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            <head>Parāone’s horses:<lb/>a letter from <name key="name-120062" type="person">Hōhepa Tamamutu</name>, <date when="1875">1875</date></head>
            <byline>
              <name key="name-121053" type="person">Margaret Orbell</name>
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            <p>When horses were first introduced to Aotearoa they were so rare and expensive that they were owned only by the most powerful families. In Taupō in <date when="1844">1844</date>, a travelling artist, <name key="name-207265" type="person">G. F. Angas</name>, found that the only horse in the region belonged to <name key="name-120121" type="person">Te Wāka</name>, son of the great <name key="name-400085" type="person">Te Heuheu</name>. Sent as a present by a northern rangatira (<name key="name-120229" type="person">Te Wāka Nēnē</name>), the animal had been shipped to Tauranga then taken overland with much trouble and excitement. Now <name key="name-120121" type="person">Te Wāka</name> was to be seen galloping along the shores of the lake, and young people had covered ‘nearly every flat board within the settlement’ with ‘numberless charcoal drawings of men on horseback’ (<name type="person">Angas</name> II, 111-12).</p>
            <p>The usual word for ‘horse’ is ‘hōiho’, but a poetic, celebratory term also came into use at this time. Its origin lay in the early-morning sight and sound of Pākehā attempting to mount their horses. They would run after them calling, ‘Come here!’—and these English words became the Māori ‘kāmia’, a word used mainly when horses were being honoured in formal speech.</p>
            <p>Later, herds of wild horses appeared in some parts of the country and it became possible to catch the animals and break them in, strenuous and often dangerous work though this was. Although they were still expensive, horses now were common enough for their use to have far-reaching effects upon perceptions of distance, journeys undertaken, and relations between iwi.</p>
            <p>In 1875, Ngāti Tūwharetoa in the Taupō region were visited by a large party of Ngāti Raukawa, an iwi from the north. Nearly all were on horseback, but <name key="name-120230" type="person">Parāone Taupiri</name> and his (unnamed) wife made the journey on foot because their horses had recently died. With plenty of time to think on the way, <name type="person">Parāone</name> composed a waiata to sing upon his arrival. Ngāti Tūwharetoa were related to his hapū of Ngāti Tahu (see <name type="person">Grace</name> 202, 255),<note n="1" xml:id="note-0001"><p>Ngāti Tahu are a hapū in the Atiamuri and Orākei-kōrako districts; Pōhaturoa at Atiamuri was their main pā (<name type="person">Grace</name> xi).</p></note> and they were rich in horses, for wild herds roamed their tussock uplands. He would see what effect an eloquent appeal might have.</p>
            <p>On a Taupō marae, <name type="person">Parāone</name> sang of his grief then gave the reason. Addressing his horses [kāmia],<note n="2" xml:id="note-0002"><p>Using a standard poetic device, he first speaks of his horses, then addresses them without further preliminary.</p></note> he traced the journey their wairua [spirits] must now be making. He then addressed six of the leading rangatira in the Taupō region, asking for their help in language similar to that which in the past had been employed by singers seeking military assistance in avenging a defeat in battle. By replacing <name type="person">Parāone</name>’s horses these men would avenge their deaths and, in effect, bring them back.</p>
            <p>Finally <name type="person">Parāone</name> spoke of Tongariro, the tapu mountain of Ngāti Tūwharetoa, in words which courteously identify the rangatira with their mountain and seem at the same time to be addressed to all of Ngāti Tūwharetoa.<note n="3" xml:id="note-0003"><p>The two mountains now known as Tongariro and Ngāuruhoe used to be seen as together forming a single mountain, Tongariro, of which Ngāuruhoe was the peak.</p></note>
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            <p>The six rangatira made a gracious response, presenting <name type="person">Parāone</name> (and, in effect, his people) with no fewer than seven horses. Apparently each of the rangatira gave a horse, while the seventh was regarded as coming from Tongariro in general.</p>
            <p>One of these Taupō rangatira was <name key="name-120062" type="person">Hōhepa Tamamutu</name>, who lived to the north of the lake. <name type="person">Tamamutu</name> wrote to a Māori-language paper, <title type="published"><name key="name-120264" type="work">Te Wananga</name></title> (for which, see <name type="person">Sinclair</name> 118-20), to tell the story. The letter was not published in <title type="published"><name key="name-120264" type="work">Te Wananga</name></title> but was preserved by the then editor <name key="name-209610" type="person">John White</name>, and is now among his manuscript papers in the Auckland City Libraries (NZMS 714. <name key="name-209610" type="person">John White</name>. <title type="published"><name key="name-120248" type="work">Papers &amp; Memoranda Vol. 3</name></title> (Letter by <name key="name-120062" type="person">Hōhepa Tamamutu</name>)). I am grateful for permission to publish it here.</p>
            <quote>
              <p>Oruanui, Taupō.</p>
              <p>   Hepetema 16, 1875.</p>
              <p>Ki te kaituhi o <title type="published"><name key="name-120264" type="work">Te Wānanga</name></title>,</p>
              <p>Tēnā koe, kia ora tonu koe mō te uta atu i
                tēnei waiata ka tukua atu nei e ahau mō runga i te matenga
                o ngā hōiho o <name type="person">Parāone
                  Taupiri</name>, o Ngāti Tahu, o Ngāti Raukawa.</p>
              <p>Pohara<note n="4" xml:id="note-0004"><p>This word ‘pohara’ must be formed from
                    ‘hara’, which <name type="person">Williams</name> (1971:
                    hara (iii)) defines as ‘miss . . . come short of’.</p></note> ana taua tangata i te hōiho i te rā i whakatika mai ai a Ngāti Raukawa ki Taupō; ka haere hoki taua tangata, ka waha i ōna pikaunga ki runga i ō rāua tuara ko tāna wahine. Ko Ngāti Raukawa, e whitu tekau, i runga katoa i te hōiho; ko taua tangata me tāna wahine ki raro i te whenua oke ai. Ka oma ngā hōiho o te katoa, ka titiro ōna kanohi, ka puta tōna mihi ki a rāua ko tāna ruahine. Kātahi ka titoa tōna tangi e mau i raro nei.<note n="5" xml:id="note-0005"><p>The line lengths of the waiata are uncertain.</p></note>
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              <lg type="waiata">
                <l>E muri ahiahi, takoto ki te moenga,</l>
                <l>Ka rarua aku mahara, ngaro noa te kāmia</l>
                <l>I te hikitanga wae nō Ngāti Raukawa.</l>
                <l>Tērā pea kōrua kei ngā wī ka hau</l>
                <l>I roto ngā Roto Takawha,</l>
                <l>Kai atu rā ngā rori ka tuwhera i roto Atiamuri.</l>
                <l>Tērā pea kōrua kai ngā titahatanga i roto Whakaheke,</l>
                <l>Ka kitea mai kōrua e Ngāti Te Whetū.</l>
                <l>Mā wai e rangaranga tō kōrua mate i te ao?</l>
                <l>Mā <name key="name-120284" type="person">Te Hemopō</name>, mā <name key="name-120062" type="person">Hōhepa Tamamutu</name>,</l>
                <l>Mā <name key="name-120303" type="person">Te Papanui</name>, mā <name key="name-400085" type="person">Te Heuheu</name>,</l>
                <l>Mā <name key="name-120362" type="person">Paurini Karamu</name>, mā <name type="person">Kīngi</name>—Tongariro ē!—</l>
                <l>Ka hoki mai ki ahau!</l>
                <l>Nā ēnei tāngata e mau nei ō rātou ingoa i roto i tēnei waiata i hoatu he hōiho mō taua tangata—e whitu hōiho.</l>
                <l>Heoi anō,</l>
                <l>nā <name key="name-120062" type="person">Hōhepa Tamamutu</name> i tuku atu.</l>
              </lg>
            </quote>
            <quote>
              <p>Oruanui, Taupō.</p>
              <p>September 16, 1875.</p>
              <p>To the writer of <title type="published"><name key="name-120264" type="work">Te Wānanga</name></title>,</p>
              <p>Greetings, and thank you for taking on board this waiata I am sending.<note n="6" xml:id="note-0006"><p>Māori-language newspapers were frequently spoken of as waka [vessels] which sailed to their readers laden with information.</p></note> It is about the death of the horses that belonged to <name key="name-120230" type="person">Parāone Taupiri</name>, of Ngāti Tahu and Ngāti Raukawa.</p>
              <p>This man had no horses on the day Ngāti Raukawa started out for Taupō, so he set out—he and his wife—carrying their packs on their backs. There were seventy people from Ngāti Raukawa, all on horseback, while that man and his wife were struggling along down on the ground. All the other people’s horses were galloping along, and when his eyes beheld this he expressed the sorrow he felt for himself and his old lady. And he composed this lament that is given below.</p>
              <lg type="waiata">
                <l>Grieving in the evening, I lie on my bed</l>
                <l>With troubled thoughts, my horses gone</l>
                <l>From Ngāti Raukawa’s expedition.</l>
                <l>Perhaps you are in the sounding tussock</l>
                <l>By the Takawha Lakes,</l>
                <l>Passing along the roads that lie open at Atiamuri.</l>
                <l>Perhaps you are on the winding paths at Whakaheke,</l>
                <l>Where Ngāti Whetū will see you.</l>
                <l>Who will make good your deaths in this world?</l>
                <l><name key="name-120284" type="person">Te Hemopō</name> will do so, and <name key="name-120062" type="person">Hōhepa Tamamutu</name>,</l>
                <l><name key="name-120303" type="person">Te Papanui</name>, <name key="name-400085" type="person">Te Heuheu</name>,</l>
                <l><name key="name-120362" type="person">Paurini Karamu</name> and <name type="person">Kīngi</name>—O Tongariro!—</l>
                <l>And you will return to me!</l>
                <l>And the men named in this waiata gave horses to that man. They gave him seven horses.</l>
                <l>That is all.</l>
                <l>This was sent by <name key="name-120062" type="person">Hōhepa Tamamutu</name>.</l>
              </lg>
            </quote>
          </div>
        </body>
        <back xml:id="t1-g1-t1-back">
          <div xml:id="t1-g1-t1-back-d1">
            <head>Works Cited</head>
            <listBibl>
              <bibl><author><name key="name-207265" type="person">Angas, George
                    French</name></author>. <title level="m"><name key="name-120374" type="work">Savage life and scenes in Australia and New
                    Zealand</name></title>. 2 vols. <pubPlace><name type="place">London</name></pubPlace>: <publisher><name type="organisation">Smith, Elder</name></publisher>, <date when="1847">1847</date>.</bibl>
              <bibl><author><name key="name-208072" type="person">Grace, John Te
                    H</name></author>. <title level="m"><name key="name-120383" type="work">Tuwharetoa: the history of the Maori people of the Taupo
                    district</name></title>. <pubPlace><name type="place">Wellington</name></pubPlace>: <publisher><name type="organisation">Reed</name></publisher>, <date when="1959">1959</date>.</bibl>
              <bibl><author><name key="name-025098" type="person">Sinclair,
                    Keith</name></author>. <title level="m"><name key="name-120410" type="work">Kinds of peace: Maori people after the wars
                    1870-85</name></title>. <pubPlace><name type="place">Auckland</name></pubPlace>: <publisher><name type="organisation">Auckland University Press</name></publisher>,
                <date when="1991">1991</date>.</bibl>
              <bibl><author><name key="name-209644" type="person">Williams, Herbert
                    W</name></author>. <title level="m"><name key="name-122722" type="work">Dictionary of the Maori language</name></title>. <edition>7th
                ed.</edition><pubPlace><name type="place">Wellington</name></pubPlace>:
                <publisher><name type="organisation">Government
                    Printer</name></publisher>, <date when="1971">1971</date>.</bibl>
            </listBibl>
          </div>
        </back>
      </text>
      <text xml:id="t1-g1-t2" decls="#text-2-bibl #text-class-about-he-waiata-o-hemi">
        <body xml:id="t1-g1-t2-body">
          <div type="article" xml:id="t1-g1-t2-body-d1">
            <head>‘<title type="unpublished"><name key="name-120417" type="work">He Waiata o Hemi</name></title>’: An Unpublished Poem<lb/> by <name key="name-207374" type="person">James K. Baxter</name></head>
            <byline>
              <name key="name-120418" type="person">Peter Whiteford</name>
            </byline>
            <p>It has long been recognized that the <title type="published"><name key="name-120433" type="work">Collected Poems</name></title> of <name key="name-207374" type="person">James K. Baxter</name> gathers
              together only a portion of what he wrote: <name key="name-207423" type="person">James Bertram</name> estimated ‘about a
              quarter’ (<name type="person">Manhire</name> 102), but the
              evidence of <name key="name-207374" type="person">Baxter</name>’s manuscripts
              suggests this may be somewhat conservative, as <name key="name-122768" type="person">Paul Millar</name>’s introduction to the recent
              re-issue of <title type="published"><name key="name-120459" type="work">Beyond the Palisade</name></title> makes clear. An
              equally telling reminder is provided by <name type="person">Millar</name>’s edition of <title type="published"><name key="name-120477" type="work">Cold
                  Spring</name></title> (1996), the volume which was to have been <name key="name-207374" type="person">Baxter</name>’s second collection, but which was
              ultimately rejected by Caxton’s editor, <name key="name-120491" type="person">Lawrence Baigent</name>. This note presents another
              hitherto unpublished poem, one of which it appears <name key="name-207374" type="person">Baxter</name> kept no other copy, and provides something
              of its context.<note n="1" xml:id="note-0007"><p>I am grateful to Mrs <name key="name-120535" type="person">J. C. Baxter</name> for permission to print
                  ‘<title type="unpublished"><name key="name-120417" type="work">He Waiata o Hemi</name></title>’; I am also
                  grateful to <name key="name-120548" type="person">Cardinal
                    Williams</name> for permission to quote from <name key="name-120576" type="person">Cardinal McKeefry</name>’s letter, and for
                  allowing me access to the Archdiocesan Archive.</p></note>
            </p>
            <p>By November of 1970, the community developing at <name key="name-003920" type="place">Jerusalem</name> had grown beyond
              the capacity of the small house which <name key="name-207374" type="person">Baxter</name> was using by favour of the Sisters of
              Compassion, and the group was obliged to move to larger premises made
              available by local Maori. Unable to finance the move from his own
              meagre resources, <name key="name-207374" type="person">Baxter</name>
              wrote (on the 10<hi rend="sup">th</hi> of the month) to the then
              Archbishop of Wellington, <name key="name-120576" type="person">Cardinal McKeefry</name>, asking for a small, short-term
              loan to enable them to establish electrical and water supplies. It is
              not possible to reproduce the letter here, but it provides a valuable
              insight into how <name key="name-207374" type="person">Baxter</name>
              represented the <name key="name-003920" type="place">Jerusalem</name> community. He is clearly aware of
              its ambiguous reputation, and goes to some effort to describe what he
              sees as the positive social and spiritual fruits of community
              living. No doubt he is all too conscious of his reader, but his letter
              offers some confirmation of the view <name type="person">McKay</name>
              presents of a community that avoids drugs and promiscuity, and that
              lives by sharing goods and by communal work (255ff).</p>
            <p><name type="person">McKeefry</name> replied within a week,
              welcoming and applauding the work <name key="name-207374" type="person">Baxter</name> was doing on behalf of ‘nga raukore,
              the poor of God’ (the phrase, of course, is <name key="name-207374" type="person">Baxter</name>’s, not that of the
              Cardinal), and he was clearly supportive of the endeavour. He
              describes himself as ‘deeply moved’ by <name key="name-207374" type="person">Baxter</name>’s account, and
              continues:</p>
            <quote>
              <p>This is a most important work that you are seeking to do, and by
                working in your own way, but with complete trust in God, you are
                achieving results. In other parts of the world there are people
                similarly dedicated drawing their inspiration from their own
                membership in the Church but working outside its ambit in reclaiming
                souls for God. It is the value of the souls that
                counts…’</p>
            </quote>
            <p>The letter enclosed a cheque for slightly more than <name key="name-207374" type="person">Baxter</name> had requested. ‘I
              imagine’, wrote the Cardinal, ‘that there could be
              unexpected difficulties in doing these works, and it is better for you
              to know that you have some reserve to meet the unexpected
              problems.’</p>
            <p>He accepted <name key="name-207374" type="person">Baxter</name>’s assurance that the money would be
              repaid, but insisted ‘you are not to be over-concerned about a
              time limit or repayment. The main thing is for you to be able to
              continue this work tranquil in mind and free from undue worry. You
              will have enough worries through human beings and they will be a
              severe testing for yourself.’</p>
            <p><name key="name-207374" type="person">Baxter</name>’s
              response to <name type="person">McKeefry</name>’s support was
              another letter, this time in the form of a poem, but concluding with
              much the same farewell as the earlier letter had done, with an
              acknowledgement of spiritual childhood.</p>
            <p>Written in <name key="name-207374" type="person">Baxter</name>’s own hand, the poem is preserved in
              a single copy in the Wellington Archdiocesan Archives, together with
              the letters referred to here. It is reproduced here exactly as <name key="name-207374" type="person">Baxter</name> set it down – the
              parenthetical glosses are the poet’s own.</p>
            <quote>
              <floatingText xml:id="t1-g1-t2-body-d1-t1" decls="#text-2-1-bibl #poetry">
                <body xml:id="t1-g1-t2-body-d1-t1-body">
                  <div xml:id="t1-g1-t2-body-d1-t1-body-d1">
                    <head>
                      <title>
                        <name key="name-120417" type="work">He Waiata o Hemi</name>
                      </title>
                    </head>
                    <lg>
                      <l>I came to Hiruharama     (<name key="name-003920" type="place">Jerusalem</name>)</l>
                      <l>With a leather coat;</l>
                      <l>Now the coat is cloth        (your gift/loan)</l>
                      <l>but the cuffs are still leather.     (voluntary poverty)</l>
                    </lg>
                    <lg>
                      <l>Kua timata te mahi –</l>
                      <l>The work has begun.</l>
                      <l>There are beans growing</l>
                      <l>And Karl planted them;</l>
                      <l>There are pumpkins growing</l>
                      <l>And Heto dug the ground;</l>
                      <l>There are eels in the pot</l>
                      <l>And Peter caught them – Yes,</l>
                      <l>Kua timata te mahi–</l>
                      <l>The work has begun.</l>
                    </lg>
                    <lg>
                      <l>Ka whakaiti taku mana,</l>
                      <l>Ka whakanui te aroha –</l>
                      <l>As I shrink down to death</l>
                      <l>The love will grow greater.</l>
                      <l>The old kumara has to rot</l>
                      <l>For the young ones to get life –</l>
                      <l>When the hangi is ready     (feast)</l>
                      <l>They dig them out of the ground,</l>
                      <l>The young ones red and strong,</l>
                      <l>but the old one is pulpy –</l>
                      <l>They throw him over the fence</l>
                      <l>With mildew round his neck.     (kenosis)</l>
                    </lg>
                    <lg>
                      <l>He parapara iti,</l>
                      <l>The little seed in the ground</l>
                      <l>The all-but-nothing thing –</l>
                      <l>The soul that sleeps naked</l>
                      <l>In the arms of Te Atua –     (God)</l>
                      <l>No good at all if the seed</l>
                      <l>Was wrapped in cellophane.     (no possessions)</l>
                    </lg>
                    <lg>
                      <l>Because our God is dark</l>
                      <l>The blindness does not matter –</l>
                      <l>Because our God is silent</l>
                      <l>The deaf man gets no blame.</l>
                    </lg>
                    <lg>
                      <l>What can I do in the morning?</l>
                      <l>I can put on my coat;</l>
                      <l>I can make a cup of coffee;</l>
                      <l>And light a cigarette;</l>
                      <l>I can kneel down like a camel</l>
                      <l>On the grass beside the fence;</l>
                      <l>I can eat and walk and sleep;</l>
                      <l>I can pray for those I love –</l>
                      <l>Ko te aroha, i te Ariki –</l>
                      <l>When we love, it is the Lord –</l>
                      <l>And this dead man is permitted</l>
                      <l>To give with empty hands.</l>
                    </lg>
                    <lg>
                      <l>When we share our fags and blankets</l>
                      <l>Christ begins to shine –</l>
                      <l>Our flesh becomes the bread;</l>
                      <l>Our blood becomes the wine –</l>
                      <l>I am cowshit in the garden</l>
                      <l>So that the crops can grow –</l>
                      <l>Ko Ihu taku wai,</l>
                      <l>The Lord is my drink –</l>
                      <l>Ko Ihu taku kai,</l>
                      <l>The Lord is my food –</l>
                      <l>Ko Ihu taku moni,</l>
                      <l>The lord is my bank account –</l>
                      <l>Ko Ihu taku mana,</l>
                      <l>The Lord is my good name –</l>
                      <l>Ko Ihu taku aroha,</l>
                      <l>The Lord is my heart –</l>
                      <l>Ko Ihu taku mate,</l>
                      <l>The Lord is my death pain.</l>
                    </lg>
                    <lg>
                      <l>To be a dead goat</l>
                      <l>That the flies gather on –</l>
                      <l>The sun in his mercy</l>
                      <l>Can make the teeth shine.</l>
                      <l>Even our sins are His     (He ‘became sin’ for us)</l>
                      <l>Let the new pain begin.</l>
                    </lg>
                    <lg>
                      <l>Arohanui, e pa.</l>
                      <l>     Hemi</l>
                    </lg>
                  </div>
                </body>
              </floatingText>
            </quote>
            <p>The poem is typical of much of the <name key="name-003920" type="place">Jerusalem</name> verse in its controlled handling of
              speech rhythms, its occasional rhetorical elevation of such rhythms,
              its assured colloquialisms, its forceful natural imagery, and its
              relaxed movement between two languages.</p>
            <p>Equally, ‘<title type="unpublished"><name key="name-120417" type="work">He Waiata o Hemi</name></title>’ is important for
              what it reveals about <name key="name-207374" type="person">Baxter</name>’s intentions, desires and
              achievements with regard to <name key="name-003920" type="place">Jerusalem</name>, and for the insights it provides
              into the spiritual dimension of the <name key="name-003920" type="place">Jerusalem</name> experience.</p>
          </div>
        </body>
        <back xml:id="t1-g1-t2-back">
          <div xml:id="t1-g1-t2-back-d1">
            <head>Works Cited</head>
            <listBibl>
              <bibl><author><name key="name-207374" type="person">Baxter, James
                    K</name></author>. <title level="m"><name key="name-120433" type="work">Collected Poems</name></title>. Ed. <editor><name key="name-122777" type="person">John E. Weir</name></editor>. <pubPlace><name key="name-002817" type="place">Auckland</name></pubPlace>: <publisher><name key="name-200382" type="organisation">Oxford University
                    Press</name></publisher>, 1980, 1981.</bibl>
              <bibl><author><name key="name-207374" type="person">Baxter, James
                    K</name></author>. <title level="m"><name key="name-120477" type="work">Cold Spring</name></title>. Ed. <editor><name key="name-122768" type="person">Paul Millar</name></editor>. <pubPlace><name key="name-002817" type="place">Auckland</name></pubPlace>: <publisher><name key="name-200382" type="organisation">Oxford University
                    Press</name></publisher>, <date when="1996">1996</date>.</bibl>
              <bibl><author><name key="name-207374" type="person">Baxter, James
                    K</name></author>. <title level="m"><name key="name-120459" type="work">Beyond the Palisade</name></title>. Ed. <editor><name key="name-122768" type="person">Paul Millar</name></editor>. <pubPlace><name key="name-002817" type="place">Auckland</name></pubPlace>: <publisher><name key="name-200382" type="organisation">Oxford University
                    Press</name></publisher>, <date when="1998">1998</date>.</bibl>
              <bibl><author><name key="name-035801" type="person">Manhire,
                    Bill</name></author>. ‘<title level="a"><name key="name-120612" type="work">Events and Editorials: Baxter’s Collected
                    Poems</name></title>.’ <title level="m"><name key="name-120630" type="work">Islands</name></title> 31–32 (<date when="1981">1981</date>): 102–120.</bibl>
              <bibl><author><name key="name-035765" type="person">McKay,
                    Frank</name></author>. <title level="m"><name key="name-120679" type="work">The Life of <name key="name-207374" type="person">James
                      K. Baxter</name></name></title>. <pubPlace><name key="name-002817" type="place">Auckland</name></pubPlace>: <publisher><name key="name-200382" type="organisation">Oxford University
                    Press</name></publisher>, <date when="1990">1990</date>.</bibl>
              <bibl><author><name key="name-208587" type="person">McKeefry,
                    Peter</name></author>. Letter to <name key="name-207374" type="person">James K. Baxter</name>. 16 November 1970. Roman Catholic
                Archdiocesan Archives, Wellington.</bibl>
            </listBibl>
          </div>
        </back>
      </text>
      <text xml:id="t1-g1-t3" decls="#text-3-bibl">
        <body xml:id="t1-g1-t3-body">
          <div type="article" xml:id="t1-g1-t3-body-d1">
            <head><name key="name-207527" type="person">Rosina Buckman</name>’s press-cuttings and the first complete performance of <name type="person">Elgar</name>’s <title type="published"><name key="name-120685" type="work">The Spirit of England</name></title></head>
            <byline>
              <name key="name-200517" type="person">John Mansfield Thomson</name>
            </byline>
            <p>The Blenheim-born soprano <name key="name-207527" type="person">Rosina Buckman</name> (<date from="1881" to="1948">1881–1948</date>) had a distinguished career as
              an opera singer, and as a concert artist and teacher. One of the
              greatest Isoldes of her age, an outstanding Aida and Butterfly and a
              touching Mimi, she sang with <name type="person">Melba</name> and
              <name type="person">Martinelli</name> at Covent Garden and during the
              years of the First World War became principal dramatic soprano of the
              Beecham Opera Company.</p>
            <p>Most of <name type="person">Buckman</name>’s collections of press-cuttings are already known and their contents have been disseminated by biographers and historians (<name type="person">Simpson</name> 105-119). However, another volume of these has recently come to light in a Wellington basement.<note n="1" xml:id="note-0008"><p>This volume was probably loaned to the author by <name key="name-120711" type="person">Alzie Calvert</name>, <name key="name-207527" type="person">Rosina Buckman</name>’s sister, then
                  living in Oriental Bay, Wellington, some time in the late 1950s, but
                  for reasons unknown was not returned to her with the other
                  material. <name key="name-120711" type="person">Alzie</name> was hoping I would write a
                  biography of <name key="name-207527" type="person">Rosina</name>, but at that time I was
                  preparing <title type="published"><name key="name-120722" type="work">A Distant Music: The Life and Times of Alfred
                      Hill</name></title> (<name key="name-002817" type="place">Auckland</name>, 1980). The press-cutting book remained
                  in a flat in Wadestown, <name key="name-008844" type="place">Wellington</name>, belonging to <name key="name-120734" type="person">William Renwick</name> and was
                  eventually stored in the basement of his house, also in
                  Wadestown. When he moved in early 1998 to another part of the city,
                  the volume was re-discovered.</p></note> Among the clippings it contains, those of particular interest
              here are the reviews of the first complete performance of <name key="name-110229" type="person">Edward Elgar</name>’s <title type="published"><name key="name-120685" type="work">The Spirit of
                  England</name></title> on 4 October 1917 in <name key="name-003140" type="place">Birmingham</name> with <name key="name-207527" type="person">Rosina
              Buckman</name> as soloist.</p>
            <p><title type="published"><name key="name-120685" type="work">The
                  Spirit of England</name></title> is a three part song cycle,
              comprising settings of three war poems by <name key="name-120750" type="person">Laurence Binyon</name> (1869-1943) taken from his <title type="published"><name key="name-120752" type="work">The
                  Winnowing-Fan</name></title>, which had been published in 1914 with
              considerable success. <name key="name-110229" type="person">Elgar</name> began work on
              the cycle in 1915 at the suggestion of a mutual friend, <name key="name-120757" type="person">Sydney Colvin</name>. Knowing of <name key="name-110229" type="person">Elgar</name>’s extreme distress at the slaughter of the
              war, <name type="person">Colvin</name> had written to him on 10
              January 1915: ‘Why don’t you do a wonderful Requiem for the slain --
              something in the spirit of <name type="person">Binyon</name>’s <title type="unpublished"><name key="name-120805" type="work">For the
                  Fallen</name></title> . . .’ (Moore 288).</p>
            <p><name type="person">Elgar</name>chose three of <name type="person">Binyon</name>’s poems, adding ‘<title type="unpublished"><name key="name-120816" type="work">The Fourth of
                  August</name></title>’ and ‘<title type="unpublished"><name key="name-120824" type="work">To the Women</name></title>’ to <name type="person">Colvin</name>’s suggestion of ‘<title type="unpublished"><name key="name-120805" type="work">For the
                  Fallen</name></title>’, but as he began work on them he learned that a
              Cambridge composer, <name key="name-120825" type="person">Cyril
                Rootham</name>, had already set ‘<title type="unpublished"><name key="name-120805" type="work">For the Fallen</name></title>’ and his
              manuscript was with the publisher Novello. <name key="name-110229" type="person">Elgar</name> felt he must withdraw. <name type="person">Binyon</name> wrote, urging him to proceed. ‘Think of
              the thousands who will be craving to have their grief glorified &amp;
              lifted up &amp; transformed by an art like yours . . . Surely it would
              be wrong to let them lose this help &amp; consolation’ (<name type="person">Moore</name> 288-89). He pointed out that <name type="person">Rootham</name> had purposely planned his work ‘on simple
              lines so as to be within the compass of small local choral societies:
              so I cannot see why his should clash, or why both settings should not
