<h2> <SPAN name="ch36" id="ch36"></SPAN><br/> <br/> CHAPTER XXXVI. </h2>
<p><small><i>The Poems of Mrs. Moore—The Sad Fate of William Upson—A Fellow
Traveler Imitating the Prince of Wales—A Would-be Dude—Arrival
at Sydney—Curious Town Names with Poem<br/> <br/> <br/></i></small></p>
<p><i>There are several good protections against temptations, but the surest
is cowardice.</i></p>
<p>—Pudd'nhead Wilson's New Calendar.</p>
<p><i>Names are not always what they seem. The common Welsh name Bzjxxllwep
is pronounced Jackson.</i></p>
<p>—Pudd'nhead Wilson's New Calendar.</p>
<p>Friday, December 13. Sailed, at 3 p.m., in the 'Mararoa'. Summer seas and
a good ship—life has nothing better.</p>
<p>Monday. Three days of paradise. Warm and sunny and smooth; the sea a
luminous Mediterranean blue . . . . One lolls in a long chair all day
under deck-awnings, and reads and smokes, in measureless content. One does
not read prose at such a time, but poetry. I have been reading the poems
of Mrs. Julia A. Moore, again, and I find in them the same grace and
melody that attracted me when they were first published, twenty years ago,
and have held me in happy bonds ever since.</p>
<p>"The Sentimental Song Book" has long been out of print, and has been
forgotten by the world in general, but not by me. I carry it with me
always—it and Goldsmith's deathless story.</p>
<p>Indeed, it has the same deep charm for me that the Vicar of Wakefield has,
and I find in it the same subtle touch—the touch that makes an
intentionally humorous episode pathetic and an intentionally pathetic one
funny. In her time Mrs. Moore was called "the Sweet Singer of Michigan,"
and was best known by that name. I have read her book through twice today,
with the purpose of determining which of her pieces has most merit, and I
am persuaded that for wide grasp and sustained power, "William Upson" may
claim first place—</p>
<h3> WILLIAM UPSON. </h3>
<table summary="">
<tr>
<td>
<br/> <br/> Air—"The Major's Only Son."<br/> Come all good
people far and near,<br/> Oh, come and see what you can hear,<br/>
It's of a young man true and brave,<br/> That is now sleeping in his
grave.<br/> <br/> Now, William Upson was his name<br/> If it's not
that, it's all the same<br/> He did enlist in a cruel strife,<br/> And
it caused him to lose his life.<br/> <br/> He was Perry Upson's eldest
son,<br/> His father loved his noble son,<br/> This son was nineteen
years of age<br/> When first in the rebellion he engaged.<br/> <br/>
His father said that he might go,<br/> But his dear mother she said
no,<br/> "Oh! stay at home, dear Billy," she said,<br/> But she could
not turn his head.<br/> <br/> He went to Nashville, in Tennessee,<br/>
There his kind friends he could not see;<br/> He died among strangers,
so far away,<br/> They did not know where his body lay.<br/> <br/> He
was taken sick and lived four weeks,<br/> And Oh! how his parents
weep,<br/> But now they must in sorrow mourn,<br/> For Billy has gone
to his heavenly home.<br/> <br/> Oh! if his mother could have seen her
son,<br/> For she loved him, her darling son;<br/> If she could heard
his dying prayer,<br/> It would ease her heart till she met him there.<br/>
<br/> How it would relieve his mother's heart<br/> To see her son from
this world depart,<br/> And hear his noble words of love,<br/> As he
left this world for that above.<br/> <br/> Now it will relieve his
mother's heart,<br/> For her son is laid in our graveyard;<br/> For
now she knows that his grave is near,<br/> She will not shed so many
tears.<br/> <br/> Although she knows not that it was her son,<br/> For
his coffin could not be opened<br/> It might be someone in his place,<br/>
For she could not see his noble face.<br/>
</td>
</tr>
</table>
<p>December, 17. Reached Sydney.</p>
<p>December, 19. In the train. Fellow of 30 with four valises; a slim
creature, with teeth which made his mouth look like a neglected
churchyard. He had solidified hair—solidified with pomatum; it was
