questions

Question 1

The Preface’s portrayal of Gordon’s reluctance to embrace his poetic identity is most fundamentally a critique of:

A. the commercialisation of literature in colonial Australia, where poets were forced to publish anonymously to avoid exploitation.
B. the intellectual pretensions of Melbourne’s literary elite, who dismissed verse unless it conformed to European standards.
C. the inherent tension between oral and written traditions in frontier societies, where storytelling was communal rather than individual.
D. the cultural valorisation of physical prowess over intellectual achievement in a society that equated masculinity with action rather than reflection.
E. the psychological fragility of Romantic poets, whose sensitivity made them incapable of reconciling their public and private selves.

Question 2

The phrase "the capacity of this city to foster poetic instinct" (line 4) primarily serves to:

A. lament the absence of formal literary institutions in Melbourne, which forced Gordon to rely on informal networks for publication.
B. underscore the improbability of poetic genius emerging in a colonial environment perceived as culturally barren and utilitarian.
C. criticise the urban elite’s failure to recognise Gordon’s talent until his work gained international acclaim.
D. contrast the vibrant oral traditions of the bush with the stifling intellectual climate of the city.
E. suggest that Gordon’s poetry was a direct response to the aesthetic deficiencies of his surroundings.

Question 3

The Preface’s account of Gordon’s suicide is structured to evoke which of the following literary effects?

A. Bathos, by juxtaposing the height of public adulation with the abruptness of self-annihilation, thereby undermining the Romantic ideal of the poet.
B. Catharsis, by resolving the tension between Gordon’s external success and internal torment through a tragically inevitable conclusion.
C. Verisimilitude, by providing precise details (e.g., "bullet from his own rifle") to ground the narrative in historical fact rather than myth.
D. Allegory, by transforming Gordon’s death into a symbolic representation of colonial Australia’s cultural contradictions.
E. Irony, by implying that his poetic fame was the direct cause of his despair, rather than a potential source of salvation.

Question 4

The Preface’s reference to Gordon’s "head full of Browning and Shelley" (line 15) is most strategically deployed to:

A. highlight the derivative nature of his poetry, which borrowed heavily from Romantic conventions without originality.
B. position him as a bridge between European literary traditions and the emerging Australian canon.
C. accentuate the paradox of a man whose intellectual influences were at odds with his rugged, physical existence.
D. suggest that his melancholy was a direct consequence of his immersion in the works of tragically fated poets.
E. critique the colonial education system, which imposed foreign literary models on Australian writers.

Question 5

The Preface’s closing image—"found dead in the heather near his home with a bullet from his own rifle in his brain"—is most thematically resonant with which of the following ideas?

A. The inescapable fusion of violence and beauty in the colonial imagination, where even poetic genius is subject to the brutality of frontier life.
B. The ultimate triumph of individualism, as Gordon’s suicide represents a defiant rejection of societal expectations and literary fame.
C. The failure of the Romantic project, since Gordon’s death proves that art cannot transcend the material conditions of existence.
D. The cyclical nature of fame and obscurity, where public acclaim is inevitably followed by erasure and mythologisation.
E. The redemptive power of nature, as the heather symbolises a return to the organic world after the artifices of poetic ambition.

Solutions and Explanations

1) Correct answer: D

Why D is most correct: The Preface explicitly states that Gordon felt "shame at the exercise of the higher intelligence which besets those who are known to be renowned in field sports." This reveals a cultural hierarchy where physical prowess (e.g., steeplechasing, farming) was privileged over intellectual or artistic pursuits. His anonymity and reluctance stem from this valorisation of action over reflection, a tension central to colonial masculinity. The other options either misattribute the critique (e.g., to commercialisation or psychological fragility) or introduce themes (e.g., oral vs. written traditions) not grounded in the passage.