              be published’.</p>
            <p>Further letters followed until in the end it was decided that
              Novello would indeed follow this course: <name type="person">Rootham</name>’s version would appear first. ‘But <name type="person">Rootham</name> and his friends raised a howl of
              protest’, wrote <name key="name-120842" type="person">Jerrold Northrop
                Moore</name> (289). <name key="name-110229" type="person">Elgar</name> was again ready
              to abandon the project. <name type="person">Colvin</name> wrote him a
              highly emotional and persuasive cri de coeur which convinced the
              composer. He resumed work, but made slow progress.</p>
            <p>Parts 2 and 3 (‘<title type="unpublished"><name key="name-120843" type="work">To Women</name></title>’ and ‘<title type="unpublished"><name key="name-120805" type="work">For the
                  Fallen</name></title>’) were completed first and had already been
              performed to immediate and emotional acclaim (<name type="person">Moore</name> 288-97), but the Birmingham concert on 4
              October 1917 included the première of Part 1, ‘<title type="unpublished"><name key="name-120816" type="work">The Fourth of
                  August</name></title>’ which <name key="name-110229" type="person">Elgar</name> had
              completed last and on which he had expended considerable labour (<name type="person">Kennedy</name> 353-54).<note n="2" xml:id="note-0009"><p>For details of performances of <title type="published"><name key="name-120685" type="work">The Spirit of England</name></title>,
                  see <name type="person">Kennedy</name> 353-54. The first complete one
                  is, however, attributed to London on 24 November 1917 instead of
                  Birmingham.</p></note> It was this Birmingham concert which was the first complete
              performance of the cycle.</p>
            <p>The most penetrating review of that notable occasion is by <name key="name-007887" type="person">Ernest Newman</name>: it sums up the
              mood of the times, the anguish of the war, besides assessing <name key="name-110229" type="person">Elgar</name>’s achievement perceptively:<note n="3" xml:id="note-0010"><p><name key="name-007887" type="person">Ernest Newman</name>
                  (1868-1959) was a distinguished critic and an ardent Elgarian. ‘<name key="name-110229" type="person">Elgar</name>’s letters to him through more than thirty
                  years are some of the finest he ever wrote’, concluded <name key="name-120842" type="person">Jerrold Northrop Moore</name>
                  (495).</p></note>
            </p>
            <quote>
              <p><name key="name-110229" type="person">Elgar</name>and his publishers paid Birmingham
                and Mr <name key="name-120876" type="person">Appleby Matthews</name> a
                great compliment in allowing the one to have and the other to give the
                first performance in England of ‘<title type="unpublished"><name key="name-120816" type="work">The Fourth of August</name></title>’ --
                the first in order of the three works that together make up <title type="published"><name key="name-120685" type="work">The Spirit of
                    England</name></title> <hi rend="i">,</hi> but the last to be
                published. As ‘<title type="unpublished"><name key="name-120881" type="work">The Carillon</name></title>’ was also given at last
                night’s concert, we had <name key="name-110229" type="person">Elgar</name>’s full
                contribution to the emotional history of these tense and mournful
                times. Now that <title type="published"><name key="name-120685" type="work">The Spirit of England</name></title> is complete, the
                composer’s good judgment in making the work a triptych is
                apparent. The first and third movements have a good deal in common,
                with just enough difference to throw the main weight of feeling at the
                end -- the climax of ‘<title type="unpublished"><name key="name-120805" type="work">For the Fallen</name></title>’ indeed,
                is still more overwhelming now -- while the subtlety of the quite
                different mood of ‘<title type="unpublished"><name key="name-120843" type="work">To Women</name></title>’, with which all previous
                performances have had to begin, becomes infinitely more telling after
                the towering glories of and solemnities of ‘<title type="unpublished"><name key="name-120816" type="work">The Fourth of
                    August</name></title>’ and is in turn a <hi rend="i">reculer pour
                  mieux sauter</hi> for the great finale. The whole work, one ventures
                to think, will long outlive the occasion that gave it birth, moving as
                it is in one’s own home, each public performance of it makes it
                clearer that its proper place is the concert room; that is to say,
                more than one passage that on the piano sounds almost dangerously
                familiar proves, in performance, to be familiar in just the right
                way. This was especially noticeable last night in ‘<title type="unpublished"><name key="name-120816" type="work">The Fourth of
                    August</name></title>’; in the orchestra and the chorus some of the
                passages that seem in the piano score to [have] not quite the same
                distinction as the rest had a blinding dramatic vividness. <name key="name-110229" type="person">Elgar</name>’s confidence in Mr <name type="person">Matthews</name> was not displaced. Those of us with a
                knowledge of all the musical centres can say that nowhere else in
                England could last night’s performance have been bettered. Mr <name type="person">Matthews</name>, who had shown his unique gifts as a
                choral trainer by an almost flawlessly beautiful performance of three
                of <name key="name-110229" type="person">Elgar</name>’s best part songs, and his
                relative inexperience with the orchestra by a safe but hardly inspired
                reading of the Mozart Serenade, found, in the great work of the
                evening, that the sheer poetry of the music endowed him not only with
                a choral but with an orchestral technique that enabled him to get all
                the effects he wanted. The work has never before reached such heights
                of pride and pathos. Miss <name type="person">Buckman</name> was
                seemingly moved rather too deeply to have complete command of her
                voice, but she made a noble centre figure for the music. If we could
                be sure of getting -- and it ought to be possible by plenty of
                rehearsal -- the same fine nuancing of chorus and orchestra on a large
                scale as on that of last night, the ideal performance of the work,
                after the war, would be an open-air one, with a thousand or more of
                singers and players, and with the solo part sung by some twenty or
                fifty sopranos. Under these conditions the people would realise that
                <name key="name-110229" type="person">Elgar</name> has expressed the enduring emotions
                of the war better than anyone else has done or can hope to do either
                in music or in poetry. The general idiom of <title type="published"><name key="name-120685" type="work">The Spirit of
                    England</name></title> is just that idealised common speech of the
                feelings that a truly national work demands. The simplest soul would
                find itself at home in it; and there would be no better celebration of
                peace than a performance of it on a truly communal scale.</p>
            </quote>
            <p>The judgements of this informed panegyric (apart from the plea for
              a massed performance and the slightly reproving account of <name key="name-207527" type="person">Rosina Buckman</name>, surprising in
              its context) were echoed elsewhere. The <title type="published"><name key="name-120892" type="work">Yorkshire Post</name></title> wrote on
              5 October 1917: ‘If "<title type="unpublished"><name key="name-120843" type="work">To Women</name></title>" is characterised by intense
              sympathy, "<title type="unpublished"><name key="name-120805" type="work">For the Fallen</name></title>" by solemnity, the "<title type="unpublished"><name key="name-120914" type="work">Fourth of
                  August</name></title>" has for its leading characteristic great ardour
              ... If its newest part seems not to reach the heights attained in the
              other two, it is always vigorous and expressive, and, of course,
              effective. The solo part in all three was dramatically sung by Miss
              <name key="name-207527" type="person">Rosina Buckman</name>, and in
              his direction of the performance Mr [Appleby] <name type="person">Matthews</name> showed himself an exceptionally able
              conductor, while his choir gave ample evidence of his power as a
              trainer’. The <title type="published"><name key="name-120917" type="work">Morning Post</name></title> of 5 October 1917, however,
              had reservations about the composition itself: ‘As a whole the work,
              though not to be classed among <name key="name-110229" type="person">Elgar</name>’s
              highest achievements, is well worthy of its subject. Some of the most
              expressive parts of the work are those for solo voice, which were well
              sung by Miss <name key="name-207527" type="person">Rosina
                Buckman</name>’. In the <title type="published"><name key="name-120947" type="work">Birmingham Gazette</name></title> of 5
              October 1917 <name key="name-120953" type="person">R.J.B</name>. responded more positively:</p>
            <p>‘The music ... has a certain modern freedom, without a touch of the ultra-modern ... as ever, the composer handles his orchestra magistrally [sic], obtaining great effects from band and voices, without the laboriousness which distracts attention from the inner reality to the skill of the artificer. All is effective, and readily understood without being so easily seen through as to evoke the demon of tedium ... Miss <name key="name-207527" type="person">Rosina Buckman</name>, the soloist, sang with great power and brilliancy, and the New Birmingham Orchestra likewise did well’.<note n="4" xml:id="note-0011"><p><name key="name-120957" type="person">Robert J. Buckley</name>
                  was an organist and music critic in Birmingham and one of <name type="person">Elgar</name>’s earliest advocates. He had published
                  several important interviews with <name type="person">Elgar</name>
                  from 1896 onwards and wrote the first biography, <title type="published"><name key="name-110229" type="work">Sir Edward
                      Elgar</name></title>, in 1904.</p></note>
            </p>
            <p><name key="name-207527" type="person">Rosina Buckman</name> gave a
              later performance on 7 December 1917 in Aberdeen when she was
              described in the <title type="published"><name key="name-121029" type="work">Free Press</name></title> of 8 December as having ‘great
              power and emotional force ... She is a really attractive singer. The
              physical power and abandon of the singing are perhaps the things that
              charm most the majority of her audiences -- those and her fascinating
              personality. But Miss <name type="person">Buckman</name> has in
              addition a voice of great purity and a delivery of perfect
              ease. Moreover, she sings the King’s English as if she is speaking
              it’. The following year, a performance with the Coventry Choral
              Society led the reviewer in the <title type="published"><name key="name-121094" type="work">Midland Telegraph</name></title> of 27
              March 1918 to write enthusiastically: ‘The whole is a fitting requiem
              for England’s dead heroes’. <name key="name-207527" type="person">Rosina Buckman</name> had sung the soprano solo part
              ‘exquisitely’.</p>
            <p>Since then <title type="published"><name key="name-120685" type="work">The Spirit of England</name></title> has not often been
              performed, a substantial loss to listeners as the trilogy contains
              some of <name type="person">Elgar</name>’s most poignant and heartfelt
              music, especially the concluding ‘<title type="unpublished"><name key="name-120805" type="work">For the Fallen</name></title>’.<note n="5" xml:id="note-0012"><p>For a sensitive analysis of the work see <name type="person">Kennedy</name> (180). ‘From the poem’s most often quoted
                  verse "They shall not grow old...", <name type="person">Elgar</name>’s
                  music is most restrained, sad beyond all words to describe, and with a
                  wonderful falling cadence at "At the going down of the sun...". <name type="person">Binyon</name> actually wrote ‘They shall grow not
                  old’. See also <name type="person">Moore</name> (674-82). <title type="published"><name key="name-120685" type="work">The Spirit of
                      England</name></title> has been recently recorded by the Scottish
                  National Orchestra with <name key="name-121105" type="person">Teresa
                    Cahill</name> (soprano) and <name key="name-121109" type="person">Sir
                    Alexander Gibson</name> (conductor).</p></note> Interest in the work
              was rekindled by <name key="name-121111" type="person">Benjamin
                Britten</name> who wrote of the latter in the 1969 Aldeburgh Festival
              programme book: ‘[It] has always seemed to me to have in its opening
              bars a personal tenderness and grief, in the grotesque march an agony
              of distortion, and in the final sequences a ring of genuine splendour’
              (<name type="person">Kennedy</name> 181).</p>
            <p>The press-cutting book also includes reviews of a variety of
              orchestral and charity concerts. As a coda here is <name key="name-007887" type="person">Ernest Newman</name>’s response in the
              <title type="published"><name key="name-121117" type="work">Birmingham Post</name></title> of 1 October to a concert
              by the Birmingham Symphony Orchestra under <name key="name-110239" type="person">Sir Henry Wood</name> on 30 September 1917: ‘Miss <name type="person">Buckman</name> sang the <hi rend="i">Aida</hi> aria
              ["<title type="unpublished"><name key="name-121131" type="work">Ritorna Vincitor</name></title>"] as brilliantly as we
              expected her to do’, he wrote. ‘Her other solo set one meditating on
              the strange ways of those who arrange our concert programmes for
              us. Here is one of the finest of Isoldes, kicking her heels or engaged
              in other devotional exercises, in the artist’s room while the
              orchestra plays the "<title type="unpublished"><name key="name-121153" type="work">Liebestod</name></title>" which she sings so
              superbly. The moment this is over she comes forward and sings a shoddy
              piece of Italian operism that is only fit for the barrel-organ or the
              Albert Hall ["Nedda’s Song" from <name type="person">Leoncavallo</name>’s <title type="published"><name key="name-121154" type="work">I Pagliacci</name></title>]’.</p>
            <p>Altogether this collection of press cuttings not only illuminates a
              hitherto obscure side of <name key="name-207527" type="person">Rosina
                Buckman</name>’s own career, but also highlights and gives depth to an
              event of national importance in the history of English music in which
              one of New Zealand’s most distinguished artists played an impressive
              part.</p>
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        <back xml:id="t1-g1-t3-back">
          <div xml:id="t1-g1-t3-back-d1">
            <head>Works Cited</head>
            <listBibl>
              <bibl><author><name type="person">Kennedy,
                    Michael</name></author>. <title level="m"><name key="name-121155" type="work">Portrait of Elgar</name></title>. <pubPlace><name type="place">Oxford</name></pubPlace>: <publisher><name key="name-200382" type="organisation">Oxford University
                    Press</name></publisher>, <date when="1982">1982</date>.</bibl>
              <bibl><author><name key="name-120842" type="person">Moore, Jerrold
                    Northrop</name></author>. <title level="m"><name key="name-121157" type="work">Edward Elgar: Letters of a
                    Lifetime</name></title>. <pubPlace><name type="place">Oxford</name></pubPlace>: <publisher><name key="name-200382" type="organisation">Oxford University
                    Press</name></publisher>, <date when="1990">1990</date>.</bibl>
              <bibl><editor><name key="name-200484" type="person">Simpson,
                    Adrienne</name></editor>, ed. <title level="m"><name key="name-121184" type="work">Opera in New Zealand: Aspects of History and
                    Performance</name></title>. <pubPlace><name type="place">Wellington</name></pubPlace>: <publisher><name type="organisation">Witham Press</name></publisher>, <date when="1990">1990</date>.</bibl>
            </listBibl>
          </div>
        </back>
      </text>
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          <div type="article" xml:id="t1-g1-t4-body-d1">
            <head>A Man’s Life and a Woman’s Death:<lb/> <name key="name-207216" type="person">Arthur H. Adams</name>’s Female Writer of Genius</head>
            <byline>
              <name key="name-124031" type="person">MacD. P. Jackson</name>
            </byline>
            <p>Poet, novelist, playwright, librettist, journalist, and one-time literary editor of Sydney’s <title type="published"><name key="name-121211" type="work">Bulletin</name></title>, New Zealander <name key="name-207216" type="person">Arthur H. Adams</name> (1872-1936) had a career as writer that earned him some considerable reputation in his time. His enduring monument has been the fine late-Romantic elegiac poem ‘<title type="unpublished"><name key="name-121213" type="work">The Dwellings of our Dead</name></title>’, which has appeared in Oxford and Penguin anthologies and carries a strong emotional charge, mainly by way of its plangent music. It was probably written in a semi-trance while <name type="person">Adams</name> was convalescing in Chefoo (or Chi-fu) in China from an almost fatal bout of enteric fever. He himself considered it his best – if, as I believe, this is the poem that in his novel <title type="published"><name key="name-121214" type="work">A Man’s Life</name></title> he refers to as composed in such circumstances.</p>
            <p>Published in London in 1929, that novel seems almost entirely autobiographical, reflecting many details that we know, or can reasonably conjecture from his other works, about <name type="person">Adams</name>’s life. But it begins and ends with its hero’s death. A man in his sixties is lying on a London hospital bed, with his skull cracked from a traffic accident. To the nurse he appears dead, but excerpts from his life present themselves to his mind in vivid flashbacks ranging swiftly and erratically over the full span, until death is pronounced. The movement back and forth in time is governed by chance association, and the whole is organized around recurring themes or types of incident expressive of the man, his aspirations and character. He is a romantic and an agnostic, with the sensibility of a ’nineties aesthete, a morbid fancy, an overactive superego, and a hankering for fame.</p>
            <p>But my present concern is not with <name type="person">Adams</name> or his fictional counterpart but with a young New Zealand woman writer whom he asserts to have been ‘a genius’. As a reluctant Law student at university – obviously Otago – the protagonist of <title type="published"><name key="name-121214" type="work">A Man’s Life</name></title> published several satirical skits, including some against the ‘Meds’, who bullied him into apologizing. He also formed a Literary Club, the sole members being himself and two others. The first was the ‘dour son of a Scottish professor’, who specialized in clever arguments and blank verse on philosophical themes, and himself became a professor, producing ‘five children, but no poems’. The second was a gaunt, angular, charmless young woman of poor background but endowed with ‘a finer brain than the other two’; she became ‘the most brilliant chemical student at the university’ and chief assistant to the professor of the subject, and also (according to <name type="person">Adams</name>’s narrator) wrote ‘short stories and verse ... marked with a humour quite unfeminine, and a profound and penetrating psychology that shocked him. She was no prude’, he remarks. The three used to meet in a little cottage to discuss ‘tremendous themes’ far into the night.</p>
            <p><name type="person">Adams</name>’s hero moved to another city, where shortly later he learned that the young woman author had committed suicide, for no evident reason but with meticulous planning. She held a farewell lunch for her girlfriends ‘on the pretext of going away for a holiday’, sent letters to those for whom she cared, including her fellow litterateur, and ensured that her body would be promptly discovered by writing to a medical man and to the police and posting the information on the morning of her death. She used her expertise as a chemist to avail herself of a poison that left no clear trace and was never identified. And she wrote a letter to the press, which was not disclosed to the public, but which analysed her mental state ‘with extreme precision’ and added scribbled sentences recording her last moments. She also left a diary for her professor, clearly written without tremors; and among her papers was a report of a ‘brilliant discovery’ made in the course of her research. When found, her body was lying on a bed and decked with white roses.</p>
            <p>Did this Chattertonian young woman exist in fact, and, if so, who was she, does any of her writing survive, and is it worthy of <name type="person">Adams</name>’s protagonist’s high praise? Was an historical counterpart to <name type="person">Adams</name>’s fictional Dunedin contemporary a forerunner to <name key="name-208310" type="person">Iris Wilkinson</name>, alias <name key="name-208310" type="person">Robin Hyde</name>, but one who took her own life before, rather than after, she had realized something of her full creative potential as a writer? Since virtually everything else in <title type="published"><name key="name-121214" type="work">A Man’s Life</name></title> has a basis in fact, and personages are readily identifiable, it seems likely that this vivid episode, decked in such circumstantial detail, also contains at least a germ of truth, despite its echoes of Gothic novel, Hawthorne-like romance, and Victorian painting.</p>
            <p>The present paper is offered as a combination of note and query, in the hope that somebody with readier access to Otago University records, copies of the earliest issues of the University of Otago Students’ Association’s Review and of 1890s Dunedin newspapers, and so on, may pursue the matter further. There are a few clues. <name type="person">Adams</name> graduated BA in 1894, so his formation of the novel’s Literary Club would have been in the immediately preceding years. The retrospective anthology, <title type="published"><name key="name-121224" type="work">Review</name></title>: 1888-1971, edited by <name key="name-121231" type="person">Kevin Jones</name> and <name key="name-121252" type="person">Brent Southgate</name>, includes a section of prose sketches of ‘<title type="unpublished"><name key="name-121261" type="work">Varsity Types</name></title>’: the first, dated 1892, is on ‘<title type="unpublished"><name key="name-121263" type="work">The Arts Student</name></title>’ and is attributed to ‘<title type="unpublished"><name key="name-121271" type="work">Semicolon Bijjj</name></title>’, and the second, dated 1893, lightly mocks ‘<title type="unpublished"><name key="name-121323" type="work">The Medical Student</name></title>’, nicknamed ‘the Med.’ This must be one of the skits that got <name type="person">Adams</name>’s autobiographically-based hero into trouble.</p>
            <p>In their entry on <name type="person">Adams</name> in <title type="published"><name key="name-122553" type="work">The Oxford Companion to New Zealand Literature</name></title>, <name key="name-120624" type="person">Stephen Hamilton</name> and <name key="name-036471" type="person">Nelson Wattie</name> mention the presence, ‘among many undistinguished poems’, of one by <name type="person">Adams</name> in an early issue of <title type="published"><name key="name-121224" type="work">Review</name></title>. Presumably this is ‘<title type="unpublished"><name key="name-121332" type="work">Faith</name></title>’, included in the <name type="person">Jones</name>-<name type="person">Southgate</name> anthology and dated 1891. Consisting of eight five-line stanzas (abbab) in truncated trochaic tetrameters, it is an elegant threnody in the style of the fin de siècle members of the London Rhymers’ Club, such as <name key="name-121351" type="person">Arthur Symonds</name>, <name key="name-202796" type="person">Ernest Dowson</name>, and <name key="name-121352" type="person">Victor Plarr</name>. It contemplates a dead woman who is without beauty of face, sweetness of nature, moral courage, or nobility of soul, but who is thought of as transformed and redeemed by death: the speaker’s sweetheart encourages the strewing of lilies, roses, and jasmine upon her. The novel’s suicide episode may seem to be partially foreshadowed, but the poem’s dead woman is very different from the budding writer and brilliant chemist described in <title type="published"><name key="name-121214" type="work">A Man’s Life</name></title> and there is no hint that she has taken her own life.</p>
            <p>The Professor of Chemistry who appointed our mystery woman as his assistant and to whom she left her diary may be identified as <name key="name-207444" type="person">James Gow Black</name>, who held that position at Otago from 1871 to 1914. A Highland crofter’s son who ‘came to Otago surrounded by a halo of romance’, he was, according to the university’s historian <name key="name-202682" type="person">G. E. Thompson</name>, a charismatic figure, who ‘solely by his own industry and determination, had risen from the poorest surroundings to be one of the ... foremost scientists of his day’ and became ‘widely known throughout the Dominion’ (pp. 190-91). And in the British Library copy of <title type="published"><name key="name-121214" type="work">A Man’s Life</name></title> some reader long ago pencilled against the mention of the least literary member of the Literary Club—the Scottish professor’s son who himself became a professor—barely legible initials which look like ‘G Os L’ but might be ‘G ds L’, ‘G O’L’ ‘G d’ L’, or even ‘G OSh’ (but I think we can discount the possibility that the annotator is merely exclaiming ‘Gosh!’). It is unclear whether the marginal annotation relates to father or son.</p>
            <p>The novel’s <name type="person">Adams</name> figure learned of the suicide after he had moved to ‘another city’. This was probably Wellington, where in 1895 he began work as a journalist on the <title type="published"><name key="name-202082" type="work">Evening Post</name></title>, in preference to completing his LLB. If the multi-talented woman was real, and <name type="person">Adams</name>’s account of events is accurate, her suicide probably took place in the mid 1890s, and she would have been writing from about 1890 till that time. One imagines that some of her work would have been published—in Review or in local newspapers or journals. In 1889 there were only 184 students attending lectures at the University of Otago, so a woman who excelled at Chemistry should be fairly conspicuous in any surviving records. As eventual editor in Australia of the <title type="published"><name key="name-121211" type="work">Bulletin</name></title>’s ‘<title type="unpublished"><name key="name-121379" type="work">Red Page</name></title>’, <name type="person">Adams</name> had a shrewd sense of literary value. Does verse and fiction of merit by his Otago University fellow student and Literary Club member remain to be recovered?</p>
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            <head>Works Cited</head>
            <listBibl>
              <bibl><author><name key="name-207216" type="person">Adams, Arthur
                    H</name></author>. <title level="m"><name key="name-121214" type="work">A Man’s Life</name></title>. <pubPlace><name type="place">London</name></pubPlace>: <publisher><name type="organisation">Eveleigh, Nash &amp; Grayson</name></publisher>,
                <date when="1929">1929</date>.</bibl>
              <bibl><author><name key="name-120624" type="person">Hamilton,
                    Stephen</name></author> and <author><name key="name-036471" type="person">Nelson Wattie</name></author>. ‘<title level="a"><name key="name-121393" type="work">Adams, Arthur H</name></title>.’ <title level="m"><name key="name-122553" type="work">The Oxford Companion to
                    New Zealand Literature</name></title>. Ed. <editor><name key="name-036150" type="person">Roger Robinson</name></editor> and
                <editor><name key="name-036471" type="person">Nelson
                    Wattie</name></editor>. <pubPlace><name type="place">Auckland</name></pubPlace>: <publisher><name key="name-200382" type="organisation">Oxford University
                    Press</name></publisher>, <date when="1998">1998</date>,
                1–2.</bibl>
              <bibl><title type="published"><name key="name-121224" type="work">Review</name></title>: 1888–1971. Ed. <editor><name key="name-121231" type="person">Kevin Jones</name></editor> and
                <editor><name key="name-121252" type="person">Brent
                    Southgate</name></editor>. University of Otago: Bibliography Room,
                1972.</bibl>
              <bibl><author><name key="name-202682" type="person">Thompson,
                    G. E</name></author>. <title level="m"><name key="name-121406" type="work">A History of the University of
                    Otago</name></title>. <pubPlace><name type="place">Dunedin</name></pubPlace>:
                <publisher><name type="organisation">J. Wilkie</name></publisher>, <date when="1921">1921</date>.</bibl>
              <bibl><author><name key="name-036471" type="person">Wattie,
                    Nelson</name></author>. ‘<title level="a"><name key="name-207216" type="work">Adams, Arthur Henry</name></title>’. <title level="m"><name key="name-122411" type="work">The Dictionary of New
                    Zealand Biography</name></title>: Volume 3:
                1901–1920. Gen. ed. <editor><name type="person">Claudia
                    Orange</name></editor>. <publisher><name type="organisation">Auckland
                    University Press</name></publisher> and <publisher><name type="organisation">Department of Internal Affairs</name></publisher>,
                <date when="1996">1996</date>, 2–3.</bibl>
            </listBibl>
          </div>
        </back>
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          <div type="article" xml:id="t1-g1-t5-body-d1">
            <head><title type="published"><name key="name-121426" type="work">Little Housebound</name></title> : an early <name key="name-017483" type="person">Ngaio Marsh</name> play and its manuscripts</head>
            <byline>
              <name key="name-123195" type="person">Jane Stafford</name>
            </byline>
            <p>In 1919, <name key="name-017483" type="person">Ngaio Marsh</name>, then aged 24, was invited to join the <name key="name-006271" type="person">Allan Wilkie</name> Shakespeare Company for its 1919-20 New Zealand tour. During 1920 and 1921 she toured with the <name key="name-121428" type="person">Rosemary Rees</name> English Comedy Company. After a brief run, the latter ‘yielded to high costs and a small population and quietly folded’ (<name type="person">Marsh</name> 143). <name type="person">Marsh</name> returned to her parents’ home in Cashmere, Christchurch, and her friend, <name type="person">Kiore</name> (Tor) <name type="person">King</name> came to stay:</p>
            <quote>
              <p>We talked endless theatre and presently I started to write sketches and we both began to think that they might do and that it would be fun to try them out if we could find someone for the men’s parts. (143)</p>
            </quote>
