George Essex Evans might not be a household name, but this Australian poet and writer was a key figure in shaping national ideology before it became cool. Born in London on June 18, 1863, and emigrating to Australia in 1876, Evans was highly influenced by the vast landscapes and burgeoning national spirit Down Under. He wasn't just some poet scribbling verses; he was a revolutionary voice advocating Australian independence and unity. Settling in Queensland, Evans contributed significantly to the country's cultural tapestry during a time of great change, and yet you'd be hard-pressed to find him celebrated in today's liberal-leaning educational curriculum.
Evans was known for his patriotic poetry, which can be considered a rallying cry for the Australian identity. He wasn't afraid to express his views and did so in a manner that unambiguously celebrated his adopted homeland. His seminal work "The Repentance" published in 1893, captured the essence of the Australian spirit, focusing on themes of exploration and national pride. It's refreshing to see a poet celebrate his country rather than criticize it—a trend that is less popular in the current, more cynical artistic landscape.
One can't ignore the political elements in his works. Yes, Evans wrote for the Bulletin, which was then a nationalist outlet, not the satirical, left-leaning publication it became. He was a proud advocate for the British Empire, believing in its mission to bring progress and stability not just to Australia, but worldwide. While contemporary writers were laying bare their grievances, again and again, Evans was busy narrating the splendor of Australia’s vast lands, the courage of its people, and the potential of the nation.
His gripping poem "The Sword of Pain" reads like a declaration of independence, full of vigor and defiance. It speaks to Australia's resilience and aspirations at a time when it was still emerging as a mature entity on the global stage. It’s pure, unfiltered nationalism, and frankly, it’s the sort of thing that's frowned upon today. For those who demand America First or an independent UK, there's a lot of value to be distilled from Evans' belief in Australia First.
One of Evans' significant contributions was organizing the first Festival of Empire in 1901. He aimed to foster connections between the colonies and the mother country, something that would be hissed at today for promoting "colonialist agendas." He contributed to a national vision that valued Australia's place within the Empire; he saw no conflict between celebrating local achievements and acknowledging broader allegiances. Quite revolutionary at a time when being anti-establishment was catching on.
His work “An Australian Symphony” is a testament to a tangible cultural heritage, capturing the majesty of Australia's landscapes and translating them into music-like poetry. This is not the type of geographic poetry lamenting man’s supposed abuse of the earth; it’s rather a celebration of nature as a national asset. Evans fused traditional themes with a distinctive Australian vein, encouraging pride in national distinctiveness while not repudiating Western influences.
Glaringly absent today is the kind of authentic national pride that Evans championed. His words serve as a brutally honest reminder that national pride and independence aren’t dirty words. Evans wrote in an era when Australians were grappling with their identity—a time when strong voices like his were needed. He didn’t merely complain about societal issues but inspired transformative actions and pride in what the nation could achieve. It’s an impactful read, more so because it shuns the kind of self-loathing that passes for reflective art these days.
The establishment might not readily admit it, but the nation-building efforts of historical figures like Evans are the backbone of the modern Australian identity. Ignoring the significant cultural pioneers like him leads to an incomplete understanding of Australia’s history. After all, anyone willing to discuss nationalism without resorting to stereotypes could find Evans' pride in Australia's potential quite contagious. It's a striking rallying cry for a time when the world seems to be losing faith in the narrative of their countries, focusing more on their failings than on their flag.
Evans gave us books like “Australia’s Heroes”; he wasn’t just building castles in the air or pining for utopia. His works were a call-to-action, urging Australians to strive for excellence in arts and efforts. With the pace of change and risk of cultural amnesia today, taking a leaf out of Evans’ book isn’t only mentally invigorating, it’s downright vital. He championed a form of unity rooted in love for one's country—a lesson that, amid contemporary prescriptivism, we dare not ignore.