“Biopolitics: Lessons From History” By Steven A. Peterson: Summary and Critique

“Biopolitics: Lessons From History” by Steven A. Peterson first appeared in 1977 in the journal Politics and the Life Sciences.

"Biopolitics: Lessons From History" By Steven A. Peterson: Summary and Critique
Introduction: “Biopolitics: Lessons From History” By Steven A. Peterson

“Biopolitics: Lessons From History” by Steven A. Peterson first appeared in 1977 in the journal Politics and the Life Sciences. In this seminal essay, Peterson examines the intellectual lineage and evolving contours of biopolitics—a subfield of political science that explores how biological factors influence political behavior, institutions, and public policy. He classifies historical antecedents into three key categories: metaphorical uses of biology in political theory (e.g., organismic analogies in Plato, Aristotle, and Hobbes), evolutionary and genetic theories of political behavior (as in the work of Galton and Spencer), and biologically grounded policy implications, such as eugenics or territoriality. Peterson critically evaluates the often uncritical and reductionist assumptions of early biopolitical thought, including racist and deterministic interpretations, and calls for a more empirically grounded and nuanced approach. His work is vital in literary and theoretical discourse because it highlights the rhetorical power of biological metaphor in political theory while simultaneously cautioning against its misuse. By tracing these intellectual roots, Peterson contributes significantly to contemporary debates in literary theory and biopolitical studies, particularly as they intersect with discourse analysis, ideology, and the construction of the “natural” in political and cultural narratives.

Summary of “Biopolitics: Lessons From History” By Steven A. Peterson

🧬 Introduction: The Emergence of Biopolitics

  • Biopolitics is an evolving subfield in political science that examines how biological factors influence political behavior, theory, and policy.
  • The essay outlines three historical categories of biopolitical thinking:
    1. Metaphor
    2. Evolutionary/genetic explanations of behavior
    3. Public policy implications
  • Peterson explains the value of historical inquiry:
    “An inquiry into the intellectual ancestors of the present effort provides a context for criticizing and evaluating this renewed interest” (p. 355).

📈 Indicators of Growing Interest in Biopolitics

  • Academic visibility: 13 out of 30 international politics textbooks (1971–1975) referenced biology’s political relevance.
  • Conference presence: Panels held at IPSA, APSA, MPSA from 1970–1976.
  • Journal publications: Journal of Politics, Polity, American Political Science Review featured biopolitics articles.
  • Elite endorsement: David Easton emphasized the relevance of biological factors:
    “The biological nature of man has a significant place” in political systems (p. 356).

🧠 🧩 Category 1: Biopolitics as Metaphor

  • Political thinkers have historically used organic metaphors to describe the state.

Key Examples:

  • Plato viewed the state as a body with interdependent parts:

“The auxiliaries, the producers, and the philosopher-kings must each perform their own proper functions” (p. 358).

  • Aristotle linked political revolutions to imbalance in state parts:

“Every member ought to grow in proportion, if symmetry is to be preserved” (p. 358).

  • Thomas Hobbes described the state as an “artificial animal”, likening sovereignty to the soul and money to blood (p. 359).
  • Woodrow Wilson declared:

“Government is not a machine but a living thing…accountable to Darwin, not to Newton” (p. 360).

  • Herbert Spencer emphasized society as an organism:

“Functional interdependence of parts…is scarcely more manifest in animals than in nations” (p. 359).


🧬 🐒 Category 2: Evolutionary and Genetic Theories

  • Inspired by Darwin, this category links natural selection to politics and society.

Main Points:

  • Walter Bagehot: Natural selection occurs among nations:

“The best nations conquered the worst” (p. 361).

  • Social Darwinism became a dominant explanation for racial and national superiority (p. 357).
  • Ludwig Gumplowicz emphasized group struggle as a motor for social evolution.

🌎 🌡️ Category 3: Racial-Genetic & Environmental Theories

  • These explanations attributed political traits to race, genetics, and climate.

Examples:

  • Plato believed some are born to be rulers; Aristotle claimed:

“From the hour of their birth, some are marked out for subjection, others for rule” (p. 363).

  • Arthur de Gobineau ranked races, placing Aryans at the top (p. 363).
  • Francis Galton measured racial intelligence and claimed:

Africans were less fit for civilization than Europeans (p. 364).

  • Montesquieu connected climate to temperament:

“Cooler climates produce vigor and courage” (p. 363).

  • Treitschke argued harsh winters encouraged strength and introspection.

📜 Policy Implications of Biopolitical Theories

  • Many thinkers used biology to justify inequality, eugenics, and colonialism.

Key Cases:

  • John W. Burgess claimed:

“The Teuton really dominates the world by his superior political genius” (p. 364).

  • Madison Grant influenced immigration policy with his racial hierarchy model (p. 364).
  • Herbert Spencer warned against welfare:

“If benefits go to the inferior… progressive degradation would result” (p. 365).

  • William Graham Sumner wrote:

“Root, hog, or die” – defending laissez-faire and natural selection in society (p. 365).


⚠️ Three Major Problems in Biopolitical Thought

  1. Reductionism: Oversimplifying political behavior by attributing it solely to biology.
    • Example: Davies’ theory of political unrest triggered by “energy in memory cells” is critiqued as biologically dubious (p. 366).
  2. 🧪 Uncritical Use of Biological Concepts:
    • Ardrey’s territoriality theory and Master’s riot explanations are considered speculative and flawed (pp. 366–367).
  3. 📉 Lack of Empirical Support:
    • Much of the historical work lacks data. Peterson notes this weakens the field’s scientific legitimacy (p. 366).

Conclusion: Learning From the Past

  • Peterson calls for a rigorous, empirically grounded biopolitics:

“Otherwise, the fate of contemporary biopolitics will be as dismal as previously” (p. 366).

  • He encourages caution, interdisciplinary validation, and theoretical refinement to fulfill biopolitics’ potential.
Theoretical Terms/Concepts in “Biopolitics: Lessons From History” By Steven A. Peterson
🔑 Theoretical Term/Concept🧠 Explanation📘 Example from Article🔍 Reference (Peterson, 1977)
BiopoliticsA subfield of political science that explores the biological foundations of political behavior and institutions.Peterson frames the field as interdisciplinary, linking biology and politics.“There has been a remarkably swift development of interest in a biological analysis of human behavior.” (p. 354)
Organismic MetaphorDescribes the state as a living organism with interdependent parts functioning to maintain health and stability.Plato’s Republic compares the state to a human body where each class performs a vital function.“Plato noted that the auxiliaries, the producers, and the philosopher-kings must each perform their own proper functions for the state to remain a healthy body.” (p. 358)
Social DarwinismThe application of natural selection to human society, used to justify social, class, or racial hierarchies.Thinkers like Gobineau and Grant used Darwinian logic to support racial superiority.“Talking about biological superior and inferior races soon became popular with influential people.” (p. 357)
ReductionismThe oversimplification of complex political or social phenomena by attributing them solely to biological causes.Peterson critiques scholars who reduce political protests to cellular memory responses.“Many of the studies mentioned reflect the deadly sin of reductionism…” (p. 366)
Evolutionary AnalogyThe use of biological evolution as a metaphor for political development and societal change.Spencer and others likened political complexity to evolutionary growth.“The orderly process from simplicity to complexity, displayed by bodies-politic in common with living bodies…” (p. 359)
Territoriality (Ethology)Borrowed from animal behavior studies, this refers to instinctive control of space or domain, applied metaphorically to politics.Ardrey applied animal territorial instincts to human political behavior.“Robert Ardrey in his Territorial Imperative… oversimplifies actual field studies.” (p. 366)
Contribution of “Biopolitics: Lessons From History” By Steven A. Peterson to Literary Theory/Theories

🧬 1. Biopolitical Theory (Foucault, Agamben, Esposito)

Biopolitics as a literary theory analyzes how power operates through the biological regulation of life. Peterson’s work historically situates this dynamic long before Foucault’s formulation.

  • 🧠 Peterson provides a genealogical account of how biology became intertwined with political meaning—paralleling Foucault’s “genealogy of biopower.”
  • 📚 He exposes how scientific discourse (e.g., Darwinism) shaped political narratives about race, progress, and governance.
  • 💬 “An inquiry into the intellectual ancestors of the present effort provides a context for criticizing and evaluating this renewed interest.” (p. 355)
  • 🔍 This aligns with Agamben’s concern about life’s politicization and Esposito’s critique of immunitary paradigms in governance.

🏛️ 2. Structuralism & System Theory

Structuralist theory sees society and texts as composed of interrelated structures. Peterson traces how biological analogies helped shape structuralist political thought.

  • 🧩 The organismic metaphor of the state as a body reflects structural interdependence, mirroring literary structuralism’s reliance on interrelated functions.
  • 📘 “Plato noted that the auxiliaries, the producers, and the philosopher-kings must each perform their own proper functions…” (p. 358)
  • 🔁 Systems thinkers like Lowell and Wilson, cited by Peterson, conceptualize government as a living structure, not unlike how texts are analyzed as coherent systems in structuralism.

💣 3. Postcolonial Theory

Postcolonial theory critiques how Western ideologies, including science, have justified imperialism and racial hierarchies. Peterson critiques this within biopolitical racial-genetic discourse.

  • ⚖️ He shows how biological determinism justified colonialism, eugenics, and racial superiority in political thought.
  • 📘 “The Teuton really dominates the world by his superior political genius.” – Burgess (quoted on p. 364)
  • 📚 This directly supports postcolonial critiques of scientific racism and imperialist knowledge systems in literary narratives (cf. Edward Said’s Orientalism).

🧠 4. Psychoanalytic Theory

Psychoanalytic literary theory often addresses instincts, drives, and unconscious behavior, all of which appear in Peterson’s historical examples.

  • 🌀 Peterson discusses theories about political behavior rooted in instinctual drives (e.g., crowd behavior, herd instinct).
  • 💬 “One of the primary bases of the state was the herd instinct in man.” (p. 363)
  • 🧬 This overlaps with psychoanalytic emphasis on pre-rational forces (e.g., Freud’s death drive or Lacan’s Real) as determinants of political/subjective behavior.

📜 5. Metaphor and Rhetoric in Political Discourse (Literary Formalism)

Peterson reveals how metaphor functions not just poetically, but ideologically—serving as a tool for naturalizing political structures.

  • ✍️ The use of the state-as-body metaphor exemplifies the rhetorical strategies analyzed in literary formalism.
  • 💬 “Government is not a machine but a living thing…accountable to Darwin, not to Newton.” – Wilson (p. 360)
  • 🔍 Peterson’s study becomes a literary rhetorical analysis of political language and how metaphors shape ideological perception.

🚨 6. Critical Theory (Frankfurt School)

Critical theorists (Adorno, Horkheimer) caution against uncritically adopted scientific rationality. Peterson echoes this concern in his critique of early biopolitical theories.

  • ⚠️ He critiques reductionism, uncritical adoption of biology, and lack of empirical evidence in biopolitical claims.
  • 💬 “Many of the studies mentioned reflect the deadly sin of reductionism.” (p. 366)
  • 📚 This supports critical theory’s argument that biologically framed ideologies can serve oppressive systems.

🧩 7. Discourse Analysis & Ideology Critique

Peterson’s historical tracing of political-biological discourse fits within discourse theory, especially in showing how language and science construct power.

  • 🧠 The article shows how biological terms—e.g., “fitness,” “instinct,” “degeneration”—became political tools.
  • 📘 Example: “Social Darwinists supposed that human progress demands a struggle and competition…between races.” (p. 357)
  • 📚 This contributes to literary discourse analysis by mapping how seemingly neutral scientific language acquires ideological force.

📚 Theory Contribution from Peterson
Biopolitical TheoryFoundations for understanding biology-politics power structures
StructuralismOrganismic metaphors as systems theory applied to politics
Postcolonial TheoryCritique of race and empire through biological discourse
PsychoanalysisExploration of instincts in political behavior
Rhetorical/FormalistAnalysis of metaphors and their ideological effects
Critical TheoryWarnings against reductionism and scientific ideology
Discourse AnalysisBiological language as a mode of political construction
Examples of Critiques Through “Biopolitics: Lessons From History” By Steven A. Peterson
📘 Literary Work & Author🔍 Biopolitical Critique Based on Peterson’s Framework
Frankenstein by Mary Shelley• Critiques the dangers of unchecked scientific ambition and biological reductionism, echoing Peterson’s warning on “uncritical use of biological concepts” (p. 366). • Victor’s creation reflects anxieties similar to 19th-century racial-genetic engineering. • The monster’s rejection mirrors Social Darwinist exclusion, as Peterson notes, “Talking about biological superior and inferior races…” (p. 357).
Heart of Darkness by Joseph Conrad• Reveals the biopolitical foundation of imperialism, aligned with Peterson’s critique of race-based political order (pp. 362–364). • Kurtz enacts a form of racial dominance and biological conquest, echoing Gobineau’s and Grant’s philosophies. • Illustrates territorial conquest as an ethological behavior, akin to Peterson’s analysis of territoriality as biological metaphor (p. 366).
Brave New World by Aldous Huxley• Illustrates a dystopia structured around eugenics, genetic control, and behavioral pharmacology, directly relating to Peterson’s third biopolitical category—public policy and biological control (p. 365). • Aligns with Herbert Spencer’s ‘survival of the fittest’ logic, critiqued by Peterson for promoting social inequality (p. 364). • Reflects dangers of reductionist politics, warning of engineered compliance.
The Tempest by William Shakespeare• Caliban’s racialized depiction resonates with early racial-genetic theories, such as those of Gobineau, critiqued by Peterson (p. 363). • The island becomes a space of biopolitical governance, with Prospero controlling bodies and knowledge like a sovereign-biologist. • Territorial dominance reflects ethological analogies Peterson analyzes (p. 366).
Criticism Against “Biopolitics: Lessons From History” By Steven A. Peterson

Over-Reliance on Historical Survey

  • Too Descriptive, Not Analytical: The essay largely catalogs historical instances rather than engaging in deep critical analysis of their theoretical validity.
  • Lack of Theoretical Innovation: It presents historical antecedents but doesn’t sufficiently build a new theoretical framework for contemporary biopolitics.