            <p>The Marsh family had a long-standing enthusiasm for amateur dramatics. Her grandfather <name key="name-209202" type="person">E.W. Seager</name>, was involved in drama productions of the Christchurch Workingmen’s Club and the Sunnyside Dramatic Class,<note n="1" xml:id="note-0013"><p>See <title type="published"><name key="name-122411" type="work">Dictionary of New Zealand Biography</name></title>, volume 1, Wellington: Department of Internal Affairs, Allen &amp; Unwin, 1990, p.385.</p></note> her parents were keen amateur actors, and <name type="person">Marsh</name> had already written one very successful play while still at school. <title type="unpublished"><name key="name-121432" type="work">The Moon Princess</name></title> was produced in 1913 in St Michael’s school hall, and was described by the Christchurch <title type="published"><name key="name-121484" type="work">Press</name></title> as ‘a clever little play’ (<name type="person">Lewis</name> 19).<note n="2" xml:id="note-0014"><p>The manuscript of <title type="unpublished"><name key="name-121432" type="work">The Moon Princess</name></title> is in the <name type="person">Marsh</name> papers in the Alexander Turnbull Library. It has no title, but the plot indicates its identity fairly clearly.</p></note> <name key="name-006271" type="person">Allan Wilkie</name>’s interest in her had been prompted by her showing him the script of another early work, <title type="unpublished"><name key="name-121503" type="work">The Medallion</name></title>, which, she said later, ‘was derived without prejudice from <name type="person">Shakespeare</name>, <name type="person">Sheridan</name>, <name type="person">Wilde</name> and <name key="name-121511" type="person">Baroness Orczy</name>’. (113)</p>
            <p>The result of <name key="name-208406" type="person">Tor King</name>’s visit was a play, at first called <title type="published"><name key="name-121517" type="work">Come out and play</name></title>, later renamed <title type="published"><name key="name-121426" type="work">Little Housebound</name></title>. <name type="person">Marsh</name> says in her autobiography that she kept no copy of <title type="published"><name key="name-121426" type="work">Little Housebound</name></title>, but she gives a remarkably full, if slightly satirical version of it:</p>
            <quote>
              <p>The plot is simple and derivative. There is, as present idiom goes, this Boy and he is a Woodsman and he is Kind of Restless and feels the call of the Great Forest and the World Outside and there is this Girl he is going to marry and she is frightened of the world outside and so when she has prepared his supper she drops off to sleep in front of the fire and her boyfriend has a soliloquy while he listens to the wind going "ohe" round the hut and he gets to thinking there is Somebody Out There, abroad in the forest. So he opens the window and calls out for whoever it is to come in and so Pierrot comes in, all wet with the Rain outside and is very fey and talks about the Stroller’s life and says it is Gay, in the original sense. Pierrette comes in and she is also very gay and fey, although damp, and speaks in broken English but not the same kind as Anna in <title type="published"><name key="name-121547" type="work">The Luck of the Navy</name></title> <note n="3" xml:id="note-0015"><p>A play in which <name type="person">Marsh</name> performed with the <name key="name-006271" type="person">Allan Wilkie</name> Shakespeare Company, see <name type="person">Marsh</name>, 122.</p></note>. And she fascinates the Boy and she and Pierrot tell him he is One of Them and she looks at the sleeping girl and makes disparaging remarks about her. So the Boy feels the Call of the Outside which is somewhat heavily symbolised by Pierrot and Pierrette, and is tempted and works up to a climax and they forget to keep their voices down and the Girl wakes up and is frightened by their white faces. And they go silent and symbolic and stare at the Boy as they move backwards into the window and he says to the Girl not to be frightened, he will never leave her, no, no, no, staring at Pierrot and Pierrette. So they vanish through the window and the storm dies down. The Boy speaks the tag, "They are all singing. They will soon be up on the shoulder of the hill." (144)</p>
            </quote>
            <p>Her recall here is theatrical rather than textual. She remembers movements, stage directions and theatrical effects rather than dialogue. Her detail may be slightly wrong—in the two surviving manuscripts, Pierrette enters before Pierrot—but her recollection of how the play looked and felt is acute.</p>
            <p>When she had finished writing it, she and <name key="name-121549" type="person">Kiore King</name> addressed the problem of the male role. Jimmy, a member of the Rosemary Rees Company, was contacted and shown the script:</p>
            <quote>
              <p>We read the play and he and <name type="person">Tor</name> looked at each other and with one voice ejaculated "Havelock North. (145)</p>
            </quote>
            <p>Havelock North was a small township in Hawkes Bay with artistic pretensions which, as <name type="person">Marsh</name> puts it, had ‘become a cultural centre or thought of itself as such...<title type="published"><name key="name-121426" type="work">Little Housebound</name></title> was the very stuff on which Havelock North culture blossomed’.(145) The tour was mounted with some success:</p>
            <quote>
              <p>We actually made some money. He [Jimmy] then interviewed the cinema management and we were given a tour, taking up half the programme and a share of the house.(145)</p>
            </quote>
            <p>Despite <name type="person">Marsh</name>’s claim that she kept no copy of <title type="published"><name key="name-121426" type="work">Little Housebound</name></title>, there is a version of the play in her papers in the Turnbull Library, Wellington. Most of this collection came to the library after her death in 1982. However, <title type="published"><name key="name-121426" type="work">Little Housebound</name></title> may have been acquired independently. Items already in the library’s possession or acquired later were incorporated into the collection without being identified in any way in the catalogue.<note n="4" xml:id="note-0016"><p>There is no information as to the provenance of <name type="person">Marsh</name>’s papers acquired before 1982. The catalogue simply refers to ‘MSS drafts and playscripts already held’.</p></note>
            </p>
            <p><name type="person">Marsh</name>’s biographer <name key="name-121554" type="person">Margaret Lewis</name> seems to refer to the Turnbull version when she discusses the play:</p>
            <quote>
              <p>In <title type="published"><name key="name-121426" type="work">Little Housebound</name></title> Carol is wondering at the power the woods exert over him and his desire for freedom puzzles and unsettles him:</p>
              <p>
                   
                ...it is as though there were two Carols. There is the Carol that loves home and you, and the smell of woodsmoke, and all the warm house-bound things; but most of all you, my sweet. But there is another Carol and he loves the hills and the long roads stretching away at dusk. He wants to follow them to the world’s end in search of something that he can never find. (261)</p>
            </quote>
            <p><name type="person">Lewis</name>’s footnote cites ‘<name type="person">Marsh</name> papers, ATL’, referring back to an original fuller note, ‘Dame <name key="name-017483" type="person">Ngaio Marsh</name> Papers in Alexander Turnbull Library, National Library of New Zealand, Ref. 1397’ (260). The ‘Ref. 1397’ is the general library callmark for <name type="person">Marsh</name>’s papers. The material is diverse, and is roughly organised in subject categories designated ‘series’. Series IV contains playscripts and production notes, divided into numbered folders. The catalogue contains a description of the contents of each folder. <title type="published"><name key="name-121426" type="work">Little Housebound</name></title> is mentioned twice, in the description of folder 16, and in the description of folder 38. The second reference here is puzzling as folder 38, described as ‘Production and miscellaneous material for various plays’, contains nothing relating to <title type="published"><name key="name-121426" type="work">Little Housebound</name></title>. The entry, which demonstrates the wide range of material, reads:</p>
            <quote>
              <p>Scope and contents: Production and miscellaneous theatre material including income statement for ‘<title type="unpublished"><name key="name-121555" type="work">Twelfth Night</name></title>’; cast list for ‘<title type="unpublished"><name key="name-121561" type="work">King Henry V</name></title>’ (1972) productions; pencil sketches of device for curtain and list of <name type="person">Shakespeare</name> plays reduced to 23,000 lines; measurements of NZ stages for a ‘<title type="unpublished"><name key="name-121563" type="work">Macbeth</name></title>’ production. Also an unidentified play at end of folder 1b ‘<title type="published"><name key="name-121426" type="work">Little housebound</name></title>’ written in front and play text pasted in rear.</p>
            </quote>
            <p>The reference here to <title type="published"><name key="name-121426" type="work">Little Housebound</name></title> seems to be a mistake, probably a mistranscription of ‘16’, that is folder 16, which contains the play, as ‘1b’ , which was interpreted as being a separate folder. This may have been grouped with folder 38, because of its subject matter.<note n="5" xml:id="note-0017"><p>I am grateful to <name key="name-202059" type="person">Margharita Gee</name> of the Turnbull Library Manuscript Section for deducing this.</p></note> The description of the ‘folder’ (in fact an exercise book) as ‘written in front and play text pasted in rear’ corresponds to the manuscript in folder 16, <title type="unpublished"><name key="name-121432" type="work">The Moon Princess</name></title> being the other play. As far as can be ascertained, there is only one version of the play in the library’s collection.</p>
            <p>This makes <name type="person">Lewis</name>’s reference to the text of the play puzzling. She has not used the text in the Turnbull, as there is no speech in the library’s manuscript corresponding to the one she quotes. The closest equivalent is on page 5, and reads</p>
            <quote>
              <p><hi rend="u">The Boy</hi> Oh silly little thing – of course I would never go away from you (He looks over his shoulder through the window &amp; then back to her) I – I – would not want to. I – it was only stupid talk - praps gnomes or fairys put it in my head or praps I’m talking nonsense because I am so hungry There – there please Colette dear dont cry any more.</p>
            </quote>
            <p>There are many corrections in this passage, more than is usual in the manuscript as a whole, suggesting an uncertainty and dissatisfaction on the part of the author, and from ‘talk - praps gnomes or fairys...’ to the end, the handwriting and ink are slightly different, possibly a later addition by <name type="person">Marsh</name>. The speech <name type="person">Lewis</name> quotes sounds far more polished, suggesting that she was using a later version.</p>
            <p><name type="person">Lewis</name> gives the boy’s name as Carol. In the Turnbull manuscript, he is initially called Priam, but this is changed to Prosper. The girl is initially Annette, changed to Colette. The Turnbull manuscript shows signs of being a compilation of an earlier version and a later revision. <name type="person">Marsh</name> has used a foolscap hard-backed exercise book with lined paper to which, for the first five pages, she has glued unlined sheets on which the play is hand-written. Corrections to the glued-in text are made in different coloured ink and slightly different handwriting. Corrections are generally minor, chiefly the name change. Page 6 is written directly on to the lined page of the exercise book in the same handwriting and ink as the later emendations; page 7 is glued in. The remaining pages (8-20) are written directly into the exercise book, 18, 19 and 20 being in pencil rather than ink, and the final page of the play (page 21) is on a loose sheet in a faint and different hand. There are no illustrations .</p>
            <p>Where, then, did <name type="person">Lewis</name>’s version come from? After its triumphant Havelock North tour, <title type="published"><name key="name-121426" type="work">Little Housebound</name></title> was performed by the Wauchop School of Drama and Dancing in 1924, and by the Canterbury Repertory Society in 1931 (<name type="person">Lewis</name> 34). Thus, there could very well be a number of copies of the script in private hands.</p>
            <p>At least one such copy is known—an early version, which belonged to <name key="name-121549" type="person">Kiore King</name>, though the dedication suggests that it was initially given to her mother, who accompanied the actors on their tour. This text is typewritten and complete. There is a dedication on the frontispiece in <name type="person">Marsh</name>’s handwriting:</p>
            <quote>
              <p>
                   
                To the nicest Auntie I’ve got</p>
              <p>
                   
                with my love</p>
              <p>
                   
                <name type="person">Ngaio</name>
              </p>
            </quote>
            <p>It is dated ‘January 22nd 1922’. On the opposite page, in a later, different hand is written ‘<name key="name-121565" type="person">Marjorie Brooks</name>, 12 Alexander St, Tauranga’, <name key="name-121549" type="person">Kiore King</name>’s sister-in-law, who owned the manuscript after <name type="person">King</name>’s death.<note n="6" xml:id="note-0018"><p>The name and address are written in ball-point pen, rather than the ink of <name type="person">Marsh</name>’s dedication. My assumption is that this indicates that it was written later than 1922.</p></note>
            </p>
            <p>There are twenty-two illustrations. Seven occupy the full page, and are coloured—pencil and water colour. The frontispiece, of a cottage in the depths of the forest, is painted directly onto the same heavy paper as the typescript and occupies the entire page, as does the second to last illustration on page 20. The remaining colour illustrations are smaller, painted on white and mounted on grey paper, sometimes within a narrow black boarder. All illustrate specific scenes from the play: Prosper gazing through the window, Pierrette appearing at the door, a portrait of Pierrette, a portrait of Pierrot, and two of the final scene—Prosper and Collette in each other’s arms as Pierrot and Pierrette disappear through the door. The remaining illustrations are of various sizes and styles: two are large, carefully finished and mounted, one of Prosper and Pierrette, and one of Prosper, Pierrette and Pierrot. These two are done in charcoal. The remaining pictures are less formally conceived, small pencil sketches on the left-hand page facing the text: two faces (presumably Pierrette and Pierrot) peering from the trunk of a tree; Collette sitting disconsolately by the fire, a will-o-the-wisp spirit above her; a wind-blown Pierrette at the door; Pierrette and Pierrot sleeping in the forest; a figure in a hanging wicker cage (presumably to illustrate Pierrette’s speech on the facing page, ‘And so she is to tame you; to put you in a nice wa [sic] warm comfortable prison…eh?’); two steaming tankards; Prosper and Pierrette kissing; a rather vaguely defined fairy or sprite; Prosper looking into the distance; and Prosper crouched in an attitude of grief. All are by <name type="person">Marsh</name> herself, the frontispiece being signed in pencil ‘Na MARSH’ in the right-hand corner.</p>
            <p>
              <figure xml:id="Kotare021P001a">
                <graphic url="Kotare021P001a.jpg" mimeType="image/jpeg" xml:id="Kotare021P001a-g"/>
              </figure>
            </p>
            <p>
              <figure xml:id="Kotare021P002a">
                <graphic url="Kotare021P002a.jpg" mimeType="image/jpeg" xml:id="Kotare021P002a-g"/>
              </figure>
            </p>
            <p>
              <figure xml:id="Kotare021P002b">
                <graphic url="Kotare021P002b.jpg" mimeType="image/jpeg" xml:id="Kotare021P002b-g"/>
              </figure>
            </p>
            <p>
              <figure xml:id="Kotare021P003a">
                <graphic url="Kotare021P003a.jpg" mimeType="image/jpeg" xml:id="Kotare021P003a-g"/>
              </figure>
            </p>
            <p>
              <figure xml:id="Kotare021P003b">
                <graphic url="Kotare021P003b.jpg" mimeType="image/jpeg" xml:id="Kotare021P003b-g"/>
              </figure>
            </p>
            <p>The finished form of this version—typed, illustrated, with a formal dedication—suggests that this was a presentation copy, given after the play’s tour, as a memento. It does not have any of the kind of revisions and emendations that in the Turnbull version suggest textual evolution, or any of the director’s notes and reminders that <name type="person">Marsh</name>’s working texts display.<note n="7" xml:id="note-0019"><p>See for example, the untitled play, probably <title type="unpublished"><name key="name-121432" type="work">The Moon Princess</name></title>, in the same exercise book which contains <title type="published"><name key="name-121426" type="work">Little Housebound</name></title>. Comments such as ‘Pause here’, ‘Ready Collette’, ‘Ready moonbeams and bats’ dance’ are written in the text in red ink and pencil. (<name type="person">Marsh</name> Turnbull papers 1397 series IV, 16).</p></note> But this version is not the one <name type="person">Lewis</name> quotes. The characters’ names are in accordance with the revision of the Turnbull manuscript—Prosper and Collette, rather than Priam and Annette, with no mention of ‘Carol’. And although there is a version of the speech <name type="person">Lewis</name> quotes, it is not identical:</p>
            <quote>
              <p>Why Colette darling do not cry. It was only foolish talk. Just nonsense like a fairy tale. Do not cry. You see it is as if there were two Prospers. There is the Prosper that loves you: and home: and the smell of woodsmoke: and all the warm house-bound things but most of all you my sweet. And then there is another Prosper: and he loves the hills and the long roads stretching away, away in the dusk; and he wants to journ [sic] along them to the worlds [sic] end in search of something he can never find. (3)</p>
            </quote>
            <p>So, <name type="person">Marsh</name> has a near-perfect, if slightly self-mocking memory of the text, but claims in her autobiography not to have kept a version. There is however a version in her papers in the Turnbull Library. <name type="person">Lewis</name> quotes from a version she claims is the one in the Turnbull collection, but it isn’t. And although there is at least one other full text in private hands, it is not the one Lewis quotes.</p>
            <p>How important is <title type="published"><name key="name-121426" type="work">Little Housebound</name></title> as a piece of literature? <name type="person">Lewis</name> seems to have her doubts, and uses it only to serve her biographical purposes, by linking the play’s escapist theme with what was happening in <name type="person">Marsh</name>’s life at the time it was written:</p>
            <quote>
              <p>...the play is obviously more sophisticated in style than ‘<title type="unpublished"><name key="name-121432" type="work">The Moon Princess</name></title>’ but it has a similar theme, expressing a desire to escape from the confines of the safe, ordinary world and seek freedom in the woods. Originally entitled ‘<title type="published"><name key="name-121517" type="work">Come out and Play</name></title>’ the piece is rather over-romantic, but contains some interesting ideas that relate to the author’s state of restlessness at the time. The ultra-conservative society of Christchurch and the subtle dominance of her mother- ‘she was over-concentrated on me’ - led <name type="person">Ngaio</name> to dream consistently of a world of freedom beyond the familiar limits of home. (32)</p>
            </quote>
            <p>Lewis goes on to connect ‘the two-sided character in <title type="published"><name key="name-121426" type="work">Little Housebound</name></title> with his longing for freedom and adventure’ to a ‘dichotomy in <name type="person">Ngaio</name>’s sub-conscious’ played out in later years in her divided time between Britain and New Zealand. his interpretation of the play seems simplistically psychoanalytic, and ignores its literary context. <name type="person">Marsh</name>’s own analysis is more sophisticated. In her autobiography, she identifies her influences and susceptibilities as ‘the nebulous-romantic-pictuesque-Borrowesque ... Pierrot was not a dirty word and <name key="name-121640" type="person">Granville Barker</name>’s Prunella had wrought its blameless spell.’ (144) She describes her play as ‘a sort of Prunella in reverse.’ The fact that <name key="name-121597" type="person">George Borrow</name>’s fictional autobiographies and spurious histories, <title type="published"><name key="name-121601" type="work">The Zincali, or an account of the Gypsies in Spain</name></title> (1841), <title type="published"><name key="name-121613" type="work">Lavengro</name></title> (1851) and <title type="published"><name key="name-121614" type="work">The Romany Rye</name></title> (1857) were still influential in 1920s New Zealand is interesting. <name key="name-121640" type="person">Harley Granville Barker</name>(1877-1946) is better known now in theatre history as the director and champion of <name type="person">Ibsen</name> and <name type="person">Shaw</name>. In New Zealand his significance is as the originator of the British Drama League, an important force in amateur theatre from the 1920s.<note n="8" xml:id="note-0020"><p>There is a discussion of the British Drama League by
                  <bibl><author><name key="name-124020" type="person">Howard
                        McNaughton</name></author> in ‘<title level="a"><name key="name-121657" type="work">Drama</name></title>’, <title level="m"><name key="name-121668" type="work">The Oxford History of
                        New Zealand Literature in English</name></title>, new edition, edited
                    by <editor><name key="name-121227" type="person">Terry
                        Sturm</name></editor>, <pubPlace><name type="place">Auckland</name></pubPlace>: <publisher><name key="name-200382" type="organisation">Oxford University
                        Press</name></publisher>, <date when="1998">1998</date>,
                    p.332.</bibl></p></note> But <name type="person">Marsh</name> reminds us that he was also a dramatist. His play <title type="published"><name key="name-121963" type="work">Prunella</name></title>, or <title type="published"><name key="name-123670" type="work">Love in a Dutch Garden</name></title> (1910) was written in collaboration with <name key="name-122785" type="person">Laurence Houseman</name>. It uses the antithesis between confinement and escape as <name type="person">Marsh</name> does in <title type="published"><name key="name-121426" type="work">Little Housebound</name></title>, but has a more elaborate plot. Unlike Prosper/Priam/Carol, Prunella succumbs to temptation, leaves the safety of her home and the tutelege of her aunts Prim, Prude and Privacy, and follows Pierrot and his band of roguish mummers. Pierrot’s love proves inconstant and she returns to her now overgrown garden, only to be somewhat improbably reunited with him. A contemporary critic described <title type="published"><name key="name-121963" type="work">Prunella</name></title> as an ‘exquisite little fantasy...full of quaint invention, humour, irony and pathos’ despite what, to a modern reader, seems a decided undertone of Wildean decadence.<note n="9" xml:id="note-0021"><p><name key="name-122790" type="person">William Archer</name> in the <title type="published"><name key="name-122802" type="work">Tribune</name></title>, quoted in the frontispiece of the <date when="1910">1910</date> edition.</p></note>
            </p>
            <p><name type="person">Marsh</name>’s sources, both in <title type="published"><name key="name-121426" type="work">Little Housebound</name></title>, and in her earlier plays, <title type="unpublished"><name key="name-121503" type="work">The Medallion</name></title><note n="10" xml:id="note-0022"><p>‘<name type="person">Shakespeare</name>, <name type="person">Sheridan</name>, <name type="person">Wilde</name> and <name key="name-121511" type="person">Baroness Orczy</name>’. See above.</p></note> and <title type="unpublished"><name key="name-121432" type="work">The Moon Princess</name></title>, are Victorian and Edwardian, reworking nineteenth century modes in a context best described as provincial rather than explicitly post-colonial. There is no self-conscious sense of place and only a slight sense, in hindsight, of the incongruity of Pierrot and Pierrette in the antipodes. The London stage is the centre, and the English literary tradition the model, although both are conceived as they had been a generation earlier. The local has force only in terms of reception—it provides audiences, bookings and earnings. Although the tone of <name type="person">Marsh</name>’s autobiographical account written in the 1960s and revised in the 1980s<note n="11" xml:id="note-0023"><p>The phrase ‘Gay, in the original sense’ is a revision for the <date when="1981">1981</date> version of <name type="person">Marsh</name>’s autobiography, gay in the modern sense having appeared in the language during the late 1970s.</p></note> suggests she sees the datedness of her play, 1920s Havelock North obviously did not.</p>
            <p>Even on her own terms—that of the biographer—we might want to question the use <name type="person">Lewis</name> makes of <title type="published"><name key="name-121426" type="work">Little Housebound</name></title>’s themes of escape and confinement. At the time it was written, <name type="person">Marsh</name> had just finished two theatrical tours with professional theatre companies. After it was written, she set up what was in effect her own company, and toured her own play in the provinces, with artistic and financial success. While it would be naive to take an author’s account of their own life at face value, <name type="person">Marsh</name>’s description of this period does not sound confined. The chapter of her autobiography which describes it is called ‘<title type="unpublished"><name key="name-122805" type="work">Winter of Content</name></title>’. <name type="person">Lewis</name> is trying, as all good biographers should, to construct a focused narrative from her subject’s life. Tension between <name type="person">Marsh</name> and her parents, and the boredom of <name type="person">Marsh</name>’s early life—before she was ‘saved’ by writing—is her central theme. Her reading of <title type="published"><name key="name-121426" type="work">Little Housebound</name></title> is, perhaps, unduly influenced by these factors.</p>
            <p>We might also wish to re-examine <name key="name-124020" type="person">Howard McNaughton</name>’s assertion that ‘<name type="person">Marsh</name> returned from Fine Arts Studies abroad with a set of theatrical axioms which would govern her work, and that of the actors she directed throughout her career’ (335).<note n="12" xml:id="note-0024"><p><name type="person">Marsh</name> studied art in <name type="place">Christchurch</name>, at the <name type="organisation">Canterbury College School of Art</name> from <date from="1915" to="1919">1915 to 1919</date>, not, as <name type="person">McNaughton</name> states in Britain where, during her first visit from <date from="1928" to="1932">1928 to 1932</date> she stayed with friends, wrote travel journalism for New Zealand newspapers, and for a time ran a shop.</p></note> <name type="person">Marsh</name> returned from her first visit to <name type="place">Britain</name> in <date when="1932">1932</date>. As this account of <title type="published"><name key="name-121426" type="work">Little Housebound</name></title> suggests, her dramatic experience—as an actor, a dramatist and as a director—was extensive before she left, whereas the theatrical axioms that governed her work were fostered in the dramatic culture already existing in New Zealand.</p>
          </div>
        </body>
        <back xml:id="t1-g1-t5-back">
          <div xml:id="t1-g1-t5-back-d1">
            <head>Works Cited</head>
            <listBibl>
              <bibl><title level="m"><name key="name-122411" type="work">Dictionary
                    of New Zealand Biography</name></title>: Volume 1 :
                1769–1869. Gen. Ed. <editor><name key="name-121043" type="person">W.H.Oliver</name></editor>. <pubPlace>Wellington</pubPlace>:
                <publisher><name type="organisation">Allen &amp; Unwin</name> / <name type="organisation">Department of Internal Affairs</name></publisher>,
                <date when="1990">1990</date>.</bibl>
              <bibl><author><name key="name-121640" type="person">Granville
                    Barker</name></author>, <author><name type="person">Harley</name></author> and <author><name key="name-122785" type="person">Houseman,
                    Laurence</name></author>. <title level="m"><name key="name-121963" type="work">Prunella, or Love in a Dutch
                    Garden</name></title>. <pubPlace>London</pubPlace>:
                <publisher>Sidgewick and Jackson</publisher>, <date when="1910">1910</date>.</bibl>
              <bibl><author><name key="name-121554" type="person">Lewis,
                    Margaret</name></author>. <title level="m"><name key="name-122808" type="work">Ngaio Marsh: A Life</name></title>. <pubPlace><name type="place">London</name></pubPlace>: <publisher><name type="organisation">The Hogarth Press</name></publisher>, <date when="1992">1992</date>.</bibl>
              <bibl><author><name key="name-017483" type="person">Marsh,
                    Ngaio</name></author>. <title level="m"><name key="name-203910" type="work">Black Beech and Honeydew</name></title>. <pubPlace><name type="place">London</name></pubPlace>:
                <publisher><name type="organisation">Collins</name></publisher>, 1966, <edition>rev. ed.</edition><date when="1981">1981</date>.</bibl>
            </listBibl>
          </div>
        </back>
      </text>
      <text xml:id="t1-g1-t6" decls="#text-6-bibl">
        <body xml:id="t1-g1-t6-body">
          <div type="article" xml:id="t1-g1-t6-body-d1">
            <head>A bibliographical description and nominal index to <title type="published"><name key="name-120204" type="work">The Phoenix</name></title>, Auckland University College, 1932-1933.</head>
            <byline>
              <name key="name-120624" type="person">Stephen Hamilton</name>
            </byline>
            <div xml:id="t1-g1-t6-body-d1-d1">
              <head>Preliminary note</head>
              <p>Published by the Literary Club of the Auckland University College in 1932 and 1933, the four issues of <title type="published"><name key="name-120204" type="work">Phoenix</name></title> have attained mythic stature in the annals of New Zealand literature. The following bibliographical description and nominal index benefits from archival research and from several interviews with the late <name key="name-207423" type="person">James Bertram</name>, one of the magazine’s founders and its first editor.</p>
              <p>In addition to the bound material, <title type="published"><name key="name-120204" type="work">Phoenix</name></title> appeared with at least two other items slipped into its pages. Concerned at the ‘somewhat bedraggled appearance’ of the first number of <title type="published"><name key="name-120204" type="work">Phoenix</name></title>, <name key="name-208500" type="person">Robert Lowry</name> printed the following note for insertion into the issue. As it has been lost from most library copies, it is reproduced here in full.</p>
              <quote>
                <p>Many Readers will no doubt have remarked the somewhat bedraggled appearance of the <title type="published"><name key="name-120204" type="work">Phoenix</name></title> in this first stage of its flight. It may perhaps be worth pointing out that certain pages of this number cannot be considered at all representative of the standard of typography to be maintained in future issues. The bulk of the letterpress was produced (as is explained elsewhere) under conditions of extraordinary difficulty unlikely to occur again.</p>
                <p>At the earnest request of what may be styled (with rather undue impressiveness) the Printing Department, this notice is inserted by</p>
                <p>
                     
                  The Editors</p>
              </quote>
              <p>As I have described previously, <name key="name-121585" type="person">Eric Cook</name>’s article ‘<title type="unpublished"><name key="name-122773" type="work">Groundswell</name></title>’ intended for the third number of <title type="published"><name key="name-120204" type="work">Phoenix</name></title> was removed on the order of the Auckland University College Students’ Association.<note n="1" xml:id="note-0025"><p>The circumstances surrounding this are described in my article in <title type="published"><name key="name-122823" type="work">Kōtare</name></title> Vol. 1, No. 1, where <name type="person">Cook</name>’s article is reproduced in a colour facsimile.</p></note> It would have appeared on pages thirty-five and thirty-six of the issue and was replaced by a note printed on bonded paper and tipped into the issue. The note reads:</p>
              <quote>
                <p>The Editor regrets that the article which formerly occupied pages 35 and 36 has been removed by order of the Students’ Association Executive of the Auckland University College.</p>
              </quote>
              <p>Standard modern indexing conventions have been adopted for this description and index, but users should be aware of the following points.</p>
              <p>1.
