The Australian poet C. J. Dennis completed the writing of ‘The Songs of a Sentimental Bloke’ in a tram car (strictly speaking a horse-drawn omnibus) on the property of Garry and Roberta Roberts, ‘Sunnyside’, in what was then South Sassafras, but is now known as Kallista.
The Roberts created something of an artists’ colony at ‘Sunnyside’. Robert worked for the Melbourne Tramway & Omnibus Company. Both he and his wife, Roberta, were keen patrons of the arts, and encouraged many writers and artists to visit their weekend retreat. When the homestead proved inadequate to accommodate them all, Roberts arranged for horse-drawn omnibuses that had been rendered obsolete by the new cable tram technology to be taken to ‘Sunnyside’ and placed in the paddocks around the house. It was here that Dennis lived – and wrote – for a period of time.
Among those who visited were Hal Gye, who illustrated most of Dennis’ books, the cartoonists David Low and Percy Leason, the sculptor Web Gilbert, the etcher John Shirlow and, amongst many others, the artists Alick McClintock and Harold Herbert.
Looking for information about ‘Sunnyside’ amongst the digitised newspapers on the National Library’s ‘Trove’ recently, I was both stunned and charmed to find this beautiful series of sketches of cathedrals, churches and schools by Herbert. They were published in a newspaper I had not heard of before, ‘The Australasian’, under the heading ‘Harold Herbert’s Corner’. They appear to have been published, on a more or less weekly basis, in the last year of his life. (Herbert was born on 16.09.1891 and died on 11.02.1945.) ‘The Australasian’ ceased publication in 1946.
All of the sketches are accompanied by a few explanatory sentences. In a few cases, there are the words only, and no sketch at all. A few were published following his death, though in these cases the headline ‘Harold Herbert’s Corner’ was not used. Herbert was best known as a watercolorist. He also became a highly acclaimed war artist. I expect that these sketches are regarded as a fairly minor part of his overall artistic output, but I thought they were fascinating in their own right. No doubt the collection I am posting here is incomplete.
St James’ Old Cathedral, Melbourne (15.04.1944)
St Paul’s Cathedral, Melbourne (06.05.1944)
St Patrick’s Cathedral, Melbourne (13.05.1944)
St Peter’s College, Adelaide (20.05.1944)
St Francis Xavier’s Cathedral, Adelaide (27.05.1944)
St Andrew’s Cathedral, Sydney (03.06.1944)
St Mary’s Cathedral, Sydney (10.06.1944)
St John’s Cathedral, Brisbane (17.06.1944)
St Stephen’s Cathedral, Brisbane (24.06.1944)
Cathedral of the Sacred Heart, Bendigo (08.07.1944)
St Patrick’s Cathedral, Ballarat (22.07.1944)
All Saints Church of England, Bendigo (29.07.1944)
St Mary’s Cathedral, Perth (05.08.1944)
St David’s Church of England Cathedral, Hobart (12.08.1944)
I was starting to worry that we had no photographic record of the performance of “The Glugs of Gosh” at the 2017 Toolangi C. J. Dennis Poetry Festival, held to celebrate the centenary of its publication. Fortunately, C. J. Dennis Society member Will Hagon has come to the rescue!
Here we see, from left to right, Sir Stodge (David Campbell), a narrator (Maggie Somerville), King Splosh (Jim Brown), and another narrator (Ruth Aldridge), in “The Swanks of Gosh”.
Now we move on to “The Seer”, with narrators Jim Brown and Ruth Aldridge, and the Mayor of Quog (Daan Spijer).
The climax is reached in “Ogs”, with the “Og” audience throwing stones at the Glugs!
Here are Sir Stodge (David Campbell), a narrator (Maggie Somerville), Sym (Stephen Whiteside), King Splosh (Jim Brown), Queen Tush (Ruth Aldridge), and a Glug with a mole on his chin (Daan Spijer).
Alas, Sir Stodge has been stricken in the chest by a stone!
(Note the blurring of the faces due to movement – evasive action, or simply hilarity?)
And here are the stones that caused all the damage!
This year, 2017, marks the centenary of the publication of C. J. Dennis’ flawed masterpiece “The Glugs of Gosh”.