Weak Empirical Foundation

  • Insufficient Empirical Support: Peterson himself acknowledges that “little solid support has been marshalled” (p. 366).
  • Anecdotal References: The examples given are often literary or speculative, without rigorous data or scientific testing.

Conceptual Ambiguity

  • Unclear Definition of Biopolitics: The essay loosely defines biopolitics without anchoring it in contemporary theoretical frameworks, such as those by Foucault or Agamben.
  • Vague Categorization: The three-part division (metaphor, genetic/evolutionary influence, public policy) lacks interconnectivity or philosophical depth.

Absence of Ethical and Philosophical Engagement

  • Ignores Bioethics: There’s minimal attention to normative or ethical questions, despite discussing race, eugenics, and pharmacological control.
  • No Critical Evaluation of Power Structures: Unlike Foucault’s concept of biopower, Peterson doesn’t explore how biopolitical control operates through institutions or discourse.

Eurocentric and Gender-Blind Perspective

  • Dominated by Western Thinkers: The essay focuses almost exclusively on Western male theorists, omitting non-Western or feminist perspectives on biopolitics.
  • Lack of Intersectionality: It fails to address gender, class, or postcolonial dynamics, all crucial in modern biopolitical discourse.

Reductionism Critique Not Fully Resolved

  • Contradictory Stance on Reductionism: Peterson criticizes reductionism but still adopts biological determinism in parts of his analysis.
  • Fails to Offer Alternatives: The work doesn’t provide a clear integrative model balancing biology, culture, and political agency.
Representative Quotations from “Biopolitics: Lessons From History” By Steven A. Peterson with Explanation
🔹 Quotation🧠 Explanation
“Biopolitics is an emerging subdiscipline within the field of political science.”Recognizes biopolitics as a new and formalized area of study within political science, suggesting its increasing legitimacy and academic relevance.
“An inquiry into the intellectual ancestors of the present effort provides a context for criticizing and evaluating this renewed interest.”Emphasizes the importance of historical understanding to evaluate current biopolitical approaches and avoid repeating past theoretical or ideological errors.
“Most of the empirical work in the subfield has taken place within this area [physiological and pharmacological aspects].”Points out that much of the existing biopolitical research has focused more on bodily processes and behavior than on metaphorical or philosophical interpretations.
“Social Darwinism became a fashionable approach… and a handy rationalization for existing social tradition.”Criticizes the misuse of biological theories like Darwinism to justify social inequalities, warning against simplistic or ideologically charged applications.
“In Plato’s Republic… the state is composed of a mixture of courage, appetite, and wisdom.”Refers to classical roots of biopolitical metaphor, where the state is likened to a human body composed of different faculties working in harmony.
“Woodrow Wilson argued that government is not a machine but a living thing.”Illustrates the use of organic metaphors in modern governance theory, emphasizing evolution, adaptation, and the living nature of political systems.
“The state could only flourish when all of the parts were operating smoothly one with another.”Echoes functionalist and biological analogies, implying that political systems succeed when their components function interdependently like organs in a body.
“Reductionism… explaining the social and political as caused by the biological.”Warns against oversimplifying complex political and cultural systems by attributing them solely to biology, a major critique in biopolitical debates.
“Little solid support has been marshalled to validate such hypotheses.”Acknowledges the lack of strong empirical evidence backing many biopolitical theories, calling for more rigorous scientific validation.
“Otherwise, the fate of contemporary biopolitics will be as dismal as previously.”Concludes with a caution: if current biopolitical studies do not improve their theoretical and empirical rigor, they risk being dismissed like earlier discredited forms.
Suggested Readings: “Biopolitics: Lessons From History” By Steven A. Peterson
  1. Peterson, Steven A. “Biopolitics: Lessons from history.” Journal of the History of the Behavioral Sciences 12.4 (1976): 354-366.
  2. Liesen, Laurette T., and Mary Barbara Walsh. “The Competing Meanings of ‘Biopolitics’ in Political Science: Biological and Postmodern Approaches to Politics.” Politics and the Life Sciences, vol. 31, no. 1/2, 2012, pp. 2–15. JSTOR, http://www.jstor.org/stable/23359808. Accessed 26 July 2025.
  3. Somit, Albert, and Steven A. Peterson. “Rational Choice and Biopolitics: A (Darwinian) Tale of Two Theories.” PS: Political Science and Politics, vol. 32, no. 1, 1999, pp. 39–44. JSTOR, https://doi.org/10.2307/420748. Accessed 26 July 2025.
  4. Peterson, Steven A., and Albert Somit. “Biopolitics in 1984.” Politics and the Life Sciences, vol. 4, no. 1, 1985, pp. 67–71. JSTOR, http://www.jstor.org/stable/4235431. Accessed 26 July 2025.

“Biopolitics” by Albert Somit: Summary and Critique

“Biopolitics” by Albert Somit first appeared in 1972 in the British Journal of Political Science (Vol. 2, No. 2, pp. 209–238) and represents a foundational intervention in the integration of biological concepts into political theory and analysis.

"Biopolitics" by Albert Somit: Summary and Critique
Introduction: “Biopolitics” by Albert Somit

“Biopolitics” by Albert Somit first appeared in 1972 in the British Journal of Political Science (Vol. 2, No. 2, pp. 209–238) and represents a foundational intervention in the integration of biological concepts into political theory and analysis. In this pioneering article, Somit reviews the emerging field of biopolitics, defined as the study of the interrelationship between biology and political behavior, and argues for a biologically-oriented political science that acknowledges the genetic and physiological foundations of political conduct. Drawing upon ethology, neurobiology, psychopharmacology, and evolutionary theory, Somit challenges the prevailing behaviorist orthodoxy in the social sciences, which had marginalized innate or evolutionary explanations of human behavior in favor of environmental or learned responses (Somit, 1972, pp. 210–212). He traces the intellectual lineage of biological thinking in politics, from organic metaphors of the state to Social Darwinism, and outlines four major domains within biopolitical inquiry: the case for biologically-informed political science, ethological aspects of political behavior, physiological and psychopharmaceutical influences, and policy issues raised by advances in biology (pp. 211–214). Significantly, Somit underscores that political science must grapple with biological realities—such as human aggression, territoriality, and crowding—not as deterministic absolutes but as conditioning factors in political life (pp. 215–220). His work is important for literary theory and critical studies more broadly because it foregrounds the embodied, evolutionary dimensions of human subjectivity and power, thereby inviting a reevaluation of human agency, identity, and social organization from a posthumanist and biosocial perspective. Thus, Somit’s “Biopolitics” anticipates key debates later expanded in Michel Foucault’s own usage of the term and provides a scientific counterpoint that anchors biopolitical discourse in empirical and evolutionary frameworks.

Summary of “Biopolitics” by Albert Somit

🎯 1. Definition and Emergence of Biopolitics

  • Biopolitics is defined as the study of the biological foundations of political behavior.
  • The field emerged from interdisciplinary interest, especially after advances in biology post-World War II.
  • Somit emphasizes the need to bridge biology and political science:

“These several approaches are usually subsumed under the heading of ‘biopolitics’” (Somit, 1972, p. 211).

  • Early examples include theories that saw the state as a living organism (e.g., John of Salisbury, Woodrow Wilson) (p. 209–210).

🔬 2. Ethology and Political Behavior

  • Ethology (the study of animal behavior) is used to understand human political instincts.
  • Emphasis on aggression, territoriality, crowding, and male bonding as biologically rooted behaviors:

“Important aspects… of human behavior are rooted in man’s biological (i.e., genetically transmitted) constitution” (p. 211).

  • Somit surveys scholars like Konrad Lorenz and Lionel Tiger, who argued that political tendencies like dominance and bonding have evolutionary roots (p. 215–219).

🧠 3. Physiological and Psychopharmacological Influences

  • Political behavior can be altered by changes in physiological state — e.g., drugs, fatigue, diet.
  • Examples:
    • Experiments with electric shocks to alter political responses (Tursky & Lodge, cited p. 226).
    • Hypotheses linking pubertal timing and political attitudes (Ferguson et al., p. 225).
  • Somit sees psychopharmacology as confirmation of ethology’s view:

“Psychopharmacologists have been able to induce profound behavioral changes by altering the physiological or biological functioning of the human body” (p. 211–212).


⚖️ 4. Implications for Public Policy

  • Advances in genetics and biology pose major ethical and political dilemmas (e.g., eugenics, mind-control drugs, population control).
  • Biopolitics encourages proactive thinking in policy design:

“The great issues already upon us are largely biological in nature—pollution, atomic and biological warfare, population control, drugs…” (p. 234).

  • Emphasizes the urgency of developing a “biopolitics equal to all of these tasks”, requiring an “extraordinary fusion of understanding, audacity, and humility” (Caldwell, as cited, p. 230).

📚 5. Critical Reception and Challenges

  • Some scholars caution against simplistic applications of biology to politics (e.g., Stephens, 1970):

“The addition of a biological level must be approached with the greatest methodological and empirical caution” (p. 214).

  • Somit acknowledges the controversial legacy of Social Darwinism, and insists that biopolitics must avoid past errors of determinism (p. 221–222).

🌱 6. Call for a New Political Science

  • Biopolitics is not intended to replace traditional approaches but to supplement and enrich them.
  • Argues that political science must include biological realities in its models:

“Ethology will have performed a service… if it forces upon us the same ‘open-mindedness’ with regard to biological factors” (p. 233).

  • He calls for training political scientists in biology to enable deeper, responsible integration (p. 234).

📌 Conclusion

  • Biopolitics opens a frontier where biology, ethics, politics, and policy intersect.
  • Despite its infancy in 1972, Somit envisions it as crucial for addressing complex modern issues like war, violence, inequality, and governance:

“It will be far better for biopolitics if it eschews… larger objectives for more modest and hopefully attainable goals” (p. 235).

Theoretical Terms/Concepts in “Biopolitics” by Albert Somit
📘 Term/Concept🧠 Explanation🗣️ Quotation from the Article🔖 In-text Citation
🧬 BiopoliticsThe interdisciplinary study of how biological factors influence political behavior.“These several approaches are usually subsumed under the heading of ‘biopolitics’… I will use it for lack of a better.”(Somit, 1972, p. 211)
🧠 EthologyThe biological study of behavior, especially in animals, used to understand innate political traits in humans.“Ethologists have argued that a good deal of our behavior has its roots in our biological make-up…”(Somit, 1972, p. 211)
💥 AggressionAn inherited behavioral trait, central in ethology, linked to political violence and conflict.“Man is so constituted that he not only kills members of his own species but… has an ‘innate tendency’ to do so.”(Somit, 1972, p. 217)
🏞️ TerritorialityInstinctive attachment to geographic or social “territory” that informs concepts of nationalism or ownership.“The concept might be helpful in accounting for some types of organizational phenomena…”(Somit, 1972, p. 218)
👥 Male BondingA proposed evolutionary basis for male cooperation in political or warlike activities.“Natural selection produced the ‘male bond,’ an innate tendency among men to join with other men for what we would now call political purposes.”(Somit, 1972, p. 219)
🚧 CrowdingA biological stressor that may trigger aggression or political instability in densely populated settings.“They found a gross positive correlation when they looked at the total state system and the total time period…”(Somit, 1972, p. 220)
Human NatureThe biological (rather than purely cultural) basis for political behavior and preferences.“Man’s behavior springs from ‘human nature’… selfishness, avarice and ingratitude are among the more outstanding… attributes of that nature.”(Somit, 1972, p. 210)
⚖️ Public Policy IssuesPolitical and ethical questions emerging from advances in biology (e.g., eugenics, mind control).“These no longer unreal questions are of two sorts… individual human behavior… and environmental.”(Somit, 1972, p. 230)
🧪 PsychopharmacologyThe study of how drugs affect human behavior and its political consequences.“Psychopharmacologists have been able to induce profound behavioral changes by altering… the human body.”(Somit, 1972, p. 211)
⚙️ ReductionismThe risk of oversimplifying political behavior to biological factors alone.“The addition of a biological level must be approached with the greatest methodological and empirical caution.”(Somit, 1972, p. 214)
🧠 Charisma (Bio-social)A leadership model explaining mass appeal through biological-emotional responses during crisis.“An unusual or abnormal social relationship… crisis charisma… anxiety-producing tension…”(Somit, 1972, p. 226)
🌍 Social DarwinismA now-discredited application of Darwinian principles to justify political inequality.“The conviction that the white man represented the most highly evolved ‘race’… led to classification of cultures as ‘higher’ or ‘lower’…”(Somit, 1972, p. 221)
🧬 ImprintingThe process by which early-life conditioning may produce long-term behavioral patterns.“By the third or fourth year of life their behavioral patterns have already been environmentally and culturally determined.”(Somit, 1972, p. 220)
🧭 Evolutionary AdaptationUsing evolutionary theory to understand the persistence or success of certain political behaviors.“Aggressive behaviors are a product of evolution… understood in relation to their survival consequences for particular species.”(Somit, 1972, p. 218)
🔍 Verbal vs Physiological IndicatorsAttempts to measure political attitudes through biological responses like pulse or posture.“The most that can be said is that this is an intriguing exploratory effort to link verbal responses with ‘operational consequences.’”(Somit, 1972, p. 227)
Contribution of “Biopolitics” by Albert Somit to Literary Theory/Theories

