# Jack's Last Muster

Subtitled: "Diamantina River, Western Queensland". As by "Suringle"
The first flush of grey light, the herald of daylight,
Is dimly outlining the musterers' camp,
Where over the sleeping, the stealthily creeping
Breath of the morning lies chilly and damp.
As blankets forsaking, 'twixt sleeping and waking,
The blackboys turn out to the manager's call;
Whose order, of course, is "Be after the horses,
And take all sorts of care to unhobble them all."
Then each with a bridle (provokingly idle)
They saunter away his commands to fulfil —
Where, cheerily chiming, the musical rhyming
From equine bell-ringers comes over the hill.
But now the dull dawning gives place to the morning,
The sun, springing up in a gorgeous flood
Of golden-shot fire, mounts higher and higher,
Till the crests of the sandhills are stained with his blood.
Now, hobble chains' jingling, with thud of hoofs mingling,
Though distant, sound near — the cool air is so still —
As, urged by their whooping, the horses come trooping
In front of the boys round the point of the hill.
What searching and rushing for bridles and brushing
Of saddle marks, tightening of breastplate and girth;
And what a strange jumble of laughter and grumble —
Some comrade's misfortune the subject of mirth.
  I recollect well, how that morning Jack Bell
Had an argument over the age of a mare,
That COB gray one, the dam of the bay one,
Which Brown, the storekeeper, calls young Lady Clare.
How Tomboy and Vanity caused much profanity,
Scamping away with their tails in the air,
Till after a chase, at a deuce of a pace,
They ran back in the mob and we collared them there.
Then the laugh and the banter, as gaily we canter,
With a pause for the nags at a miniature lake,
Where the "yellowtop" catches the sunlight in patches,
And lies like a mirror of gold in our wake.
Oh! the rush and the rattle of fast-fleeing cattle,
Whose hoofs beat a mad rataplan on the earth;
Their hot-headed flight in, who would not delight in
The gallop that seems to hold all life is worth.
And over the rolling plains, slowly patrolling,
To the sound of the cattle's monotonous tramp,
Till we hear the sharp pealing of stockwhips, revealing
The fact that our comrades have put on the camp.
From the spot where they're drafting the wind rises, wafting
The dust, till it hides man and beast from our gaze,
Till, suddenly lifting and easterly drifting,
We catch a short glimpse of the scene through the haze.
What a blending and blurring of swiftly recurring
Colour and movement, that pass on their way.
A chaotic weaving of sights and sounds, leaving
An eager desire to join in the fray;
A dusty procession, in circling succession,
Of bullocks that bellow in impotent rage;
A bright panorama, a soul-stirring drama,
The sky for its background, the earth for its stage.
How well I remember that twelfth of November,
When Jack and his little mare Vanity fell;
On the Diamantina there never was seen a
Pair who could cut out a beast half so well.
And yet in one second Death's finger had beckoned,
And horse and bold rider had answered the call,
Brooking no hesitation, without preparation,
That sooner or later must come to us all.
Thrice a big curly-horned cob bullock had scorned
To meekly acknowledge the ruling of fate;
Thrice Jack with a clout of his whip cut him out,
But each time he galloped straight back to his mate.
Once more, be came blund'ring along, with Jack thund'ring
Beside him, his spurs in poor Vanity's flanks,
As, from some cause or other; forsaking its mother,
A little white calf trotted out from the ranks.
'Twas useless, I knew it, yet I turned to pursue it;
At the same time, I gave a loud warning to Jack;
It was all unavailing, I saw him come sailing
Along as the weaner ran into his track.
Little Vanity tried hard to turn on one side,
Then altered her mind and attempted to leap;
But the pace was too fast, that jump was her last,
For she and her rider fell all in a heap.
I was quickly down kneeling, beside him and feeling
With, tremulous hand for the throb of his heart.
"The mare — is she dead?" were the first words he said,
As he suddenly opened his eyes with a start.
He spoke to the creature, his hand could just reach her,
Gently caressing her lean Arab head;
She acknowledged his praising, with eyes quickly glazing,
A whinny, a straggle, and there she lay dead.
I sat there and nursed his head, for we durst
Not remove him. we knew where he fell he would die.
As I watched his life flicker, his breath growing thicker,
I'd have given the world to be able to cry.
Rough voiced, sunburnt men, far away beyond ken
Of civilisation, our comrades, stood nigh,
All true-hearted mourners and sadly forlorn, as
He gave them a handshake and bade them goodbye.
In my loving embrace there he finished life's race,
And nobly and gamely that long course was run;
Though a man and a sinner he weighed out a winner,
And God, the Great Judge, will declare he has won.
This work is in the public domain in Australia because it was created in Australia and the term of copyright has expired. According to Australian Copyright Council - Duration of Copyright, the following works are public domain:
* published non-government works whose author died before January 1, 1955,
* anonymous or pseudonymous works and photographs published before January 1, 1955, and
* government works published more than 50 years ago (before January 1, 1974).
This work is also in the public domain in the United States because it was first published outside the United States (and not published in the U.S. within 30 days), and it was first published before 1989 without complying with U.S. copyright formalities (renewal and/or copyright notice) and it was in the public domain in Australia on the URAA date (January 1, 1996). This is the combined effect of Australia having joined the Berne Convention in 1928, and of 17 USC 104A with its critical date of January 1, 1996.
Because the Australian copyright term in 1996 was 50 years, the critical date for copyright in the United States under the URAA is January 1, 1946.
This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
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