                   
                The first issue of <title type="published"><name key="name-120204" type="work">Phoenix</name></title> was printed without page numbers, signified here by the abbreviation ‘n.pag.’</p>
              <p>2.
                   
                Two errors occurred in the pagination of Vol.2, no.1, whereby page fifty was incorrectly numbered page forty-eight and page fifty-one given the page number forty-five. This has been silently corrected in this index by imposing the correct page numbers in square brackets.</p>
              <p>3.
                   
                Uncertain attributions are marked with an asterisk (*).</p>
            </div>
            <div xml:id="t1-g1-t6-body-d1-d2">
              <head>Bibliographical description</head>
              <p>Title:  <title type="published"><name key="name-120204" type="work">The Phoenix: A Quarterly Magazine</name></title> (Title and sub-title varies.)</p>
              <p>Motto: ‘Will the bird perish,</p>
              <p>
                   
                Shall the bird rise?’</p>
              <p>Imprint: Auckland: The Literary Club of the Auckland University College, 1932-1933 (Imprint varies.)</p>
              <p>Editorial Staff:</p>
              <p>Vol.1, no.1 (March 1932): <name key="name-207423" type="person">James Bertram</name>(Editor) with <name key="name-208500" type="person">Robert Lowry</name> (Business Manager) and <name key="name-121320" type="person">Jean Alison</name>, <name key="name-122829" type="person">Rilda Gorrie</name>, <name key="name-122834" type="person">Rona Munro</name>, <name key="name-120442" type="person">Allen Curnow</name>, <name key="name-122830" type="person">D. H. Monro</name>, and <name key="name-208941" type="person">Blackwood Paul</name> (Associate Editors).</p>
              <p>Vol.1, no.2 (July 1932): <name key="name-207423" type="person">James Bertram</name> (Editor) with <name key="name-121320" type="person">Jean Alison</name>(Secretary), <name key="name-122835" type="person">Evan Harrowell</name> (Treasurer), <name key="name-208500" type="person">Robert Lowry</name>and <name key="name-122783" type="person">G. B. Bertram</name> (Printing and Business Managers), <name key="name-122836" type="person">L. D. Morrison</name>(Art Editor), and <name key="name-122829" type="person">Rilda Gorrie</name>, <name key="name-122834" type="person">Rona Munro</name>, <name key="name-120271" type="person">J. A. W. Bennett</name>, <name key="name-120442" type="person">Allen Curnow</name>, <name key="name-122840" type="person">G. Campbell MacDiarmid</name>, <name key="name-122830" type="person">D. H. Monro</name>, and <name key="name-208941" type="person">Blackwood Paul</name> (Committee).</p>
              <p>Vol.2, no.1 (March 1933): <name key="name-208689" type="person">R. A. K. Mason</name> (Editor) with <name key="name-121320" type="person">Jean Alison</name>(Secretary), <name key="name-122783" type="person">G. B. Bertram</name> (Business Manager), and <name key="name-120271" type="person">J. A. W. Bennett</name>, <name key="name-120442" type="person">Allen Curnow</name>, <name key="name-122835" type="person">Evan Harrowell</name>, <name key="name-208500" type="person">Robert Lowry</name>, <name key="name-122836" type="person">L. D. Morrison</name>, <name key="name-122830" type="person">D. H. Monro</name>, <name key="name-208941" type="person">Blackwood Paul</name>, and <name key="name-122834" type="person">Rona Munro</name>(Committee).<note n="2" xml:id="note-0026"><p><title type="published"><name key="name-120204" type="work">Phoenix</name></title> Committee Minutes, 6 May 1933, <name key="name-121075" type="person">Janet Paul</name>Papers, Alexander Turnbull Library MS-Papers-5523-12.</p></note>
              </p>
              <p>Vol.2, no.2 (June 1933): 
                   
                <name key="name-208689" type="person">R. A. K. Mason</name> (Editor) with <name key="name-121320" type="person">Jean Alison</name>(Secretary), <name key="name-122783" type="person">G. B. Bertram</name> (Business Manager), and <name key="name-122835" type="person">Evan Harrowell</name>, <name key="name-208500" type="person">Robert Lowry</name>, <name key="name-122836" type="person">L. D. Morrison</name>, <name key="name-122830" type="person">D. H. Monro</name>, <name key="name-208941" type="person">Blackwood Paul</name>, <name key="name-122841" type="person">Miss Odd</name>, and <name key="name-122834" type="person">Rona Munro</name> (Committee).<note n="3" xml:id="note-0027"><p><title type="published"><name key="name-120204" type="work">Phoenix</name></title> Minutes, 3 July 1933, <name key="name-121075" type="person">Janet Paul</name>Papers.</p></note>
              </p>
              <p>Printer: <name key="name-208500" type="person">Robert Lowry</name> with <name key="name-121580" type="person">Ronald Holloway</name>.</p>
              <p>Frequency: Intended as a quarterly, but irregular. Four issues published.</p>
              <p>Numbering: Vol.1, no.1—Vol.2, no.2. (March 1932—June 1933).</p>
              <p>Illustrations: Woodcuts and linocuts.</p>
              <p>Noteworthy contributors: <name key="name-207379" type="person">J. C. Beaglehole</name>, <name key="name-120271" type="person">J. A. W. Bennett</name>, <name key="name-207423" type="person">James Bertram</name>, <name key="name-207493" type="person">Charles Brasch</name>, <name key="name-207746" type="person">D’Arcy Cresswell</name>, <name key="name-120442" type="person">Allen Curnow</name>, <name key="name-207919" type="person">A. R. D. Fairburn</name>, <name key="name-208689" type="person">R. A. K. Mason</name>, and <name key="name-122830" type="person">D. H. Monro</name>.</p>
              <p>Noteworthy artists: <name key="name-122836" type="person">L. D. Morrison</name>, <name key="name-122862" type="person">Neil Johnstone</name>, and <name key="name-208197" type="person">Kennaway Henderson</name>.</p>
            </div>
            <div xml:id="t1-g1-t6-body-d1-d3">
              <head>Nominal index</head>
              <p><name key="name-122875" type="person">Allen, C. R</name>.,</p>
              <p>poetry: ‘<title type="unpublished"><name key="name-122876" type="work">Burnham Beeches</name></title>’, 2.2: 39;</p>
              <p>‘The Swan’, 1.2: 24.</p>
              <p>article: (‘C. R. A.’), ‘<title type="unpublished"><name key="name-122887" type="work">Thoughts on the Function of Poetry’</name></title>, review of <title type="published"><name key="name-122891" type="work">Golden Wedding</name></title> by <name key="name-208782" type="person">Alan Mulgan</name>, 1.2: 47-48, 50.</p>
              <p><name key="name-122893" type="person">Barwell, J. G</name>.,</p>
              <p>article: (‘J. G. B.’), ‘<title type="unpublished"><name key="name-122902" type="work">A Reply to Mr Brasch</name></title>’, 1.2: 41-43.</p>
              <p><name key="name-207379" type="person">Beaglehole, J. C</name>.,</p>
              <p>poetry: ‘<title type="unpublished"><name key="name-122906" type="work">Decline of the West</name></title>’, 2.2: 11-13.</p>
              <p><name key="name-120271" type="person">Bennett, J. A. W</name>.,</p>
              <p>articles: (‘J. A. W. B.’), ‘<title type="unpublished"><name key="name-122907" type="work">After Which</name></title>’, 1.2: 40-41;</p>
              <p>‘<title type="unpublished"><name key="name-122909" type="work">The Necessity of Criticism</name></title>’, 1.1: n.pag;</p>
              <p>‘<title type="unpublished"><name key="name-122923" type="work">Our Universities: the point of view</name></title>’ (extract), 1.1: n.pag;</p>
              <p>(‘J. A. W. B.’), ‘<title type="unpublished"><name key="name-122930" type="work">Remembrance of Things Past</name></title>’, review of <title type="published"><name key="name-122940" type="work">Life and Beauty, a spiritual autobiography</name></title> by <name key="name-209112" type="person">P. W. Robertson</name>, 1.2: 44-47.</p>
              <p>(‘J. A. W. B.’), review of <title type="published"><name key="name-122950" type="work">New Zealand Best Poems</name></title> (1932), 2.1: [50]-[51].</p>
              <p>(‘J. A.’), reviews of <title type="published"><name key="name-122964" type="work">The Savage Pilgrimage: A narrative of D. H. Lawrence</name></title> by <name key="name-122970" type="person">Catherine Carswell</name>, and <title type="published"><name key="name-122972" type="work">Reminiscences of D. H. Lawrence</name></title> by <name key="name-122974" type="person">John Middleton Murry</name>, 2.2: 64-65.*</p>
              <p>(‘J. A. W. B.’), review of <title type="published"><name key="name-122975" type="work">Sons</name></title> by <name key="name-122997" type="person">Pearl S. Buck</name>, 2.2: 63.</p>
              <p><name key="name-123003" type="person">Berkelbach, A</name>. and <name key="name-123004" type="person">D. G. Hutton</name>,</p>
              <p>article: (‘<title type="unpublished"><name key="name-123014" type="work">Karl Marx said</name></title>:’) (extract), 2.2: 16.</p>
              <p><name key="name-207423" type="person">Bertram, James</name>,</p>
              <p>poetry: translation of ‘<title type="unpublished"><name key="name-123019" type="work">Cors De Chasse</name></title>’ by <name key="name-123064" type="person">Guillaume Apollinaire</name>, 1.1: n.pag.</p>
              <p>translation of ‘<title type="unpublished"><name key="name-123072" type="work">The Dunes Outside</name></title>’ by <name key="name-123101" type="person">Arno Holz</name>, 1.1: n.pag.</p>
              <p>articles: (‘J. M. B.’), ‘<title type="unpublished"><name key="name-123109" type="work">A Commentary</name></title>’, 1.2: 22-23.</p>
              <p>‘<title type="unpublished"><name key="name-123134" type="work">The Cause of it all</name></title>’, 1.1: n.pag.</p>
              <p>‘<title type="unpublished"><name key="name-123137" type="work">University Poetry 1931</name></title>’, reviews of 
                <title type="published"><name key="name-123141" type="work">Kiwi</name></title>, <title type="published"><name key="name-110277" type="work">Spike</name></title>, <title type="published"><name key="name-123174" type="work">Canterbury College Review</name></title>, and <title type="published"><name key="name-123201" type="work">Otago University Review</name></title>, 1.1: n.pag.</p>
              <p>(‘J. M. B.’), ‘<title type="unpublished"><name key="name-123202" type="work">University Prose</name></title>’, reviews of <title type="published"><name key="name-123141" type="work">Kiwi</name></title>, <title type="published"><name key="name-110277" type="work">Spike</name></title>, <title type="published"><name key="name-123174" type="work">Canterbury College Review</name></title>, and <title type="published"><name key="name-123201" type="work">Otago University Review</name></title>, 1.2: 55-59.</p>
              <p><name key="name-207493" type="person">Brasch, Charles</name>,</p>
              <p>poetry: ‘<title type="unpublished"><name key="name-123296" type="work">Cape Wanbrow: To I. M</name></title>.’, 1.1: n.pag.</p>
              <p>‘<title type="unpublished"><name key="name-123297" type="work">Cold Music</name></title>’, 1.1: n.pag.</p>
              <p>‘<title type="unpublished"><name key="name-123298" type="work">Mountain Storm</name></title>’, 2.1: 34.</p>
              <p>articles: ‘<title type="unpublished"><name key="name-123299" type="work">The Challenge of Russia</name></title>’, 1.1: n.pag.</p>
              <p>translation of ‘<title type="unpublished"><name key="name-123300" type="work">Letters to a Young Poet</name></title>’ by <name key="name-123301" type="person">Rainer Maria Rilke</name>, 1.2: 18-21.</p>
              <p>‘<name key="name-207746" type="person">Walter D’Arcy Cresswell</name>’, 1.1: n.pag.</p>
              <p><name key="name-123303" type="person">Brogden, S. M. W</name>.,</p>
              <p>article: ‘<title type="unpublished"><name key="name-123304" type="work">Democracy: Bourgeois or Proletarian?</name></title>’ 2.1: 45-46.</p>
              <p><name key="name-123305" type="person">Champ, Stephen</name>,</p>
              <p>illustration: (‘S. F. C.’), ‘<title type="unpublished"><name key="name-123306" type="work">Strictly non-controversial</name></title>’ (woodcut), 2.2: frontispiece.</p>
              <p><name key="name-202109" type="person">Coleridge, Samuel</name>,</p>
              <p>article: ‘<title type="unpublished"><name key="name-123307" type="work">Three Comments</name></title>’ (extract), 1.1: n.pag.</p>
              <p><name key="name-121585" type="person">Cook, Eric</name>,</p>
              <p>article: (‘E. K. C.’), ‘<title type="unpublished"><name type="work"><hi rend="i">The Phoenix</hi></name></title>
                <hi rend="i">’</hi>, 1.2: 34-36.</p>
              <p><name key="name-123308" type="person">Cowie, D. J</name>.,</p>
              <p>fiction: ‘<title type="unpublished"><name key="name-123309" type="work">Music at Home</name></title>’, 1.2: 28-32.</p>
              <p><name key="name-207746" type="person">Cresswell, D’Arcy</name>,</p>
              <p>article: ‘<title type="unpublished"><name key="name-123310" type="work">Culture and Puberty</name></title>’, 1.1: n.pag.</p>
              <p><name key="name-120442" type="person">Curnow, Allen</name>,</p>
              <p>poetry: ‘<title type="unpublished"><name key="name-123311" type="work">Apocalyptic</name></title>’, 2.2: 41.</p>
              <p>‘<title type="unpublished"><name key="name-123312" type="work">Arcady</name></title>’, 2.2: 40.</p>
              <p>‘<title type="unpublished"><name key="name-123313" type="work">Calm</name></title>’, 1.1: n.pag.</p>
              <p>‘<title type="unpublished"><name key="name-123314" type="work">Drawing-Room Window</name></title>’, 2.1: 43.</p>
              <p>‘<title type="unpublished"><name key="name-123315" type="work">Egotism (As the Hebrew Poets Wrote)</name></title>’, 1.1: n.pag.</p>
              <p>‘<title type="unpublished"><name key="name-123316" type="work">The Spirit Shall Return</name></title>’, 1.2: 33.</p>
              <p>articles: (‘A. C.’), review of <title type="published"><name key="name-123317" type="work">The New Zealand Fortnightly Review</name></title>, 2.2: 57.*</p>
              <p>(‘A. C.’), review of <title type="published"><name key="name-123318" type="work">Sonnets and Studies</name></title> by <name key="name-122875" type="person">C. R. Allen</name>, 2.2: 57-58.</p>
              <p>(‘A. C.’), review of <title type="published"><name key="name-123319" type="work">Tom’s A-Cold</name></title> by <name key="name-123320" type="person">John Collier</name>, 2.2: 63-64.</p>
              <p><name key="name-207919" type="person">Fairburn, A. R. D</name>.,</p>
              <p>poetry: ‘<title type="unpublished"><name key="name-123321" type="work">Deserted Farmyard</name></title>’, 2.1: 12.</p>
              <p>‘<title type="unpublished"><name key="name-123322" type="work">Straw</name></title>’, 2.1: 10-11.</p>
              <p>article: (‘A. R. D. F.’), ‘<title type="unpublished"><name key="name-123323" type="work">Marx is the bunk</name></title>’, 2.2: 53.</p>
              <p><name key="name-207951" type="person">Firth, Clifton</name>,</p>
              <p>articles: ‘<title type="unpublished"><name key="name-123325" type="work">Russian Films: 1</name></title>’, 2.1: 17-22.</p>
              <p>‘<title type="unpublished"><name key="name-123326" type="work">Russian Films: 2</name></title>’, 2.2: 21-25.</p>
              <p><name key="name-123327" type="person">Firth, Clinton</name> and <name key="name-208689" type="person">R. A. K. Mason</name>(‘Group A’),</p>
              <p>article: ‘<title type="unpublished"><name key="name-123328" type="work">Free Man</name></title>’, 2.1: 38-43.</p>
              <p><name key="name-123329" type="person">Fitzherbert, Patricia</name>,</p>
              <p>article: review of <title type="published"><name key="name-123330" type="work">Where Stands Socialism To-day?</name></title> by <name key="name-008913" type="person">Harold Laski</name> et al, 2.2: 59-60.*</p>
              <p>review of <title type="published"><name key="name-123331" type="work">Twelve Studies in Soviet Russia</name></title>, 2.2: 60.</p>
              <p><name key="name-207977" type="person">Fowlds, George</name>,</p>
              <p>article: (‘<title type="unpublished"><name key="name-123332" type="work">Everywhere throughout the civilised world</name></title>’) (extract), 2.1: 4.</p>
              <p><name key="name-123333" type="person">Froude, J. A</name>.,</p>
              <p>article: ‘<title type="unpublished"><name key="name-123334" type="work">Know this place?</name></title>’ (extract), 2.2: 46.</p>
              <p>‘<name type="person">Garibaldi</name>’,</p>
              <p>article: ‘<title type="unpublished"><name key="name-123335" type="work">All Roads march on Rome</name></title>’, 2.1: 46-48.</p>
              <p><name key="name-122829" type="person">Gorrie, Rilda</name>,</p>
              <p>fiction: ‘<title type="unpublished"><name key="name-123336" type="work">Crade Likeness</name></title>’, 1.1: n.pag.</p>
              <p>article: (‘R. G.’), review of <title type="published"><name key="name-123337" type="work">Pencarrow</name></title> by <name key="name-017782" type="person">Nelle Scanlan</name>, 1.2: 50-52.</p>
              <p><name key="name-208095" type="person">Grey, Sir George</name>,</p>
              <p>article: (‘<title type="unpublished"><name key="name-123339" type="work">Even in the case of the missionaries</name></title>’) (extract), 2.1: 16.</p>
              <p>‘Group A’, <hi rend="i">see</hi> R. A. K. Mason <hi rend="i">and</hi> Clifton Firth.</p>
              <p><name key="name-123340" type="person">Hanning, Ian</name>,</p>
              <p>article: ‘<title type="unpublished"><name key="name-122923" type="work">Our Universities: the point of view</name></title>’ (extract), 1.1: n.pag.</p>
              <p><name key="name-123341" type="person">Hamilton, Cicely</name>,</p>
              <p>article: ‘<title type="unpublished"><name key="name-123342" type="work">How Bill Adams won the battle of Waterloo</name></title>’, 2.2: 20.</p>
              <p><name key="name-208197" type="person">Henderson, Kennaway</name>,</p>
              <p>illustration: (‘<title type="unpublished"><name key="name-202460" type="work">Ken</name></title>’), ‘<title type="unpublished"><name key="name-123343" type="work">Censor</name></title>’ (linocut), 2.2: facing page 20.</p>
              <p><name key="name-123344" type="person">Hulme, T. E</name>.,</p>
              <p>article: ‘<title type="unpublished"><name key="name-123307" type="work">Three Comments</name></title>’ (extract), 1.1: n.pag.</p>
              <p><name key="name-123345" type="person">Hyde, Lawrence</name>,</p>
              <p>article: ‘<title type="unpublished"><name key="name-123307" type="work">Three Comments</name></title>’ (extract), 1.1: n.pag.</p>
              <p><name key="name-122862" type="person">Johnstone, Neil</name>,</p>
              <p>illustration: ‘<title type="unpublished"><name key="name-123346" type="work">Figurehead</name></title>’ (linocut), 1.2: frontispiece.</p>
              <p>‘J. P.’, <hi rend="i">see</hi> <name key="name-208689" type="person">R. A. K. Mason</name>.</p>
              <p>‘L. M.’,</p>
              <p>article: review of <title type="published"><name key="name-123347" type="work">A Study in Creative History</name></title> by <name key="name-207549" type="person">O. E. Burton</name>, 2.1: [50].<note n="4" xml:id="note-0028"><p>This review was possibly written by <name key="name-122836" type="person">L. D. Morrison</name>, <title type="published"><name key="name-120204" type="work">Phoenix</name></title>’s Art Editor.</p></note>
              </p>
              <p><name key="name-208500" type="person">Lowry, R. W</name>.,</p>
              <p>article: ‘<title type="unpublished"><name key="name-123348" type="work">Literature and Philosophy: a prospect</name></title>’, 1.1: n.pag.</p>
              <p>(‘R. L.’), review of <title type="published"><name key="name-123349" type="work">Introduction to Psycho-Analysis for Teachers</name></title> by <name key="name-123350" type="person">Ann Freud</name>, 2.1: [51]-52.</p>
              <p>(‘R. L.’), reviews of <title type="published"><name key="name-123351" type="work">Anne Vickers</name></title> by <name key="name-100051" type="person">Sinclair Lewis</name>, <title type="published"><name key="name-123352" type="work">The Art of Being a Woman</name></title> by <name key="name-123353" type="person">Olga Knopf</name>, and <title type="published"><name key="name-123354" type="work">Woman’s Place in Industry and Home</name></title> by <name key="name-123355" type="person">Sylvia Anthony</name>, 2.2: 62-63.</p>
              <p>(‘R. L.’), review of <title type="published"><name key="name-123356" type="work">The Student Vanguard</name></title>, 2.2: 60-63.</p>
              <p>(‘R. L.’), review of <title type="published"><name key="name-123357" type="work">Ten Days That Shook the World</name></title> by <name key="name-123358" type="person">John Reed</name>, 2.2: 60-63.*</p>
              <p>(‘R. L.’), review of <title type="published"><name key="name-123359" type="work">USSR in Construction</name></title>, 2.2: 60-63.*</p>
              <p><name key="name-123360" type="person">Male, John Gifford</name>,</p>
              <p>poetry: (‘J. G. M.’), ‘<title type="unpublished"><name key="name-123361" type="work">Priesthood</name></title>’, 1.2: 21.</p>
              <p><name key="name-208689" type="person">Mason, R. A. K</name>.,</p>
              <p>poetry: ‘<title type="unpublished"><name key="name-123362" type="work">Amores VI</name></title>’, 2.2: 17.</p>
              <p>‘<title type="unpublished"><name key="name-123363" type="work">In Manus Tuas, Domine</name></title>’, 2.1: 37.</p>
              <p>‘<title type="unpublished"><name key="name-123364" type="work">Stoic Overthrow</name></title>’, 1.1: n.pag.</p>
              <p>fiction: ‘<title type="unpublished"><name key="name-123365" type="work">His End Was Peace</name></title>’, 1.2: 5-16.</p>
              <p>articles: (anonymous), ‘<title type="unpublished"><name key="name-123366" type="work">How it strikes a contemporary</name></title>’, 2.2: 18-20.</p>
              <p>‘<title type="unpublished"><name key="name-123367" type="work">Notes</name></title>’, 2.1: 5-9.</p>
              <p>‘<title type="unpublished"><name key="name-123367" type="work">Notes</name></title>’, 2.2: 1-10.</p>
              <p>(‘J. P.’),<note n="5" xml:id="note-0029"><p><name type="person">Mason</name> claims authorship of this item in papers held in the Hocken Library. <name key="name-208689" type="person">R.A.K. Mason</name> Papers, <title type="published"><name key="name-120204" type="work">Phoenix</name></title> File, Hocken Library MS 592B.</p></note> ‘<title type="unpublished"><name key="name-123368" type="work">The New Economics Hits New Zealand</name></title>’, review of <title type="published"><name key="name-123369" type="work">New Zealand Plain Talk</name></title>, 2.1: 28-34.</p>
              <p>reviews of <title type="published"><name key="name-123370" type="work">James Joyce and the Plain Reader</name></title> by <name key="name-123371" type="person">Charles Duff</name>, <title type="published"><name key="name-123372" type="work">Hunger and Love</name></title> by <name key="name-123059" type="person">Lionel Britton</name>, <title type="published"><name key="name-123373" type="work">Experimental Cinema No.4</name></title>, and <title type="published"><name key="name-123374" type="work">Soviet Russia and the World</name></title> by <name key="name-123375" type="person">Maurice Dobb</name>, 2.1: 52-56.*</p>
              <p>review of <title type="published"><name key="name-123376" type="work">Light on the Legion</name></title>, 2.2: 54.*</p>
              <p>review of <title type="published"><name key="name-123377" type="work">Oriflamme</name></title>, 2.2: 55-57.</p>
              <p>review of <title type="published"><name key="name-123378" type="work">The New Zealnd [sic] Legion</name></title> by <name key="name-208618" type="person">D. G. McMillan</name>, 2.2: 54-55.*</p>
              <p>review of <title type="published"><name key="name-123379" type="work">To The Workers of New Zealand</name></title>, 2.2: 55.*</p>
              <p>review of <title type="published"><name key="name-123380" type="work">Pomes Penyeach</name></title>by <name key="name-123381" type="person">James Joyce</name>, 2.2: 65.*</p>
              <p>review of <title type="published"><name key="name-123382" type="work">Spacetime Inn</name></title>by <name key="name-123059" type="person">Lionel Britton</name>, 2.2: 65.*</p>
              <p><name key="name-208689" type="person">Mason, R. A. K</name>., and <name key="name-207951" type="person">Clifton Firth</name>(‘Group A’),</p>
              <p>article: ‘<title type="unpublished"><name key="name-123328" type="work">Free Man</name></title>’, 2.1: 38-43.</p>
              <p><name key="name-000895" type="person">Mill, J. S</name>.,</p>
              <p>article: (‘<title type="unpublished"><name key="name-123383" type="work">If all mankind minus one were of one opinion</name></title>’) (extract), 2.2: epigraph.</p>
              <p><name key="name-122794" type="person">Milner, Ian</name>,</p>
              <p>poetry: ‘<title type="unpublished"><name key="name-123384" type="work">Haven sighted—unmapped</name></title>’, 2.2: 10.</p>
              <p>‘<title type="unpublished"><name key="name-123385" type="work">We Will Remember Them</name></title>’, 2.1: 27.</p>
              <p>fiction: ‘<title type="unpublished"><name key="name-123386" type="work">Michael Grows Up</name></title>’, 2.1: 24-27.</p>
              <p>article: ‘<title type="unpublished"><name key="name-123387" type="work">A Note on Katherine Mansfield</name></title>’, 1.1: n.pag.</p>
              <p><name key="name-122830" type="person">Monro, D. H</name>.,</p>
              <p>fiction: (‘D. H. M.’), ‘<title type="unpublished"><name key="name-123388" type="work">Portrait of a prodigy</name></title>’, 2.2: 26-30.</p>
              <p><name key="name-122830" type="person">Monro, D. H</name>., and <name key="name-208941" type="person">Blackwood Paul</name> (‘D. H. M. and D. B. P.’),</p>
              <p>article: ‘<title type="unpublished"><name key="name-123389" type="work">We Critics</name></title>’, 1.2: 36-40.</p>
              <p><name key="name-122836" type="person">Morrison, L. D</name>.,</p>
              <p>illustrations: ‘<title type="unpublished"><name key="name-123390" type="work">For Phoenix and Oriflamme</name></title>’ (linocut), 2.2: facing page 32.</p>
              <p>[<title type="unpublished"><name key="name-123391" type="work">Grim Reaper</name></title>] (linocut), 2.1: 48.</p>
              <p>‘<title type="unpublished"><name key="name-123392" type="work">Matins</name></title>’ (linocut), 2.2: facing page 44.</p>
              <p>‘<title type="unpublished"><name key="name-123393" type="work">Metroproletarian</name></title>’ (linocut), 2.1: 44.</p>
              <p>‘<title type="unpublished"><name key="name-123394" type="work">Morning in Tuscany</name></title>’ (linocut), 1.2: 17.</p>
              <p>‘<title type="unpublished"><name key="name-123395" type="work">Silo</name></title>’ (linocut), 2.1: 23.</p>
              <p>‘<title type="unpublished"><name key="name-123396" type="work">The dreamer in the Kremlin</name></title>’ (linocut), 2.2: facing page 60.</p>
              <p>‘<title type="unpublished"><name key="name-123397" type="work">Tug</name></title>’ (linocut), 2.1: 13.</p>
              <p><name key="name-122834" type="person">Munro, Rona</name>,</p>
              <p>fiction: ‘<title type="unpublished"><name key="name-123392" type="work">Matins</name></title>’, 2.2: 45-46.</p>
              <p>‘<title type="unpublished"><name key="name-123398" type="work">Twenty Years Ago</name></title>’, 1.2: 25-27.</p>
              <p><title type="published"><name key="name-123201" type="work">Otago University Review</name></title> Editorial,</p>
              <p>articles: ‘<title type="unpublished"><name key="name-123399" type="work">The need of a new asceticism is upon us</name></title>’ (extract), 1.1: n.pag.</p>
              <p>‘<title type="unpublished"><name key="name-122923" type="work">Our Universities: the point of view</name></title>’ (extract), 1.1: n.pag.</p>
              <p><name key="name-208941" type="person">Paul, Blackwood</name>,</p>
              <p>articles: ‘<title type="unpublished"><name key="name-123400" type="work">Crankishness in contemporary religion</name></title>’, 2.2: 47-52.</p>
              <p>(‘B.D.P.’ [sic]), review of <title type="published"><name key="name-123401" type="work">Seven One-Act Plays</name></title> by <name key="name-123402" type="person">Violet Targuse</name> et al, 2.2: 58-59.*</p>
              <p><name key="name-208941" type="person">Paul, Blackwood</name>, and <name key="name-122830" type="person">D. H. Monro</name>(‘D. H. M. and D. B. P.’),</p>
              <p>article: ‘<title type="unpublished"><name key="name-123389" type="work">We Critics</name></title>’, 1.2: 36-40.</p>
              <p><name key="name-208969" type="person">Pharazyn, W. N</name>.,</p>
              <p>article: ‘<title type="unpublished"><name key="name-123403" type="work">What is it?</name></title>’ 2.2: 34-39.</p>
              <p><name key="name-123404" type="person">Prince, J. W</name>.,</p>
              <p>articles: ‘<title type="unpublished"><name key="name-123405" type="work">Art in the World Crisis</name></title>’, 2.1: 14-16.</p>
              <p>‘<title type="unpublished"><name key="name-123406" type="work">Maxim Gorky</name></title>’, 2.2: 14-16.</p>
              <p><name key="name-209085" type="person">Richmond, N. M</name>.,</p>
              <p>article: review of <title type="published"><name key="name-123407" type="work">The Coming Struggle For Power</name></title> by <name key="name-123408" type="person">John Strachey</name>, 2.2: 31-33.</p>
              <p><name key="name-123409" type="person">Robertson, F. H</name>.,</p>
              <p>article: (‘F. H. R.’), ‘<title type="unpublished"><name key="name-123410" type="work">Recent Literature of the Class War</name></title>’, reviews of, <title type="published"><name key="name-123411" type="work">Moscow Impressions</name></title> by <name key="name-123412" type="person">Allen Fisher</name>, <title type="published"><name key="name-123413" type="work">A New Zealand Woman in Russia</name></title> by <name key="name-123414" type="person">H. J. Scott</name>, <title type="published"><name key="name-123415" type="work">This Freedom, The Unemployed and the Churches</name></title> by ‘<name key="name-123416" type="person">Jack Nag</name>’, <title type="published"><name key="name-123417" type="work">It Still Goes On</name></title>by ‘<name key="name-123416" type="person">Jack Nag</name>’, <title type="published"><name key="name-123418" type="work">Proletariat</name></title>Vol.1, no.1, and <title type="published"><name key="name-123419" type="work">Freethought</name></title>Vol.1, no.1, 1.2: 52-55.</p>