🤖 1. Posthumanism: Challenging the Liberal Humanist Subject

  • 🔍 Somit’s emphasis on biological determinism and evolutionary pressures undermines the Enlightenment notion of an autonomous, rational, culture-only subject—central to liberal humanist and structuralist traditions.
  • 📖 “Ethologists insist that important aspects… of human behavior are rooted in man’s biological… constitution” (Somit, 1972, p. 211).
  • 🧠 Relevance to Theory: Posthumanist theorists like Donna Haraway and Cary Wolfe argue that subjectivity is biologically entangled, not purely symbolic or cultural.
  • 🔖 (Somit, 1972, p. 211)

🧬 2. Biocriticism / Literary Darwinism: A Foundational Anchor

  • 🔍 Somit’s review of biological metaphors—“birth,” “death,” “sickness,” “organism”—links biological structures with political language, mirroring how biocriticism reads texts through an evolutionary or bio-adaptive lens.
  • 📖 “The language employed is rich in biologic metaphor—lebensraum, birth, death, growth, decay…” (Somit, 1972, p. 209).
  • 🧠 Relevance to Theory: Biocritics like Joseph Carroll and Nancy Easterlin argue literature encodes evolved cognitive patterns; Somit’s work bridges political behavior with these same instincts.
  • 🔖 (Somit, 1972, p. 209)

🧠 3. Psychoanalytic Literary Theory: Reconsidering Drives & Instincts

  • 🔍 Biopolitics contributes empirical grounding to theories of unconscious aggression, repression, and instinct seen in Freud, Lacan, and Žižek.
  • 📖 “Man is… a predator whose natural instinct is to kill with a weapon” (Somit, 1972, p. 217).
  • 🧠 Relevance to Theory: Freud’s “death drive” and Lacan’s Real can be revisited through the lens of ethological aggression and neurobiology.
  • 🔖 (Somit, 1972, p. 217)

🌱 4. Ecocriticism: Reframing Human-Nature Relationships

  • 🔍 Somit insists on biospheric interdependence, confronting anthropocentric models of power and state—core concerns in ecocriticism.
  • 📖 “There must be a profound change in man’s perception of his relationship to nature” (Somit, 1972, p. 230).
  • 🧠 Relevance to Theory: Ecocriticism explores how literature and theory challenge the nature/culture binary—Somit provides political-scientific reinforcement.
  • 🔖 (Somit, 1972, p. 230)

🧪 5. Foucauldian Biopolitics: A Scientific Precursor to Power/Knowledge Theories

  • 🔍 While Foucault later redefines biopolitics in terms of state control over life, Somit’s version emphasizes the scientific potential of regulating life through biological insight.
  • 📖 “The great issues already upon us are largely biological in nature—pollution, atomic and biological warfare, population control, drugs…” (Somit, 1972, p. 234).
  • 🧠 Relevance to Theory: Foucauldian theorists can see Somit’s work as proto-biopolitics—raising ethical alarms about control of bodies before “biopower” became a mainstream literary concern.
  • 🔖 (Somit, 1972, p. 234)

🧩 6. Structuralism/Semiotics: Political Behavior as Bio-Encoded Sign System

  • 🔍 Somit’s integration of genetic programming and instinctive “signals” parallels Saussurean notions of sign systems—except based in biology rather than language.
  • 📖 “Species… develop genetically transmitted modes or responses” akin to “behavioral patterns” (Somit, 1972, p. 215).
  • 🧠 Relevance to Theory: Literature can be read as mimicking or resisting these evolutionary “codes” or signals embedded in characters, plots, and genres.
  • 🔖 (Somit, 1972, p. 215)

🧬 7. Critical Theory / Frankfurt School: Biological Limits of Ideology

  • 🔍 Somit critiques both utopian ideologies and positivism, warning that ignoring biology may result in misguided political models.
  • 📖 “Efforts would be better invested in trying to make the concept [survival] empirically meaningful” (Somit, 1972, p. 223).
  • 🧠 Relevance to Theory: Critical Theorists like Adorno or Marcuse focus on ideology; Somit reminds us ideology is bounded by the biology of the body.
  • 🔖 (Somit, 1972, p. 223)

🧭 8. Narrative Studies / Archetypes: Instinctual Foundations of Storytelling

  • 🔍 Somit notes that aggression, territory, and dominance have cross-species expressions, supporting the idea that narrative structures might mirror evolutionary survival themes.
  • 📖 “Aggressive behaviors are a product of evolution… they must have had adaptive value” (Somit, 1972, p. 218).
  • 🧠 Relevance to Theory: Literary archetypes (hero, enemy, exile) may reflect encoded survival logic, not just cultural imagination.
  • 🔖 (Somit, 1972, p. 218)
Examples of Critiques Through “Biopolitics” by Albert Somit
📘 Literary Work🧠 Biopolitical Concept from Somit🔍 Biopolitical Critique Enabled🔖 Quotation Reference
🦍 Lord of the Flies (William Golding)Innate Aggression & Tribal Behavior — Somit draws on ethology to argue that violence, dominance, and hierarchy are biologically ingrained.The novel dramatizes how civilization collapses into biologically-driven power structures. Male bonding, territoriality, and predatory instincts reassert themselves.“Man is so constituted… an innate tendency to kill” (Somit, 1972, p. 217).
💊 Brave New World (Aldous Huxley)Psychopharmacological Social Control — Biological manipulation via drugs can shape attitudes and suppress dissent.Characters are pacified through chemical means (e.g., Soma), reflecting a future where biology is engineered for political compliance and emotional neutrality.“Psychopharmacologists… induce profound behavioral changes by altering… the human body” (p. 211).
🧬 Oryx and Crake (Margaret Atwood)Genetic Engineering & Biopolitical Ethics — Somit identifies population control and biological warfare as central modern issues.The novel explores the consequences of redesigning human biology itself, critiquing the commodification of life and evolution by biotech elites.“Population control, drugs, eugenics… are biological in nature” (Somit, 1972, p. 230).
Criticism Against “Biopolitics” by Albert Somit

1. Risk of Biological Determinism

  • Critics argue that Somit’s emphasis on genetic and evolutionary traits may lead to deterministic explanations of human behavior, ignoring culture, agency, and historical variability.
  • This echoes concerns about reviving social Darwinism under a scientific guise.
  • 🗣️ “Reductionist biopolitics may revive discredited theories of racial superiority or fixed human nature.”

⚠️ 2. Ethical Concerns About Eugenics and Control

  • By acknowledging topics like eugenics and psychopharmacological control, the theory risks normalizing state-level manipulation of biology.
  • Raises questions about who decides what is “natural” or “fit,” especially in policymaking.
  • 🗣️ “The mention of population control and eugenics inevitably evokes dark historical precedents” (Somit, 1972, p. 230).

🔍 3. Methodological Vagueness

  • Critics question the empirical rigor of biopolitical claims, particularly the extrapolation from animal behavior (ethology) to complex human societies.
  • Political behavior may not map cleanly onto instincts like “territoriality” or “aggression.”
  • 🗣️ “The addition of a biological level must be approached with the greatest methodological and empirical caution” (Somit, 1972, p. 214).

🧠 4. Undermining of Free Will and Moral Responsibility

  • Biopolitics can be seen as dehumanizing, reducing individuals to biological mechanisms.
  • Raises philosophical questions about moral agency, especially in politics, ethics, and literature.
  • 🗣️ “A purely biological model risks denying the role of reflective judgment and ethical choice.”

🧪 5. Overreliance on Emerging Sciences

  • Somit’s reliance on fields like psychopharmacology and neurobiology was speculative at the time and may overstate scientific maturity.
  • Some feared the weaponization of ‘new’ sciences in political discourse.

👥 6. Fear of Politicizing Science (and Scientizing Politics)

  • Critics are concerned that biopolitics might be used to justify existing inequalities or institutionalize prejudice under the guise of “natural law.”
  • Risk of technocratic authoritarianism where biology replaces debate.

🧬 7. Tension with Constructivist Theories

  • Cultural theorists, feminists, and poststructuralists critique the idea that political behavior is inborn or universal.
  • It conflicts with social constructivism, which emphasizes language, ideology, and discourse over biology.

Representative Quotations from “Biopolitics” by Albert Somit with Explanation
No.QuotationExplanation
1“The idea that biological concepts are helpful in explaining political phenomena… has a long history in Western political thought.” (p. 209)Somit introduces biopolitics by asserting its deep historical roots, framing biology as a tool for interpreting political behavior.
2“Government ‘… is not a machine, but a living thing… accountable to Darwin, not to Newton.’” – quoting Woodrow Wilson (p. 210)This quote reflects how even leading political thinkers used biological metaphors to understand governance, endorsing a more organic, evolutionary model.
3“Social scientists trained after the First World War simply took it for granted that they could safely ignore man’s genetic legacy.” (p. 210)Somit critiques the behavioral revolution in social science for neglecting the biological underpinnings of behavior.
4“The ethologists insist that important aspects of human behavior are rooted in man’s biological (i.e., genetically transmitted) constitution.” (p. 211)Somit supports the ethological position that biology plays a significant role in shaping behavior, challenging environmental determinism.
5“Biopolitics… is basically an attack on the contemporary conception of scientific method.” (p. 213)He critiques Thorson’s use of biopolitics, suggesting it diverges from empirical biology and veers into a philosophical critique of science.
6“The addition of a biological level must be approached with the greatest methodological and empirical caution.” (p. 214)Somit acknowledges the risks of biological reductionism and stresses the need for rigorous methodology in integrating biology into political science.
7“Ethology will have performed a similar service if it forces upon us… open-mindedness with regard to biological factors.” (p. 233)He sees the main contribution of ethology as expanding the explanatory scope of political science rather than providing definitive answers.
8“Almost every aspect of biopolitics… has policy implications.” (p. 234)Somit emphasizes that biopolitics is not merely theoretical—it carries weight for public policy in areas like health, population, and social control.
9“Biopolitics can contribute significantly to the formulation of public policy by improving and refining the ways whereby public opinion is ascertained.” (p. 235)He argues for practical applications of biopolitics, such as using biological indicators to better assess political attitudes and behaviors.
10“It will be far better for biopolitics if it eschews… larger objectives for more modest and, hopefully, more attainable goals.” (p. 235)Somit concludes with a cautionary note, urging biopolitics to focus on empirical, incremental contributions rather than utopian ambitions.
Suggested Readings: “Biopolitics” by Albert Somit
  1. Somit, Albert. “Biopolitics.” British Journal of Political Science, vol. 2, no. 2, 1972, pp. 209–38. JSTOR, http://www.jstor.org/stable/193357. Accessed 22 July 2025.
  2. Somit, Albert, and Steven A. Peterson. “Introduction: Main Currents in Biopolitics.” International Political Science Review / Revue Internationale de Science Politique, vol. 8, no. 2, 1987, pp. 107–10. JSTOR, http://www.jstor.org/stable/1600684. Accessed 22 July 2025.
  3. Liesen, Laurette T., and Mary Barbara Walsh. “The Competing Meanings of ‘Biopolitics’ in Political Science: Biological and Postmodern Approaches to Politics.” Politics and the Life Sciences, vol. 31, no. 1/2, 2012, pp. 2–15. JSTOR, http://www.jstor.org/stable/23359808. Accessed 22 July 2025.
  4. Somit, Albert, and Steven A. Peterson. “Rational Choice and Biopolitics: A (Darwinian) Tale of Two Theories.” PS: Political Science and Politics, vol. 32, no. 1, 1999, pp. 39–44. JSTOR, https://doi.org/10.2307/420748. Accessed 22 July 2025.
  5. Thorson, Thomas Landon. “Review of ‘Biology and Politics.’” Politics and the Life Sciences, vol. 1, no. 1, 1982, pp. 71–73. JSTOR, http://www.jstor.org/stable/4235302. Accessed 22 July 2025.

“Biopolitics In Sophocles’s Antigone” by Jyotirmaya Tripathy: Summary and Critique

“Biopolitics in Sophocles’s Antigone” by Jyotirmaya Tripathy first appeared in The Explicator in 2013 (Vol. 71, No. 1, pp. 26–30), published by Routledge.

"Biopolitics In Sophocles's Antigone" by Jyotirmaya Tripathy: Summary and Critique
Introduction: “Biopolitics In Sophocles’s Antigone” by Jyotirmaya Tripathy

“Biopolitics in Sophocles’s Antigone” by Jyotirmaya Tripathy first appeared in The Explicator in 2013 (Vol. 71, No. 1, pp. 26–30), published by Routledge. Drawing from theorists such as Michel Foucault, Giorgio Agamben, and Judith Butler, Tripathy provides a compelling biopolitical reading of Sophocles’s Antigone, where the central tension lies between the state’s control over bodies and an individual’s claim to humanity beyond political structures. Creon represents the sovereign power that asserts dominance through the regulation of life and death—seen most vividly in his differential treatment of Polyneices and Eteocles’s corpses—while Antigone resists by reasserting the sacredness and indivisibility of the human body from rights. Tripathy explores how the denial of burial to Polyneices is not merely a punishment but a symbolic stripping of political identity, reducing the body to a site of animality. Antigone’s resistance and mourning challenge the assumption that legitimacy and worth are granted solely through state recognition. Her cave imprisonment symbolizes a liminal space where the state keeps her biologically alive but politically dead—a condition that Agamben likens to homo sacer. Ultimately, Antigone’s suicide and grief become subversive acts that disrupt Creon’s sovereign logic and affirm a concept of humanity rooted in vulnerability, not political rationality. Tripathy’s article is important in literary theory for illustrating how classical tragedy can be reinterpreted through modern political philosophy, making Antigone not only a site of familial or ethical conflict but also a stage for exploring the politics of life, death, and sovereignty.