This is a very different book to “The Songs of a Sentimental Bloke” and “The Moods of Ginger Mick”, the centenaries of the publication of which have taken place over the last two years. While those books were calculate to appeal to as many people as possible, and did indeed appeal to an enormous number, they came at a personal emotional cost. “The Glugs of Gosh” was written to square the ledger – it was written for himself, and is the most autobiographical of his books. Not surprisingly, perhaps, it proved nowhere near as popular as the other two. Nevertheless, it remained the book of which Dennis himself was the most proud. Furthermore, it has attracted and retained a core following of passionately loyal supporters over the years. (I am one.)
It is a brilliant but difficult book. Part nonsense verse for children, part satire for adults, one is not always sure which is which. (Hence the ‘flawed’.) Nevertheless, it contains much that is deeply wise, extremely funny, or simply sublime. The book was begun at “Sunnyside” in Kallista, under the influence of Garry and Roberta Roberts, and finished at Toolangi.
The first poem in the book, “The Glug Quest”, invites the reader to re-enter the world of their childhood imagination in order to reach the land of Gosh.
It begins as follows:
Follow the river and cross the ford,
Follow again to the wobbly bridge,
Turn to the left at the notice board,
Climbing the cow-track over the ridge;
Tip-toe soft by the little red house,
Hold your breath if they touch the latch,
Creep to the slip-rails, still as a mouse,
Then…run like mad for the bracken patch.
The second poem, “Joi, the Glug”, begins to tell us a little about the Glugs, and their land of Gosh.
It begins as follows:
The Glugs abide in a far, far land
That is partly pebbles and stones and sand,
But mainly earth of a chocolate hue,
When it isn’t purple, or slightly blue.
And the Glugs live there with their aunts and wives,
In draught-proof tenements all their lives.
And they climb the trees when the weather is wet,
To see how high they can really get.
Pray, don’t forget,
This is chiefly done when the weather is wet.
Alec Chisholm, in his biography of C. J. Dennis, “The Life and Times of C. J. Dennis” (Angus & Robertson, 1946), quotes a conversation he had with Mrs Aeneas Gunn, author of “We of the Never Never”, and friend of Dennis.
“Yes,” said Mrs Aeneas Gunn, when I commented to her on the free-flowing nature of “The Glugs of Gosh”, “there is melody in particular in the opening verses of the book, and I think that Dennis gained much of his inspiration from the music of Sassafras Creek. Early in 1914, soon after returning from England, I used to ride frequently beside that little stream, and I was always impressed, not merely by the ferns and other fairylike foliage that festooned its banks, but by the music of the steadily-flowing water.
“The creek had many voices. They all spoke together, and in perfect harmony. They were like numerous notes of music crossing and recrossing. Especially was this so at a certain spot where a big log spanned the stream amid a riot of picturesque growth. It was there that I often used to see Mr. Dennis loitering, apparently content to gaze at the scenery and listen to the music of birds and flowing water.
“‘I suppose’, I said to him one day, ‘you are like myself: you never tire of the voices of the Sassafras?’
“‘Yes,’ he replied, ‘this stream has many voices, and all musical.’
“Now, after many years” (Mrs Gunn added), “I continue to read with pleasure portions of The Glugs of Gosh. They recall for me the beauty of the ferns and other foliage, and as I read I hear again the varied and melodious voices of Sassafras Creek.”
Yesterday I decided to attempt to follow in the footsteps of C. J. Dennis and Mrs Gunn, and visit Sassafras Creek myself.
It is indeed a beautiful and musical little stream, and no doubt in most ways little altered over the last one hundred years.
I cannot imagine, however, how one could possibly ride a horse along its banks. Walking was difficult enough. They were narrow and muddy, and often steep and very slippery.
I walked upstream from Beagleys Bridge Picnic Area, the closest point of the creek to where ‘Sunnyside’ once stood. She may well have headed downstream, where the going may become easier. It should also be noted that the biggest change to occur in the last hundred years is the dramatic increase in the foliage. Photos taken of the area at the time of C. J. Dennis and Mrs Aeneas Gunn show bare hillsides and very sparse vegetation.
Just as Mrs Gunn described, the foliage along the creek is indeed fairy-like.
It is easy to understand how Sassafras Creek inspired C. J. Dennis to write “The Glugs of Gosh”.
