Alexandrah+King

= **Australian Cultural Perspectives: Australians at War - Gallipoli** = //**-**// **//The Ode - 'For the Fallen' //**  //They shall grow not old, as we that are left grow old: //  //Age shall not weary them, nor the years condemn //   //At the going down of the sun and in the morning //   //We will remember them. // -

'Goodbye' by Frank Westbrook
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'Can You Hear Australia's Heroes Marching?' by Peter Barnes - **Films** 'Gallipoli'


==== (Image from the 1981 film, Gallipoli) - - - -

==== ==== //'T////he charge of the 3rd Light Horse Brigade at the Nek', 7 August 1915// by George Washington Lambert Completed: 1924 Oil on Canvas, 152.5 cm x 305.7 cm  **Analysis of the Painting** //'T////he charge of the 3rd Light Horse Brigade at the Nek' //  ==== George Washington Lambert was born in St. Petersburg Russia. Lambert and his family emigrated to Australia on 20th Jan 1887. Lambert's first jobs in Australia were as a clerk, a station hand and a shop assistant before painting full time in 1896. Lambert began exhibiting his pictures at the Art Society and the Society of Artists, Sydney in 1894. He studied at Julian Ashton's art school in Sydney until 1900. Later, he won a travelling scholarship for 150 pounds from the government of New South Wales. He spent a year in Paris before moving to London where he was exhibited at the Royal Academy. George Lambert was awarded a silver medal at an international exhibition for his painting The Sonnet in 1191 in Barcelona.

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The history behind this painting was intense a bloody. The Nek was a vitally important position on the northern end of the Anzac front line. At dawn on 7 August 1915 the Australians and Turks faced each other over this narrow strip of open ground on the Gallipoli peninsula. The Australians were met with a torrent of gunfire, and four out of five who took part in the assault were killed or wounded. In its futility, this was one of the great tragedies of the First World War. It was intended as a feint to help British operations elsewhere, but the Turks had been warned and, through an error in timing, the preliminary bombardment of the enemy lines ceased seven minutes before the assault, allowing the Turks time to man their positions after sheltering during the bombardment. The Australians were massacred. ====== To create this painting, Lambert worked from sketches and notes he made when he went over the ground at Gallipoli in 1919. He added figures that fitted in with his ideas of what the battle scene must have been like, and of what would help to make a good painting. In the background to medium background, the main focus is the ANZAC soldiers being shot and dying painfully, Australians being slaughtered in the hundreds. In the foreground, we see more indiviudal soldiers dying which creates a more personal connection to them. We see their facial expressions of shock and sadness. In the right of the painting, there is an soldier kneeling on the ground arms out wide representing the sacrifice of the ANZAC soldiers. The color scheme of the painting is very brown and khaki. This is the color of the earth that they are fighting on, the uniforms of the soldiers, the blood being spilt and the emotions of the situation.

This paintings focus is on the slaughter of the Australians, and the hopelessness of their situation. The painting foregrounds the Australians and silences the oppostion, which can be clearly seen by the absence of any enemy fighters in the scene. The painting positions a viewer to be awed and horrified by the scale of the death and destruction which fills the frame.