              <p><name key="name-123420" type="person">Stewart, J. S</name>.,</p>
              <p>article: ‘<title type="unpublished"><name key="name-123421" type="work">Oxford—red or yellow</name></title>?’ (extract), 2.2: 42-44.</p>
              <p><name key="name-200502" type="person">Straubel, Carl</name>,</p>
              <p>poetry: (‘C. R. S.’), ‘<title type="unpublished"><name key="name-123390" type="work">For Phoenix and Oriflamme</name></title>
                , 2.2: facing page 32.</p>
              <p><name key="name-209364" type="person">Sullivan, M. G</name>.,</p>
              <p>article: review of <title type="published"><name key="name-123422" type="work">The Dallimore Campaign Exposed</name></title>, 2.1: 49.</p>
              <p><title type="published"><name key="name-123423" type="work">The Times</name></title> (London),</p>
              <p>article: ‘<title type="unpublished"><name key="name-123424" type="work">Press Notice</name></title>’ (extract), 1.2: 43.</p>
              <p><name key="name-123425" type="person">Whitmore, Cyril</name>,</p>
              <p>illustration: ‘<title type="unpublished"><name key="name-123426" type="work">Home</name></title>’ (linocut), 1.2: 49.</p>
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          <div type="article" xml:id="t1-g1-t7-body-d1">
            <head>A Note on <name key="name-123427" type="person">Maria Edgeworth</name> and <name key="name-123170" type="person">Ursula Bethell</name></head>
            <byline>
              <name key="name-123428" type="person">Heidi Thomson</name>
            </byline>
            <p>Readers familiar with eighteenth-century English literature may recognise the reference to “the experience of Rosamund and her Purple Jar!” in the first section of <name key="name-123170" type="person">Ursula Bethell</name>’s “<title type="unpublished"><name key="name-123171" type="work">By the River Ashley</name></title>.” It is from a popular story by the Anglo-Irish writer <name key="name-123427" type="person">Maria Edgeworth</name> (1768-1849), <name key="name-005982" type="person">Jane Austen</name>’s favourite novelist and a pioneer in children’s literature, a genre which does not get properly developed until the middle of Queen Victoria’s reign. “The Purple Jar” appeared in <title type="published"><name key="name-123430" type="work">The Parent’s Assistant</name></title> (1796) and reappeared in <title type="published"><name key="name-123431" type="work">Rosamond</name></title> (1801). In addition to Frank, Harry and Lucy, Rosamond is one of <name type="person">Edgeworth</name>’s favourite heroines: she is impetuous, independent and resourceful.</p>
            <p>The story is a particularly revealing touchstone for the experience of the children by the river Ashley. Rosamund, who should really spend her pocket money on a new pair of shoes, is enchanted by a wonderful purple jar which is prominently displayed in a chemist’s window. She is allowed by her mother to spend her pennies on the jar, which leads to a double disappointment. As soon as the coloured water (appropriately alluded to in the <name type="person">Bethell</name> poem as “the water of illusion”) has been let out of the jar, the jar loses its magic entirely. In addition, her father will not take her out, because she does not have appropriate shoes. <name type="person">Bethell</name>’s poem softens the experience by offering some consolation for the loss of the bright, “best colours”: “But there were still good shapes and good smooth feel.”</p>
            <p><name type="person">Edgeworth</name>’s stories are exceptional in their time for their emphasis on the actual experience of children and for not being overtly prescriptive, and the first section of <name type="person">Bethell</name>’s poem clearly celebrates children’s immediate experiences too. Like <name key="name-123170" type="person">Ursula Bethell</name>, <name key="name-123427" type="person">Maria Edgeworth</name> was closely involved with the education of children, mostly her own twenty-one siblings (her father married four times). Considering the tremendous success of <name type="person">Edgeworth</name>’s children’s stories which remained in print well into the 1930s, <name key="name-123170" type="person">Ursula Bethell</name> may well have been inspired by, or even used, these stories while teaching in London around the turn of the century.</p>
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            <head>Work Cited</head>
            <listBibl>
              <bibl><author><name key="name-123170" type="person">Bethell,
                    Ursula</name></author>. <title level="m"><name key="name-120433" type="work">Collected Poems</name></title>. Ed. <editor><name type="person">Vincent
                    O’Sullivan</name></editor>. <pubPlace><name type="place">Wellington</name></pubPlace>:
                <publisher><name type="organisation">Victoria University Press</name></publisher>, <date when="1997">1997</date>.</bibl>
            </listBibl>
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        </back>
      </text>
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        <body xml:id="t1-g1-t8-body">
          <div type="article" xml:id="t1-g1-t8-body-d1">
            <head><title type="published"><name key="name-110829" type="work">The Great Romance</name></title>: a science<lb/> fiction/utopian novelette.</head>
            <byline>
              <docAuthor>
                <name key="name-123118" type="person">Dominic Alessio</name>
              </docAuthor>
            </byline>
            <div xml:id="t1-g1-t8-body-d1-d1" n="Note">
              <p>[Note: Volume One of <title type="published"><name key="name-111458" type="work">The Great Romance</name></title> was published in the previous number of <title type="published"><name key="name-122823" type="work">Kōtare</name></title>. Volume Two is reproduced below. Although the story is clearly unfinished, it is not known whether any further volumes were ever written or printed, or if so, whether they have survived. The next number of <title type="published"><name key="name-122823" type="work">Kōtare</name></title> will include a discussion of the significance of <title type="published"><name key="name-111458" type="work">The Great Romance</name></title> in the context of nineteenth-century science fiction writing and utopian fiction. In the text below, obvious typesetting and similar errors have been silently corrected.]</p>
            </div>
            <div xml:id="t1-g1-t8-body-d1-d2" type="chapter">
              <head>CHAPTER XIII.<lb/>
                Preparing to start—suspicious thoughts.</head>
              <p>From fruit to flower—from the deep dale to the treeladen forest—from mountain to sea—from rivers of bright water to the desert ground—we wandered and searched, like children on a holiday, ever eager to see, to know, and to discover, and perhaps I, John Hope secretly feared to meet that hour when Moxton and Weir would leave me alone on the planet and again tempt the dangers of the great deep.</p>
              <p>But the dreaded hour ever comes swiftly; pleasure makes wings for time, and but for memory it would be worth while to follow life’s trail through the desert of existence for all the golden hours and bright oases which we can see; but memory—memory gives again and again each happy thought, each celestial moment thrills its thousand times through all our heart, brightening life’s dullest hours.</p>
              <p>So, now our holiday was past, why in truth, with so great a deed accomplished, should Weir and Moxton longer stay? Everything that I could want for years to come was stored in my little castle, which, though small, was yet formidable in its powers of defence, and in the journeyings, which day by day we accomplished, nothing had we seen capable of hurting man, or in any way coping with his sure and terrible arms. There were, indeed, huge lion-like animals which moved under leaders, and worked together like an army, but they never left their native forest, and these seemed the most formidable, roaming without check through a large part of the world.</p>
              <p>We had selected a spot some hundreds of feet above the common level, for here all the water seemed land-locked, standing like inland lakes at all sorts of heights, rising and falling, with the seasons, and with no general inter-communication. It was a fine sweeping plain within the tropics, but kept cool by its elevation, and by the fact that on the still higher ground spread a large lake. There were a few trees scattered here and there, sometimes in clumps, sometimes almost deepening into a coppice, and under a near group I had a large tent fixed for comfort in the warmer weather.</p>
              <p>Yet, despite the want of apparent danger, and the complete reign of brute strength, there was in all our minds a strange dread and uneasiness at parting, and indeed we surely needed to leave a large margin for possibilities in reckoning the coming years, for should aught happen on their homeward voyage, might they not be whirled away on their unprecedented course till they became but a mite of senseless matter gripped in the undying hand of fate; and who then should be mourned—they or I, a solitary being in a lonely world? Yes, I might for ages carry on that awful existence; I felt even as though it had already begun, hoping from long year to year that another vessel would tempt that wondrous deep from which no travellers had as yet returned—hoping—but ah! how vainly—hoping to see again those glorious beings which woke me from my wondrous sleep; hoping—ah! hope is never the word for that infinite yearning—to see her but again—it seemed worth a century of life—to hear those gentle words, to feel the least breath of that love which was beyond all pity or compassion.</p>
              <p>Moxton, and her brother, too, their hearts seemed clouded and confused to me, and the sleeping devil which had seemed to live beneath Moxton glared as when I first knew him, returned like a dream to trouble my brain, and with it many fearful thoughts. For was not I an alien, an outcast, and had not I presumed to wed myself to the future in defiance of fate and law? Then, as I had done so much—led the van in the battle of force against brute matter—had not this people, this council of nations, carried out well their unwritten commandments, and given me by my own choice their highest sepulchre, their widest tomb?</p>
              <p>The men, too, whom I had chosen, or who had chosen me —was there not a fitness—her brother, who would have been wronged in his sister’s union—and Moxton, did not her image dwell deep in his heart? aye, deeper perhaps than I could fathom—by the world judged, by my own conscience condemned—and these two men, though I believed they loved me as brothers—my fitting executioners? Yes, what kind cruelty! I could wander at large in my tomb; I could live till time itself grew gray, yet could never again mingle with the perfection of the future, or see the wondrous light in those faces now lost to me. Yes, this was why they lingered, and walked apart; why a cloud had settled over those great spirits which I was but beginning to leave.</p>
              <p>I was sitting and thinking in my lonely castle, the Star Climber lay resting on the ground some hundreds of yards away, and I saw Weir and Moxton returning through the lengthening shadows. I could but fancy their minds, but in fuller comradeship than I had ever known with them; yet, as they grew nearer, that tide of unhappy thought went back, a stronger manhood seemed to be asserting itself, till it was as though my brain—so long ago benumbed in that wondrous sleep—was but awakening; as though the delicate fibres of sense had been so near dissolution, perhaps even touched with decay in those long dead years, that a horror as of death was always hanging over me, breeding fearful thoughts and strange fancies. Yes, I had known of one such unhappy case, where death had actually been, yet was the great conqueror driven out; the miserable man had died from bad air in some earth shaft, had been pronounced dead, and given over for burial, and so taken charge of by the savants of science, and after many hours had elapsed, revivified. But then the trouble began; he was not himself in the finer tissues and the brain, corruption had begun, and a terrible fear and horror always hung over him—more especially as regarded his friends. It was a fearful drama when his sons saw the once dead man again—himself, yet not himself, with the taint and fear of death always upon him. His recovery had not been made known to them, and it was only the strange instinct which drew—yet frightened—drew him by an awful fascination to his natal spot, that brought about the discovery and made the fact known to the world.</p>
              <p>By this time Moxton and Weir were drawing nigh, and could not but move uneasily under all that sense of thought. They must have divined afar off all that tempestuous feeling, for Weir came, and laying his hand on my shoulder, said—”I shall bring back my sister, Hope, as surely as I reach the earth; those thoughts that trouble you are, as you know, but a nightmare, as far from the truth as from your latter self.”</p>
              <p>And Moxton, looking at me with a face that would have made doubt die of shame, said—”If I liked the girl as much as you do, Hope, I would send her to you and seek to find some other, because I know how much she likes you. You must not think because once her image dwelt awhile in my mind no other can grow there. I think there are thousands whom you would have loved had they been brought near you, and you know our present lives have wider instincts, and are more in unison with all nature and one another.”</p>
              <p>They both knew better than I could tell them that all these thoughts were but as dreams, though fated perhaps to be dreamt during the night of their departure, and only to be thoroughly done away by the morn of their re-coming.</p>
              <p>The few last days came swiftly. We all collected fruits, flowers, and the smaller animals, to be taken back. There was not much in the way of utility, but for beauty, variety, strangeness—both beast and bird, fruit and flower, were endless.</p>
              <p>The new air of the planet conspired to give life and vivacity to every act, and because we liked these days they seemed the faster to flee away, for both Moxton and Weir dreaded the months of monotony to come. Almost a fear seemed to hang over them as the hour of departure drew nigh—not for themselves, but for me.</p>
              <p>“There is no doubt we were fools,” said Weir, “to arrange to leave you here. There may many things happen in this planet which we know nothing of—even the beasts have almost sense enough to besiege you. If I were you I should not travel except in the air. You are quite safe in that little boat, and even when you are about here I would always keep my revolver in my hand—make a habit of it. I don’t know what we would do if, when we came back, we found anything wrong with you; it would spoil the spirit of the whole enterprise; to us it would hardly be a success. I think there are animals we have not seen, four-footed men, perhaps, as cunning and as cruel as the most ancient savage. There is certainly not much to attract anything here except grass-feeders, but you know the grass-feeders are themselves food.”</p>
              <p>I promised duly to take care of myself, and, indeed, intended to do so, for life was dear to me as ever.</p>
              <p>Early morning was the time appointed for their leavetaking; then the planet would bring us round to the appointed place, and the Star Climber once more dash away on her heavenly route.</p>
              <p>We spent a large part of the night in preparing for the start, this needing nice calculation and accurate despatch; for although if they once came into the limits of the earth’s attraction their erratic orbit and natural motion would bring them into the atmosphere, and so enable them to land, yet, were they so far out as to miss the short circle, then, indeed, God knows whither they might wander. Might they not, like other lost travellers, lose not only the way but the sense to re-find it, and if not stopped by one of the outer planets, go out into an abyss more dread than that of the dyspeptic’s dream? But these were all foolish visions, founded on nought, for we were dealing with real facts and certainties, and not more surely have summer and winter, and day and night, followed without alteration or accident, than that if started truly on our course we should follow it and arrive at its end. We had, however, decided to start the Star Climber by a different method. Instead of circling round to attain speed, and then going in the direction as the ship moved outwards towards space by steering or wing power, Moxton determined to poise the Star Climber in the air, keeping her steady and motionless with her lesser vibratory motion, till, like a rifle or telescope, she was accurately sighted, then discharge, as we had done in the Magellan cloud, our rearward artillery—this would give her a swift and true start, with about three times the speed with which we left the earth; besides which, they would still have the ten miles of atmosphere to correct any slight error, and all their wing power to accelerate their already swift motion.</p>
            </div>
            <div xml:id="t1-g1-t8-body-d1-d3" type="chapter">
              <head>CHAPTER XIV.<lb/>
                Dream—new inhabitants.</head>
              <p>The broad sun was throwing his misty beams over the dew-laden planet. We had shaken hands; we had parted. I stood on the grassy turf, Moxton and Weiron the flying vessel. “Once more, Weir, good-bye ! good-bye !” Stern time never yet tarried. With waving hands and lingering looks they were gone. The huge lids of the vessel that had till now lain open, began to rise and slowly fold them within their air-tight clasp. Weir appeared again for a moment at the lesser door, then that, too, was closed, and for an instant all was silent. Then the long wings stretched themselves out and began to move with a short, rapid motion, quickening, till the grass and herbs beneath were beaten from the ground by the fiercely-driven air, and as those wing points grew into a blue haze the grand vessel lifted herself up, steadily moving away from me till well nigh a mile distant.</p>
              <p>I did not wish to be left stunned with the noise of her departure. Again I saw her poise herself steadily. Gradually the fore part rose from the level plane till the vessel hung steadily at an acute angle with the planet’s surface. This, as in their start from the earth, would give some twelve miles of pretty dense atmosphere to travel in before the thinner air was reached. I knew the minute was drawing near. I saw the ship move slightly, and then seem fixed like a falling tower across the firmament without even a tremble or perceptible quiver. Then, at the appointed second, the stream of fire flashed out and the fearful deafening roar fell on my ear. I saw her rush, upwards, onwards, amid such a continuous thunder peal as this world certainly never heard before; like the evil angels of old, she left in fire and flame. Swift, like a gigantic meteor, she fled away; she hung for some seconds out over the horizon, then grew smaller and smaller, till like a point of light—a star—she vanished, and I—with half my dreams, half my hopes realised—stood alone on the new planet. Alone. Yes; though we had been here weeks, how strange the grass, how new each leaf! Each little unfamiliar flower lifted its eye to mine as though some angel whispered in its ear that I was alone, and it feared and wondered at me.</p>
              <p>Then I sank down on the grass and cried like a child, like a woman who knows the vanity, the sweetness of grief. I hid my face on the earth, although there was no eye to see. Then I grew calm. I recollect the breeze playing about my head, the warm sun striking down on me. Then consciousness faded—I wandered into the land of dreams, and there again I lay stretched, but out on a burning plain, an unutterable desert. I rise up; I look abroad, and there before me in the uncertain distance some thing with two colourless insect-like wings stood stiffly up, still as if dead, and still farther away another, and another. Measureless distance all around. Like dead infernal things do my thoughts speak them; and ere ever you come near them they rise and move away; and their wings have no motion; then stand again, still, silent, horribly certain. Is it a remnant of an unknown hell left here, where forgotten of all, unseen in the array of the eternal ages, they are tormented not; they wander no more, but flit, flit from all and stay here for ever? Then that grim vision faded, and a voice cried—”Herein is the prophecy—that thou should’st work among rotten wood, having an ass’s tail for a sky scraper, and wanting both wit and money.” I grew puzzled and confused; conscious again of the hot sun striking on me; then dimly, yet ever increasing with my returning senses, a second consciousness of some other presence, aye, no foot on the sand, but of beings standing over me—gods or angels, men or devils, what or who? The sense of their presence wrenched back my senses from the world of the brain’s play-time, and brought at last to me the uses of my mortal vision. Strange beings! how shall I describe them? with no likeness to humanity except that they stood on two legs; with arms, yet not arms; faces human, yet how unlike!</p>
              <p>I woke to the sense of their presence, to see them gazing down, arms linked to each other, male and female, gazing with soft eyes on my yet recumbent figure, their fine bodies covered with a down—neither of bird nor animal—soft and dark, and their heavy, lithe limbs, such as might have developed from that earliest of prehistoric elephant, had not the heat of a younger world debased him, and nature’s giant youth pushed him in her recklessness to balk rather than serve.</p>
              <p>They did not move as I awakened; they stood still as I leaned on my elbow, too crazed with wonder to speak, as drawn up by fascination I arose. I even advanced towards them. Then the smaller one shrank back, while the other lifted a limb into the air; but I spread out my two hands and I think my lips made unintelligible attempts to speak, but whether any words broke from them I do not know. I think my speech then dwindled into unintelligible mumblings, like those of an idiot, but the action was understood. Strange sounds they made; the huge limb descended; it touched my hands with a soft motion; then I stroked that extended arm; and impelled by those independent workings of the brain, I became emboldened and took the quaint ending of that limb in my hand, and shook it as I would a friend’s hand. Then what was the laughter of the planet broke in motion over their faces, and moved in the air with a refreshing, peace-giving breath. It swept away my dread—a smile broke on my features—I went still nearer—I put an arm on each and laid my face against the face of the smaller one. Each motion of confidence was reciprocated; she inclined to me, touching me with a soft motion. Then we parted, and again looked at each other.</p>
              <p>How strange it seemed—we could not speak. There was intelligence, knowledge, in every line of their features, and with low, strange voices they turned to each other and seemed to converse. “Will you come with me?” I said, and I think it was the first intelligible sentence I had uttered since I saw them. But as with assenting motions, and a low, sweet intonation that sounded to me like a repetition of my own words “come! come!” they turned to me. I led the way to my castle.</p>
              <p>They would not enter. They stood a few yards from the door with their arms again linked around each other, and I could but think they were wise to use such prudence. I brought out of my stores what I could think of to please the eye or delight the palate. I spread these things on the grass and sat down beside them, beckoning them to do the same, and to eat and drink with me. They did this without fear, but so daintily and so delicately that I could but wonder how they supported life in those strong muscular bodies. Their little attentions to each other—like two lovers, or still more like two children playing at a feast—were so new and original, that I was occupied with but watching them. These were not savages, and how far removed from animals—over and above each kindly motion, each laughter-loving thought lit their eyes; how much sagacity they had needed to keep themselves hidden from our strange invasion, and how much courage to come so near to me when my companions left in such a chariot of fire and noise I could scarcely tell. Perhaps they had watched us day by day—had seen that cruelty and destruction were not the gods of our nature. I tried hard to begin to learn their words or signs, or to teach them mine, but each feature, each bone, each muscle was different, and I saw that it would be a work of time ere we could begin to form sounds which could be called imitation. When we rose up, they in their turn beckoned me, and I followed, or, rather, went with them; not, however, carelessly. I provided myself, besides the arms I always carried, with another revolver, whose explosive bullets would blow up a rhinoceros. I never needed them. Afterwards I thought almost with shame at my doubts concerning my gentle companions. They led me on, keeping up an occasional converse, beckoning and pointing often to me, but in such a way that I did not understand. They led me to the borders of the upland lake, and there under the tall herbage was a rude boat, or rather raft. They evidently wished me to embark with them, but to this I would not consent, and after a while they left me, promising, as far as signs could point, to return again.</p>
            </div>
            <div xml:id="t1-g1-t8-body-d1-d4" type="chapter">
              <head>CHAPTER XV.<lb/>
                Further describes the inhabitants.</head>
              <p>I walked slowly back to my dwelling, drinking in the new ideas that had come with such a flood upon me, at every step.</p>
              <p>More than the new world to me were these creatures, more than my long sleep and awakening, more than aught save those I had left on the earth. All through the evening and night were there strange figures and quaint patient faces relimning themselves again and again in my brain, till all this burden of knowledge and new experience seemed almost too much for me; these older memories should have been beneath the daisies, and younger heads and happier hearts have been unravelling these mysteries, but nature’s great balm of sleep comes to us alike in palace and dungeon, lying near by to many friends, or in a world alone. It came to me in my lonely castle, deep and peaceful; nor did I wake till morning light.</p>
              <p>Bright sunshine and dewy grass greeted me as I went out, and my thoughts turned at once to my companions of yesterday—to this new race. What should I call them? By what name should I think of them? Ah! how poorly I played the part of a second Adam in this new world. He named all the creatures, and I could not find a name for the first of them. But, then I thought of the star, the planet of love, and determined to call them by it, namely, Venus, and by that name they were afterwards known.</p>
              <p>Scarcely need to say that I looked around to see if I could discover anywhere those quaint figures, or that I listened if I might catch the low murmurings of the Venus tongue, but nought could I see or hear of them. So I returned and rolled out my little boat, determined to find them.</p>
              <p>My boat—the Midge she was called, and, perhaps, in the world I had left, never was there constructed a greater triumph of mechanical skill and beauty—as fair as a lady’s finger, as glorious as an angel among the birds, by land, or air, or water. She could run, or fly, or swim. I got on board of her and took a preliminary canter through the fresh air, speeding on till the rushing wind seemed to take away my breath. Then I returned, closed up my castle, and went to seek the Venuses.</p>
              <p>I was not long in reaching the upland lake on which they had launched; it stretched away large and clear before me, with long arms like bands of bright water running far up between the hills. But ’twas as calm and as lifeless as when, with Moxton and Weir, I had passed over it. The sedge and herbage were untrampled on the bank, and the fish sped away at my shadow. But I never doubted the Venuses would come. I never for an instant thought my vision of yesterday was a dream. I dropped down with the Midge contentedly into the water, watching the finny inhabitants of the deep, waiting contentedly in the morning sunshine. Nor had I long to wait, for soon upon one of the long, winding waves of water I saw them appearing, seemingly just starting on their day’s voyage. I put the Midge in motion, and soon came near them.</p>
              <p>How strange they looked! how uncouth to the eye now freed from excitement, yet not trained by familiarity, each with a rude paddle propelling the boat! But as they came near they shipped their oars, and began to greet me with bows and waving of the hands, with ununderstood, yet soft and pleasant voices.</p>
              <p>“The Venuses.” I kept repeating to myself the word each time I looked at them, as though it could in a manner explain their identity to me, or help me to class them among the beings I had known—but as Venuses, as new and strange beings, must they ever remain. This is what I seemed to be learning during my first interview with them.</p>
              <p>With their consent I tied their raft to the Midge, and under their guidance we went back to find their home. Nor could I be sure what I should find, whether camp, or village, or solitary hut, but from their signs guessed the latter. Yet it could not be that they were enacting Eden in another world; they must surely have some cousins or aunts, or at least must have had a father or a mother. But presently, as we went farther up the fiord-like water, their solitary hut or nest appeared built on piles—out in the water, covered with grass and boughs, and only to be approached by coming along a row of stilt-like piles driven between it and the land.</p>
              <p>We tied the boats to the posts and they invited me to enter. ’Twas a small mossy cabin, with a strange, bird-like air pervading it, but scrupulously clean, neat, and almost pretty, as if half a bird’s instinct had been by some beneficent power bequeathed to them, but so small that, apart from the space occupied by the fruits and nuts which they had in store, there was hardly room for them to stretch themselves.</p>
              <p>But were they indeed so completely alone? I thought and asked, as I looked out again and could see no sign of other habitations.</p>