It is wonderful, too, to be able to walk so easily in his footsteps one hundred years later.
So where did C. J. Dennis write “The Moods of Ginger Mick”?
2016 marks the centenary of the publication in 1916 of “The Moods of Ginger Mick”, C. J. Dennis second most successful book. (His most successful was “The Songs of a Sentimental Bloke”, published in 1915, however “The Moods of Ginger Mick” was not far behind it.)
Ginger Mick was a minor character in “The Sentimental Bloke” – Bill’s best mate, and best man at his wedding to Doreen. However, he is elevated to principal character in the sequel where, after expressing some ambivalence about those involved in the war effort, he enlists, heads off to Egypt for training, and then on to Gallipoli. There he is killed in action after a brief period of feeling he has finally found his calling, and being promoted – to his great delight – to Lance Corporal. Indeed, this book had much to do with the shaping of the Anzac myth.
Most of the books for which C. J. Dennis became famous where written in or near Toolangi. (“The Songs of a Sentimental Bloke” was completed at “Sunnyside” in the Dandenong Ranges.) However, “The Moods of Ginger Mick” is an important exception. It was written after “The Bloke” (naturally enough), but largely completed prior to the Bloke’s publication. Dennis had run out of money, and decided to take a job in town. It was only after the enormous and completely unexpected success of the Bloke that he was eventually able to return to Toolangi.
So “The Moods of Ginger Mick” was written in Melbourne. But where?
Dennis moved in to a boarding house where his good mate David Low was already living. Low had illustrated the cover of his first book, “Backblock Ballads and Other Verse”, published by E. W. Cole in 1913. (Low was born in New Zealand. He created a very successful book based on characterisations of the then Australian Prime Minister Billy Hughes. Later he moved to England, where he became world famous for his depictions of Adolf Hitler.)
In his autobiography, Low writes:
“…I lived as a fellow-lodger with Den for a space and finished my cartoons by night on his wash-stand while he read proofs aloud in bed.” (“Low’s Autobiography”, Michael Joseph, London 1956, page 78)
The address I have been given for this boarding house is 107 Burke Road, Camberwell.
However, there is no 107 Burke Road Camberwell. Google Maps places 107 Burke Road in East Malvern, near Central Park, though in reality there is no 107 Burke Road at all.
Yes, of course, the numbering could have changed since then. I have asked the Shire of Boroondara for assistance, and they have very kindly offered to do all they can.
In the meantime, does anybody else have any ideas?
The Toolangi C.J. Dennis Poetry Festival is over for another year, and what a festival it was this time!
It was undoubtedly the biggest and the best we have had yet, as indeed it should have been celebrating, as it was, the centenary of the publication in 1915 of “The Songs of a Sentimental Bloke”.
The festival got a great boost about a week out with the news that The C.J. Dennis Society’s Patron, Ted Egan, would be in attendance. Ted lives in Alice Springs, so it is a long journey for him to come to Victoria. Ted has only been to the festival once before, and that was back in 2013.
The weather was kind to us – as it always seems to be – and Ted opened the festival for us in fine style. What is more, he sang his tribute to Australia’s pioneering women to the assembled throng, as an added bonus. He had to get by without his famed beer carton, but a small book served almost as well to tap the rhythm out to.
David Hill from the Bendigo Community Bank (Healesville Branch) was also in attendance. The Bendigo Bank has been our chief sponsor over the years, and this year they agreed to double their commitment. Rather than present the prizes for “Adults Writing for Children” himself, David placed a small toy under one of the chairs, with the person who first found the toy to present the prizes. This led to the somewhat unexpected outcome of Jemima Hosking presenting a prize to her mother, Jackie! (Jackie’s father, John, also performed a poem later in the day, so we had three generations of the Hosking family involved in the festival!)
The local member of Parliament, Cindy McLeish MP (Member for Eildon), also kindly offered to attend the festival and award prizes. Cindy’s support of the festival is longstanding, and very much appreciated.
The number of entries was down a little on last year, which is a bit concerning, but everybody agreed nonetheless that the standard was very high. Not all the poems that received awards were heard this year, but all the winning poets who were in attendance performed their poems, and First Prize in each category was read out whether the poet was present or not.
Here is Ted Egan opening the festival. (Thank you to Nerys Evans for the photo.)