**(SONG) I Was Only 19 - By Redgum**
Mum and Dad and Denny saw the passing-out parade at Puckapunyal  It was a long march from cadets. The sixth battalion was the next to tour, and it was me who drew the card. We did Canungra, Shoalwater before we left. And Townsville lined the footpaths as we marched down to the quay  This clipping from the paper shows us young and strong and clean. And there's me in my slouch hat with my SLR and greens. God help me, I was only nineteen. From Vung Tau, riding Chinooks, to the dust at Nui Dat  I'd been in and out of choppers now for months. But we made our tents a home, VB and pinups on the lockers  And an Asian orange sunset through the scrub. And can you tell me, doctor, why I stil can't get to sleep? And night-time's just a jungle dark and a barking M16? And what's this rash that comes and goes, can you tell me what it means? God help me, I was only ninteen. A four week operation when each step could mean your last one on two legs  It was a war within yourself. But you wouldn't let your mates down til they had you dusted off  So you closed your eyes and thought about something else. Then someone yelled out "Contact!" and the bloke behind me swore  We hooked in there for hours, then a Godalmighty roar   Frankie kicked a mine the day that mankind kicked the moon,   God help me, he was going home in June. I can still see Frankie, drinking tinnies in the Grand Hotel  On a thirty-six hour rec leave in Vung Tau   And I can still hear Frankie, lying screaming in the jungle   Til the morphine came and killed the bloody row. ** And the Anzac legends didn't mention mud and blood and tears ** ** And the stories that my father told me never seemed quite real. ** ** I caught some pieces in my back that I didn't even feel ** ** God help me, I was only nineteen. ** And can you tell me, doctor, why I still can't get to sleep? And why the Channel Seven chopper chills me to my feet? And what's this rash that comes and goes, can you tell me what it means? God help me, I was only nineteen. -  -  ** Analysis: ** This source goes __against__ the common soldier stereotype by foregrounding an entirely different perspective. Rather than hightlighting the bravery and valour which soldiers display in times of war, the flipside of the story is shown. 'Mud and blood and tears', the song states, and this is the part of the 'Anzac legend' which is shown in this song. The constant death, the flow of blood and the tears of young men (some 'only nineteen') frightened to death. The fear, the uncertainty and the helplessness, all of these emotions are vividly portrayed in this song whicn never fails to bring me to tears. But, despite this song showing an entirely different perspective when it comes to emotion, it has a similar effect on the reader/listener. While poems of sacrifice and valour evoke repect for the soldiers strength, this song positions us to mourn for the young boys who unknowingly signed up to their deaths, and respect them for thier plight. -  -   -   **(POEM) ‘Goodbye’ – Evacuation of Gallipoli, by Frank Westbrook **

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**(POEM) The Last to Leave - by Leon Gellert ** In the poem //The Last to Leave,// Leon Gellert constructs a depressing and sorrowful picture of the Gallipoli campaign by foregrounding the perspective of the forgotten soldiers who perished, and using a specific set of adjectives to set the scene. Throughout the poem, Gellert makes very deliberate use of adjectives to describe the battlefield, for example, the ‘sunken graves’ and the ‘blistered night’. These adjectives, while used to describe the setting, also help set the tone and mood of the poem as one of bitterness and mourning. Rather than using romanticized, or ‘pretty’, adjectives, Gellert gives the reader a sense of harsh realism, making it easy to visualize the bare cliffs and barren land which he describes. Gellert also uses personification throughout the poem, giving objects within the setting distinctly human qualities. A good example is the line, ‘their only mourners are the moaning waves.’ This gives the reader a sense of loneliness, stating that the only ones left to mourn the fallen are the waves and the narrator (hence the title, 'The Last to Leave'). This is effective because the poem is set around the evacuation of Gallipoli, at the time when all the soldiers fled the hills, leaving only the dead behind, and this was the tone he would have aimed to create. The overall effect of these techniques is to position the reader to feel respect for those who fought for their country, mournful for those who died to achieve this goal, and awed and sad by the countless lost lives. The perspective of the soldiers who died is foregrounded, whilst the voices of those who survived as well as the opposition (Turkey) are silenced. This has the effect of making it seem a huge battle that no one survived, save for the narrator, even though (historically) we know this to be false. This is an effective and eerily beautiful poem which achieves its goal of increasing respect and a sense of loss in the readers. Even though little is said on the subject, it gives the reader an impression of valiant Australian soldiers who gave their lives to serve and protect. So, whilst the poem itself is altogether negative, positive light is thrown onto the Australian soldiers of Gallipoli.
 * The guns were silent, and the silent hills **
 * had bowed their grasses to a gentle breeze **
 * I gazed upon the vales and on the rills, **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">And whispered, "What of these?' and "What of these? **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">These long forgotten dead with sunken graves, **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">Some crossless, with unwritten memories **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">Their only mourners are the moaning waves, **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">Their only minstrels are the singing trees **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">And thus I mused and sorrowed wistfully **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">I watched the place where they had scaled the height, **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">The height whereon they bled so bitterly **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">Throughout each day and through each blistered night **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">I sat there long, and listened - all things listened too **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">I heard the epics of a thousand trees, **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">A thousand waves I heard; and then I knew **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">The waves were very old, the trees were wise: **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">The dead would be remembered evermore- **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">The valiant dead that gazed upon the skies, **
 * <span style="color: black; font-family: 'Verdana','sans-serif'; font-weight: normal;">And slept in great battalions by the shore. ** <span style="color: black; display: block; font-family: 'Verdana','sans-serif'; margin: 0in 0in 10pt; text-align: center;">**-**
 * Poem Analysis - 'The Last to Leave'**
 * Title:** The Last to Leave
 * Composer:** Leon Gellert
 * Year:** 1915
 * Text Type:** Poem
 * Year:** 1915
 * Text Type:** Poem