              <p>Was theirs indeed a semi-solitary existence? I could hardly think so while their low voices and pleasant laughter murmured and rippled in my ears. Yet, by signs, I gathered in reply that they were truly now alone—all others far away; and as I looked at their provisions I divined the reason—if they lived without tillage on the fruits of the ground, they must need be few in number, and live far apart.</p>
              <p>I ate of their provision, and from their motions, and as yet incomprehensible voices, began to see dimly new facts, which afterwards grew real and trustworthy.</p>
              <p>Yet, after all, it was they who had to learn. Their mind in its best phases had little that was superior to humanity. Some happier thoughts—some sweet companionship—some feelings of freedom and pleasure—new perhaps to any inhabitant of my native world; yet of that great body of thought which has arisen from our mechanical and omniverous propensities, they knew nothing, and as I afterwards found out, were saved from stupidity and savageness by the long-continuing slowness of their mental emotions, and by their wonderful care of, and kindness to, each other.</p>
              <p>We walked by their own way to the shore near us, and there I showed the Venuses the mystery of fire, and they were sufficiently civilised to wonder at and not worship it. They fed it with dry boughs, and hovered around it until I drew them away, that I might teach them the further wonders of fishing and cooking—not, indeed, those gaunt things like swimming bats or submarine devils which I had first seen when with Moxton and Weir, which seemed to go out in troops and move in squadrons like sensitive beings, but fine, scaly things with large swelling shoulders, and whose brain frame would scarce hold your little finger, and which jumped in ecstacy on a gaudy fly, and afterwards were led captives at will by a thread of silk. They evidently appreciated grilled-fish and fire, and would soon, I saw, be as completely civilised in these respects as the inhabitants of the earth.</p>
              <p>Yes, my thoughts had already left my old home, and were clustering round these new creatures, thinking for them and of them whilst I knew the Star Climber was rushing through space with Weir and Moxton, and that millions awaited its coming with every variety of hope and fear; and that sweet girl-mind, so full of wisdom and innocence, which had entered into companionship with mine and glorified it—and not it only, but to me all the future—was an eddy in the rising tide of thought. And these new creatures—I almost laughed as I looked at them—yet when they fanned their faces and gazed on me their idea again resumed its sway, their weight of individuality and character did away with the feeling of the grotesque which now and then began to rise up, and prompt me to surname them “The Happy Ogres,” and dance around them like an unmitigated lunatic.</p>
              <p>I think it must have been the overweight of thought—too much done, too much seen—for sometimes broke on me an awful desire, for sheer stupidity, to toss all thought and wisdom to the wind, and be a fool once more.</p>
              <p>Driven by some such thought as this, I laughed right out as I looked on them, and then turned away and walked around them, as they sat on the bank of the lake watching the flickering sparks of the expiring fire, then came back and laughed again, and after that hardly felt safe from a wild spirit of facetious mockery and mimicry.</p>
              <p>Yes, God knows the situation was thought-giving enough to an onlooker from the outer Heaven—the yellow sand, the broad sun, the two Venuses, dark and soft-furred, watching the expiring glow of the burnt wood. Great Nature’s blessed peace lay on the woods and waters, and in the sunny air; yet they heeded it not, thought not of it—their hollow hands and soft bodies dabbled in the local warmth, all their thoughts intent and rapt amid the promethean spark. Nor did I, John Bentford Hope, care at all for Nature’s beauty, though I saw and felt it—striding up and down on the hard sand, as careless of them or their thoughts as of the peace of nature—striding up and down by them, till I laughed aloud as one in madness at what I knew not, except that all things jarred and frayed, and roughened all my spirit, and the Venuses sat on without turning a thought or eye towards me or my wild motions.</p>
            </div>
            <div xml:id="t1-g1-t8-body-d1-d5" type="chapter">
              <head>CHAPTER XVI.<lb/>
                Weir and Moxton are stayed on their way by a meteor</head>
              <p>When Moxton and Weir left the planet Venus to reach once more the planet Earth they had a far longer journey before them than the previous one. They might, indeed, by waiting, have been borne into a corresponding position, but, with such an end accomplished, who would wait? Moreover, their greater speed would render their longer journey shorter in time, and as easily accomplished. There was no greater danger in the new route than the old, in both alike they might meet with wandering fragments—parts, yet outlaws, of the solar system—dangerous indeed for travellers. Yet, unlike those roving denizens of the old world, their danger did not increase with their size; when beyond a certain bulk their powers of gravity would prevent a collision.</p>
              <p>In our first journey no meteor had rushed past us, nor had we been conscious of being touched by any mass, which was better than we expected, for, considering the immense number of small bodies that hourly fall to the earth, we thought—despite our lack of that all-potent attraction, gravity—that some stray fragment might dash itself to pieces on our sides, or pierce them like a cannon ball. So with greater confidence had Moxton and Weir set out on their homeward journey, and as they sped away their thoughts naturally turned backward to their friend left alone.</p>
              <p>“Do you know? I pity him,” said Weir, “with all he has done, and is likely to do, and we might say to be—still I pity him.”</p>
              <p>“Your pity need not be deep,” answered Moxton, “take it farther back to those earlier discoverers—to Galileo and Columbus—and then Hope belongs to an older world, yet is one of this, and although he can never have the full confidence of fellowship which most of us enjoy, he has all the bright, social pleasures of companionship, and when Edith reaches him in his new world, time will not be dreary.”</p>
              <p>“Perhaps not,” answered Weir, “yet I still say I pity him. I know it is something like pitying Romeo and Juliet; we woulld like to be one of them all the time. But just cast your thoughts back to John Hope on the planet, and then guess his thoughts from what they were before we left; he cannot help suspicion and dread; and I don’t know, but I should not wonder at the frightful monotony of his life growing strong enough to bewilder his brain.”</p>
              <p>“You forget how much he has seen, and known, and even his fears and despairs are not much like monotony; besides, he may make some new discovery as startling as the two last.”</p>
              <p>“Which is the second?” asked Weir.</p>
              <p>“Why, the road to the new world,” answered Moxton.</p>
              <p>“Yes, it does seem wonderful that after a man has outlived several generations, and taken such an acknowledged place in the world, he should elect to go on this wild voyage, and to stay on the other planet. But, at the same time, I think he is out of the road of discoveries now. What else is there to discover ?”</p>
              <p>“You might have said that at any time in the world’s history. Anyhow, he might find some reasonable inhabitants, and gain something from their experience.”</p>
              <p>“I think he would be more likely to find a reasonable animal. We did not see any signs of civilization except among the fishes. Yes; that is an idea. The towns and cities may be at the bottom of the sea, and Hope can employ his spare hours in finding out something that shall enable us to walk beneath the water without putting out our cigars. Yes, I can see something left for the future generations.”</p>
              <p>“Yes,” answered Moxton, “look at the instruments and see how we are going.”</p>
              <p>“I will look, my good fellow,” answered Weir, “but as you know, we with all our speed are ourselves the instrument obedient to every breath or atom that stirs in space; if they move we all move with them.”</p>
              <p>“I know,” answered Moxton. “They have been completely stationary, but if you noticed, as we approached any object, there was a slight tremor about it, quite discernible.”</p>
              <p>“Yes, just as there is now,” answered Weir, who was gazing on the delicate hands, just, perhaps, a shade paler than usual.</p>
              <p>The mounting of nine days was as yet the account of their voyage, since the planet lay behind them, large and lustrous, and grew from an immense orb into a broad-faced horned moon, that hung far away behind them in the purple heaven, and their course had as yet been as steady as that of the sun in the heaven.</p>
              <p>“Just as they do now,” Weir had answered, and his face did most assuredly grow pale, and the spasm of fear, given and communicated, reached and spread round Moxton’s soul. Their former voyage had given them too much confidence, that broad interstellar way had as yet no aërial lighthouse, no heavenly buoy, nought to mark or guide them from danger or death.</p>
              <p>The million worlds and the myriad aerialites chased, and crossed, and followed each other in a tangled web, an endless range of contradictory figures, all scattered abroad in the great ocean of ether through which the Star Climber was ever rushing, “just as they do now,” said Weir, and a real, a substantial shadow fell suddenly on them, the sunlight was blotted out. Each previous half-hour had their eyes—and then better eyes, their powerful glasses—swept all around the horizon; but behind them, the country from which they sped so swiftly, on that they had seldom looked; and from right above them or from beneath, might not a fierce meteor have been long rushing? Ah, they thought so now! Vast was the speed of the Star Climber, but might not some erratic fragment have a speed still vastly greater—hurled from the bosom of a monstrous volcano, whose pent-up pressure had consolidated diamonds, like mountains, and whose terrific discharge should leave the shattered ruby masses like an avalanche of loosened rock, and hurl outward fragments, large as little worlds, flying with all the speed of the parent orb, and all the mighty volcanic impetus superadded? Moxton and Weir thought of this now; to each other each one’s thoughts were visible, and the great shadow was over them.</p>
              <p>Shall we blame them, that they at this moment forgot the lessons of their previous voyages, forgot that omnipotent factor, gravity?—Forgot that it had some time ceased to keep up his steady pull on them and their belongings?</p>
              <p>Shall we blame them that, springing as they thought to their posts of observation, they forgot their muscular power, and went with a bang against the ceiling, bounding and rebounding between that and the floor in dire and scrambling disorder? Shall we count the many seconds that passed ere their eyes could give tangibility to their fears? Ah! no, for in that latest instant as their glance sped outward, their hands turned to their instruments. But, ah! even then their fate was upon them.</p>
            </div>
            <div xml:id="t1-g1-t8-body-d1-d6" type="chapter">
              <head>CHAPTER XVII.<lb/>
                J. B. Hope on the planet.</head>
              <p>Hope left the two Venuses still on the beach, and sailed out in his boat on the lake down the long winding-like water. He did not care to return to his castle. The sight of their companionship awoke many memories of the world he had left. To have seen those two beings in their nest of moss and grasses, to hear the soft, low murmur of their voices as they seemingly grew quite unconscious of any onlooker, in their soft and lover-like play together! A gnawing sense of discontent had grown up in Hope’s heart and he stayed with them no longer.</p>
              <p>What was his life now? What was it worth, weighed in the balance of chance and fate? Those two beings, with scarcely a tenth of his knowledge, with scarcely a thought beyond themselves, were happier than he. What had it given him, all those far-reaching yearnings and strivings? What was the future to him, cut off by such an unfathomable ocean from that which had grown as dear as the light of heaven to his heart? he, whom a senseless wandering meteorite might exile for how long!—Ah, who could tell!— till he were trebly an outcast, till here, in this savage world, he grew to be as a beast among men. Yes; what were all his hopes and aspirations, his passion for progress, but the baits and bribes of the great source of life? Yes, and was not all the world drawn on like baby children, tempted by a present pleasure to fulfil an end of which they never thought?</p>
              <p>Yes; we may flatter ourselves that we are gods—but why do we work and strive? That the life that grows up in aftertime may be moved, and pleased, and hallowed? No! but to fulfil an unsatisfied yearning that drives us remorselessly onwards, with as little thought of the end, the effect, as has the basest criminal giving way to his brute instincts. Truly, providence uses us very ill. Must we for ever toil on in the dark; must we be always as babies, coaxed with sugar plums? If life be so good, worth so much contrivance to keep alive, why cannot we grasp the Godlike end and pleasure, to fulfil which all these liquorice baits are held before our eyes? And why does the taste of pleasure beget in the nascent soul such a transformation and make each one follow the enchanter in wild route? Yes, providence takes us at the lowest valuation, and do we imagine it is wrong ? Let us enjoy ourselves as we are, and trust to the hands that stretch out from bright clouds to guide us onward!</p>
              <p>John Bentford Hope was moving steadily across the bright water. His boat, brighter than that of the poet’s fancy, sped on—not drawn by some unknown current, but impelled by the same silent, tireless power which could lift it up into the air and drive it along like a bird in the sunbeams. The boat sped on; the long, watery winding way was passed, and the open lake, with a rippling breeze, was before him. Hope stayed the machinery; the boat glided slowly; then he took a pair of sculls for the boat’s sides and began to drive himself through the water.</p>
              <p>For more than an hour he pulled; then resting and looking back, saw that he was not half way. But what of that? ’Twas not to cover space that he unshipped his oars. The swift blood pulsating through his veins seemed to have swept each deluding lie from his brain. He saw the great sun sinking in peace, his own shadow stealing out on the water; the light wind dropped, and all the sweet pleasures of a summer evening stole over the planet. One cannot always see visions and dream dreams, or, what is still better, see and know that which is more strange than a vision, more wonderful than a dream. No; but lapped in the soft air, with the water gently laving the sides of his boat, he could enjoy the peace and rest of nature; assimilate the wonders he had known, and wait for the coming hours with a bright hope. Yes; till all those glad faces should look again on him—till here, too, should reign the works of man, and this planet should teem with human pleasure. Then his boat, as if impelled by a similar thought, spread out its wings, and the Midge seemed, with a visible tremor, to long to dash away into space, to get nearer their native country.</p>
              <p>Later in the evening, when Hope, like a giant of old retreated into his castle, letting fall the portcullis, and barring his windows, he began to think again of the two beings he had left.</p>
              <p>How strangely had his thought and estimate of them altered since he saw them standing over him as he awoke from his dreams! Then they were angels or devils, satyrs or fawns, something more wonderful than man. How his heart throbbed at their touch, their gentle speech and manner hallowed them in his mind. And now it was reversed—far away were the gods and goddesses of divine and beautiful stature, of noble and great mind, of power and of beauty. “Yet,” said J. B. Hope to his soul, “this is but the tide of emotion, and should my comrades be delayed on their voyage how much will this new race be to me? Does not a man forget his home and his friends for a dead and lifeless thing, for an invention, for a picture, for an idea new to art and science, and will not another race—a race not human, yet having those attributes which we conceive in themselves to be the essence of humanity—fill my mind and occupy my thoughts; yes, and despite their want of mechanical culture, take a high place in the temple of my spirit, where the image of each one I have ever known is set up in its appointed niche, and seldom moved from its first estate, though, perchance, often taken down and weighed in a more perfect balance? So will these two presently gain their rightful position. What shall I call each of them?”</p>
              <p>Then he thought of their softness, their strength, their helplessness before the dictates of fate, and joining the outcome of thoughts past and present, he named them Philomenia and Hyperion, and resolved to teach them these titles even as he would learn their own names as soon as he could master their most strange speech. Would they not soon learn to trust him; in a few days ride with him in the Midge to the bounds of the world; show him their friends; and would he not learn as much as they knew themselves of their past history? And what might there not be in that land of mist and darkness, where for long months the wind never came, where a grey twilight fell always, and all nature under its influence seemed to grow strange and monstrous? They had traversed it in the Star Climber, they had walked about in its dim labyrinths, yet had seen, they knew, but spots; and then would not any living creature have fled from the coming of their vessel, as with its wondrous lights and powers it pushed through the dim air? Yes—even if there were no spirit of adventure among the Venuses, he would traverse and know this new world ere his friends returned. Yes; already he knew much; ‘twas not a world of ocean and land, but of land and seas, or rather lakes, of high mountains and deserts. His mind reverted to their first landing, the immense waste they first rested in, and all that high barren land which lay around the northern pole of the planet, so high that it lifted itself up through the stratum of air, and to visit its wonders needed appliances as perfect as to leave the world. But it was not in these unknowable regions that J. B. Hope was interested. They had come to find a future home for the growing millions of their native earth, and here all around the tropical zone was a region fitted with everything necessary, while the dim polar regions would serve to exercise all the latent ingenuity of the coming man.</p>
            </div>
            <div xml:id="t1-g1-t8-body-d1-d7" type="chapter">
              <head>CHAPTER XVIII.<lb/>
                The meteor catches them—they go out.</head>
              <p>It was not a planet, large or small, not even a moon, but as they afterwards found of mass ably sufficient to give them a gravitation force of five ounces.</p>
              <p>Yet it was a huge meteor coming with immense speed, large enough had it met them to crush, as bullet is crushed on target, the Star Climber; large enough to take and carry them out on its own wild track, into the unutterable wilderness of space.</p>
              <p>The little moon they had visited ere they had reached Venus, was a world, small perhaps; but this was but a lump, a patch, a huge curled and twisted mass of conglomerate, belched by some volcano into the outer air, a mass that would bury itself in an ocean should it ever strike a watery world, or crush a city, in a second of time, should it so happen. But, big or little, it grew out fast to their straining eyes. There was no rushing sound, not even a vibration to speak its coming, yet swiftly and inevitably it drew near.</p>
              <p>“It will pass us,” said Moxton, and then with an awful suddenness it was on them—a frightful whirl of the Star Climber told them they were caught and carried away captive by it, saved indeed from any sudden catastrophe, but as they again resumed their stations they saw that the Star Climber was dashing like a mad thing around this wandering atom. Now they saw their fierce speed, as the huge rocks sped away beneath them; and so small was the thing that held them they could feel the circular motion, the swerve, as they were swung by the invisible chain. Only Moxton’s presence of mind prevented them from meeting like a comet the attracting mass, and rushing off at an elliptical orbit, every step of which would have to be, with much loss of time, retraced.</p>
              <p>His hand was already working the levers of their boat, the Star Climber’s wings were spread abroad, and those on the outside were beating the meagre air that sailed with the wandering fragment; but that alone would never have altered our headlong course—a touch of the bearer—our rocket tubes wheeled their mouths towards our huge enemy and we were conscious of the increasing distance; they burst forth—the effect was instantaneous, the head of the Star Climber came to, and again we were rushing around a new world. But what a world?—perhaps three miles long and one at its central diameter. But even this must have some slight atmosphere, for we were beginning to feel a great glow of heat through our vessel, and as our wings were drooped to stay our course, we could hear a roaring like a distant waterfall.</p>
              <p>Weir left his post of observation and stood near Moxton. The heat was growing oppressive to both.</p>
              <p>“We will keep as close as we can,” Moxton answered to Weir. “Look!” and indeed it was needful to use all their powers to keep close to this fragment of an orb—so great their pace and so small its gravity. Round and round it they sped, and were glad to perceive their speed decreasing, and the Star Climber coming once more under the influence of her wings.</p>
              <p>There was a slight stratum of air lying in all the hollow or on the flat places, but up where its sides ran out into corners and sharp angles their course seemed as free as in space itself. They resolved to land and take a fresh departure for their home; also to survey this wandering star, and find its orbit and place, that they might not again fall into its power.</p>
              <p>The Star Climber came to rest in a long, hollow valley covered with coarse, brown sand, which seemed to have come from the corroded rocks standing up here and there amongst it, some half buried and some lying loose as if scattered there yesterday, and away on the higher ground the clear-cut, cold masses were exposed bare to the surrounding heaven.</p>
              <p>Though they had been but ten days on their homeward journey they felt a great longing to tread on the solid ground once again, the long silent sandy slopes looked inviting, and all the higher rocks seemed to court investigation.</p>
              <p>“Let us go out,” said Weir, “if only for the fun of the thing.”</p>
              <p>Moxton agreeing, they prepared their air-pipe supplies—something like a bagpipe in appearance; they could breathe in the air through a mouthpiece and expel it through the nose. With these on they could walk in a vacuum for an hour or more.</p>
              <p>The place where they rested was hidden from the sunbeams by a gradual rising of the ground, and Moxton suggested that Weir should step outside just to try the air and temperature.</p>
              <p>“You can hold the door, you know, and all the thin air we get in will not hurt us.”</p>
              <p>The sliding doors were shot back and closed again behind them, then Weir opened the outer one and stepped out.</p>
              <p>Moxton had not long to wait—the larger part of a minute, then Weir reeled in.</p>
              <p>“What is it like?” asked his partner, as Weir panted for breath.</p>
              <p>“What like? Well, get into an ice water bath, drink as much balloon gas as you can, and get some one to choke you, you then have an idea.”</p>
              <p>“Shall we go?”</p>
              <p>“Oh! yes. I don’t suppose it will be much worse than the shady side of the moon, and, thank heaven, it cannot blow.”</p>
              <p>“No, or it would send us into space. Don’t fool about, Weir. I believe a good jump would send one clear altogether, most likely to grace this miserable fragment as a moon.”</p>
              <p>“Yes, what a fate for a bloated human, an attendant orb of the solar system, whose ambition could soar beyond. Mahomet’s resting-place would be nothing to it.”</p>
              <p>“Cover up all but the eyes, Weir,” said Moxton, as they were preparing.</p>
              <p>“And those, too,” answered that individual, coming out as he spoke, bound hand and foot, his glasses fastened tightly into the coverings of his face, so that the atmosphere could touch no part of his body.</p>
              <p>Moxton followed his example; yet, ere they went, called again to Weir. “Look!” said he, putting his finger on a spring balance and lifting himself some eighteen inches from the ground.</p>
              <p>“Yes, I see by the scale, five ounces. Well, as we have been used to weight nothing at all, we ought to get on first-rate.”</p>
              <p>So they went out together.</p>
            </div>
            <div xml:id="t1-g1-t8-body-d1-d8" type="chapter">
              <head>CHAPTER XIX.<lb/>
                Hope goes with the venuses to find their home—some tigers fight.</head>
              <p>Hyperion and Philomenia came and went freely between their own nest on the water and the dwelling place of Hope. They began to grow familiar with him and he with them. They did not show anything in their manners akin to reverence or worship; but, despite their uncouthness of aspect, they began to grow companionable. A certain individuality, probably born of long descent in a fixed type upheld and dignified them.</p>
              <p>Unlike the enervated races of warm climes, they looked for no Avator to pour out unthinkable blessings; no Golden Age ever shone in their distant future. They seemed to take the present time and live and think from day to day.</p>
              <p>Hope gathered from their signs and half-comprehended words that in a far off land dwelt a nation of such as they, a Venus people, but they seemed to fear to show the way to their native country, nor could he, after once understanding them, induce them to talk on the subject. But he did not despair at the first repulse, he knew they would grow to trust him, he knew that they would soon perceive how little chance their secret had against his wondrous powers of travelling.</p>
              <p>Never were the Venuses so content as when in their boat or on their little raft. The mainland seemed to them forbidden ground, only to be visited when necessary, and then with care and caution.</p>
              <p>Hope began to perceive how helpless they would be against the attacks of the fiercer of the wild beasts, who probably, from finding no equal in strength, developed prodigious, if brainless, courage.</p>
              <p>When Hope met the Venuses in the morning it was his custom to shake hands with each. This seemed entirely ludicrous to the two Venuses, and there were generally three laughter-lit faces as Hope took between his fingers the end of Hyperion’s huge, muscular arm, which, from its very conformation, was incapable of any motion save a smooth, undulating one.</p>
              <p>Then the Venuses would insist on going through their code of salutation—their long right arms would curl around Hope, then the smaller left arm would stroke in a soft, methodical manner. It usually ended by Hope’s pressing his lips to Philomenia’s face, which ceremony they seemed to understand, and to such an extent appreciate, that Hope had little doubt but that kissing might be easily introduced among the Venus nation.</p>
              <p>The days, though few in number, seemed a long time to Hope, as though seasons had already passed since his comrades left him. It is ever thus. The dreary days of dull monotony appear when they are past as but an hour, while even minutes of intense feeling form often epochs in our existence. Thus it was with Hope, his long sleep was less than a dream, the hour of his awakening a whole lifetime of feeling. The many hundreds of hours passed in the Star Climber seemed now shorter than those fleeting seconds when he awoke and saw the Venuses.</p>
              <p>But Hope wished to find out Venus land, and often importuned Hyperion and Philomenia to go thither, for, knowing them, he did not wish to go alone. He represented to them his power and skill, showed them the many ways in which he could aid and help, and, to accustom them to the swift motion and inure them to the new sensation, he would take them whenever they were willing short trips in his boat, the Midge.</p>
              <p>One day Hope saw them conversing more earnestly together than was their practice, their faces betokening that some emotion stronger than usual was working within them. He grew anxious to know what would be the outcome. Nor had he to wait long, for they came to him and began to explain in their broken language that they wished to make some solemn covenant with him, and then show him Venus land. This was what he waited for and almost expected.</p>
              <p>When they thought that he understood them they put each one their smaller arm around him and led him out of his castle till they were under the sky. Then they lifted up their right arms—huge limbs—pointing strangely to the heavens, and repeated words or made signs which, although Hope could not understand, he perceived were by them thought to be solemn and holy. At first he was quite silent, then, as they again repeated the same sounds and looked at him, and again at the sky, he perceived what they needed and tried to follow them. Perhaps he was not very successful, but his attempt pleased and tranquillized them. They loosed his arms and bowed themselves towards him, but something in their unarmed, comparatively helpless state, in their confidence and trust in him, touched Hope’s heart. They would have gone at once to his aërial boat, but he stopped them. They turned and stood linked together, as was their wont, before him. Then he spread out his hands and laid one lightly on each shoulder, gazing into their calm inscrutable features, his eyes going from one to the other and finding the same deep wonder in each face, the same long, patient waiting in each one’s eyes.</p>