After a break for afternoon tea, we commenced an “Open Mike” session which proved extremely popular. Indeed, not all the poets who wished to perform were able to do so, as it would have left insufficient time for the showcase concert of C.J. Dennis poems and songs that was scheduled to follow. This also needed to be shortened a little because of time constraints.
The concert kicked off with actor John Flaus from Castlemaine. The other performers were Maggie Somerville, Jim Haynes, Jim Brown, Ruth Aldridge, David Campbell and Geoffrey W. Graham.
Here is Maggie Somerville singing a C.J. Dennis poem that she has put to music.
Towards the end of the afternoon, the sun went down and a chill crept over the proceedings. The original plan had been to hold the evening’s entertainment in the marquee also, but it was generally agreed that it made much more sense to retire to the tea rooms, where a lavish buffet dinner was now waiting.
The evening meal was truly delicious, with a large range of choices on offer.
We then commenced our special presentation of “The Songs of a Sentimental Bloke”, featuring Geoffrey Graham as performer of the poems, Jim Haynes as “slang interpreter”, and myself as narrator. I suddenly found my voice failing me, and Geoffrey was looking very much the worse for wear having been badly dumped by a wave while body surfing in Hawaii two days earlier, but the show went on nonetheless, and was very well received. (About half the audience gave us a standing ovation; Geoffrey assured me the other half would have done so also, if they had not been so tired!)
Here we are – from left to right, Jim, Geoffrey and me – looking relieved but happy after the show! (Thanks to Maggie Somerville for the photo.)
The Poets’ Breakfast kicked off right on schedule the following morning at 9.30.
Here is Ruth Aldridge reciting “Caravanning Bliss” by Bob Magor.
Shelley and Rod Hansen provided a great double act.
Jan Williams gave us a poem, but unfortunately I cannot show you a photo because my computer refuses to upload it!
The audience was large and appreciative.
We then moved back down to the marquee for the launch at 11am of the CD Maggie and I had put together, “The Two Bees”.
We were joined by three musicians – Hugh McDonald (ex-Redgum), who had recorded and produced the album for us, and Trevor Voake (mandolin) and Dieter Imberger (harmonica), friends from the Victorian Folk Music Club. (Trevor’s wife Margaret kindly acted as photographer for us.)
We performed “The Two Bees” in its entirety – eight songs and four poems, words by C.J. Dennis, music by Maggie. We did make lots of mistakes, but they were mostly small, and we all had great fun. The audience seemed to enjoy it all, too.
Here is the band line-up – from left to right, Trevor, Dieter, Maggie, me and Hugh.
Here is Maggie demonstrating the title of the poem “How to Hold a Husband”.
Hugh seemed to enjoy himself.
Then it was time for lunch. Jim Brown and David Campbell did a great job entertaining patrons in the tea rooms over the lunch break.
The traditional “moving theatre” followed, with some new faces this year – Geoffrey W. Graham as Banjo Paterson, Jim Haynes as Henry Lawson, and John Derum as the “one and only” C.J. Dennis.
A recent tradition during the moving theatre has been for some of the local children to perform a ballet to music inspired by the poetry of C.J. Dennis. (Local parent and retired dancer Cathy Phelan designs the costumes and choreographs the dancing.)
In past years, the children have danced to recorded music. This year was different. Maggie Somerville had written music to C.J. Dennis’ poem “The Satin Bower Bird” (from “The Singing Garden”), and recorded it on CD for the children to rehearse to.
Here is the audience enjoying Maggie and the children’s performance.
We next moved to the top of the gardens, where the poets were joined by Dorothea Mackellar (Ruth Aldridge).
It was then back down to the marquee to finish the show.
Afternoon tea was held in the tea rooms, then back again to the marquee for one last time to watch the festival end in the traditional way – with Jim Brown’s rendition of C.J. Dennis’ magical poem, “Dusk”.
Some festival attendees missed Jim’s performance, so he agreed to perform it a second time.
I made a video of Jim’s second performance, which can be found here:
So ended what had been a wonderful festival.
There are too many people to thank properly, but special gratitude and appreciation must be given to the Bendigo Community Bank (Healesville Branch) for their continued generous sponsorship, to Vic and Jan Williams, owners of “The Singing Gardens” (and their family), for their tireless work maintaining the gardens and helping to organise the festival, and to our illustrious Secretary Jim Brown for all his hard work.