<span style="color: black; display: block; font-family: 'Verdana','sans-serif'; font-size: 10pt; line-height: 115%; margin: 0in 0in 0pt; text-align: center;">**Cultural Perspectives:** <span style="color: black; display: block; font-family: 'Verdana','sans-serif'; font-size: 10pt; line-height: 115%; margin: 0in 0in 0pt; text-align: center;">This poem is set after the evacuation of Gallipoli, which is an unusual focus seeing as most texts are centred around the two pivotal battles at Gallipoli - Lone Pine and the Nek. Because of this, the poem has a slightly different take on the Australian sodiers, as it is about those who have already died, rather than those fighting. However, it does __support__ the common soldier stereotype of bravery and valour, and sacrificing your life for your country and the greater cause. The dominant emotion throughout the poem is lonliness, expressed through a wide range of techniques, such as personification and emotive language.

<span style="color: black; display: block; font-family: 'Verdana','sans-serif'; font-size: 10pt; line-height: 115%; margin: 0in 0in 0pt; text-align: center;">- <span style="color: black; display: block; font-family: 'Verdana','sans-serif'; font-size: 10pt; line-height: 115%; margin: 0in 0in 0pt; text-align: center;">- <span style="color: black; display: block; font-family: 'Verdana','sans-serif'; font-size: 10pt; line-height: 115%; margin: 0in 0in 0pt; text-align: center;">- <span style="color: black; display: block; font-family: 'Verdana','sans-serif'; font-size: 10pt; line-height: 115%; margin: 0in 0in 0pt; text-align: center;">- <span style="color: black; display: block; font-family: 'Verdana','sans-serif'; font-size: 10pt; line-height: 115%; margin: 0in 0in 0pt; text-align: center;">**Can You Hear Australias Heroes Marching?** - By Peter Barnes <span style="color: black; display: block; font-family: 'Verdana','sans-serif'; font-size: 10pt; line-height: 115%; margin: 0in 0in 0pt; text-align: center;">- //-// //-// //'////Can you the Australia's heroes marching?'// was a song recorded in March 2001 by Peter Barnes, an Australian Musician. The song was created from Peter's emotional experience, visiting the Adelaide River War Cemetery, and seeing the graves of Australians who gave their lives in the defence of their country. The song is timeless, it doesn't give a date or a specific war. I think that this is so the song is able to relate to any war or Australian soldiers in service. The lyrics of the song mention key terms about war such as " There just couldn't be a greater sacrifice", The ones who fought and gave their all" and "There will never be a greater love". These phrases describe the ultimate sacrifice that the Australian soldiers had to make. The loss of their lives, for their country. The second line of the song states that the soldiers are "marching into eternity". This means that due to their courage and sacrifice, they will be written in the history books forever, as heroes.

The one lyric repeated many times in the song was "Can you hear Australia's heroes marching?'. This lyric is also the name of the song, and the main theme. By using a question, the song writer probes the listener to think about the statement and it attracts their attention. By using the term "Australia's heroes", the song uplifts the idea of Australia's soldiers and makes us consider those who serve our country, heroes, which they should be known as.

If we were to think of the lyrics as a poem, we would note that there was no rhyming scheme and the verse structure is ABABA with only slight changes to the lyrics each verse. The main technique used is repetition, whether is be the lyric "Can you hear Australia's heroes marching?" or how in the A verse the first two lines both start with // Can // and the next three start with //there//.

