Jessie Pope
“Down under” boys on furlough are in town
Discharged from hospital, repaired and braced,
Their faces still retain, their native brown,
Their millinery captivates our taste.
They’ve proved themselves a terror to the Turk,
Of cut and thrust they bear full many a token,
But though they’ve been through grim, heartbreaking work,
The Anzac spirit never can be broken.
Their talk is picturesque, their manner frank,
A little hasty, what they think— they say—
They’ve got a down on arrogance and swank,
Passive submission doesn’t come their way.
Risk and adventure are their fondest joys,
If there’s a fight around, well, they’ll be in it—
To tell the truth, they really are “some” boys—
You get quite friendly with them in a minute.
Quite friendly, yes, no harm in being friends,
They must not find their furlough dull and tame,
But, girls, see to it there the matter ends,
And show thatLondongirls can play the game,
While of good comradeship you take your fill
Don’t use your power to make their hearts your plunder,
But let them pause, and hear when nights are still
The other girl who coo-ees from “down under.”
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Analysis (AI Assisted)
This poem presents a portrait of Australian soldiers—specifically, the Anzac troops—on furlough in London after their service in World War I. The speaker highlights their physical and psychological endurance through a blend of admiration and caution, creating a tone that balances respect for their strength and spirit with a reminder of the responsibilities that come with such admiration.
The opening stanza introduces the soldiers in a celebratory light. Their “native brown” faces and their “millinery” (hats) suggest the warmth and vitality of their Australian origins, contrasting with the cold, industrial atmosphere of London. This juxtaposition evokes a sense of both the exotic and the grounded nature of these men who, despite having been through brutal warfare, retain a characteristic energy and resilience. The mention of their “millinery captivates our taste” implies an admiration for their distinctive look, tying the Anzacs’ appearance to their reputation—an image of strength and individuality.
The second stanza shifts focus to the soldiers’ character. The Anzacs are described as having “proved themselves a terror to the Turk,” a reference to their role in the Gallipoli Campaign, which was one of the most significant and harrowing events for the Anzacs during World War I. The soldiers bear “many a token” of this grim experience—likely scars or physical reminders of the battles they fought. But the poem underscores that despite their trauma, the “Anzac spirit never can be broken,” emphasizing their resilience and the deep pride they feel in their service. This resilience is portrayed as a defining aspect of their identity, one that defines not just their strength in battle but their character in the face of hardship.
The third stanza touches on the soldiers’ personalities. Their “picturesque” talk and frank manner make them endearing but also unpredictable. The line “A little hasty, what they think—they say” paints them as straightforward, perhaps to a fault. This bluntness is coupled with an inherent dislike of “arrogance and swank,” suggesting that the Anzac soldiers are men of action rather than words, and they prefer authenticity over pretension. The next line, “Passive submission doesn’t come their way,” reinforces the idea that these men are not passive observers of life; they are active participants, unafraid to take risks or engage in adventure. This contrasts sharply with the passivity of the home front, perhaps alluding to the more docile or complacent attitudes of people who have not experienced the same hardships.
In the next stanza, the poem shifts to a more personal, intimate portrayal of these soldiers, highlighting their enjoyment of risk and adventure. If there’s “a fight around,” they’ll be “in it,” which portrays the soldiers not only as brave but as thrill-seekers, constantly in search of action. The phrase “you get quite friendly with them in a minute” suggests that the Anzacs have a warmth and charisma that makes them easy to bond with. However, the playful tone here also carries a subtle warning, as the speaker urges a certain awareness in dealing with these soldiers.
The final stanza provides the key message of the poem, offering a balance of caution and camaraderie. The speaker encourages the girls of London to enjoy the company of these Anzacs, emphasizing the importance of “good comradeship.” However, the speaker cautions that “London girls can play the game” and should not let their friendly interactions veer into anything more. The line “Don’t use your power to make their hearts your plunder” suggests a reminder to keep the relationship respectful and not take advantage of the soldiers’ vulnerability or romantic attention. Instead, the girls are advised to allow the soldiers to feel the call of home, the “other girl who coo-ees from ‘down under,’” representing the pull of their native land and the emotional bond they may still have with it.
Overall, the poem reflects a nuanced view of the Anzac soldiers: on one hand, they are admired for their bravery, directness, and the indomitable spirit that sustained them through war; on the other hand, the speaker urges caution against overly romanticizing or exploiting these soldiers in their moment of rest and vulnerability. The poem shows an awareness of the complexity of relationships formed during wartime and the emotional toll that these relationships can take, while also celebrating the unbreakable bonds of friendship and shared experience that transcend the hardships of war. Through this, the poem explores the delicate balance between heroism, personal connection, and respect for boundaries.