We hope to see you at next year’s festival, when we will be celebrating the centenary of the publication in 1916 of “The Moods of Ginger Mick”!
I will add one last photo – C.J. Dennis (John Derum) addressing the throng, with the famed copper beech tree in the background and cloudless blue skies above. Could anything be better?
The Port Fairy Folk Festival this year was without a doubt, for me personally, the most demanding and most rewarding I have ever attended.
The key was, of course, that 2015 marks the centenary of C. J. Dennis’ classic verse novel, “The Songs of a Sentimental Bloke” and, as President of the C. J. Dennis Society, I felt I needed to step up to the plate to help celebrate the occasion!
It was both a pleasure and a challenge to do so.
Jim Haynes has been doing a wonderful job of running the Spoken Word programme at Port Fairy for many years now. While recent festivals have chosen ‘Banjo’ Paterson and Henry Lawson as their themes, it was felt inevitable that the focus would eventually turn to Dennis, and this was obviously the year to do it.
It was a fairly simply task for me to adapt the script from the show about the Bloke that I first developed with Mac Craig for the Sunnyside Festival, and then performed so successfully with Geoffrey Graham at the VBPMA Bush Poetry Muster in 2013, to add a further narrative, explaining the slang in the book, for Jim.
The only problem was knowing the time it would take to perform the whole show. We had 90 minutes to perform nine poems, together with explanatory narrative. Would we make it? Would we have to drop a poem? How do you factor in the time taken for audience applause? Should I develop a Plan B to drop one poem if necessary?
I couldn’t really see how to institute a Plan B, so I decided to keep the faith with my original script, and simply run with it. It was all a little nerve-wracking, but the show came in at about 88 minutes – a couple of minutes under time! How’s that for brilliant timing?
Geoffrey was absolutely superb as the “Bloke” (no surprises there), and the 200-strong crowd gave us a standing ovation, which was extremely gratifying.
I was also involved in two other C. J. Dennis related shows during the course of the weekend, all held at St. Pat’s Church.
The first, at midday on the Saturday, comprised a 90 minute concert of poems and songs by C. J. Dennis. Maggie Somerville and I had prepared a number of items, some of which we performed together, others individually. (These were a mix of poems and songs. For the songs, I chose the poems, and Maggie wrote tunes for them.) Jim Haynes also had a number of poems, as did Laurie McDonald, visiting poet from Canberra, and Geoffrey.
We didn’t make any major stuff-ups, and it was all very well received.
Following this, I gave a ‘workshop’ on the life and times of C. J. Dennis. This essentially consisted of me sitting on a chair with a microphone and talking for about an hour. About 50 hardy souls stayed to hear what I had to say, bless them, and almost all of them stayed the distance, which I appreciated very much. I was assisted by Maggie, who read “Laura Days”, a poem Dennis wrote in the twilight of his life recalling his childhood in that small town in South Australia. Jim read an excerpt from “Haggling in Filth”, an account of Dennis’ journey with Frank Roberts, oldest son of Gary and Roberta, from “Sunnyside” in the Dandenong Ranges to the Victoria Market to sell berries. Lastly, Geoffrey read excerpts from Dennis’ account of his (successful) efforts to save his property from bush fire in 1926.
The other event I was involved in over the festival – and my final show for the weekend – was my launch of my collection of poetry for children, “‘The Billy That Died With Its Boots On’ and Other Australian Verse”. This was held on Sunday afternoon in the children’s marquee.
It was a somewhat daunting sight to see the Mik Maks in full flight on stage, and knowing that I, as a humble poet, would be required to follow them!
Here they are…
Maggie joined me, providing some moral as well as entertainment support. I set off in a fairly low key way, but the crowd seemed to be with me, and it went well. Maggie read my poem “Flies”, her own poem, “Mozzed”, inspired by “Flies”, and sang “The Sash”, the song she has written from my poem of the same name, about a young Ned Kelly’s rescue of an even younger boy, Richard Shelton, from the flooded waters of Hughes Creek in Avenel in 1865. I sold some books and received plenty of positive feedback, so the show can be fairly judged a success, I think.