This song foregrounds the soldiers who fought in the war to the point where negative light is thrown onto those who didn't fight. - - - - - - - - - ** <span style="font-family: 'Verdana','sans-serif'; font-size: 12pt; line-height: 115%;">Invisible  ** <span style="font-family: 'Verdana','sans-serif';">It was day 314 when he first saw her. The sky was scowling that day, thick black clouds forming an ever-present frown over the city. People flooded past, an endless stream of disinterested faces caught up in their repititious ritual. But they didn’t see him. They never did. So, he sat. In his ragged clothes on his worn out bench, he sat and watched, invisible to all but the trees and the birds. Sometimes, he even imagined that they cared for him. Listened to him when he spoke aloud of his troubles. But then a car would chug past, scattering his attentive audience, and shattering his hopeless delusion. And then he would always remember what he was. Invisible. A flash of red caught his eye, a small glimpse of colour against the dull monotony. Soon, another flash, before a tiny figure was revealed, spinning and twirling and dancing and revelling in the cool breeze and light splatter of rain. A soft melody drifted over to him on the wind, nonsense words strung together to form fragile music. But then she was gone, snatched away by the ever present crowd. And once again, he found himself alone. <span style="font-family: 'Verdana','sans-serif';">- <span style="font-family: 'Verdana','sans-serif';">Day 317 dawned and saw his little friend back again, this time clutching stale bread in her pudgy hands, and wearing a thick jumper of warm blue wool. She scampered here and there, casting her fragments of food into the air, giggling in delight as the birds left their place by his side and decended on the unexpected meal. She ran and ran and ran until finally, with a huff of sheer exhaustion, she fell to the ground, a star of pure blue against the dull green. She lay there for a moment, her chest rising and falling in an excited rhythm, oblivious to her lonely observer. The picture he saw was beautiful, and for the first time in almost a year, he thought he remembered what it was to truly breathe, and live again. But time caught up with her, and she scampered to her feet and skipped away, just another memory to fill his long hours. <span style="font-family: 'Verdana','sans-serif';">- <span style="font-family: 'Verdana','sans-serif';">It was day 319 when she made contact. The afternoon came and went, and as evening approached with no sign, he found himself bitterly dissappointed. But just as the sun kissed the horizon, her high, reedy voice could be heard, once again chanting that nameless tune. The crimson raincoat was back, warding her tiny frame from the bite of winter’s chill and causing her to stand out like blood against snow. He watched her as she stretched her arms wide and whirled, her movements blurring in the fading light. And despite everything, he found a smile planted on his lips, growing streadily as she spun faster and faster, getting closer all the while. Her voice rose and fell as she completed each turn, and he carefully closed his eyes to listen to the sweet tune. With a lingering last note, the voice faded away. Startled, his eyes snapped open, meeting a pair of vivid green orbs looking back at him. Pinned to the spot in shock, he waited. Head cocked to the side, and with the caution of someone approaching a wild beast, she crept closer. Finally, she came to stand a mere meter from where he remained frozen. Foot scuffing the ground nervously, she parted her rosebud lips and formed three hesitant words. “I saw you.” She spoke, a mere whisper of sound. “Watching me. You looked lonely.” And with those simple words, he felt himself begin to thaw. She saw him. She // saw // him. A small frown puckering her brow as she stepped ever closer, a set of pearly white teeth appeared to chew her lip. Seeming to have finally come to a decision, she reached up and pulled herself onto the bench, plodding herself down with the crisp crinkle of rain-coat plastic. Her feet dangled a foot from the ground, swinging back and forth in a seemingly unconscious gesture. And together they sat, an unlikely picture of uncertain companionship. And for a while, that’s all they did. Sit. She watched as her breath puffed around her as a fine mist, swirling upwards to join the fog coating the city, and he watched her, words still swimming through his head. She // saw //him//. // He was // seen //. Suddenly, her posture jolted upright, and with a small // tisk // of her tongue, she began to dig deep into her oversized pockets. With a barely audible // ha! //she drew out her hands, carefully cradling a handful of boiled sweets. Eyes wide and questioning, she held her hand out to him, a silent offering of candy and friendship. After making sure he took one, she picked out a bright purple lolly for herself and deposited the rest into her coat. “When I’m sad,” She chattered around her mouthful, “mum gives me sweets. Sweets make everything better.” And just like that, with her childish innocence and naivety, she began to paint him a whole new world. One where grown up problems didn’t exist, where life was about red raincoats and dancing in the rain, and candy solved all problems. // <span style="font-family: 'Verdana','sans-serif';">By Alex King, 10V //