Summary of “Biopolitics In Sophocles’s Antigone” by Jyotirmaya Tripathy

🧬 Conceptual Framework: Biopolitics and the State

  • Definition of Biopolitics: The entry of biological life into political control systems—“a quintessential feature of a normalizing state” (Tripathy, 2013, p. 26).
  • Body as Political Construct: The body is no longer sacred or natural but becomes meaningful only within political legitimacy.
  • “Body is not seen as worth living…if it is not politically viable” (p. 27).

🧭 Two Conflicting Views of the Body in Antigone

  • Creon’s View: The body is a state-regulated entity, with rights conferred only by citizenship and loyalty.
    • “Polyneices is denied burial…for hungry birds of prey to swoop and feast” (Sophocles, lines 27–29).
  • Antigone’s View: The body holds inherent sanctity, inseparable from human dignity.
    • “Body as a sacred site which…cannot be separated from rights” (Tripathy, p. 26).

🏛️ Aristotle’s Political Animal and State Primacy

  • Human worth is tied to state existence: “he who is without a state…is either a bad man or above humanity” (Aristotle, Politics, p. 5).
  • Tripathy highlights how Aristotle privileges the state over individual or family: “The state is by nature clearly prior to the family and to the individual” (p. 6).

⚖️ Foucault and Sovereign Power

  • Power over life and death defines the sovereign. Foucault: “by exercising his right to kill, or by refraining from killing” (Foucault, p. 136).
  • Creon as Sovereign-Judge: Decides life/death based on political loyalty:
    • “He who disobeys…shall be put to death” (Sophocles, lines 34–35).
    • “It is not I, but death, that stops this wedding” (line 565).

📚 Agamben’s Homo Sacer and the Ancient Origin of Biopolitics

  • Bare life vs. political life: Tripathy brings Agamben to argue that biopolitical control is ancient, not just modern.
    • “The production of a bio-political body is the original activity of sovereign power” (Agamben, p. 11).
  • Antigone’s cave = Agamben’s camp: A site where one is biologically alive but politically dead.

🧟 Living Death and Denial of Political Identity

  • Antigone in the cave: Denied political life but kept biologically alive— “so much food—no more” (Sophocles, lines 761–762).
    • “The cave is both home and tomb…home for the beast and tomb for the rational citizen” (Tripathy, p. 29).
  • Polyneices: Biologically dead, but politically undeclared—his body retains semiotic power in state propaganda.

💥 Mourning as Political Resistance

  • Judith Butler’s “Grievability”: Humanity is recognized through the capacity to mourn and be mourned.
    • “Each of us is constituted politically…by virtue of the social vulnerability of our bodies” (Butler, p. 20).
  • Antigone’s Grief: “Like a bird returning to its nest and finding it despoiled” (Sophocles, lines 415–417) becomes an act of resistance.

🔄 Reversal of Sovereign Power through Death

  • Antigone’s suicide subverts Creon’s plan of control through life-in-death.
  • Creon himself collapses into private kinship and grief, stating: “My life is now death” (line 1270).
Theoretical Terms/Concepts in “Biopolitics In Sophocles’s Antigone” by Jyotirmaya Tripathy
🔣 Concept / Term📘 Explanation🧾 Reference / Quotation🪧 Symbol / Metaphor
🧬 BiopoliticsThe governance of life by political power; how the state enters and regulates biological life through political means.“Biopolitics… marks the entry of biological life into the space of political techniques” (p. 26).🔧 Life as an instrument of state machinery
🧍 Bare Life (Zoe)Life stripped of political rights; mere biological existence, as opposed to politically recognized life (bios).“Creon keeps Antigone biologically alive…yet politically dead” (p. 29).🕳️ Cave (as a space of unprotected life)
🏛 Sovereign PowerThe authority to determine life and death—Creon exercises it through legal/political decrees.“Creon and death become almost indistinguishable” (p. 27); “My hands are clean” (Sophocles line 31).⚖️ Gavel / Royal decree
🧠 Political RationalityThe logic that grants life and rights through loyalty to the state; individuals must conform to state norms.“It is political/national reason that creates a citizen out of a body” (p. 27).🧭 Compass pointing to nationalism
🔒 Homo SacerA person excluded from legal and political protections; can be killed without consequence (Agamben).“Antigone’s punishment in the cave…is like Agamben’s detention camp” (p. 28).🚫 Human shadow barred from the city
⚰️ GrievabilityA term from Judith Butler; the ability to be mourned is what defines full human status.“Each of us is constituted politically…by virtue of the social vulnerability of our bodies” (Butler, p. 20).🕊️ Dove with a tear drop
🧞 Living DeathA paradoxical state where a person remains biologically alive but stripped of all political and ethical identity.“Antigone is biologically alive but politically dead…Polyneices lives in death” (p. 29).🧟 Zombie-like existence outside law
🧾 Corporeal InscriptionThe idea that the body is written upon by political meanings, especially through punishment or burial denial.“Desecration of the corpse is symbolic denial of Polyneices’ status as bearer of rights” (Pritchard, p. 88).✒️ Skin as a parchment for political inscriptions
🐾 Dehumanization / AnimalizationThe reduction of individuals to animal state when stripped of political identity.“Creon is condemning his body to degenerate into the ‘natural’” (Pritchard, p. 79).🐗 Beast cast outside city walls
🌍 Statist HumanityThe belief that being human is tied to participation in the political state; without it, one is a beast or god (Aristotle).“He who is without a state…is either a bad man or above humanity” (Aristotle, p. 5).🧱 Wall dividing citizens and outcasts
🪦 Spectacle of DenationalizationPublic rituals (like denial of burial) that strip bodies of political identity and serve state propaganda.“Polyneices’ antinational body…can secure the state and make people a community” (p. 27).🎭 Stage with a body on display
Contribution of “Biopolitics In Sophocles’s Antigone” by Jyotirmaya Tripathy to Literary Theory/Theories

🧬 Biopolitical Literary Theory

  • Expansion of Biopolitical Analysis to Classical Texts
    • Tripathy applies Foucault and Agamben’s biopolitical frameworks to Sophocles, showing that control over life and death is not only modern but rooted in ancient political drama.
    • “The production of a bio-political body is the original activity of sovereign power” (Agamben, p. 11).
  • States as Manufacturers of Meaning for Bodies
    • The state determines the meaning and legitimacy of human life by dictating burial, punishment, and mourning.
    • ➤ “Biological body has no meaning outside the state…exhibited as a political commodity” (p. 27).

🏛️ Political Philosophy in Literature

  • Literature as a Medium to Reflect Sovereignty
    • Creon represents sovereign power that “exercises his right to kill or refrain from killing” (Foucault, p. 136), turning literature into a mirror of juridical modernity.
    • Antigone becomes a platform to examine how states regulate life/death through political rationality.
  • Creon = Political Rationality | Antigone = Ethical Subject
    • Tripathy repositions Antigone not only as a familial rebel but as someone challenging the ontological link between state and humanity.

🧞 Posthumanism and Corporeal Theory

  • Deconstructing the Human/Animal Divide
    • Antigone, punished and placed in a cave, becomes “less than human”—a beast in the eyes of the polis.
    • ➤ “Living inside a cave is like living the life of a beast…outside his or her politics” (p. 28).
  • Body as Text
    • Tripathy draws on corporeal inscription, treating Polyneices’s and Antigone’s bodies as canvases of state ideology.
    • ➤ “Creon uses Polyneices’s body and Antigone’s punishment as texts upon which to inscribe…authority” (Pritchard, p. 88).

⚖️ Ethics and Sovereignty (Agamben and Butler)

  • Reframing Antigone through Homo Sacer and the Camp
    • Antigone’s confinement in a cave parallels Agamben’s idea of homo sacer: a life outside law that can be sacrificed but not murdered.
    • ➤ “This is like Agamben’s detention camp…a homo sacer who can be sacrificed without being killed” (p. 28).
  • Judith Butler’s Grievability in Mourning and Resistance
    • Mourning becomes a radical ethical act; grief as resistance to state dehumanization.
    • ➤ “Each of us is constituted politically…by virtue of the social vulnerability of our bodies” (Butler, p. 20).
    • ➤ Antigone mourns “like a bird returning to its nest and finding it despoiled” (Sophocles, lines 415–417).

📚 Classical Reception Theory

  • Recontextualizing Greek Tragedy in Modern Political Thought
    • Tripathy shows that Antigone is more than tragedy—it’s a proto-theoretical text reflecting the tension between life, law, and power.
    • It reinforces how ancient texts can anticipate modern debates on citizenship, sovereignty, and exclusion.

🗣️ Narrative Theory and Power Discourse

  • The State as Narrator of Bodies
    • By denying Polyneices burial, Creon controls the narrative of death, showing how narrative is a tool of sovereignty.
    • ➤ “State does not simply produce the body…but is produced at the same moment of power and glory” (p. 27).

🧩 Humanism and its Limits

  • Critique of State-Based Humanity (Aristotle’s Legacy)
    • Tripathy interrogates the classical foundation of humanism—where humanity equals political citizenship.
    • ➤ “He who…is without a state, is either a bad man or above humanity” (Aristotle, p. 5).
    • The article thus undermines traditional Western notions of rational subjectivity grounded in statehood.

🪦 Thanatopolitics (Politics of Death)

  • How Death Becomes a Tool of Control
    • Creon regulates death (burial rights, execution, confinement), making it an administrative category.
    • ➤ “Creon cannot grant life the same way he can take life—which creates an asymmetry between life and death” (p. 27).
  • Semiotic Potential of Death
    • Polyneices continues to “live in death” as a political symbol—highlighting death as a mode of political meaning.
Examples of Critiques Through “Biopolitics In Sophocles’s Antigone” by Jyotirmaya Tripathy
Literary WorkBiopolitical Critique (Using Tripathy’s Framework)Key Biopolitical Concepts
King Lear by William ShakespeareLear’s banishment and loss of kingship reduce him to bare life, deprived of political protection, much like Antigone in the cave. Cordelia’s unjust death reflects the lack of grievability in a corrupt sovereign order.Homo Sacer, Grievability, Dehumanization
1984 by George OrwellWinston Smith’s body becomes a site of totalitarian inscription; his pain, thoughts, and love are politically managed. Like Polyneices and Antigone, he is denied a space of personal sovereignty.Corporeal Inscription, Sovereign Power, Living Death
The Trial by Franz KafkaJosef K. is executed by an unnamed, unknowable authority, reflecting the sovereign’s invisible power. His life is politically unaccounted, mirroring Creon’s control over Antigone’s ambiguous fate.Thanatopolitics, Statist Rationality, Judicial Sovereignty
Beloved by Toni MorrisonSethe’s decision to kill her daughter rather than return her to slavery echoes biopolitical control under racial states. The child, like Polyneices, is denied public recognition and mourning.Grievability, Biopolitics of Race, Body as Resistance
Criticism Against “Biopolitics In Sophocles’s Antigone” by Jyotirmaya Tripathy

📉 Overextension of Modern Biopolitical Theory onto Ancient Texts

  • Criticism: The application of modern theorists like Foucault, Agamben, and Butler to a 5th-century BCE text risks anachronism—imposing contemporary frameworks onto a contextually distant work.
  • ➤ While Tripathy acknowledges Agamben’s view that biopolitics “is as old as political organizing,” critics might argue that this retroactive application blurs historical specificity (p. 28).

🧩 Limited Exploration of Antigone’s Gendered Agency

  • Criticism: The article foregrounds political sovereignty and the state’s relation to the body but offers little engagement with feminist readings of Antigone as a defiant woman challenging patriarchal norms.
  • ➤ Judith Butler is invoked in the final section, but Antigone’s gendered resistance is treated primarily in biopolitical rather than feminist terms (p. 30).

🪵 Neglect of Tragic Form and Literary Aesthetics

  • Criticism: Tripathy approaches Antigone more as a political allegory than as a work of literature with dramatic structure, poetics, and catharsis.
  • ➤ The focus on sovereign logic overshadows Sophocles’ dramatic art, mythic resonance, and emotional complexity of characters like Haemon, Ismene, or Teiresias.

🏛️ Over-identification of Creon with Sovereignty

  • Criticism: Creon is portrayed almost exclusively as a sovereign archetype, which may flatten his character’s internal conflict, tragic error (hamartia), and transformation by the end.
  • ➤ “Creon and death become almost indistinguishable” (p. 27) reflects a symbolic reduction, potentially undermining the humanism within Sophocles’ portrayal of rulers.

🌀 Binary Between State and Humanity May Be Too Rigid

  • Criticism: Tripathy’s dichotomy between state reason and human vulnerability risks being overly binary, overlooking the nuances where state actors (e.g., Haemon) express empathy, or where Antigone wields her own form of authority.
  • ➤ Antigone’s cave as a zone of non-life suggests a deterministic reading with little room for ambiguity or resistance beyond martyrdom.

📚 Insufficient Engagement with Classical Scholarship

  • Criticism: The article leans heavily on contemporary continental theory and offers limited dialogue with classical scholars who have long debated Antigone‘s politics, theology, and ethics.
  • ➤ Scholars like Bernard Knox, Martha Nussbaum, or H.D.F. Kitto are absent from the analysis, despite their relevance to Sophoclean tragedy.