After that, we hotfooted it over to the primary school to catch what we could of Geoffrey Graham’s show about the First World War. Geoffrey must have been utterly exhausted following his performance of “The Sentimental Bloke” earlier in the afternoon, but he did a great job, as always.
With the formal part of the weekend over, Maggie and I decided to summon the energy to go to the Surf Club in the evening. There we were treated to fine brackets of music by two up-and-coming young bands, “The Stray Hens” and “Oh Pep!”
Here are “The Stray Hens”.
I should not finish this report without a mention of the famous Poets’ Breakfasts that Jim led magnificently throughout the course of the weekend. The feature poets for this year were Laurie McDonald from Canberra (who I mentioned earlier in relation to the C. J. Dennis concert of poems and songs), and the redoubtable Geoffrey Graham, who barely had a chance to put his feet on the ground during the course of the festival. (It is Laurie, by the way, who puts together the Spoken Word programme for the National Folk Festival in Canberra at Easter.) It was also a great pleasure to have the opportunity to become better acquainted over the course of the weekend with Laurie’s lovely wife Denise.
What more can I say? Port Fairy Folk Festival 2015 was undoubtedly my best ever!
The 7th Toolangi C. J. Dennis Poetry Festival, held last weekend (October 18th and 19th) was a great success, and very enjoyable.
As always, the weekend kicked off with the Awards Ceremony for the written poetry competition, held in the lead-up to the festival. Congratulations to all the winners, especially to David Campbell, who once again won the Adult Open category. (I will post a list of the winners separately on my blog.) Thanks again to the Bendigo Bank (Healesville Branch) for continuing to act as a festival sponsor.
Following the presentations, I was very excited to be able to pass around images of a new C. J. Dennis poem unearthed by a talkback caller during an interview I gave on ABC Radio 774 recently. The poem, “The Gentle Kangaroomour”, had been written especially for Eilie Ford, a young girl living in Toolangi at the time C. J. Dennis was there. The exact date of the poem remains a little uncertain, but it would appear to have most definitely been written prior to 1920.
The “open mic” session which followed was very enjoyable. Maggie Somerville and I finished the session with a duet we had put together based on the poem “The Two Bees” that Dennis had written for the Herald. It had subsequently been published posthumously by his wife, Margaret Herron, in the book “Random Verse”. The poem uses the strange weather effects prevailing at the time – frosty nights and bright sunny days – which impeded the blossoming of flowers and frustrated the usual feeding habits of bees as a metaphor for the unemployment and hunger of the Great Depression. We were commanded to perform it again on the following day, so it must have been well received!
The weather gods smiled on us once again for the whole weekend, and Jan and Vic’s new marquee proved a great success.
After a break for afternoon tea, our guest star for the festival, John Derum, then performed “The Singing Garden”, a show based on Dennis’ last book of the same name. The book primarily consists of a large number of poems, each devoted to a particular species of bird that frequently visited the gardens surrounding Dennis’ Toolangi home. Of course, it is this book that also inspired the current name of Dennis’ former home – “The Singing Gardens”.
John has done an enormous amount to popularise C. J. Dennis amongst contemporary readers. In 1976 he developed a one-man show, “More Than A Sentimental Bloke”, to celebrate the centenary of the birth of Dennis. It proved extremely popular, and many other performances have followed. (On a personal note, it was a recording based on this show, an LP published by Pumphandle Records, that first introduced me to the magic of C. J. Dennis.)
In what proved to be an inspired move, John moved the chairs out of the marquee and turned them around so that they were facing the gardens. The audience soon found themselves surrounded by the very birds – king parrots, kookaburras, etc. – upon which the poems are based. The show was pure magic.
As darkness fell, we retired into the tea rooms for dinner and the main show of the festival, “More Than A Sentimental Bloke”, by John Derum. John treated us to a fabulous exposition of the life and works of C. J. Dennis. What shone through, apart from John’s brilliant talent, was his great passion for the work.
Sunday morning began well with the “Poets’ Breakfast” (strictly speaking, a morning tea!). We held the first hour in the tea rooms, then moved back down to the marquee for another session.
It was wonderful to be able to welcome veteran reciter Jim Smith to Toolangi for the first time. Jim scored a bit hit with his performance of a classic poem by Rob Charlton, “Bloody Sheilas”.
