A Bushman's Song

Author: Banjo Paterson (Andrew Barton)

I'm traveling down the Castlereagh, and I'm a station-hand,
I'm handy with the ropin' pole, I'm handy with the brand,
And I can ride a rowdy colt, or swing the axe all day,
But there's no demand for a station-hand along the Castlereagh.

So it's shift, boys, shift, for there isn't the slightest doubt
That we've got to make a shift to the stations further out,
With the pack-horse runnin' after, for he follows like a dog.
We must strike across the country at the old jig-jog.

This old black horse I'm riding, if you'll notice what's his brand,
He wears the crooked R, you see, none better in the land.
He takes a lot of beatin', and the other day we tried,
For a bit of a joke, with a racing bloke, for twenty pound a side.

It was shift, boys, shift, for there wasn't the slightest doubt
That I had to make him shift, for the money was nearly out,
But he cantered home a winner, with the other one at the flog,
He's a red-hot sort to pick up with his old jig-jog.

I asked a cove for shearin' once along the Marthaguy:
"We shear non-union here," says he. "I call it scab," says I.
I looked along the shearin' floor before I turned to go,
There were eight or ten dashed Chinamen a-shearin' in a row.

It was shift, boys, shift, for there wasn't the slightest doubt
It was time to make a shift with the leprosy about.
So I saddled up my horses, and I whistled to my dog,
And I left his scabby station at the old jig-jog.

I went to Illawarra, where my brother's got a farm;
He has to ask his landlord's leave before he lifts his arm:
The landlord owns the country-side, man, woman, dog, and cat,
They haven't the cheek to dare to speak without they touch their hat.

It was shift, boys, shift, for there wasn't the slightest doubt
Their little landlord god and I would soon have fallen out,
Was I to touch my hat to him?, was I his bloomin' dog?
So I makes for up the country at the old jig-jog.

But it's time that I was movin', I've a mighty way to go
Till I drink artesian water from a thousand feet below;
Till I meet the overlanders with the cattle comin' down,
And I'll work a while till I make a pile, then have a spree in town.

So it's shift, boys, shift, for there isn't the slightest doubt
We've got to make a shift to the stations further out:
The pack-horse runs behind us, for he follows like a log,
And we cross a lot of country at the old jig-jog.
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Type of Poem: Ballad

Date Written:

Date Published:

Language: English

Keywords: Public Domain

Source: Public Domain Collection

Publisher:

Rights/Permissions: Public Domain

Comments/Notes: This poem is a vivid exploration of the life of a station-hand, a role akin to a ranch hand or cowboy, based in Australia. The author uses rich language and vibrant imagery to convey the rugged, nomadic lifestyle, characterized by constant movement, or "shifting," and the challenges encountered along the way. The central theme is the transient nature of life, characterized by change, adaptability, and a continuous quest for better circumstances.

The poem's structure, consistent and rhythmic, echoes the steady, relentless trot of the horse, with its "old jig-jog." This rhythm, combined with the repeated line "So it's shift, boys, shift," underscores the necessity of movement and the protagonist's adaptability. The author's use of colloquial language and vernacular gives authenticity to the speaker's voice and offers a ground-level view into the character's world and mind.

The tone of the poem is one of resilience and determination, despite adversity. The protagonist faces discrimination, financial hardship, and harsh working conditions, yet never loses his determination or spirit. The brand of the horse he rides, the "crooked R," symbolizes the rough, imperfect, but enduring nature of the station-hand life.

The poem also subtly critiques class and societal structures. The stanza about the landlord is a clear depiction of an unjust power dynamic, hinting at the larger issues of land ownership and worker exploitation in colonial societies. This critique, combined with the protagonist's continual movement, paints a picture of a defiant figure refusing to be confined or controlled.

Understanding Ballads

A ballad is a form of verse, often a narrative set to music, that has been a cornerstone of storytelling across various cultures. Traditionally passed down orally, ballads are known for their rhythmic structure and often tell tales of love, adventure, and heroism.

Ballads are characterized by their strong rhythm and repetition, making them both memorable and engaging. Here are some defining features:

  • Narrative Structure: Ballads typically tell a story, often a dramatic or emotional tale that unfolds in a straightforward, chronological order.
  • Quatrain Stanzas: Most ballads are composed of quatrains (four-line stanzas) with a rhyme scheme of ABAB or ABCB, which adds to the musicality of the verse.
  • Repetition: Refrains or repeated lines are common in ballads, helping to emphasize key themes or emotions and making the ballad easier to remember.
  • Oral Tradition: Many ballads originated from oral traditions, which means they were passed down through generations by word of mouth before being written down.

From medieval minstrels to contemporary songwriters, ballads have continued to evolve, remaining a beloved form of expression that captures the human experience in a way that is both poetic and accessible.