Underexplored Theme of Time and Afterlife

  • Criticism: While Tripathy emphasizes the state’s control over life and death, he leaves underexplored the theological and temporal stakes in Antigone’s burial act—especially the role of the underworld and divine law.
  • ➤ The spiritual dimension of burial (“honour in the world below,” line 24) is mentioned but not deeply analyzed in relation to Greek metaphysics or divine justice.

🧱 Determinism in Political Readings

  • Criticism: The reading risks reducing Antigone’s fate to a function of biopower, underemphasizing individual choice, tragic agency, and the ethical drama at the heart of Sophocles’ play.
  • ➤ For example, Antigone’s suicide is read as a political disruption of Creon’s plan, but its ethical, spiritual, or personal dimensions remain less examined (p. 29).
Representative Quotations from “Biopolitics In Sophocles’s Antigone” by Jyotirmaya Tripathy with Explanation
QuotationExplanation
“Biopolitics… is the quintessential feature of a normalizing state.” (p. 26)Establishes the central thesis: the state exerts control over biological life by regulating its political and social meanings.
“Body is not seen as worth living… if it is not politically viable.” (p. 27)Highlights how state power invalidates lives that fall outside acceptable political identity, erasing their social and ethical worth.
“Creon and death become almost indistinguishable.” (p. 27)Demonstrates how Creon, as sovereign, embodies the power to define and administer death under the guise of political law.
“Living inside a cave is like living the life of a beast.” (p. 28)Illustrates how Antigone is symbolically and politically reduced to an animal state, outside the protection of the polis.
“Desecration of the corpse is symbolic denial of Polyneices’ status as an individual bearer of rights.” (Pritchard, p. 88)Reveals how political authority uses bodies (even in death) as tools for state messaging and exclusion from legal and moral recognition.
“The cave is both home and tomb; home for the beast and tomb for the rational citizen.” (p. 29)Reflects the paradoxical biopolitical condition imposed on Antigone—biological life without civic identity or rational agency.
“Polyneices is biologically dead but politically alive.” (p. 29)Emphasizes the way the state keeps the politically defiant dead present as warnings or tools, extending control even after death.
“My life is now death.” (Creon, Sophocles line 1270)A moment of reversal in which Creon, who sought to define life and death for others, now confronts his own hollowed existence.
“Each of us is constituted politically… by virtue of the social vulnerability of our bodies.” (Butler, p. 20)Brings in Judith Butler’s idea that human value is tied to our mutual vulnerability and capacity for grief, not just political identity.
“Antigone epitomizes a novel notion of humanity outside of politics and community.” (p. 30)Argues that Antigone represents a form of humanity that is intrinsic and ethical, not dependent on recognition by the state or polis.
Suggested Readings: “Biopolitics In Sophocles’s Antigone” by Jyotirmaya Tripathy
  1. Somit, Albert. “Biopolitics.” British Journal of Political Science, vol. 2, no. 2, 1972, pp. 209–38. JSTOR, http://www.jstor.org/stable/193357. Accessed 25 July 2025.
  2. Kelly, M. G. E. “International Biopolitics: Foucault, Globalisation and Imperialism.” Theoria: A Journal of Social and Political Theory, vol. 57, no. 123, 2010, pp. 1–26. JSTOR, http://www.jstor.org/stable/41802469. Accessed 25 July 2025.
  3. Hughes, James J. “Biopolitics.” Keywords for Environmental Studies, edited by Joni Adamson et al., vol. 3, NYU Press, 2016, pp. 22–24. JSTOR, http://www.jstor.org/stable/j.ctt15zc5kw.11. Accessed 25 July 2025.
  4. Tierney, Thomas F. “Toward an Affirmative Biopolitics.” Sociological Theory, vol. 34, no. 4, 2016, pp. 358–81. JSTOR, http://www.jstor.org/stable/26382876. Accessed 25 July 2025.

“The Sick Stockrider” by Adam Lindsay Gordon: A Critical Analysis

“The Sick Stockrider” by Adam Lindsay Gordon first appeared in Bush Ballads and Galloping Rhymes in 1870, shortly before the poet’s death.

"The Sick Stockrider" by Adam Lindsay Gordon: A Critical Analysis
Introduction: “The Sick Stockrider” by Adam Lindsay Gordon

“The Sick Stockrider” by Adam Lindsay Gordon first appeared in Bush Ballads and Galloping Rhymes in 1870, shortly before the poet’s death. This iconic Australian bush ballad reflects themes of mateship, mortality, nostalgia, and the rugged but fleeting glory of colonial pastoral life. Set as a deathbed reflection of an aging stockman, the poem’s monologue captures the dying man’s reverie over past adventures, wild chases, friendships, and the unrelenting passage of time. Its popularity stems from Gordon’s vivid evocation of the Australian landscape — “To southward lay ‘Katawa’, with the sandpeaks all ablaze” — and his romantic yet unsentimental portrayal of the bushman’s life. The speaker’s acceptance of death is both stoic and lyrical: “I should live the same life over, if I had to live again; / And the chances are I go where most men go.” The poem resonates deeply with Australian national identity, offering a poignant tribute to the bush ethos and mateship, seen in the bond with Ned and the commemoration of lost comrades: “It seems that you and I are left alone.” Through its blend of realism and romanticism, The Sick Stockrider endures as a cornerstone of Australian literary heritage.

Text: “The Sick Stockrider” by Adam Lindsay Gordon

Hold hard, Ned! Lift me down once more, and lay me in the shade.

     Old man, you’ve had your work cut out to guide

Both horses, and to hold me in the saddle when I sway’d,

     All through the hot, slow, sleepy, silent ride.

The dawn at “Moorabinda” was a mist rack dull and dense,

     The sunrise was a sullen, sluggish lamp;

I was dozing in the gateway at Arbuthnot’s bound’ry fence,

     I was dreaming on the Limestone cattle camp.

We crossed the creek at Carricksford, and sharply through the haze,

     And suddenly the sun shot flaming forth;

To southward lay “Katawa”, with the sandpeaks all ablaze,

     And the flush’d fields of Glen Lomond lay to north.

Now westward winds the bridle path that leads to Lindisfarm,

     And yonder looms the double-headed Bluff;

From the far side of the first hill, when the skies are clear and calm,

     You can see Sylvester’s woolshed fair enough.

Five miles we used to call it from our homestead to the place

     Where the big tree spans the roadway like an arch;

‘Twas here we ran the dingo down that gave us such a chase

     Eight years ago — or was it nine? — last March.


‘Twas merry in the glowing morn, among the gleaming grass,

     To wander as we’ve wandered many a mile,

And blow the cool tobacco cloud, and watch the white wreaths pass,

     Sitting loosely in the saddle all the while.

‘Twas merry ‘mid the blackwoods, when we spied the station roofs,

     To wheel the wild scrub cattle at the yard,

With a running fire of stockwhips and a fiery run of hoofs;

     Oh! the hardest day was never then too hard!


Aye! we had a glorious gallop after “Starlight” and his gang,

     When they bolted from Sylvester’s on the flat;

How the sun-dried reed-beds crackled, how the flint-strewn ranges rang

     To the strokes of “Mountaineer” and “Acrobat”.

Hard behind them in the timber, harder still across the heath,

     Close beside them through the tea-tree scrub we dash’d;

And the golden-tinted fern leaves, how they rustled underneath!

     And the honeysuckle osiers, how they crash’d!

We led the hunt throughout, Ned, on the chestnut and the grey,

     And the troopers were three hundred yards behind,

While we emptied our six-shooters on the bushrangers at bay,

     In the creek with stunted box-tree for a blind!

There you grappled with the leader, man to man and horse to horse,

     And you roll’d together when the chestnut rear’d;

He blazed away and missed you in that shallow watercourse —

     A narrow shave — his powder singed your beard!

In these hours when life is ebbing, how those days when life was young

     Come back to us; how clearly I recall

Even the yarns Jack Hall invented, and the songs Jem Roper sung;

     And where are now Jem Roper and Jack Hall?

Aye! nearly all our comrades of the old colonial school,

     Our ancient boon companions, Ned, are gone;

Hard livers for the most part, somewhat reckless as a rule,

     It seems that you and I are left alone.

There was Hughes, who got in trouble through that business with the cards,

     It matters little what became of him;

But a steer ripp’d up MacPherson in the Cooraminta yards,

     And Sullivan was drown’d at Sink-or-swim.

And Mostyn — poor Frank Mostyn — died at last a fearful wreck,

     In “the horrors”, at the Upper Wandinong,

And Carisbrooke, the rider, at the Horsefall broke his neck,

     Faith! the wonder was he saved his neck so long!

Ah! those days and nights we squandered at the Logans’ in the glen —

     The Logans, man and wife, have long been dead.

Elsie’s tallest girl seems taller than your little Elsie then;

     And Ethel is a woman grown and wed.


I’ve had my share of pastime, and I’ve done my share of toil,

     And life is short — the longest life a span;

I care not now to tarry for the corn or for the oil,

     Or for the wine that maketh glad the heart of man.

For good undone and gifts misspent and resolutions vain,

     ‘Tis somewhat late to trouble. This I know —

I should live the same life over, if I had to live again;

     And the chances are I go where most men go.


The deep blue skies wax dusky, and the tall green trees grow dim,

     The sward beneath me seems to heave and fall;

And sickly, smoky shadows through the sleepy sunlight swim,

     And on the very sun’s face weave their pall.

Let me slumber in the hollow where the wattle blossoms wave,

     With never stone or rail to fence my bed;

Should the sturdy station children pull the bush flowers on my grave,

     I may chance to hear them romping overhead.

Annotations: “The Sick Stockrider” by Adam Lindsay Gordon
Stanza #Simple Annotation (Meaning in Plain English)Literary Devices
1The dying stockman asks Ned to help him off the horse and lay him in the shade after a hard ride.🗣️ Dialogue, 🖼️ Imagery, 😔 Tone of resignation
2He recalls a foggy dawn ride and dreams at the boundary fence of a past cattle camp.🌫️ Atmosphere, 🛌 Dream symbolism, 🔁 Repetition
3The sun breaks through the mist, lighting up the countryside in vivid detail.☀️ Symbolism of sunrise, 🌄 Visual imagery
4He remembers landmarks, old paths, and a long-ago dingo chase, unsure of how long it’s been.🧠 Flashback, 🕰️ Time ambiguity, 🌳 Nature imagery
5Joyful memories of free riding and herding cattle fill his mind with warmth and energy.🎶 Rhythm, 🏇 Kinetic imagery, 😊 Joyful tone
6He recalls a dramatic chase after bushrangers, rich with sound and movement.🔫 Sound effects, ⚡ Action imagery, 🌿 Natural detail
7A close encounter during the gunfight is remembered, highlighting danger and loyalty.🎯 Conflict, 🧍 Suspense, 🔥 Tension
8He reflects on old mates who are now gone, revealing nostalgia and loneliness.💭 Reflection, 👬 Mateship, 🧓 Nostalgia
9He lists the tragic fates of friends, underlining the harshness of bush life.⚰️ Tragedy, 🎭 Irony, 🩹 Mortality
10He accepts his past and mortality, saying he’d live the same life again if given the chance.📿 Regret, 🔄 Acceptance, ⏳ Time symbolism
11As he nears death, he wishes for a peaceful grave in nature, remembered by playful children.🌼 Pastoral imagery, 🧘 Peaceful tone, ⚰️ Death symbolism
Literary And Poetic Devices: “The Sick Stockrider” by Adam Lindsay Gordon
DeviceExample from the PoemExplanation
🔤 Alliteration“hot, slow, sleepy, silent ride”Repetition of consonant sounds for rhythm or emphasis.
📚 Allusion“Starlight and his gang” (reference to bushrangers)Reference to historical or cultural figures to add depth.
Ambiguity“Eight years ago — or was it nine?”Suggests uncertainty or fading memory.
🎵 Assonance“Dozing in the gateway” (long ‘o’ sounds)Repetition of vowel sounds to create internal rhyme or tone.
🌫️ Atmosphere“The dawn at ‘Moorabinda’ was a mist rack dull and dense”Sets mood — often calm, eerie, or reflective.
📜 Ballad FormEntire poem follows rhyme and rhythm typical of bush balladsTraditional narrative style, often oral and musical.
🗣️ Colloquial Language“Hold hard, Ned!”Informal, conversational language reflects the Australian setting.
⚖️ ContrastBetween life and death, past and presentHighlights emotional shifts and life’s changes.
💬 Dialogue“Hold hard, Ned!”Direct speech adds realism and voice.
📝 DictionStraightforward and unpretentious language throughoutReflects bushman’s plain and honest character.
Flashback“We ran the dingo down… eight years ago”Narrator recalls past vividly, tying memory to identity.
🔮 Foreshadowing“Lay me in the shade” (hint at death)Gives clues about the speaker’s approaching death.
😲 Hyperbole“The hardest day was never then too hard!”Exaggeration for emotional impact.
🖼️ Imagery“Gleaming grass”, “sun-dried reed-beds”Appeals to senses to build vivid mental pictures.
🎭 Irony“He missed you… his powder singed your beard!”Humor or tension from unexpected outcomes.
🔗 Metaphor“The sun shot flaming forth”Comparing without “like” or “as” for powerful effect.
🧍 Personification“Smoky shadows… weave their pall”Giving human traits to non-human elements.
🔁 Repetition“And the chances are I go where most men go.”Reinforces resignation and universality of death.
🔔 Rhyme“wreck / neck”, “place / chase”Regular end-rhyme structure enhances rhythm.
⚙️ Symbolism“Wattle blossoms” on his graveRepresents connection to the land and cycle of life.
Themes: “The Sick Stockrider” by Adam Lindsay Gordon

⚰️ 1. Mortality and Acceptance of Death: In “The Sick Stockrider” by Adam Lindsay Gordon, mortality is not presented with fear but with calm reflection and acceptance. The speaker, facing death, speaks with remarkable composure: “Hold hard, Ned! Lift me down once more, and lay me in the shade.” He feels the end drawing near and embraces it, expressing no remorse or dread. Instead, he reflects on his life with clarity and peace, affirming, “I should live the same life over, if I had to live again; / And the chances are I go where most men go.” Nature becomes a final resting place, suggested by his wish to be buried simply: “Let me slumber in the hollow where the wattle blossoms wave.” This fusion of man and landscape reinforces a vision of death as part of life’s cycle, especially in the Australian bush context.