After lunch, Banjo Paterson (aka Jim Brown), Henry Lawson (aka David Campbell) and C. J. Dennis (aka myself) took the guests once more on a tour (both geographic and historic) of the gardens.
We were once again treated to a ballet from the local school children, based on a C. J. Dennis poem. This year, it was the Firetail Finches from “The Singing Garden”.
For the second time during the history of the festival, we were treated to a surprise visit from Dorothea Mackellar (aka Maggie Somerville), who was keen to know whether her newly written poem “My Country” was good enough to submit to a publisher. (Henry suggested that the second verse would never catch on…)
We once again retired to the marquee for sponge cake, fruit juice, and more poetry and song, finally drawing the festival to a close at about 5pm.
There are so many people to thank for making the festival once again a great success. All of the performers and poets must be thanked, especially our wonderful guest star for this year, John Derum. Above all, however, our gratitude is greatest for Jan Williams and her family, together with her army of helpers, who provide vast quantities of delicious food throughout the weekend, and keep everybody relaxed and happy. (Also, of course, for maintaining the beautiful gardens throughout the year.)
Next year, we will be celebrating the centenary of the publication of “The Songs of a Sentimental Bloke”, and it promises to be the biggest and best Toolangi C. J. Dennis Poetry Festival ever!
(I must add a word of apology here. My phone is playing up at the moment, and I am very limited in the photos I can put up here. No photos of John Derum, the star of the show! Aarrgh!)
Significant dates in the life of C. J. Dennis: The women
I would venture to suggest that the three most important women in the life of C. J. Dennis were his mother, Kate Dennis (nee Tobin), his wife, Margaret Herron, and Roberta Roberts (nee Dickson), who provided invaluable support at her home, “Sunnyside”, in the Dandenong Ranges, during a critical period of his life.
I would love to be able to share with you on this blog, then, six very significant dates – the dates of the birth and death of each of these three women. Sadly, though, instead of sharing six dates with you, I can only share one – the date of his mother’s death, 16th August 1890. (She died, incidentally, when Dennis was only fourteen years old.)
As seems so often to be the case, the lives of the men in Dennis’ life are much better documented then those of the women. Roberta Roberts arguably offered more emotional support than even her husband, Gary, yet she is mentioned on the internet as little more than his appendage.
Dennis returned from Sydney to Melbourne shortly after the outbreak of the First World War in pretty bad shape, mostly due to excessive drinking, and it was largely she who provided the support he needed to get back on track. Of course, it was in a tram car on the property of Gary and Roberta in South Sassafras that Dennis finished writing “The Songs Of A Sentimental Bloke”. They had both by now effectively become his alternative family, and he called them “Dad and Mum”. He also dedicated the book to them.
Dennis married Margaret Herron in 1917, a couple of years after the publication of “The Bloke”. While he was slight of build, and perhaps even a little effeminate, she was sturdy and powerful. Together they created the beautiful “Singing Gardens” that we know so well today, but it is said that she provided most of the spade work!
It must have been very tough being the wife of C. J. Dennis. There was the alcohol, of course, and also the huge financial roller coaster – the brief spell of affluence that followed his initial success, followed by long years of penury and associated anxiety – a combination of profligacy and a string of poor investments on the part of her husband. Herron lived for many years after Dennis’ death, but his financial situation upon his death forced her to sell “Arden”, their home in Toolangi, shortly after.
Herron was a writer in her own right. She published two novels, “My Dear” and “Seed and Stubble”, and a posthumous collection of her husband’s Herald writings, “Random Verse”.
I am not suggesting that it will be impossible to track these dates down, and share them with you eventually. I am sure they are all on the public record somewhere. It is frustrating, though, that I cannot find them at my fingertips when it is so easy to find so much these days.
Significant dates in the life of C. J. Dennis: 3rd October
It occurred to me it might be fun to make occasional blog entries based on significant dates in the life of C. J. Dennis (now that I am President of the C. J. Dennis Society!).
The first of these would appear to be 3rd October.
In fact, it is significant for two reasons.
