An Answer to Various Bards

By Banjo Paterson (Andrew Barton)

Well, I've waited mighty patient while they all came rolling in, Mister Lawson, Mister Dyson, and the others of their kin, With their dreadful, dismal stories of the Overlander's camp, How his fire is always smoky, and his boots are always damp; And they paint it so terrific it would fill one's soul with gloom, But you know they're fond of writing about "corpses" and "the tomb". So, before they curse the bushland, they should let their fancy range, And take something for their livers, and be cheerful for a change. Now, for instance, Mr Lawson, well, of course, we almost cried At the sorrowful description how his "little 'Arvie" died, And we lachrymosed in silence when "His Father's mate" was slain; Then he went and killed the father, and we had to weep again. Ben Duggan and Jack Denver, too, he caused them to expire, After which he cooked the gander of Jack Dunn, of Nevertire; And, no doubt, the bush is wretched if you judge it by the groan Of the sad and soulful poet with a graveyard of his own. And he spoke in terms prophetic of a revolution's heat, When the world should hear the clamour of those people in the street; But the shearer chaps who start it, why, he rounds on them the blame, And he calls 'em "agitators who are living on the game". Bur I "over-write" the bushmen! Well, I own without a doubt That I always see the hero in the "man from furthest out". I could never contemplate him through an atmosphere of gloom, And a bushman never struck me as a subject for "the tomb". If it ain't all "golden sunshine" where the "wattle branches wave", Well, it ain't all damp and dismal, and it ain't all "lonely grave". And, of course, there's no denying that the bushman's life is rough, But a man can easy stand it if he's built of sterling stuff; Though it's seldom that the drover gets a bed of eiderdown, Yet the man who's born a bushman, he gets mighty sick of town, For he's jotting down the figures, and he's adding up the bills While his heart is simply aching for a sight of Southern hills. Then he hears a wool-team passing with a rumble and a lurch, And, although the work is pressing, yet it brings him off his perch, For it stirs him like a message from his station friends afar And he seems to sniff the ranges in the scent of wool and tar; And it takes him back in fancy, half in laughter, half in tears, to a sound of other voices and a thought of other years, When the woolshed rang with bustle from the dawning of the day, And the shear-blades were a-clicking to the cry of "Wool away!" Then his face was somewhat browner, and his frame was firmer set, And he feels his flabby muscles with a feeling of regret. But the wool-team slowly passes, and his eyes go slowly back To the dusty little table and the papers in the rack, And his thoughts go to the terrace where his sickly children squall, And he thinks there's something healthy in the bush-life after all. But we'll go no more a-droving in the wind or in the sun, For out fathers' hearts have failed us, and the droving days are done. There's a nasty dash of danger where the long-horned bullock wheels, And we like to live in comfort and to get our reg'lar meals. For to hang around the township suits us better, you'll agree, And a job at washing bottles is the job for such as we. Let us herd into the cities, let us crush and crowd and push Till we lose the love of roving, and we learn to hate the bush; And we'll turn our aspirations to a city life and beer, And we'll slip across to England, it's a nicer place than here; For there's not much risk of hardship where all comforts are in store, And the theatres are in plenty, and the pubs are more and more. But that ends it, Mr Lawson, and it's time to say good-bye, So we must agree to differ in all friendship, you and I. Yes, we'll work our own salvation with the stoutest hearts we may, And if fortune only favours we will take the road some day, And go droving down the river 'neath the sunshine and the stars, And then return to Sydney and vermilionize the bars.

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Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain

Analysis & Notes:
This poem offers a vivid exploration of the dichotomy between urban and rural life, with a particular focus on the hardships and joys of existence in the Australian bush. The poet presents a refutation of the romanticized and often negative depictions of bush life written by others, such as the mentioned Mister Lawson and Mister Dyson. The speaker defends the bushman's life, countering the gloomy narratives with a more balanced perspective that includes both the challenges and the unique, irreplaceable pleasures of bush life.

The poem employs a conversational tone, using direct address to engage readers and invite them into the debate. It alternates between pointed critique of urban-centric perspectives and nostalgic evocations of the bush, employing vivid sensory imagery that makes the experience palpable. The poet's use of colloquial language and regional expressions adds to the authentic portrayal of the bushman's world. Regarding structure, the consistent rhyme scheme lends a rhythmic, sing-song quality to the poem, mirroring perhaps the steady cadence of bush life itself.

Beneath the surface, the poem also engages with larger themes of identity, belonging, and the tension between progress and tradition. It questions the cost of trading the freedom and rugged beauty of the bush for the comforts and predictability of city life. This introspective exploration, coupled with the poem's vivid imagery and robust narrative voice, makes it a poignant and compelling read.

Understanding Satirical Poetry

Satirical poems use wit, irony, exaggeration, and ridicule to expose folly—personal, social, or political. The aim isn’t just laughter: it’s critique that nudges readers toward insight or change.


Common characteristics of satirical poetry:

  • Targeted Critique: Focuses on specific behaviors, institutions, or ideas—often timely, sometimes timeless.
  • Tools of Irony: Uses sarcasm, parody, understatement, and hyperbole to sharpen the point.
  • Voice & Persona: Speakers may be unreliable or exaggerated to reveal contradictions and hypocrisy.
  • Form Flexibility: Appears in couplets, tercets, quatrains, blank verse, or free verse—music serves the mockery.
  • Moral Pressure: Beneath the humor lies ethical pressure—satire seeks reform, not merely amusement.
  • Public & Personal: Can lampoon public figures and trends or needle private vanities and everyday pretenses.

The best satire balances bite with craft: memorable lines that entertain while revealing the gap between how things are and how they ought to be.