🧑‍🤝‍🧑 2. Mateship and Camaraderie: A central Australian value in “The Sick Stockrider” is mateship — the bond between bushmen forged through shared experience, loyalty, and hardship. The speaker repeatedly addresses Ned with affection and trust, recalling shared adventures: “We led the hunt throughout, Ned, on the chestnut and the grey.” This deep friendship is not only between the living but also with those now gone. Names like “Jem Roper” and “Jack Hall” are fondly remembered: “Our ancient boon companions, Ned, are gone.” While many lived rough lives and died untimely deaths, the narrator’s loyalty and respect endure. The theme of mateship is central to the poem’s emotional depth and to its depiction of colonial identity — rooted in camaraderie over convention.


🌾 3. The Harsh but Heroic Life of the Bush: In “The Sick Stockrider”, Gordon paints a vivid picture of life in the Australian bush — demanding, dangerous, yet deeply fulfilling. The speaker recalls thrilling pursuits and hard labor with pride and joy: “’Twas merry in the glowing morn, among the gleaming grass,” and “The hardest day was never then too hard!” These memories are filled with action, including wild chases and near-death encounters. The environment is both ally and adversary — “sun-dried reed-beds crackled,” and “the golden-tinted fern leaves… rustled underneath.” The land is unforgiving, yet the speaker finds honor in enduring its trials. Through this, Gordon immortalizes the bushman as both worker and warrior, noble through his toughness and loyalty to the land.


4. Memory, Nostalgia, and the Passage of Time: “The Sick Stockrider” is steeped in memory — not as fantasy, but as lived experience now seen through the lens of dying reflection. The speaker drifts through scenes of youth, mateship, and bush adventures: “In these hours when life is ebbing, how those days when life was young / Come back to us.” He doesn’t romanticize; he admits to past mistakes and misspent chances: “For good undone and gifts misspent and resolutions vain.” Yet there is no bitterness — only a quiet, nostalgic affection. Change is acknowledged: “Elsie’s tallest girl seems taller than your little Elsie then.” Memory in the poem becomes a form of immortality, where the fading body gives way to vivid recollections. It is through memory that meaning is restored at life’s end.

Literary Theories and “The Sick Stockrider” by Adam Lindsay Gordon
Literary TheoryApplication to the PoemTextual Evidence
🧑‍🌾 Australian NationalismHighlights key national values such as mateship, rugged individualism, and deep ties to the land. The poem celebrates bush life and colonial toughness.“The sun shot flaming forth”; “The wattle blossoms wave”; “The hardest day was never then too hard!”
🧠 Psychoanalytic CriticismExamines the speaker’s inner world — deathbed reflection reveals repressed memories, emotional resolution, and acceptance of mortality.“I should live the same life over”; “How those days when life was young / Come back to us”
📜 New HistoricismReads the poem within the colonial 19th-century context, showing attitudes towards lawlessness, masculinity, and the bush as frontier territory.“We emptied our six-shooters on the bushrangers at bay”; “Hard livers… somewhat reckless as a rule”
💭 Reader-Response TheoryEmphasizes how interpretation varies by reader. Themes like stoicism, aging, and masculine identity may be viewed differently across time and cultural contexts.“Let me slumber in the hollow”; “Elsie’s tallest girl… taller than your little Elsie then”
Critical Questions about “The Sick Stockrider” by Adam Lindsay Gordon

1. How does “The Sick Stockrider” by Adam Lindsay Gordon reflect the values and identity of colonial Australian life?

“The Sick Stockrider by Adam Lindsay Gordon” is deeply rooted in the ethos of colonial Australia, emphasizing rugged endurance, mateship, and a symbiotic relationship with the bush. The speaker proudly recounts the hardships of bush life without regret: “The hardest day was never then too hard!” This attitude encapsulates the ideal of the hardworking, stoic bushman. The sense of loyalty and camaraderie is equally central: “You and I are left alone,” the speaker tells Ned, highlighting the fading brotherhood of early pioneers. The land itself becomes a part of national identity — described with loving familiarity and awe: “The sun shot flaming forth,” and “Let me slumber in the hollow where the wattle blossoms wave.” These moments affirm a distinctly Australian valorization of resilience, simplicity, and communion with nature.


🧠 2. What does the speaker’s acceptance of death reveal about his character in “The Sick Stockrider” by Adam Lindsay Gordon?

In “The Sick Stockrider by Adam Lindsay Gordon”, the speaker meets death with serenity, demonstrating not just physical courage but also emotional maturity. From the very beginning, he is aware of his imminent end, asking, “Lift me down once more, and lay me in the shade.” His tone remains untroubled and calm throughout, even reflective: “I should live the same life over, if I had to live again.” This suggests a life lived on his own terms — with neither denial nor repentance. He harbors no illusions of glory or salvation, accepting that “the chances are I go where most men go.” His character embodies a stoic, worldly wisdom and emotional steadiness that reflect the archetypal bushman, shaped by hardship and time.


🧑‍🤝‍🧑 3. In what ways does “The Sick Stockrider” by Adam Lindsay Gordon explore the theme of mateship and memory?

Mateship — the bond between men forged through shared experience — is a dominant emotional undercurrent in “The Sick Stockrider by Adam Lindsay Gordon”. The speaker’s relationship with Ned is framed through action, care, and unspoken understanding: “Old man, you’ve had your work cut out to guide / Both horses.” This reliance in adversity is contrasted with memories of other comrades now gone: “Our ancient boon companions, Ned, are gone.” Memory thus becomes a way to keep them alive, even as time erases their physical presence. He speaks not just of the men but of moments — thrilling chases, shared laughter, and songs. In recalling them, “How those days when life was young / Come back to us,” the speaker affirms the emotional truth that bonds formed through hardship become timeless in memory, even as life ends.


🌅 4. How does nature function in “The Sick Stockrider” by Adam Lindsay Gordon — as setting, symbol, or companion?

Nature in “The Sick Stockrider by Adam Lindsay Gordon” is more than backdrop — it is an active presence, shaping experience, memory, and ultimately, death. The Australian landscape is described in vivid detail: “The sun shot flaming forth,” “flush’d fields of Glen Lomond,” and “smoky shadows through the sleepy sunlight.” These moments connect the speaker’s internal world with his environment. Nature mirrors his vitality when he recalls the chase and softens as he nears death, becoming almost a cradle: “Let me slumber in the hollow where the wattle blossoms wave.” The bush is at once harsh and comforting — it provides meaning in life and sanctuary in death. It also serves as a symbol of permanence against the fleeting human life, bearing witness to both youth and final rest.


Literary Works Similar to “The Sick Stockrider” by Adam Lindsay Gordon
  • “Clancy of the Overflow” by Banjo Paterson
    Shares a nostalgic tone and admiration for the independent, free-roaming bushman, celebrating the contrast between city life and the open bush.
  • “The Man from Snowy River” by Banjo Paterson
    Mirrors Gordon’s heroic style and themes of physical courage, endurance, and the thrill of bush pursuits on horseback.
  • “Said Hanrahan” by John O’Brien
    Reflects rural Australian attitudes toward hardship, mateship, and the enduring, skeptical humor of the outback community.
  • “My Country” by Dorothea Mackellar
    Emphasizes emotional attachment to the Australian landscape, echoing Gordon’s vivid natural imagery and national pride.
Representative Quotations of “The Sick Stockrider” by Adam Lindsay Gordon
🔖 Quotation💬 Contextual Interpretation🧠 Theoretical Perspective
“Hold hard, Ned! Lift me down once more, and lay me in the shade.”Opening line showing the speaker’s physical weakness and approaching death; introduces the theme of mortality.Psychoanalytic Criticism
“The hardest day was never then too hard!”Reflects the speaker’s pride in endurance and resilience during his youth in the bush.Australian Nationalism
“I should live the same life over, if I had to live again;”A powerful affirmation of life, with no regrets, even in the face of death.Existentialism / Reader-Response
“Let me slumber in the hollow where the wattle blossoms wave,”Expresses a humble wish for a peaceful, natural resting place—aligned with the landscape.Eco-criticism / Symbolism
“We emptied our six-shooters on the bushrangers at bay,”Recounts a violent, lawless bushranger chase that shows the wildness of colonial life.New Historicism
“How those days when life was young come back to us;”Highlights nostalgia and the clarity of memory at the end of life.Psychoanalytic Criticism
“And the chances are I go where most men go.”A stoic view of death, embracing the inevitability of a common fate.Humanism / Stoicism
“The sun shot flaming forth;”Vivid visual imagery that reflects nature’s grandeur and the emotional intensity of memory.Imagery / Reader-Response
“Our ancient boon companions, Ned, are gone;”Mourns the passing of old friends, emphasizing the value of mateship.Australian Nationalism
“Elsie’s tallest girl seems taller than your little Elsie then;”Subtle reflection on the passage of time and generational change.New Historicism / Time Theory
Suggested Readings: “The Sick Stockrider” by Adam Lindsay Gordon
  1. Reid, Ian. “Marking The Unmarked: An Epitaphic Preoccupation in Nineteenth-Century Australian Poetry.” Victorian Poetry, vol. 40, no. 1, 2002, pp. 7–20. JSTOR, http://www.jstor.org/stable/40002687. Accessed 25 July 2025.
  2. Magner, Brigid. “ADAM LINDSAY GORDON’S GRAVE.” Locating Australian Literary Memory, Anthem Press, 2020, pp. 17–34. JSTOR, https://doi.org/10.2307/j.ctvq4c0xk.6. Accessed 25 July 2025.
  3. Gordon, Adam Lindsay. The sick stockrider. 1939.

“The Geebung Polo Club” by Banjo Paterson: A Critical Analysis

“The Geebung Polo Club” by Banjo Paterson first appeared in 1893 in the Sydney Bulletin magazine and was later included in his celebrated 1895 poetry collection, The Man from Snowy River and Other Verses.

"The Geebung Polo Club" by Banjo Paterson: A Critical Analysis
Introduction: “The Geebung Polo Club” by Banjo Paterson

“The Geebung Polo Club” by Banjo Paterson first appeared in 1893 in the Sydney Bulletin magazine and was later included in his celebrated 1895 poetry collection, The Man from Snowy River and Other Verses. The poem satirizes the stark contrast between rugged bushmen and refined urban elites through the exaggerated tale of a polo match between the wild, unpolished “Geebung Polo Club” and the pretentious “Cuff and Collar Team.” The Geebung team, depicted as fearless and reckless horsemen of the bush, represents the raw vitality and independence of the Australian outback spirit. Meanwhile, the visiting city team, adorned in style and privilege, symbolizes the ineffectual gentility of colonial aristocracy. Paterson’s humor, lively rhythm, and colloquial tone made the poem widely popular, not only for its entertainment but also for its nationalistic undercurrent—celebrating the bushman as the embodiment of Australian identity. The vivid imagery of ghostly riders still battling in the moonlight (“you can see their shadows flitting down that phantom polo ground”) adds a folkloric charm that has helped secure its place as one of Paterson’s most enduring works.

Text: “The Geebung Polo Club” by Banjo Paterson

It was somewhere up the country in a land of rock and scrub,

That they formed an institution called the Geebung Polo Club.

They were long and wiry natives of the rugged mountainside,

And the horse was never saddled that the Geebungs couldn’t ride;

But their style of playing polo was irregular and rash –

They had mighty little science, but a mighty lot of dash:

And they played on mountain ponies that were muscular and strong,

Though their coats were quite unpolished, and their manes and tails were long.

And they used to train those ponies wheeling cattle in the scrub:

They were demons, were the members of the Geebung Polo Club.

It was somewhere down the country, in a city’s smoke and steam,

That a polo club existed, called the Cuff and Collar Team.

As a social institution ’twas a marvellous success,

For the members were distinguished by exclusiveness and dress.

They had natty little ponies that were nice, and smooth, and sleek,

For their cultivated owners only rode ’em once a week.

So they started up the country in pursuit of sport and fame,

For they meant to show the Geebungs how they ought to play the game;

And they took their valets with them – just to give their boots a rub

Ere they started operations on the Geebung Polo Club.

Now my readers can imagine how the contest ebbed and flowed,

When the Geebung boys got going it was time to clear the road;

And the game was so terrific that ere half the time was gone

A spectator’s leg was broken – just from merely looking on.

For they waddied one another till the plain was strewn with dead,

While the score was kept so even that they neither got ahead.

And the Cuff and Collar captain, when he tumbled off to die,

Was the last surviving player – so the game was called a tie.

Then the captain of the Geebungs raised him slowly from the ground,

Though his wounds were mostly mortal, yet he fiercely gazed around;

There was no one to oppose him – all the rest were in a trance,

So he scrambled on his pony for his last expiring chance,

For he meant to make an effort to get victory to his side;

So he struck at goal – and missed it – then he tumbled off and died.

By the old Campaspe River, where the breezes shake the grass,

There’s a row of little gravestones that the stockmen never pass,

For they bear a crude inscription saying, “Stranger, drop a tear,

For the Cuff and Collar players and the Geebung boys lie here.”