Firstly, it is the birthday of John Garibaldi (“Garry”) Roberts, who was born in Scarsdale, near Ballarat, in 1860. Roberts and his wife, Roberta (nee Dickson, born in New Zealand), were keen patrons of the arts. Garry and Roberta bought a hobby farm, “Sunnyside”, in what was then South Sassafras, and is now Kallista, in the Dandenong Ranges, in order that their son, Frank, who had become disenchanted with life as a bank worker, could try his hand on the land. They also ran it as an “artists’ colony”.
Roberts held a senior position in the Melbourne & Metropolitan Tramways Board, and was wealthy. He arranged for a number of the old horse-drawn tram cars that had been rendered obsolete by the new cable tram technology to be taken to “Sunnyside” as accommodation for his many visiting friends.
It was in one of these tram cars, renovated especially for him, that Dennis finished the writing of his masterpiece “The Songs of a Sentimental Bloke”. Indeed, the character of the Bloke himself, becoming, as he does, a berry farmer at the end of the book, is modelled partly on Frank Roberts. (It was also Frank who supervised the arrival of the tram cars, and arranged for their renovation.)
It is also worth noting that Dennis wrote “The Play” – possibly the greatest of all his poems – very shortly after his first visit to “Sunnyside”.
Dennis was largely estranged from his own family, and Garry and Roberta became, for a while at least, like an alternative family for him. Indeed, he called them “Mum” and “Dad”, and dedicated “The Sentimental Bloke” to them. (Some years later, and with some justification, Garry felt that Dennis had “dropped” them.)
The painter, Tom Roberts (no relation) was also an occasional visitor to “Sunnyside”, and he painted a portrait of Garry.
So much for the first reason why 3rd October was a significant date in the life of C. J. Dennis.
The second reason relates not to a birth, but a death – it is the date of the death of Charles Web Gilbert.
Gilbert was a sculptor – self taught – who was born at Cockatoo, near Maryborough, in 1867 (the same year as Henry Lawson). He initially worked as a cake decorator, and developed from that to eventually working in marble, and casting in bronze. Gilbert was one of the “Sunnyside” regulars so, for a time at least, he must have been reasonably close to Dennis.
While the degree of his closeness to Dennis may be debatable, he was certainly close to the Roberts. He moved to London for a time before the outbreak of World War One and later, when Frank enlisted, Frank spent time staying in London with Gilbert.
Frank was tragically killed in the Battle of Mont St. Quentin, one month before the Armistice. Gilbert was commissioned by the Australian government to make a statue to commemorate this very famous victory – engineered by Sir John Monash – and he wrote to Garry that he planned to model the soldier on Frank. (The historian Peter Stanley, however, in his book “Men of Mont. St. Quentin”, questions whether this in fact happened.)
Gilbert created more war memorials than any other Australian. Not only was he self taught, but he was very much a ‘one man band’. In his studio in Napier Street, Fitzroy, he did all the work himself. This included wheeling heavy barrows of clay to make the original models, the creation of plaster casts that were laid over the clay, and the ultimate pouring of the liquid bronze into the plaster. Indeed, he died while wheeling a barrow on 3rd October, 1925, at the age of 58 (three years after the death of Henry Lawson).
So Gilbert died on Garry Roberts’ birthday.
Perhaps Gilbert’s best known sculpture is that of Matthew Flinders, situated outside of St. Paul’s Cathedral in Swanston Street, Melbourne. It was unveiled one month after his death.
In 1921, the Victorian Branch of the British Medical Association commissioned Web Gilbert to create “some moveable artistic work by an Australian now in Melbourne” in association with an honour roll. The Committee wished the sculpture to demonstrate “…a medical officer doing his duty to the fallen”. Initially, the request had come from the Returned Medical Officers’ Association. The sculpture was erected in 1923.
It was initially displayed at the Association’s offices in East Melbourne, but is now situated in a courtyard adjacent to the front entrance of the Australian Medical Association in Royal Parade, Parkville.
In preparing these notes, I am extremely indebted to an article, “Web Gilbert’s War Sculptures”, written by Donald Richardson, and published in the Victorian Historical Journal, Volume 70, No. 1, June 1999, pp 21 – 35.
I am also very grateful to the Australian Medical Association for allowing me to photograph this very moving sculpture.
It is hard to believe sometimes that these sculptures are modelled from clay, but this signature makes it very clear, and feels very immediate. It almost looks as though Gilbert has signed his name in the clay with a piece of stick.