all one shell. He smoked the most extraordinary cigarettes—made of
some kind of manure, apparently. These and his hair made him smell like
the very nation. He had a low-cut vest on, which exposed a deal of frayed
and broken and unclean shirtfront. Showy studs, of imitation gold—they
had made black disks on the linen. Oversized sleeve buttons of imitation
gold, the copper base showing through. Ponderous watch-chain of imitation
gold. I judge that he couldn't tell the time by it, for he asked Smythe
what time it was, once. He wore a coat which had been gay when it was
young; 5-o'clock-tea-trousers of a light tint, and marvelously soiled;
yellow mustache with a dashing upward whirl at the ends; foxy shoes,
imitation patent leather. He was a novelty—an imitation dude. He
would have been a real one if he could have afforded it. But he was
satisfied with himself. You could see it in his expression, and in all his
attitudes and movements. He was living in a dude dreamland where all his
squalid shams were genuine, and himself a sincerity. It disarmed
criticism, it mollified spite, to see him so enjoy his imitation languors,
and arts, and airs, and his studied daintinesses of gesture and
misbegotten refinements. It was plain to me that he was imagining himself
the Prince of Wales, and was doing everything the way he thought the
Prince would do it. For bringing his four valises aboard and stowing them
in the nettings, he gave his porter four cents, and lightly apologized for
the smallness of the gratuity—just with the condescendingest little
royal air in the world. He stretched himself out on the front seat and
rested his pomatum-cake on the middle arm, and stuck his feet out of the
window, and began to pose as the Prince and work his dreams and languors
for exhibition; and he would indolently watch the blue films curling up
from his cigarette, and inhale the stench, and look so grateful; and would
flip the ash away with the daintiest gesture, unintentionally displaying
his brass ring in the most intentional way; why, it was as good as being
in Marlborough House itself to see him do it so like.<br/> <br/> <br/>
<br/></p>
<div class="fig"> <ANTIMG alt="p327.jpg (17K)" src="images/p327.jpg" width-obs="100%" /><br/></div>
<p><br/> <br/> <br/> <br/></p>
<p>There was other scenery in the trip. That of the Hawksbury river, in the
National Park region, fine—extraordinarily fine, with spacious views
of stream and lake imposingly framed in woody hills; and every now and
then the noblest groupings of mountains, and the most enchanting
rearrangements of the water effects. Further along, green flats, thinly
covered with gum forests, with here and there the huts and cabins of small
farmers engaged in raising children. Still further along, arid stretches,
lifeless and melancholy. Then Newcastle, a rushing town, capital of the
rich coal regions. Approaching Scone, wide farming and grazing levels,
with pretty frequent glimpses of a troublesome plant—a particularly
devilish little prickly pear, daily damned in the orisons of the
agriculturist; imported by a lady of sentiment, and contributed gratis to
the colony. Blazing hot, all day.</p>
<p>December 20. Back to Sydney. Blazing hot again. From the newspaper, and
from the map, I have made a collection of curious names of Australasian
towns, with the idea of making a poem out of them:</p>
<table summary="">
<tr>
<td>
<br/> <br/> Tumut<br/> Takee<br/> Murriwillumba<br/> Bowral<br/>
Ballarat<br/> Mullengudgery<br/> Murrurundi<br/> Wagga-Wagga<br/>
Wyalong<br/> Murrumbidgee<br/> Goomeroo<br/> Wolloway<br/> Wangary<br/>
Wanilla<br/> Worrow<br/> Koppio<br/> Yankalilla<br/> Yaranyacka<br/>
Yackamoorundie<br/> Kaiwaka<br/> Coomooroo<br/> Tauranga<br/> Geelong<br/>
Tongariro<br/> Kaikoura<br/> Wakatipu<br/> Oohipara<br/> Waitpinga<br/>
Goelwa<br/> Munno Para<br/> Nangkita<br/> Myponga<br/> Kapunda<br/>
Kooringa<br/> Penola<br/> Nangwarry<br/> Kongorong<br/> Comaum<br/>