              <p>“Listen,” he said. “As long as I am with you, no harm that I can prevent shall happen to you, neither will I now or at any other time see you wronged without striving to help you, and wherever your native home may be I will always hold it a sacred thing.” He ceased speaking; he took his hands from their shoulders; his eyes turned from the sky to them again. Then they all three went to the boat together.</p>
              <p>Where would be that land, hidden from all the rude air, a valley of Avelon, shut in by mountains and deep seas, a garden of Eden, a cradle for this human-like race? They were speeding swiftly over the wood and water and the finely variegated surface of the planet, bearing a little towards the warmer regions, sometimes following long, winding, slow-paced rivers, or going above the shores of seas, flitting swiftly and silently under the directions of Hyperion and Philomenia, at a pace, indeed, vastly slower than Hope himself would travel at, for the Midge was built but to carry one, or at the most two, and the extra power needed to sustain the greater weight was all taken from her speed. Yet although her speed was comparatively slow, it seemed at times too great for the slow-moving brains of the two Venuses. They could only, by stopping and reconnoitring the various landmarks, proclaim the way even in an indefinite manner.</p>
              <p>So they sped along hour after hour, Hope ever anxiously expectant to see more of these strange people, for he had gathered from Hyperion and Philomenia that they were not the only Venuses who had left their natal home, though he thought, from all that he could glean, that the number who had left were few, nor had they been happy or successful in their migrations. He looked in vain for any sign of human sense, for any raft, or hut, erected like the one he knew on the waters, for any upright form moving beneath the branching trees or on the open plain.</p>
              <p>Troops of beasts fled away beneath him, as when, with Moxton and Weir, he had sped around the planet, and again he saw the strange sight of a huge pack of tigers spread out like a company of skirmishers, driving back a small but formidable herd of buffaloes.</p>
              <p>Hope stopped the Midge and hovered over them to see the end—and that was not long in coming. The buffaloes were between the forks of a large river, and must either fight or swim. Once or twice they rushed out in a troop and seemed inclined to charge their adversaries, but were evidently afraid. Then, as they entered the broken ground, their fierce foes moved up, swiftly and silently as perfectly trained soldiers, deepening not thickening their ranks, as the ground to be guarded became less. The buffaloes gavce a wild roar, half of rage and half of fear, as they saw their enemies coming nearer; then one of them leaped off into the water and swam down the stream for the other bank, all his fellows watching, even with their dull brains seeming to know his fate, for, as he neared the shore, Hope from his elevation could see three huge beasts creeping towards the spot where the buffalo would land. They allowed him to get half out of the water, then they flung themselves on him—his roar of pain being heard above the tigers’ voices.</p>
              <p>This incident was as the firing of the fuse is to the explosion; the whole of the tigers with a fearful cry rushed forward. Whether their fierce natures were roused by the cries of the strangling beast, or whether they knew that this would bring on the final rush of their victims, Hope could not tell; each and all seemed to move simultaneously. The buffaloes wheeled short round, and crushing themselves together dashed out at their foes, not singling them out individually, but evidently trying to go through them. Nor were the tigers eager to meet their direct charge, escaping often by a tremendous spring at the last moment, or, when too much before the centre of the herd to escape, bounding with a sure aim upon the back of one of the foremost. Meanwhile, like a troop of horses, from each side the tigers dashed in on the flanks at this forlorn hope. For a moment Hope thought some of the foremost would by their speed escape; but this was not to be. He already saw dashing across at a short angle about a dozen tigers which had evidently not gone far in the first rush. The three leaders, which were all that escaped the first slaughter, gave a great helpless roar as they saw their foes again upon them, then they sank to the ground beneath the teeth and claws of the victors, and as the last one fell Hope saw one of the tigers go out from the others on to a little rising ground and then give a loud, far-sounding cry—and from the side of the water and far back in the broken ground there appeared tigers answering the voice and coming to the slaughter.</p>
            </div>
            <div xml:id="t1-g1-t8-body-d1-d9" type="chapter">
              <head>CHAPTER XX.<lb/>
                Exploring the wonder.</head>
              <p>Weir and Moxton descended from the port of the Star Climber, and stepped out on to the surface of the meteroic mass on which their vessel now rested. It would be very safe to say that no living foot ere this had ever trodden this fragment of a world; the brown sand despite their light weight seemed like quicksilver about their feet, shifting, and seemingly flowing in an unnatural manner. Overhead stretched an inky purple sky, pierced with pale points of light, little, faint white stars. The sun was hidden from them, and the planet they had left shone like a miniature moon—a pale crescent. In the far far distance, no life or sign of life was near them. Through all their wraps they felt the penetrating cold, they realized perhaps for a second their intense isolation, their wondrous solitude, their seemingly perilous position—going away through space on a desolate frozen fragment, being carried they knew not whither, and between them and their fate stood but their aërial boat, the Star Climber. They were looking at her now, her blackened blistered sides, her frayed and folded pinions. Moxton drew out the point of one of them, it was the same as when they left Venus; nothing had harmed the vessel since she had passed through the Magellan cloud. They walked round her, and Moxton, going up to her prow, taking the rise of her keel in his hands, found that he could with ease lift or move her hundred tons of weight. The strangeness of all things seemed to grow on them, the thin air caused every fluid and solid in their bodies to swell and dilate, their skins grew tight, a sensation of puffiness pervaded and grew on them, their brain seemed to wander, their thoughts grew vague and uncertain, nothing seemed of the least consequence; it was as though they had drunk some ethereal champagne, and scarcely knew whether they were wandering atoms, whose home was space and whose meat and drink the thin air that stretched from star to star, or human beings who needed warmth, and food, and covering.</p>
              <p>They knew themselves to be walking as men in a dream, beset with dangers which they could not realize. Yet in spite of all this, in spite of the uselessness of their undertaking, they both determined to perservere and fulfil the programme they had mentally sketched ere leaving the Star Climber.</p>
              <p>They had intended to walk away across the sandy valley up to a ridge of rocks about half a mile distant, from which they would be able to survey at least one half of the body they were standing on.</p>
              <p>Weir touched Moxton, who turned towards him. He took his arm and they strode away together.</p>
              <p>As they ascended the rising ground, which had cast a shadow over them, they felt the warmth increase sensibly. The dry sand and rocks caught and retained the radiant heat, and made them well-nigh comfortable, could they have got rid of that strange, swollen, drunken-like feeling which possessed them, but this they felt to be increasing, as they hurried on to reach the rising ledge which was before them.</p>
              <p>The soft sand yielded and flew away behind them as from the feet of an ostrich, and their stride, ostrich-like, with the least exertion carrying them many more yards than on either planet they could compass feet, brought them quickly to their destination—but not too soon. Weir was already feeling more and more uneasy; the thin air seemed mixing with their blood, and working down into the capillary tubes of their veins, though in truth it was not what they swallowed but its effects on their exterior parts which was now troubling them. Weir’s fingers amid their thick wraps seemed like huge rigid bars, feeling to him more like the claws of the devil in some mediaeval painting than aught else that can be imagined. Moxton too, was suffering, but more from light-headedness. Curiosity, however, and a certain stubbornness, impelled them both to try and complete what they had mentally planned ere they left the Star Climber’s shelter.</p>
              <p>But what a sight awaited them! This must surely be the very spot where Milton’s devils fell—with hideous ruin and confusion—down; only the bright sun never shone there, for now beneath them was a clear precipice, not of hundreds or thousands of feet, or miles, but down, down, down beyond the lower edge of the world, and still on. The only thing that broke the dream was the vision of stars far away in the immense depth below, which the mile of barren rock seemed to emphasise—to make space gape like the mouth of hell, till to the disordered imagination those pale points of light might seem starry gleams from the great charnel house which old-world fables have built below.</p>
              <p>The thin air seemed to have lifted from the brain of Weir and Moxton that rich harvest which the past centuries had so abundantly borne. The solid truths and fruitful facts which have so cheered ripening manhood on its way, seemed to have ascended from their brain, and from its deeper recesses arose unbidden a host of those wild thoughts which made men or women angels or devils, and drove humanity mad; their imaginations raced away and their fancies ran riot amid monstrosities as strange as any mediaeval legend. Had some fiend descended before them, they would scarce have wondered; had some aged Satyr or unlovely Faun accosted them they would not have been surprised; and then, they felt themselves to be so light, so pitiably unstable, ah! far lighter than those poor ghosts whom Dante saw driven before the more than pitiless blast!</p>
              <p>It may be that gazing down into that immense depth affected their already benumbed brain, as a nightmare does, or as rushing water or a steep place affects the would-be suicide. They sat down on the gray rocks that were scattered around, and tried to collect their thoughts, their eyes wandering once more over the weird landscape. Away in the valley lay the Star Climber, black and sere, a ghostly-looking craft, the wan sun, the faint stars, the dark sky, the crumbling rocks, the loose sand—all melancholy and unnatural, as of a world in its dissolution. Yet, as they rested, their senses returned to them somewhat, and they determined to take one more look over the precipice and then return to their vessel.</p>
              <p>They climbed on to a projecting part of the ridge, where the rocks overhung many feet, and as they gazed down the same mad thought occurred to each, namely, to cast down the cliff one of the loose rocks. ’Twas little more than the gratification of a childish whim, and Weir was naturally the more eager to fulfill it. ’Tis probable some secondary thoughts occurred to both as to how the powers of gravity would deal with the falling mass, yet their main idea was but to see a mass of rock fall clattering into the void of space. Weir was searching along the cliff trying each rock till he came to a loose one, then he nodded to Moxton to watch the effect, and with both his hands gave it a heavy push. With a dull rumble it gave way and launched itself into space—but not alone; rooted like a giant tooth along the ridge of the precipice, the huge fang had risen beneath Weir and tossed him far into space.</p>
              <p>Moxton was transfixed that instant. Weir’s fall renewed all the horrors of imagination, and paralysed his friend’s mind.</p>
              <p>Weir weighed five ounces, and the rock perhaps a thousand times as much. The impetus he gave it, unchecked by any appreciable gravity, had tossed him far into space. Moxton saw him with arms wide-spread falling, falling and turning—good God! Would he never cease to fall? The huge rock fell and struck, and fell again—but Weir out in space. Moxton thought his brain would burst. Would Weir never cease to fall?</p>
            </div>
            <div xml:id="t1-g1-t8-body-d1-d10" type="verse">
              <lg type="verse">
                <head>SWIFT FALLS THE CLOUDY CURTAIN</head>
                <lg>
                  <l>Swift falls the cloudy curtain,</l>
                  <l rend="indent">The rain comes down amain,</l>
                  <l>The wild wind echoes deathfully</l>
                  <l rend="indent">Across the midnight plain.</l>
                </lg>
                <lg>
                  <l>Darkness and dreary tempest</l>
                  <l rend="indent">Blot out all hope of light.</l>
                  <l>No dream of joy or gladness</l>
                  <l rend="indent">Breaks through the dull hours’ flight.</l>
                </lg>
                <lg>
                  <l>High in a dim room lying,</l>
                  <l rend="indent">Is a maid sick unto death;</l>
                  <l>She hears the wind’s voice crying</l>
                  <l rend="indent">With hopeless, helpless breath.</l>
                </lg>
                <lg>
                  <l>Pale—pale and sick all nature;</l>
                  <l rend="indent">Weary both walls and blinds;</l>
                  <l>Helpless the eye that looks adown,</l>
                  <l rend="indent">And the face she never finds.</l>
                </lg>
                <lg>
                  <l>Pale—pale and sick all nature—</l>
                  <l rend="indent">All things that round her lie;</l>
                  <l>And no hope in her anguish,</l>
                  <l rend="indent">For to-morrow she will die.</l>
                </lg>
              </lg>
              <lg>
                <head>LOVE SONG</head>
                <lg>
                  <l>Daintily, O! daintily,</l>
                  <l rend="indent">So daintily she goes;</l>
                  <l>Day’s uncertain, night is nothing;</l>
                  <l rend="indent">Time, a very wind that blows.</l>
                </lg>
                <lg>
                  <l>Wishful Eden, bless’d minute,</l>
                  <l rend="indent">Can I ever linger near?</l>
                  <l>Dies the crowd’s uncertain murmur</l>
                  <l rend="indent">In my heedless, drunken ear.</l>
                </lg>
                <lg>
                  <l>Tell of voices, tell of breezes,</l>
                  <l rend="indent">Noise of brooks in desert lands;</l>
                  <l>Dream, that thirsty wanderer pleases,</l>
                  <l rend="indent">Stretched upon the shadeless sands.</l>
                </lg>
                <lg>
                  <l>But that voice by love enchanted,</l>
                  <l rend="indent">Steals, ah! floats into my soul,</l>
                  <l>Wordless rapture, speechless feeling,</l>
                  <l rend="indent">O’er my heart from pole to pole.</l>
                </lg>
              </lg>
              <p>[These two poems occur, without any introduction or attribution of authorship, on pages 39 and 40 respectively of this volume of <title type="published"><name key="name-111458" type="work">The Great Romance</name></title>. There is no indication of how they are intended to relate to the prose work. The first volume also contained verse, in the form of a dedication to <name key="name-110287" type="person">John Keats</name>.]</p>
            </div>
          </div>
        </body>
      </text>
      <text xml:id="t1-g1-t9" decls="#text-9-bibl">
        <body xml:id="t1-g1-t9-body">
          <div type="review" xml:id="t1-g1-t9-body-d1">
            <head><title type="published"><name key="name-123433" type="work">Te Mana Te Kawanatanga: The Politics of Maori Self-Determination</name></title>.</head>
            <byline>Reviewed by <name key="name-121359" type="person">Giselle Byrnes</name></byline>
            <p>
              <bibl><title level="m"><name key="name-123433" type="work">Te Mana Te Kawanatanga: The Politics of Maori Self-Determination</name></title>.<lb/><author><name key="name-207870" type="person">Mason Durie</name></author>.<lb/><pubPlace><name type="place">Auckland</name></pubPlace>: <publisher><name key="name-200382" type="organisation">Oxford University Press</name></publisher>, <date when="1998">1998</date>.</bibl>
            </p>
            <p>In 1983 the <name type="organisation">Waitangi Tribunal</name> released its <title type="published"><name key="name-123436" type="work">Motunui-Waitara Report</name></title>, which described the <name key="name-122436" type="work">Treaty of Waitangi</name>, signed between New Zealand Maori and the Crown in 1840, as a ‘developing social contract’. Since this finding, a number of books have considered the <name key="name-122436" type="work">Treaty of Waitangi</name> not simply as an historical relic, but as a covenant which needs to be continually revisited in the light of present social and economic imperatives. <name key="name-120282" type="person">I. H. Kawharu</name>’s edited collection of essays, <title type="published"><name key="name-123437" type="work">Waitangi: Maori and Pakeha Perspectives of the Treaty of Waitangi</name></title> (<date when="1989">1989</date>), <name key="name-124034" type="person">Paul McHugh</name>’s <title type="published"><name key="name-123439" type="work">The Maori Magna Carta: New Zealand Law and the Treaty of Waitangi</name></title> (1991), and <name key="name-123440" type="person">Andrew Sharp</name>’s recently revised <title type="published"><name key="name-123441" type="work">Justice and the Maori: The Philosophy and Practice of Maori Claims in New Zealand since the 1970s</name></title> (<date when="1997">1997</date>), all from <name key="name-200382" type="organisation">Oxford University Press</name>, are perhaps the most notable of these critiques. <name key="name-207870" type="person">Mason Durie</name>’s latest offering, <title type="published"><name key="name-123433" type="work">Te Mana Te Kawanatanga: The Politics of Maori Self-Determination</name></title>, is a welcome addition to an emerging body of criticism that presents a particularly Maori perspective on current issues facing Maori.</p>
            <p>The book, as <name type="person">Durie</name> points out, is not a history of Maori relationships with the state; rather, it is an examination of certain issues that, over the past decade, have fashioned the attitudes of both Maori and the Crown as Maori have struggled to assert a greater degree of cultural, economic and political autonomy in Aotearoa/New Zealand. <title type="published"><name key="name-123433" type="work">Te Mana Te Kawanatanga</name></title> is essentially an analysis of Maori aspirations, discussed with reference to their distinct cultural identity, and set against the challenges presented by a changing New Zealand national identity. The book also needs to be considered in the broader international context, where it has only recently been recognised that indigenous peoples should exercise rights of self-determination.</p>
            <p><title type="published"><name key="name-123433" type="work">Te Mana Te Kawanatanga</name></title> addresses two major themes: autonomy and self-determination, and Maori interaction with the state and the responses of the state to Maori initiatives. The twin focus of the book is reflected in the Maori and English titles, which—it must be noted—are not intended as a literal translation of each other, but stand in contrast to mirror the often difficult history of the Maori-Crown relationship. While the Maori title comprises the two Maori words that have, since the signing of the Treaty in 1840, come to signify Maori efforts to achieve self-determination, the English title implies that after the signing of the Treaty, Maori aspirations for autonomy were no longer guaranteed. The two titles, therefore, reflect the complexity surrounding the practical implications of Maori sovereignty and self-determination, issues that have been—and that remain—important ones for all New Zealanders.</p>
            <p>The theme of the connection between Maori autonomy and the power of the state is reiterated throughout the book. <name type="person">Durie</name>does not assume a concensus among his readers. In the first chapters he questions what self-determination actually means and how it might be identified and assessed. He concludes with a thoughtful suggestion that the aims of self-determination—as discussed with reference to the history and experience of Maori—extend beyond the realms of academic postcolonial discourse to touch all Maori people now and in the future. This argument no doubt has a great deal of significance for indigenous people everywhere.</p>
            <p>The two central themes are reinforced by the structure of the book; it sets up a two-dimensional paradigm that integrates ‘the foundations of Maori control and authority, nga pou mana’ with those factors ‘relevant to Maori realisation of self-determination, te mana whakahaere’ (p. 13). In other words, each chapter considers a particular aspect of Maori society in relation to the points of collusion and difference in the Maori-Crown compact. They range across a discussion of the environment, identity and heritage, Maori participation in the political process, land legislation, fishing, and issues of autonomy and governance. One chapter is entirely devoted to the <name key="name-122436" type="work">Treaty of Waitangi</name>, once again emphasising the significance of the Treaty in contemporary New Zealand, and specifically in the context of current Treaty claims negotiations and settlements. It is in relation to this that Durie raises one of the most provocative arguments in the book, and one that expands on the ‘developing social contract’ thesis. He suggests that while Maori (and by implication, the Crown) need a clear Treaty policy with which to negotiate settlements that take account of past injustices as well as provide for future needs, we should perhaps not be too ready to see the Treaty as the universal panacea for all Maori social and economic ills.</p>
            <p><title type="published"><name key="name-123433" type="work">Te Mana Te Kawanatanga</name></title> is a timely publication by a respected Maori commentator on contemporary Maori and Treaty issues. The narrative has a logical, almost formulaic, style which is complemented by the presentation of a wealth of statistical data presented in tabular format throughout the text. The study will find a ready audience not only among students, but also among policy makers and others (particularly those who might question the utility of the Treaty) seeking a trenchant analysis of issues currently affecting Maori. Moreover, <title type="published"><name key="name-123433" type="work">Te Mana Te Kawanatanga</name></title> will be of real interest to readers beyond New Zealand shores in the wider Asia-Pacific region who are thinking through issues of self-determination and cultural autonomy and about how these issues might be identified and articulated. On <name key="name-207870" type="person">Mason Durie</name>’s evidence, New Zealand Maori may well be leading the way in this respect.</p>
            <p>
              <name key="name-121359" type="person">Giselle Byrnes</name>
            </p>
            <p>
              <name type="place">Wellington</name>
            </p>
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            <head><title type="published"><name key="name-123443" type="work">Writing Along Broken Lines: Violence and Ethnicity in Contemporary Maori Fiction</name></title>.</head>
            <byline>Reviewed by <name key="name-123444" type="person">Simone Drichel</name></byline>
            <p>
              <bibl><title level="m"><name key="name-123443" type="work">Writing Along Broken Lines: Violence and Ethnicity in Contemporary Maori Fiction</name></title>.<lb/><author><name key="name-123445" type="person">Otto Heim</name></author>.<lb/><pubPlace><name type="place">Auckland</name></pubPlace>: <publisher><name type="organisation">Auckland University Press</name></publisher>, <date when="1998">1998</date>.</bibl>
            </p>
            <p>While the fiction coming out of postcolonial countries such as India or Africa has received a massive boost in critical attention in the last few years, Aotearoa/New Zealand has—once again—been relegated to the margin and has therefore remained a largely ‘undiscovered country’ on the postcolonial map. However, ‘undiscovered’ this country and its indigenous literature might not be for very much longer. With the publication of Swiss scholar <name key="name-123445" type="person">Otto Heim</name>’s <title type="published"><name key="name-123446" type="work">Writing Along Broken Lines</name></title>, “the first book-length study of [the] powerful and important works” produced by Maori writers since 1972 has appeared, thus bringing Maori fiction into the public eye and opening the critical debate on postcolonial writing in this country.</p>
            <p><name type="person">Heim</name>’s study comprises two main sections, framed by very dense introductory and concluding remarks. The first section investigates the accommodation of violence in Maori fiction and prepares the ground for the second one, in which “the forms of ethnic subjectivities that emerge from this accommodation of violence” (25) are analysed. The basic argument holding this structure together revolves around keywords such as ‘violence’, ‘ethnicity’, ‘kaupapa’ and ‘culture of survival’. <name type="person">Heim</name> maintains that because postcolonial Maori ethnicity is constructed around an experience of “constraints, both bodily and textual, that limit the articulation of selfhood” (229), Maori writing is particularly sensitive to the problem of (colonial) violence and evolves as an expression of a ‘culture of survival’. As a result of this sensitivity to violence, Maori writers are confronted with a curious double-bind, for</p>
            <quote>
              <p>the narrativisation of violence always involves a certain disavowal of pain, whether in the blatant form of mockery or, less obviously, in the manner of rationalising or aestheticising representations. [...] To the extent that it is narrativised, therefore, the victim’s pain or death becomes subject to a symbolic transference which amounts to something like a sacrifice in that the suffering is made to serve a moral purpose. (17f).</p>
            </quote>
            <p>If ‘narrativisation’ cannot voice the victim’s pain without at the same time sacrificing it, then the question arises whether the articulation of grievances in their literature is actually in the interest of Maori. <name type="person">Heim</name>articulates this dilemma in more general terms, asking whether there is a form of symbolisation that might be at the service of the receiver of (colonial) violence:</p>
            <quote>
              <p>This raises the question whether symbolisation cannot also be in the interest of the victim of violence. Could there not be something like a language of pain? Is there no form of narrative that is committed to survival rather than sacrifice? (18)</p>
            </quote>
            <p>He finds, however, that “[t]he closest language can get to a representation of pain [...] is in an enactment of its own breakdown” (p. 19). Consequently, there cannot be a ‘language of pain’ as such. Language can (mimetically) express empathy with pain, but it cannot actually <hi rend="i">represent</hi> pain. Nonetheless, language—and therefore writing—is instrumental in articulating the concerns of the victim of violence:</p>
            <quote>
              <p>The act of rebuilding the shattered world begins with the recovery of a voice, which reaches beyond the isolation of the hurting body and enables us to reconnect ourselves to the collectively shared realm of a social world. In this reaching out for connectedness with the world lies the orientation of a language and a form of symbolisation that is at the service of the victim of violence. (19)</p>
            </quote>
            <p><name type="person">Heim</name> insists that the significance of language here lies not in its representational (or metaphorical) function, which he sees as a sacrificial form of symbolisation, but “in its materiality” (19). The latter he regards as a form of symbolisation that “resembles the structure of metonymy in that it reassembles a shattered world by rearticulating the links of contiguity within materiality” (20). Whereas the metaphorical symbolism sacrifices the victim’s pain in narrative representation, the metonymic symbolism is at the service of the ‘culture of survival’, because it “proceeds in pursuit of an agency that is performative and worldly, opening up new narrative possibilities” (20).</p>
            <p>It is these “new narrative possibilities” in Maori fiction that <name type="person">Heim</name>sets out to explore in the ensuing four chapters. Following the three strands distinguished in the introduction—(mimetic) empathy, metaphorical transformation of pain and metonymic projection of sentience—he analyses Maori writers’ fictional response to violence. His perceptive readings of the accommodation of violence in texts by writers such as <name key="name-100009" type="person">Patricia Grace</name>, <name key="name-035642" type="person">Witi Ihimaera</name>, <name key="name-202037" type="person">Keri Hulme</name>, <name key="name-200137" type="person">Alan Duff</name>, <name type="person">Apirana Taylor</name>, <name key="name-130016" type="person">Bruce Stewart</name> and <name key="name-123447" type="person">Ngahuia Te Awekotuku</name> unfold in four stages, ranging from violence in the relative privacy of the family to confrontations with abstract expressions of systemic violence such as terrorism and war.</p>
            <p>The next three chapters are dedicated to an examination of the ethnic subjectivities that emerge out of the tension between the experience of (colonial) violence, on the one hand, and the commitment to a kaupapa, as a distinctive ‘ideology’ of Maori fiction, on the other. While violence is “instrumental in establishing contemporary Maori ethnicity as an inadequate and incongruent experience” (22), kaupapa is crucial in re-establishing a positive sense of Maori identity, because it “provides an enabling or empowering vision, a value to be sought” (23). Moulded by this tension, the emerging postcolonial Maori subjectivities carry the characteristics of a ‘culture of survival’. It is thanks to this “empowering vision” of kaupapa, then, that postcolonial Maori culture is marked not by ‘sacrifice’, but by ‘survival’. Within this crucial concept of kaupapa, <name type="person">Heim</name>identifies three distinct dimensions:</p>