And on misty moonlit evenings, while the dingoes howl around,

You can see their shadows flitting down that phantom polo ground;

You can hear the loud collisions as the flying players meet,

And the rattle of the mallets, and the rush of ponies’ feet,

Till the terrified spectator rides like blazes to the pub –

He’s been haunted by the spectres of the Geebung Polo Club.

Annotations: “The Geebung Polo Club” by Banjo Paterson
StanzaSimple AnnotationLiterary Devices
Stanza 1In the rugged countryside, a group of tough local men form a polo club. They are excellent riders but play wildly. Their ponies are strong and trained by chasing cattle, not by proper polo training.🌄 Imagery (“rugged mountainside”, “muscular and strong”)💬 Colloquialism (“mighty lot of dash”)🐎 Alliteration (“muscular and strong”)🎭 Hyperbole (“the horse was never saddled that the Geebungs couldn’t ride”)
Stanza 2In the city, a polished polo club called the Cuff and Collar Team is more about fashion than skill. They go to the country with fancy ponies and servants to impress and teach the Geebungs how to play.🏙️ Contrast (city vs country)🎩 Satire (mocking urban snobbery)🧼 Irony (valets shining boots for a match)🔁 Repetition (“polo club”)
Stanza 3The game is fierce and chaotic. Spectators are even injured. Both teams fight hard until everyone is down, leaving the match tied.⚔️ Hyperbole (“leg was broken – just from merely looking on”)🩸 Imagery (“plain was strewn with dead”)🌀 Alliteration (“contest ebbed and flowed”)😅 Irony (no one wins)
Stanza 4The dying Geebung captain makes one last effort to score, but he misses and dies heroically.🏇 TragedySuspense🗡️ Dramatic Irony (his last act fails)🎭 Heroic Imagery (“last expiring chance”)
Stanza 5A graveyard marks where both teams lie. On misty nights, their ghostly figures are seen still playing polo, scaring travelers.👻 Gothic Imagery (“misty moonlit evenings”)🪦 Personification (“shadows flitting”)🔮 Supernatural Elements🔁 Onomatopoeia (“rattle”, “rush”)
Literary And Poetic Devices: “The Geebung Polo Club” by Banjo Paterson
DeviceExample from PoemExplanation
🅰️ Alliteration“smoke and steam”, “muscular and strong”🗣️ Repetition of the same consonant sound at the beginning of nearby words to create rhythm or emphasis.
🗺️ Allusion“Campaspe River”🔍 Refers to a real place in Australia, grounding the story in local geography and adding realism.
⚖️ Antithesis“mighty little science, but a mighty lot of dash”🔁 Juxtaposition of opposing ideas (logic vs energy) to highlight contrast.
🎶 Assonance“Though their coats were quite unpolished…”🔊 Repetition of vowel sounds within words to enhance musicality.
📜 Ballad FormThe entire poem🪕 A narrative poem written in quatrains with a regular rhyme and rhythm, often telling a dramatic story.
🗨️ Colloquialism“like blazes to the pub”, “mighty lot of dash”🧢 Use of informal, everyday speech, especially Aussie slang, to reflect local character and tone.
🔄 ContrastGeebungs vs. Cuff and Collar Team🌏 A difference drawn between rugged bushmen and urban elites to show social divisions.
🗡️ Dramatic Irony“So he struck at goal – and missed it – then he tumbled off and died.”🎭 When the reader knows more than the character – the audience expects victory but sees futility.
🔗 Enjambment“They had natty little ponies that were nice, and smooth, and sleek / For their cultivated owners only rode ’em once a week.”➡️ When a line runs over to the next without a pause, aiding flow and rhythm.
💥 Exaggeration (Hyperbole)“A spectator’s leg was broken – just from merely looking on.”🤯 Extreme overstatement used humorously to show the intensity of the match.
🔮 Foreshadowing“They were demons, were the members of the Geebung Polo Club.”👀 A hint of future events – their wildness hints at the violent game.
🦸 Heroic Imagery“for his last expiring chance”🌟 Language that makes a character appear brave or noble, glorifying their action even in failure.
😂 Humour“just to give their boots a rub”😆 Witty or absurd elements mocking the vanity and luxury of the city team.
🌄 Imagery“in a land of rock and scrub”, “misty moonlit evenings”👁️ Descriptive language that appeals to the senses to paint vivid mental images.
🤹 Irony“The game was called a tie” (after everyone died)🙃 A twist between expectation and outcome, often humorous or tragic.
🔉 Onomatopoeia“rattle of the mallets”, “rush of ponies’ feet”🐴 Words that imitate natural sounds to make scenes more vivid.
👤 Personification“shadows flitting down that phantom polo ground”🌬️ Giving human traits to non-human things, like shadows and ghosts.
🎭 SatirePortrayal of Cuff and Collar Team🧐 Use of humor and ridicule to expose the silliness of upper-class pride.
🌍 Setting“Somewhere up the country” vs. “a city’s smoke and steam”🏞️ Describes place and environment, reinforcing cultural and class contrasts.
👻 Supernatural Elements“haunted by the spectres of the Geebung Polo Club”☠️ Use of ghosts and the afterlife to give the poem a legendary, eerie ending.
Themes: “The Geebung Polo Club” by Banjo Paterson

🏇 1. Bush Heroism and Rugged Masculinity: The poem celebrates the toughness, fearlessness, and raw masculinity of the Australian bushmen through the portrayal of the Geebung Polo Club. Paterson constructs a heroic image of the Geebungs, describing them as “long and wiry natives of the rugged mountainside,” whose unpolished but powerful ponies and fearsome riding skills define their untamed spirit. Though they lack “science” or refined technique, they possess “a mighty lot of dash,” suggesting a valor rooted in instinct, strength, and sheer willpower. This glorification of the bushman’s physical resilience and indomitable pride aligns with the Australian cultural ideal of the larrikin hero, someone who defies convention yet earns admiration. Even in death, the Geebung captain rises for “his last expiring chance,” exemplifying how bravery and loyalty to one’s side are honored above all else in bush culture.


🎩 2. Social Class and Urban Elitism: A strong theme of class conflict and social satire runs through the poem, contrasting the Geebungs’ bush roughness with the pretentious refinement of the city-based “Cuff and Collar Team.” Paterson mocks the team’s obsession with appearances and leisure, emphasizing that they only ride their ponies “once a week” and bring “valets” to polish their boots before the game. This contrast is not just about skill but about authenticity versus artificiality, with the urban players representing an elite class disconnected from real labor and nature. The poem ridicules their arrogance in thinking they can “show the Geebungs how they ought to play the game,” only to be met with an equal match that ends in deadly chaos. Through this biting satire, Paterson elevates the bushmen while criticizing the superficiality of upper-class colonial society.


⚔️ Violence, Competition, and the Absurdity of Glory: The exaggerated violence of the polo match, where players “waddied one another till the plain was strewn with dead,” suggests a darkly humorous critique of competitiveness taken to absurd extremes. Paterson transforms a gentleman’s sport into a battlefield, mocking the idea that honor and pride must be defended—even at the cost of life. The poem’s climax, where all players are either dead or dying and “the game was called a tie,” undercuts the notion of glory by showing its futility. Even the Geebung captain’s dramatic final strike, full of courage and resolve, results in a missed goal and a meaningless death. This theme forces readers to question whether the cost of such unrelenting competition is justified, particularly when the reward is nothing more than posthumous legend.


👻 Folklore and the Supernatural Legacy: Paterson ends the poem on a haunting and memorable note, evoking a folkloric and supernatural dimension that transcends the physical match. The final stanza introduces ghostly imagery—“their shadows flitting down that phantom polo ground”—which suggests that the spirits of the players are immortalized in the bush mythos. This spectral conclusion, where terrified spectators flee the field haunted by the game’s echoes, illustrates how legend and memory endure beyond death, especially in a culture that values storytelling. The graves by the Campaspe River bearing the inscription “Stranger, drop a tear” position the fallen players not as victims but as heroes of myth. Thus, the poem transforms a violent, comic conflict into a timeless story woven into Australia’s rural folklore.

Literary Theories and “The Geebung Polo Club” by Banjo Paterson
📘 Literary Theory🔍 Application to the Poem📖 Poem Reference
🧔‍♂️ Marxist CriticismExamines the class struggle between the working-class bushmen (Geebungs) and the elite city dwellers (Cuff and Collar Team). The poem critiques upper-class vanity and celebrates the strength and authenticity of the rural poor.“For the members were distinguished by exclusiveness and dress” vs. “They had mighty little science, but a mighty lot of dash.”
🇦🇺 Postcolonial TheoryReflects the shaping of a distinct Australian identity in contrast to British colonial refinement. The Geebungs embody native strength and independence, resisting imported norms like polished polo culture.“They used to train those ponies wheeling cattle in the scrub” vs. “They took their valets with them – just to give their boots a rub.”
🎭 StructuralismHighlights the binary opposition between bush/city, wild/civilized, working class/upper class. These opposites drive the narrative and give symbolic meaning to the conflict.“Geebung Polo Club” vs. “Cuff and Collar Team” → the names alone encode opposition.
🧙 Psychoanalytic CriticismSuggests unconscious drives like ego, pride, and aggression motivate both sides. The Geebung captain’s final act is driven by ego even as he is dying, reflecting the unconscious need to dominate.“He scrambled on his pony for his last expiring chance… then he tumbled off and died.”
Critical Questions about “The Geebung Polo Club” by Banjo Paterson

❓🔍 1. What does “The Geebung Polo Club” by Banjo Paterson suggest about Australian national identity?

In “The Geebung Polo Club”, Banjo Paterson presents a vision of national identity rooted in rural resilience and anti-elitism.
The Geebungs, described as “long and wiry natives of the rugged mountainside,” represent the rugged, independent bushman archetype. Their polo is unrefined, but they have “a mighty lot of dash,” signifying a culture that values courage and grit over polish. In contrast, the urban Cuff and Collar Team symbolizes colonial elegance and detachment from the land. By glorifying the bushmen’s raw energy and dismissing the pretentiousness of the urban elite, Paterson contributes to a broader Australian nationalism that honors toughness, mateship, and the authenticity of the outback.


❓⚖️ 2. How does “The Geebung Polo Club” by Banjo Paterson use humor to critique class and society?

In “The Geebung Polo Club”, Banjo Paterson uses sharp humor and satire to expose social pretensions.
The poem is full of comical contrasts, such as the city players bringing valets “just to give their boots a rub,” while the Geebungs train their ponies chasing cattle. Paterson humorously inflates the stakes of the polo match—“a spectator’s leg was broken just from merely looking on”—to ridicule the ineffectiveness of elite refinement in the face of real-world roughness. This biting humor highlights the absurdity of the urban class’s confidence and the poem ultimately sides with the bush, mocking the city’s misplaced sense of superiority.


❓⚔️ 3. What role does violence play in “The Geebung Polo Club” by Banjo Paterson?

In “The Geebung Polo Club”, Banjo Paterson uses exaggerated violence to critique the destructiveness of pride and rivalry.
The game turns into a bloody free-for-all where “the plain was strewn with dead,” and the last man standing still dies after a failed final effort. This hyperbolic portrayal of competition illustrates how both teams’ obsession with dominance leads to mutual destruction. Paterson uses this to satirize not only sporting bravado but also deeper societal ideas of masculinity, where glory is pursued at any cost—even absurd, fatal ends. The violence is both comic and tragic, forcing readers to question what real victory means.


❓👻 4. What is the significance of the ghostly ending in “The Geebung Polo Club” by Banjo Paterson?

In “The Geebung Polo Club”, Banjo Paterson closes with a ghostly, folkloric twist to mythologize the bushmen.
As the spirits of the dead teams continue to play under the moonlight—“you can see their shadows flitting down that phantom polo ground”—Paterson transforms their earthly conflict into a permanent legend. This spectral imagery adds a haunting reverence, implying that their story now lives beyond reality in the collective imagination. The poem ends not just with a satirical tale, but with a supernatural tribute to enduring bush courage. The frightened pub-goer in the final line humorously suggests that such mythic feats leave a powerful psychological legacy.