Koolywurtie<br/> Killanoola<br/> Naracoorte<br/> Muloowurtie<br/>
Binnum<br/> Wallaroo<br/> Wirrega<br/> Mundoora<br/> Hauraki<br/>
Rangiriri<br/> Teawamute<br/> Taranaki<br/> Toowoomba<br/> Goondiwindi<br/>
Jerrilderie<br/> Whangaroa<br/> Wollongong<br/> Woolloomooloo<br/>
Bombola<br/> Coolgardie<br/> Bendigo<br/> Coonamble<br/> Cootamundra<br/>
Woolgoolga<br/> Mittagong<br/> Jamberoo<br/> Kondoparinga<br/> Kuitpo<br/>
Tungkillo<br/> Oukaparinga<br/> Talunga<br/> Yatala<br/> Parawirra<br/>
Moorooroo<br/> Whangarei<br/> Woolundunga<br/> Booleroo<br/> Pernatty<br/>
Parramatta<br/> Taroom<br/> Narrandera<br/> Deniliquin<br/> Kawakawa.<br/>
</td>
</tr>
</table>
<p>It may be best to build the poem now, and make the weather help</p>
<h3> A SWELTERING DAY IN AUSTRALIA. </h3>
<table summary="">
<tr>
<td>
<br/> <br/> (To be read soft and low, with the lights turned down.)<br/>
<br/> The Bombola faints in the hot Bowral tree,<br/> Where fierce
Mullengudgery's smothering fires<br/> Far from the breezes of
Coolgardie<br/> Burn ghastly and blue as the day expires;<br/> <br/>
And Murriwillumba complaineth in song<br/> For the garlanded bowers of
Woolloomooloo,<br/> And the Ballarat Fly and the lone Wollongong<br/>
They dream of the gardens of Jamberoo;<br/> <br/> The wallabi sighs
for the Murrubidgee,<br/> For the velvety sod of the Munno Parah,<br/>
Where the waters of healing from Muloowurtie<br/> Flow dim in the
gloaming by Yaranyackah;<br/> <br/> The Koppio sorrows for lost
Wolloway,<br/> And sigheth in secret for Murrurundi,<br/> The
Whangeroo wombat lamenteth the day<br/> That made him an exile from
Jerrilderie;<br/> <br/> The Teawamute Tumut from Wirrega's glade,<br/>
The Nangkita swallow, the Wallaroo swan,<br/> They long for the peace
of the Timaru shade<br/> And thy balmy soft airs, O sweet Mittagong!<br/>
<br/> The Kooringa buffalo pants in the sun,<br/> The Kondoparinga
lies gaping for breath,<br/> The Kongorong Camaum to the shadow has
won,<br/> But the Goomeroo sinks in the slumber of death;<br/> <br/>
In the weltering hell of the Moorooroo plain<br/> The Yatala Wangary
withers and dies,<br/> And the Worrow Wanilla, demented with pain,<br/>
To the Woolgoolga woodlands despairingly flies;<br/> <br/> Sweet
Nangwarry's desolate, Coonamble wails,<br/> And Tungkillo Kuito in
sables is drest,<br/> For the Whangerei winds fall asleep in the sails<br/>
And the Booleroo life-breeze is dead in the west.<br/> <br/> Mypongo,
Kapunda, O slumber no more<br/> Yankalilla, Parawirra, be warned<br/>
There's death in the air!<br/> Killanoola, wherefore<br/> Shall the
prayer of Penola be scorned?<br/> <br/> Cootamundra, and Takee, and
Wakatipu,<br/> Toowoomba, Kaikoura are lost<br/> From Onkaparinga to
far Oamaru<br/> All burn in this hell's holocaust!<br/> <br/>
Paramatta and Binnum are gone to their rest<br/> In the vale of
Tapanni Taroom,<br/> Kawakawa, Deniliquin—all that was best<br/>
In the earth are but graves and a tomb!<br/> <br/> Narrandera mourns,
Cameron answers not<br/> When the roll of the scathless we cry<br/>
Tongariro, Goondiwindi, Woolundunga, the spot<br/> Is mute and forlorn
where ye lie.
</td>
</tr>
</table>
<p>Those are good words for poetry. Among the best I have ever seen. There
are 81 in the list. I did not need them all, but I have knocked down 66 of
them; which is a good bag, it seems to me, for a person not in the
business. Perhaps a poet laureate could do better, but a poet laureate
gets wages, and that is different. When I write poetry I do not get any
wages; often I lose money by it. The best word in that list, and the most
musical and gurgly, is Woolloomoolloo. It is a place near Sydney, and is a
favorite pleasure-resort. It has eight O's in it.<br/> <br/> <br/> <br/></p>
<div class="fig"> <ANTIMG alt="p330.jpg (4K)" src="images/p330.jpg" width-obs="100%" /><br/></div>
<p><br/> <br/> <br/> <br/> <br/> <br/></p>
<div style="break-after:column;"></div><br />