            <quote>
              <p>[A]t the level of individual experience, a kaupapa allows people to recognise a sense of purpose in the disparate facts of everyday life. At a collective level, it represents a shared ideological position, a cause worth fighting for. And at an even more general level of cultural action, the kaupapa manifests itself in a commitment to a principle of action oriented on the extension of physical and spiritual well-being. (23)</p>
            </quote>
            <p>These three dimensions of kaupapa provide the structure for the second section in <name type="person">Heim</name>’s study. Chapter 6 analyses fictional accounts of attempts at bridging individual disconnectedness, while chapter 7 focuses on articulations of collective disconnectedness and documents how Maori fiction interrelates with Maori political ideology in “drawing attention to the blind spots of [dominant] ideological articulations” (172). Finally, chapter 8—to my mind the most successful and important chapter in this book—analyses three of the main “symbolic concretisations” (p. 190) in which a spiritual connectedness to the world is rendered in Maori fiction: a particular sense of the past as present, the whare whakairo “as a repository of tribal stories” (p. 190) and the mauri as the life force that runs between and connects people with their world.</p>
            <p>As with any ‘first’, <name key="name-123445" type="person">Otto Heim</name>’s book on contemporary Maori fiction will surely be picked up and leafed through with great interest. Besides, that the first of such studies on Maori literature should not have been undertaken by either a Maori or a Pakeha New Zealander, but by an overseas scholar, will possibly add to its attraction. As an outsider, <name type="person">Heim</name>can be expected to remain on neutral ground in the heated debate about ‘race’ relations in this country. For this reason, his book is likely to be taken much more seriously by both sides of the Maori-Pakeha divide. Yet regardless of such positive disposition to attract a wide audience, the book will have to prove to its audience that this interest is indeed justified.</p>
            <p>From my own perspective, as someone working on a PhD in a similar area, <name type="person">Heim</name>’s book is certainly a valuable addition to the rather limited pool of extended critical readings on Maori literature. Yet I cannot praise this book unreservedly, which, I suspect, is more the result of editorial constraints, than of any shortcoming of <name key="name-123445" type="person">Otto Heim</name>’s. Originally a PhD thesis submitted to the University of Basel, <name type="person">Heim</name>’s study was “about double the length of this book [and] then included large sections on the reflection on violence in contemporary critical theory and in the social sciences, on postcolonial theory and on Maori culture and history” (p. 7). Cutting these sections, <name type="person">Heim</name> has not only ‘succeeded’ in his declared intention to “focus the book more clearly on the discussion of Maori fiction” (p. 7), but also in ousting his study from the realm of cultural studies (in which any study of postcolonial literature firmly belongs) to the much more narrow realm of ‘English Literature’. This impression is re-inforced by the fact that <name type="person">Heim</name>frames his study by a discussion of what makes ‘good writing’. In doing so he displays a concern about a ‘canon’ (and an inclusion of Maori literature therein) that remains a favourite hobby-horse of a more traditional-minded study of literature, while it is repeatedly being challenged by the more recent discipline of cultural studies.</p>
            <p>Yet this cannot have been <name type="person">Heim</name>’s intention. Some of his comments in fact clearly indicate an awareness that the study of postcolonial literature needs to establish the particular contexts or ‘postcolonial condition’ in and against which the literary texts should be read. He describes his own approach, for instance, as an “attempt to read texts by Maori writers as tactical interventions in the semiotic field of colonial discourse” (p. 191) and—quoting <name type="person">Said</name>—expressly subscribes to a particular postcolonial notion of discourse and con/textuality. Yet while such comments are scattered throughout his study, none is elaborated upon to a satisfying degree. As a result, the argument, as presented in the introduction and afterword, appears so condensed that, for a reader without a reasonable understanding of the basic theoretical principles underlying cultural studies, some passages will be barely comprehensible. For the ‘common reader’ it will hardly be sufficient, for example, to find an argument built largely around the perceived significance of the materiality of language, when all there is to supplement this perception is the evasive remark that this “is a complex matter” (p. 19). The reader’s curiosity about this complexity is then merely fobbed off with a footnote stating that the author’s own understanding of the matter is in keeping with “the notion of performativity that <name type="person">Butler</name> theorises” (p. 26, fn. 14). For the reader unacquainted with this particular intellectual heritage, it might not be at all obvious why survival should be understood “as a rearticulation of the body with the world” (p. 19). Yet no further explanations are given.</p>
            <p>Resulting, possibly, from this lack of transparency, the first section appears strangely unfocused. While the actual readings of individual texts are impressive in their perceptiveness, they seem to be rather too loosely arranged around the structuring centre indicated in the introduction. The second section, by contrast, is much more successful. Equally lucid in its interpretations as the preceding chapters, it challenges some of the prominent (Pakeha) readings of Maori fiction and unfolds its argument convincingly around an analysis of the three dimensions of kaupapa outlined in the introduction.</p>
            <p>It is always easy to criticise a book for what it hasn’t done, for the aspects it has left uncovered or the instances in which it hasn’t gone far enough. This is particularly so when the book in question is a ‘first’ in a field that, so far, has received little critical interest. As with any ‘first’, the scope of what <hi rend="i">could</hi> have been explored and discovered in this book is, of course, vast. Bearing this in mind, I believe that—despite the aforementioned shortcomings—we should congratulate <name key="name-123445" type="person">Otto Heim</name> on his achievement and hope that this ‘first’ will be welcomed in Aotearoa/New Zealand as an invitation to discuss the issues that are at stake in <hi rend="i">this</hi> postcolonial country and thereby help it gain greater prominence on the postcolonial map.</p>
            <p>
              <name key="name-123444" type="person">Simone Drichel</name>
            </p>
            <p><name type="place">Wellington</name>/<name type="place">Freiburg</name></p>
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            <head><title type="published"><name key="name-123448" type="work">Human Rights and Sporting Contact: New Zealand Attitudes to Race Relations in South Africa, 1921-94</name></title>.</head>
            <byline>Reviewed by <name key="name-123449" type="person">Chris Laidlaw</name></byline>
            <p>
              <bibl><title level="m"><name key="name-123448" type="work">Human Rights and Sporting Contact: New Zealand Attitudes to Race Relations in South Africa, 1921-94</name></title>.<lb/><author><name key="name-036320" type="person">Malcolm Templeton</name></author>.<lb/><pubPlace><name type="place">Auckland</name></pubPlace>: <publisher><name type="organisation">Auckland University Press</name></publisher>, <date when="1998">1998</date>.</bibl>
            </p>
            <p>It was always expected that sooner or later someone would write the definitive book on the sorry business of New Zealand’s sporting contacts with South Africa. It’s been a long wait however, largely due to the want of objectivity among those closest to the action and a certain diffidence about raking over the ashes among some of the personalities involved.</p>
            <p><name key="name-036320" type="person">Malcolm Templeton</name>’s survey, <title type="published"><name key="name-123450" type="work">Human Rights and Race Relations</name></title>‚ suffers neither from diffidence nor from subjectivity. Even though the author, a highly respected Foreign Affairs official, makes little secret as to which side he was on during the hotter years, this is a work which sticks faithfully to the facts. And it is all the more admirable for it. <name key="name-036320" type="person">Templeton</name>’s perspective was, understandably, a governmental one and the story is revealed through the lens of officialdom.</p>
            <p><name key="name-036320" type="person">Templeton</name> has taken the period <date from="1921" to="1994">1921 to 1994</date> as his tableau and he meticulously traces each development of significance—the politics, the diplomacy and the sport itself—and puts it into context. For a serious historical analysis it makes a remarkably good read. It reveals, like the removal of onion layers, the depths to which the issue of discrimination in South Africa came to pollute relationships in this country, and between this country and many others. It lays bare the catalogue of lies, deception, dirty tricks and duplicity that successive South African governments were prepared to indulge in to preserve the sporting lifeline with the outside world.</p>
            <p>New Zealand became the focus of much of that effort in the 1970s and 80s and the issue began to tear us apart politically and emotionally. <name key="name-036320" type="person">Templeton</name> brings to life the agonies visited on individuals like <name key="name-208801" type="person">Walter Nash</name>, <name key="name-208415" type="person">Norman Kirk</name>, <name type="person">Muldoon</name> and <name type="person">Lange</name>as they wrestled with their consciences to varying degrees in coming to terms with the highly combustible electoral implications of the issue of apartheid. Recitation of the facts have a way of revealing heroes and villains and <name key="name-036320" type="person">Templeton</name> has let the facts of <name key="name-035884" type="person">Robert Muldoon</name>’s leading part in the whole business speak for themselves. They tell a particularly unpleasant tale and it is important that the factors that motivated <name type="person">Muldoon</name> to thwart any pro-activity on New Zealand’s part during his time as Prime Minister should be publicly revealed.</p>
            <p><name type="person">Muldoon</name> is not the only individual to have the blowtorch of historical fact turned on him. Others like <name key="name-208676" type="person">Jack Marshall</name> who set out to ‘build bridges’ with South Africa are seen in the cold light of hindsight to have tragically misread the potential for domestic trouble that this corrosive issue promised for New Zealand.</p>
            <p><name type="person">Templeton</name> also reveals the extraordinarily narrow focus of New Zealand’s diplomacy in the post-war years; the concentration on clinging to the apron strings of Britain and the ‘old’ Commonwealth; the open distrust of non-white aspirations beyond the Anglo-saxon fold, and the blindness of so many in this country to the massive tragedy that was unfolding in South Africa after <name key="name-123451" type="person">Daniel Malan</name> and the Afrikaner Nationalists seized the initiative in <date when="1949">1949</date>.</p>
            <p>Although the author lays this out unburdened by subjective comment, his comprehension of the issues, arrived at first hand, means that every now and again he cannot resist a subtle dig at whoever is in focus.</p>
            <p>Rugby of course features very prominently in the whole story. It is the lever by which the South African Government and Rugby Union kept New Zealand jumping. It was worked with consummate skill. The South African Consuls General in New Zealand followed to the letter the old dictum that a diplomat is an honest man sent abroad to lie for his country. They raised this particular vocation to an art form in New Zealand and succeeded in fooling most of the people most of the time for much too long. <name key="name-036320" type="person">Templeton</name> is a good deal kinder to the leading lights of the New Zealand Rugby Union and the pro-tour lobby than some others of us would be inclined to be. He lays out the case, made ad nauseum by the <choice><abbr>NZRU</abbr><expan>New Zealand Rugby Union</expan></choice> that politics and sport could somehow be kept apart, without seriously questioning the integrity of anybody. Yet the facts show pretty clearly that there were plenty of people, including more than a few in the upper echelons of the Rugby Union, who were totally in favour of apartheid and wanted to maintain the purity of white man against white man right up until the mid 1980s.</p>
            <p>In his ‘few reflections’ at the end of the book <name key="name-036320" type="person">Templeton</name> looks back on the strain that the issue put on relations between officials and politicians in New Zealand and the huge preoccupation with it that diverted so many people for so long. He wonders, at the end, if we are really cured of the kind of prejudice that gave rise to the conflict. If we aren’t then this book should be required reading for all those who still carry that prejudice. What a pity it will only be read by those who don’t.</p>
            <p>
              <name key="name-123449" type="person">Chris Laidlaw</name>
            </p>
            <p>
              <name type="place">Wellington</name>
            </p>
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            <head><title type="published"><name key="name-123452" type="work">Jewish Women in New Zealand</name></title>.</head>
            <byline>Reviewed by <name key="name-036471" type="person">Nelson Wattie</name></byline>
            <p>
              <bibl><title level="m"><name key="name-123452" type="work">Jewish Women in New Zealand</name></title><lb/><author><name key="name-123453" type="person">Livia Käthe Wittmann</name></author>.<lb/><pubPlace><name type="place">Palmerston North</name></pubPlace>: <publisher><name type="organisation">The Dunmore Press</name></publisher>, <date when="1998">1998</date>.</bibl>
            </p>
            <p>If we had no means of classing things, human thought would be unthinkable—humankind cannot bear too much particularity. Whether the classes we use for thought exist objectively, or are construed by the perceiving mind or indeed are a mixture of both objectivity and experience is a question particular philosophers may well have answered for themselves but one which continues to vex philosophy. Are kowhai bushes or trees? Is a particular kowhai a bush or a tree? Can we answer objectively, or only by reaching intersubjective consensus? To what extent does the word itself create the category? If it does so, how does it do so?</p>
            <p>Such questions can be troublesome enough applied to objects, but when we come to human beings, our trouble is even greater, largely because they answer back. While we are classing them, they are classing us and, even more perplexing, themselves. <name key="name-123454" type="person">Salvador de Madariaga y Rojo</name> once compared a person defining a foreign nation to someone standing on the deck of a ship moving at uncertain speed in a storm trying to assess the speed and movements of another ship, also travelling. The theory of relativity might help one judge the movements of physical objects, but where is the theory of cultural relativity?</p>
            <p>What, to be particular, is a Jewish woman? Perhaps the question has to be broken down, particularised: what is a Jew? what is a woman? But would the person so classed accept such a breakdown? Or would she prefer to see herself as a whole, a unique individual from whom it is not at all possible to extract her Jewishness or her womanhood?</p>
            <p>This way the human class has of answering back and questioning its fellows’ definition of it throws the whole question into a political furnace, perhaps the fiercest political furnace of all. If we assign qualities to Jewishness and check the individual to see whether those qualities are present or not in an individual, we run the risk of including people in our category who refuse to be there or of excluding others who insist on being there. Passions are aroused and conflict seems inevitable. Image and self-image can diverge and the results can be catastrophic.</p>
            <p>In the face of such risks one might feel tempted to dismiss the whole issue. ‘What does it matter’, we say, ‘whether a person is a Jew or not? It is their human qualities that are important.’ But how long can we maintain that stance? Total generality is as inimical to thought as total particularity. We all know that Jews—Maori, Samoans, Americans . . . —exist, and we will go on acting accordingly. Indeed we need such categories to be able to think and therefore act reasonably at all.</p>
            <p><name key="name-123453" type="person">Livia Käthe Wittmann</name> pursues the only reasonable course. She problematizes the issue instead of defining it. She refuses to say who Jewish women are, yet acts in the knowledge that they exist and can be spoken to. And she asks them about their self-image and their own understanding of what it means to be a Jew in New Zealand, a woman in New Zealand. Each has a story to tell and <name key="name-123453" type="person">Wittmann</name> lets it be told before she makes categories. Her thematic arrangement of the stories is subtle and meaningful without arbitrarily imposing a rigid pattern.</p>
            <p>She has to start somewhere, of course, and the questions she asks do indeed suggest a preconceived pattern, but the answers to the questions are given their own living space and are not forced into the preconception.</p>
            <p>The two basic complexes treated here, roughly in equal parts of the book, are what it means to be a Jew in New Zealand and what it means to be a woman in New Zealand. Naturally the two are not rigidly exclusive and are permitted to interact with each other. (Is this what the title means?—I’m not sure.) <name key="name-123453" type="person">Wittmann</name> is clearly concerned with the categorical, even authoritarian implications of the term ‘bicultural’ as it is frequently used in New Zealand. Pakeha or Maori? If you are neither, what then? Are you not a New Zealander no matter when you arrived here or if you were born here? The answers given by <name key="name-123453" type="person">Wittmann</name>’s subjects are extremely diverse. None identifies totally with Maori and none with Pakeha but the spectrum between those extremes seems to be filled at every point. Similarly, the spectrum from dependence and patriarchal subordination (the two can be distinguished) to total isolation is widely covered although its extreme ends remain unoccupied.</p>
            <p>What this amounts to is a series of stories, and a good story is always particular and individual; yet it can in its turn be classified (as genre experts demonstrate) and here the stories are gently and tolerantly placed into a sequence that gives the book a shape of its own. This shape is given another dimension by the wise and erudite musings of <name key="name-123453" type="person">Wittmann</name> herself, who places the stories in a broader context of image studies and gender analysis (<name key="name-123453" type="person">Wittmann</name> calls it feminism but admits that the term can be readily misunderstood, as it is by many of her subjects).</p>
            <p>What does this book offer a non-Jewish male, like myself? The question of being a Jewish woman is not fundamentally different from that of being a Pakeha male. It is a particular instance of a more general human question—a question that can neither be answered nor ignored. The particularity can add ‘colour’ and interest to a topic that really concerns any of us. Anyone interested in the diversity of life in New Zealand or in the problems we have in thinking about ourselves, no matter what categories we may feel apply to us, will find stimulus and interest in the multiple voices of this book.</p>
            <p>
              <name key="name-036471" type="person">Nelson Wattie</name>
            </p>
            <p>
              <name type="place">Wellington</name>
            </p>
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            <head><title type="published"><name key="name-123455" type="work">The Power of Place: Landscape in New Zealand Children’s Fiction, 1970-1989</name></title>.</head>
            <byline>Reviewed by <name key="name-121252" type="person">Brent Southgate</name></byline>
            <p>
              <bibl><title level="m"><name key="name-123455" type="work">The Power of Place: Landscape in New Zealand Children’s Fiction, 1970-1989</name></title>.<lb/><author><name key="name-123456" type="person">Diane Hebley</name></author>.<lb/><pubPlace><name type="place">Dunedin</name></pubPlace>: <publisher><name type="organisation">University of Otago Press</name></publisher>, <date when="1998">1998</date>.</bibl>
            </p>
            <p>There have been few critical studies of New Zealand children’s literature, certainly few that treat it as literature rather than an occasion for social or educational discussion. So this book—by an author with extensive knowledge of the field—deserves a welcome. Having said that, my main feeling about it is one of disappointment.</p>
            <p>In <title type="published"><name key="name-123457" type="work">The Power of Place</name></title><name key="name-123456" type="person">Diane Hebley</name> charts the responses of New Zealand children’s writers, over a period of twenty years, to the local landscape. The main argument of the book is an interesting one—that writers have gained power in their fiction when they have drawn directly on the landscape’s often violent and spectacular nature.</p>
            <p>However, to make the case at least two things seem to be required, and neither is seriously attempted. First, comparison with other literatures forced to use less dramatic settings (are they really missing out on a vital ingredient?) Second, comparison, within a particular writer’s oeuvre, of those books that do draw on the landscape in the requisite way and those that don’t.</p>
            <p><name key="name-123456" type="person">Diane Hebley</name>’s approach is rather that of the comprehensive survey. Virtually every children’s novel of the chosen period is examined for its use of the settings defined by her chapter headings— “<title type="unpublished"><name key="name-123458" type="work">Ocean and Island</name></title>”, “<title type="unpublished"><name key="name-123459" type="work">Harbour and Beach</name></title>”, “<title type="unpublished"><name key="name-123460" type="work">Mountain and Bush</name></title>”, “<title type="unpublished"><name key="name-123461" type="work">Hill and Plain</name></title>”, “<title type="unpublished"><name key="name-123462" type="work">Lake and River</name></title>”, “<title type="unpublished"><name key="name-123463" type="work">Cave and Tunnel</name></title>”. This has its points—but it does mean that the outline of the argument is lost in a welter of unnecessary detail.</p>
            <p>How plausible is the argument anyway? No doubt it’s good for writers to ground their fiction in a recognisable reality, and good too for children—growing up in a world of images beamed to them from Britain and America—to read stories that reflect their own surroundings. One thing that <title type="published"><name key="name-123457" type="work">The Power of Place</name></title> successfully demonstrates is the degree to which New Zealand children’s writers have internalised their country’s natural imagery.</p>
            <p>But hovering at the edge of <name key="name-123456" type="person">Diane Hebley</name>’s argument is an implication that writers who use imaginary or non-New Zealand settings—writers, in fact, like <name key="name-202476" type="person">Margaret Mahy</name>, in much of her work—lack a degree of authenticity and power. If that is the claim I should like to have seen it frankly stated and argued. Writers create what they can, after all, and the physical landscape is only one ingredient in the fictional stew.</p>
            <p><title type="published"><name key="name-123457" type="work">The Power of Place</name></title> has its successes. There is a particularly fine reading of <name type="person">Mahy</name>’s <title type="published"><name key="name-123464" type="work">The Tricksters</name></title>, which—as it’s implicitly set near Lyttelton Harbour—is one of the few books from that author which does suit the thesis. Analysis in terms of the physical setting here turns out to be interesting and revealing. It seems a pity, though, that the somewhat inflexible layout of the book requires the analysis to be distributed across several chapters, and to share space with books of much less importance.</p>
            <p>There is a useful bibliography and two appendices, one an essay on critical approaches to New Zealand children’s literature.</p>
            <p>
              <name key="name-121252" type="person">Brent Southgate</name>
            </p>
            <p>
              <name type="place">Wellington</name>
            </p>
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            <head><title type="published"><name key="name-123465" type="work">She Dared to Speak: Connie Birchfield’s Story</name></title>.</head>
            <byline>Reviewed by <name key="name-123466" type="person">Bronwyn Dalley</name></byline>
            <p>
              <bibl><title level="m"><name key="name-123465" type="work">She Dared to Speak: Connie Birchfield’s Story</name></title>.<lb/><author><name key="name-123467" type="person">Maureen Birchfield</name></author>.<lb/><pubPlace><name type="place">Dunedin</name></pubPlace>: <publisher><name type="organisation">University of Otago Press</name></publisher>, <date when="1998">1998</date>.</bibl>
            </p>
            <p><name key="name-123467" type="person">Maureen Birchfield</name> begins the biography of her mother, <name key="name-123468" type="person">Connie Birchfield</name>, with a vivid image of <name key="name-123468" type="person">Connie</name>as an elderly woman: mother, grandmother, homemaker, and political activist. The sense of personal strength, and the combination of family relationships and political activity, form the threads of <name key="name-123468" type="person">Connie Birchfield</name>’s story that her daughter weaves together throughout this book.</p>
            <p><name key="name-123469" type="person">Connie Rawcliffe</name> was born in Lancashire in <date when="1989">1898</date> and began work in a cotton mill at the age of thirteen. She emigrated to New Zealand in 1923 to work as a housekeeper on a Taranaki farm, and later settled in Wellington where she lived for the remainder of her life. <name key="name-123468" type="person">Connie</name>joined the Labour Party in 1925, but it was as a member of the Communist Party from 1933 that she began an active and public political life. From the 1930s through to the 1950s <name key="name-123468" type="person">Connie</name> was a regular Communist Party candidate for local and central government elections, and a regular soap-box orator on Wellington street-corners on Friday evenings. Although never elected to Parliament or the local council, <name type="person">Connie</name> was an ardent campaigner on a broad range of issues: workers’ rights, better housing, air pollution, anti-fascism. Her marriage to ‘Birchie’ in 1936, and the subsequent birth of two daughters, made little difference to her political activity. <name key="name-123467" type="person">Maureen Birchfield</name> remembers her mother as different: ‘she did things other mothers didn’t do: she went to political meetings, she spoke on street corners and she stood for Parliament’ (p.12). Like others disillusioned with Soviet Russia in the 1950s, <name key="name-123468" type="person">Connie</name> left the Communist Party, but remained committed to socialism and justice for all throughout her life. I would have liked to have known more about the continuation of <name key="name-123468" type="person">Connie</name>’s activities once she left the Party in 1957; the last 40 years of her life pass by quickly in this. Nevertheless, a photograph of <name key="name-123468" type="person">Connie</name> at the <date when="1990">1990</date> Labour Day celebrations captures her spirit and ongoing commitment: sitting in a wheelchair with a rug over her knees, <name key="name-123468" type="person">Connie</name> holds aloft a Labour Day flag in the face of a brisk Wellington wind.</p>
            <p><name type="person">Birchfield</name>’s biography is a sympathetic—sometimes indulgent—portrayal of her mother’s life. Sensibly, <name type="person">Birchfield</name> does not search for early signs of <name key="name-123468" type="person">Connie</name>’s later political activity. As a young woman in the Lancashire mills <name key="name-123468" type="person">Connie</name> stood up to the bosses, not for others and a general ‘worker’s cause’, as <name key="name-123467" type="person">Birchfield</name> notes, but for her self and her own immediate interests. A broader commitment to justice would come later after <name key="name-123468" type="person">Connie</name>’s move to New Zealand and introduction to local socialists through family, fellow boarders and friends. The discussion of such political networks is one of the strengths of this book. We are given a glimpse of an active socialist and Communist political network which focussed around households and personal contacts. Shared books, conversations over the dinner table with friends and boarders, and local community activities loom large in forming the milieu of socialist activities in post-war <name type="place">Wellington</name>. In capturing this, <name key="name-123467" type="person">Birchfield</name> offers us a story of an active woman, and the circles in which she moved.</p>
            <p>
              <name key="name-123466" type="person">Bronwyn Dalley</name>
            </p>
            <p>
              <name type="place">Wellington</name>
            </p>
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