Summary

Portrait of Elinor Mordaunt Elinor Mordaunt On the Wallaby Through Victoria

It is nonsense to say that the leaves do not fall, for they do, even from the native trees, not in a mass, it is true, but even more sadly, one at a time, as if the tree were with infinite reluctance slowly parting from each emblem of her youth, the tattered bark hanging in ribbons round her, the sport of every breeze; while everywhere in the cities and gardens there are English trees of all sorts to be seen, with leaves that fall in a fashion almost cheerful compared with the slow agony of their Australian compeers.
Source: Gutenberg

Portrait of Elinor Mordaunt Elinor Mordaunt On the Wallaby Through Victoria

As in the smaller so in the greater, though perhaps, on the whole, he is the truest artist in the minute. The Australian does not like the Chinaman; he resents his frugal ways—in a country that is certainly not frugal—his colour—his strangeness, his untiring, unswerving industry. You see a lot of white men working in the market gardens round Oakleigh and Garden Vale. They stop to talk with each other, to look round at the sky and distant landscape, to enjoy a few quiet puffs at their pipes; above all, to spit on their hands. The Chinaman never looks up, never stops from dawn to dark.
Source: Gutenberg

Portrait of Elinor Mordaunt Elinor Mordaunt On the Wallaby Through Victoria

Every little shopman, every successful artisan and his wife, cherishes, with few exceptions, the one ambition—to have a tiny place in the country, to farm a little, keep poultry, grow fruit, and live in the open. People settled for life, as one might imagine, in comfortable homes in Melbourne will give up everything—in what can but seem the most surprising fashion to those who have not got that touch of the wild, or the patriarchal, in their blood—and start afresh.
Source: Gutenberg

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