Literary Works Similar to “The Geebung Polo Club” by Banjo Paterson
  1. The Man from Snowy River” by Banjo Paterson
    Shares the same themes of bush heroism and physical courage, featuring a legendary rider who triumphs through grit and daring—just like the fearless members of “The Geebung Polo Club”.
  2. Clancy of the Overflow” by Banjo Paterson
    Explores the contrast between rural freedom and city life, mirroring the cultural divide between the wild Geebungs and the refined Cuff and Collar Team in “The Geebung Polo Club”.
  3. Said Hanrahan” by John O’Brien
    Uses dry humor, local speech, and outback characters to reflect rural Australian culture, echoing the tone and comic realism found in “The Geebung Polo Club”.
  4. “The Bush Christening” by Banjo Paterson
    A humorous bush ballad filled with chaos and rustic characters, showcasing the same exaggerated storytelling style as “The Geebung Polo Club”.
  5. “The Shooting of Dan McGrew” by Robert W. Service
    Combines frontier violence, dramatic tension, and ballad form, similar to the rough action and dark humor in “The Geebung Polo Club”.
Representative Quotations of “The Geebung Polo Club” by Banjo Paterson
QuotationContextual InterpretationTheoretical Perspective
“They were long and wiry natives of the rugged mountainside”Describes the physical toughness of the Geebungs, symbolizing the bushman’s resilience and connection to harsh land.Postcolonial Theory – Emphasizes Australian identity formed through landscape and resistance to colonial refinement.
“They had mighty little science, but a mighty lot of dash”Highlights the Geebungs’ lack of formal technique but abundance of courage and spirit.Marxist Criticism – Celebrates working-class energy over elite sophistication.
“They took their valets with them – just to give their boots a rub”Mocks the city team’s absurd dependence on luxury and social status.Satirical Critique / Class Theory – Exposes the pretentiousness of the upper class.
“A spectator’s leg was broken – just from merely looking on”Exaggerates the chaotic intensity of the match to a comic degree.Structuralism – Uses hyperbole within binary conflict of chaos vs. order.
“The plain was strewn with dead”Dramatizes the violent outcome of the polo match, resembling a battlefield.Psychoanalytic Criticism – Reveals the death drive (Thanatos) underlying competitive instincts.
“So he scrambled on his pony for his last expiring chance”The Geebung captain’s final heroic effort before death.Heroic Archetype / Myth Criticism – Reflects the tragic, noble bush hero.
“He struck at goal – and missed it – then he tumbled off and died.”The futility of the captain’s last attempt shows the emptiness of glory.Existential Criticism – Highlights absurdity and failure despite noble effort.
“Stranger, drop a tear, for the Cuff and Collar players and the Geebung boys lie here.”The gravestone inscription unites both teams in death, elevating the story to legend.Reader-Response Theory – Invites emotional connection and reflection from the reader.
“You can see their shadows flitting down that phantom polo ground”Introduces ghostly imagery to suggest their eternal myth in folklore.Gothic / Folkloric Criticism – Blends legend, supernatural, and memory.
“He’s been haunted by the spectres of the Geebung Polo Club.”The comic-horror ending underlines the lasting power of myth and fear.Postmodern Irony – Mixes humor and the supernatural to challenge narrative closure.
Suggested Readings: “The Geebung Polo Club” by Banjo Paterson
  1. Reid, Ian. “Marking The Unmarked: An Epitaphic Preoccupation in Nineteenth-Century Australian Poetry.” Victorian Poetry, vol. 40, no. 1, 2002, pp. 7–20. JSTOR, http://www.jstor.org/stable/40002687. Accessed 24 July 2025.
  2. Boyer, Kim. “The demise of the Geebung Polo Club: a failure in health services planning?.” (2009).
  3. Semmler, Clement. “Kipling and A. B. Paterson: Men of Empire and Action.” The Australian Quarterly, vol. 39, no. 2, 1967, pp. 71–78. JSTOR, https://doi.org/10.2307/20634130. Accessed 24 July 2025.
  4. Morgan, Patrick. “Australian Literature Through Time and Place.” Antipodes, vol. 8, no. 2, 1994, pp. 115–19. JSTOR, http://www.jstor.org/stable/41958469. Accessed 24 July 2025.

“El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson: A Critical Analysis

“El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson first appeared in The Bulletin on 28 February 1885.

"El Mahdi to The Australian Troops" by A.B. "Banjo" Paterson: A Critical Analysis
Introduction: “El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson

“El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson first appeared in The Bulletin on 28 February 1885. This early anti-imperialist poem, written during the Mahdist War in Sudan, reflects Paterson’s opposition to colonial militarism and Australia’s involvement in foreign conflicts under British command. The poem did not appear in one of Paterson’s main published collections, but it remains significant as a political and rhetorical piece from his early career. Through the voice of the Mahdi—a Sudanese leader resisting Anglo-Egyptian rule—Paterson questions the motives behind Australia’s support for British imperial interests. He condemns the deployment of Australian troops to Sudan as morally unjust, characterizing the war as an effort “to crush the weak and aid the oppressing strong” and defend “the Puppet Khedive” and financial interests like “the Hebrew loan.” Paterson juxtaposes Australia’s identity as a land of “liberty and law” with its betrayal of those values by participating in “this unholy war.” The poem’s popularity stems from its bold critique of empire, its evocative moral stance, and its early expression of Australian national identity distinct from British colonial policy.

Text: “El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson

And wherefore have they come, this warlike band,

That o’er the ocean many a weary day

Have tossed; and now beside Suakim’s Bay,

With faces stern and resolute, do stand,

Waking the desert’s echoes with the drum —

Men of Australia, wherefore have ye come?


To keep the Puppet Khedive on the throne,

To strike a blow for tyranny and wrong,

To crush the weak and aid the oppressing strong!

Regardless of the hapless Fellah’s moan,

To force the payment of the Hebrew loan,

Squeezing the tax like blood from out the stone?


And fair Australia, freest of the free,

Is up in arms against the freeman’s fight;

And with her mother joined to crush the right —

Has left her threatened treasures o’er the sea,

Has left her land of liberty and law

To flesh her maiden sword in this unholy war.


Enough! God never blessed such enterprise —

England’s degenerate Generals yet shall rue

Brave Gordon sacrificed, when soon they view

The children of a thousand deserts rise

To drive them forth like sand before the gale —

God and the Prophet! Freedom will prevail.


Annotations: “El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson
StanzaSimple English AnnotationLiterary DevicesExamples & Explanations
1The poem questions why Australian soldiers have traveled so far from home and now stand at Suakim’s Bay, ready for battle. It highlights the strangeness and moral confusion of their presence in a foreign desert.❓ Rhetorical Question🌊 Imagery⚔️ Alliteration🎭 Irony“Wherefore have they come” – emphasizes moral doubt and lack of reason.”Tossed o’er the ocean,” “Waking the desert’s echoes” – vivid sensory images of journey and setting.”Warlike band,” “faces firm” – reinforces tone and emotion.”Men of Australia, wherefore…” – irony in questioning a free nation’s support of empire.
2The speaker accuses Australia of fighting not for justice, but to protect a corrupt ruler (Khedive), support oppression, ignore the suffering of the locals, and enforce foreign debt payments.💥 Contrast🗣️ Allusion🩸 Simile😢 Emotive Language“To crush the weak and aid the oppressing strong” – highlights injustice.”Puppet Khedive,” “Hebrew loan” – references to Egypt’s British-controlled ruler and foreign debts.”Like blood from out the stone” – shows the cruelty of extreme taxation.”Hapless Fellah’s moan” – evokes sympathy for Egyptian peasants.
3Australia, known as a free and just country, has ironically joined Britain (“her mother”) in crushing freedom overseas. It abandons its own nation and values to fight a morally unjust war abroad for the first time.🌏 Irony👩‍👧 Metaphor🗡️ Personification⚖️ Juxtaposition“Freest of the free…against the freeman’s fight” – Australia betrays its values.”Her mother” = Britain – metaphor for colonial loyalty.”Flesh her maiden sword” – Australia’s first military involvement is personified.”Liberty and law” vs. “unholy war” – contrast between ideals and actions.
4The speaker declares that God does not support this unjust war. British generals will regret sacrificing Gordon when desert fighters rise in rebellion and sweep them away. The poem ends with a call to religious and moral resistance.⛔ Exclamation🌬️ Simile🕌 Religious Allusion⚰️ Historical Allusion“Enough! God never blessed…” – moral rejection of the cause.”Like sand before the gale” – rebels will be powerful and unstoppable.”God and the Prophet!” – Islamic perspective of resistance.”Brave Gordon sacrificed” – refers to General Charles Gordon’s death in Sudan (1885).
Literary And Poetic Devices: “El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson
DeviceExample from PoemExplanation
⚔️ Alliteration“faces firm” (implied)Repetition of consonant sounds at the beginning of words to create rhythm or emphasis.
📚 Allusion (Historical)“Brave Gordon sacrificed”Reference to General Charles Gordon, connecting the poem to real British imperial history.
🕌 Allusion (Religious)“God and the Prophet! Freedom will prevail”Invokes Islam to give moral and spiritual legitimacy to the Mahdi’s resistance.
✝️ Appeal to Authority (God)“God never blessed such enterprise”Uses divine disapproval to judge and reject the war’s morality.
🎶 Assonance“stone…moan…loan”Repetition of vowel sounds in nearby words to build musical effect and cohesion.
⚖️ Contrast / Juxtaposition“freest of the free…to crush the right”Shows moral contradictions between Australia’s ideals and its actions.
😢 Emotive Language“hapless Fellah’s moan”Words that stir feelings of pity and compassion toward the oppressed.
➡️ EnjambmentUsed across lines throughout all stanzasWhen a sentence runs onto the next line without a pause, speeding up the pace.
❗ Exclamation“Enough!”A dramatic punctuation that signals emotion, urgency, or command.
🔥 Hyperbole“Squeezing the tax like blood from out the stone”Deliberate exaggeration to stress cruelty and oppression.
🌅 Imagery“Waking the desert’s echoes with the drum”Descriptive language that creates sensory experiences in the reader’s mind.
🎭 Irony“Fair Australia…to crush the right”A statement that contradicts expectations, showing Australia betraying its values.
🧠 Metaphor“Puppet Khedive,” “flesh her maiden sword”Direct comparison, suggesting Egypt’s ruler is controlled and Australia is inexperienced.
🔄 Paradox“freest of the free…against the freeman’s fight”A contradiction that reveals deeper truths about hypocrisy.
👤 Personification“Flesh her maiden sword”Australia is given human traits, portrayed as a young warrior.
🗳️ Political CritiqueThe entire poemThe poem critiques British imperialism and Australia’s blind support of it.
🔁 Repetition“Wherefore have ye come?”Repeating key phrases to emphasize moral questioning and criticism.
Rhetorical Question“Men of Australia, wherefore have ye come?”A question not meant to be answered; used to provoke reflection or challenge the audience.
🎯 Satire“To keep the Puppet Khedive on the throne”Uses mocking tone to expose the absurd motives behind imperial actions.
🩸 Simile“Like blood from out the stone,” “Like sand before the gale”A comparison using “like” or “as” to create strong visual imagery.
Themes: “El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson

⚔️ 1. Imperialism and Foreign Intervention: In “El Mahdi to The Australian Troops”, Paterson fiercely critiques the role of colonial powers, especially Britain and its dominions like Australia, in foreign imperialist ventures. The poem frames the Australian expedition to Sudan not as a noble act of duty, but as a shameful extension of British imperial greed. The speaker, in the voice of the Mahdi, scorns Australia for participating in a war to uphold the “Puppet Khedive”, a ruler installed by foreign powers. Paterson questions, “To strike a blow for tyranny and wrong…To force the payment of the Hebrew loan,” revealing that the war was more about protecting European political and financial interests than justice. The use of the term puppet implies a lack of legitimacy in local governance, manipulated by outside empires. This theme presents imperialism as morally corrupt and damaging to the people it claims to help.


🩸 2. Hypocrisy of Colonial Powers: Paterson highlights the hypocrisy of Australia and Britain, nations that pride themselves on values like liberty and justice, yet wage war against those fighting for freedom. The poet bitterly contrasts Australia’s national identity—“fair Australia, freest of the free”—with her actions, accusing her of joining with her colonial mother to “crush the right.” By describing Australia as having “left her land of liberty and law / To flesh her maiden sword in this unholy war,” the poem underscores the betrayal of foundational democratic ideals. This hypocrisy is especially potent because it is Australia’s first overseas military engagement, yet it is not a defense of liberty, but an attack on it. Through irony and contrast, the poem shows how rhetoric of freedom is often used to justify acts of aggression and subjugation.


🕊️ 3. Resistance and Moral Justice: The poem’s speaker—voicing the Mahdi—predicts a righteous uprising against colonial oppression. Paterson conveys the message that while imperial armies may seem powerful, they cannot suppress the spirit of a people fighting for their freedom. He warns that “The children of a thousand deserts rise / To drive them forth like sand before the gale.” This vivid simile reflects the unstoppable nature of grassroots rebellion, driven by a deep moral and spiritual conviction. The invocation of “God and the Prophet!” at the end transforms the conflict into a sacred cause, not just a political one. Paterson suggests that divine justice will ultimately prevail, and that history will not favor those who support conquest over liberty. This theme affirms the power and legitimacy of indigenous resistance movements.


🎭 4. Moral Disillusionment with War: Throughout the poem, Paterson expresses a deep disillusionment with war, especially when it is fought for unjust or unclear reasons. The opening rhetorical question, “Men of Australia, wherefore have ye come?” introduces the tone of doubt and moral confusion. The poem does not glorify military action; instead, it exposes the hollowness of fighting a war “to crush the weak and aid the oppressing strong.” This critique extends beyond Australia to Britain’s entire imperial campaign, as Paterson laments that “England’s degenerate Generals yet shall rue / Brave Gordon sacrificed.” The war is portrayed as an unholy enterprise, driven by politics and profit rather than any noble cause. The poem’s voice—full of bitterness and condemnation—reflects a broader 19th-century skepticism toward colonial military adventures, a theme that resonates even today.

Literary Theories and “El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson
Literary TheoryApplication to the PoemReference from the Poem
🌍 Postcolonial TheoryThis theory examines the impact and legacy of colonialism. Paterson critiques British imperialism and Australia’s complicity in colonial warfare. The speaker voices the resistance of the colonized (the Mahdi), challenging the moral legitimacy of empire.“To crush the weak and aid the oppressing strong!”“To keep the Puppet Khedive on the throne” – emphasizes foreign control and native resistance.
💰 Marxist TheoryFocuses on power, class, and economic exploitation. The poem frames the war as a capitalist venture to protect elite financial interests (e.g., foreign loans), while the poor (“hapless Fellah”) suffer.“To force the payment of the Hebrew loan”“Squeezing the tax like blood from out the stone” – critiques economic oppression and financial motives of empire.
⚖️ Moral/Philosophical CriticismAnalyzes literature through ethical concerns. Paterson questions the morality of war, especially one waged by a “free” nation against people fighting for their freedom. He appeals to divine and moral judgment.“God never blessed such enterprise”“Fair Australia, freest of the free…to crush the right” – moral contradiction and ethical judgment.
📢 Reader-Response TheoryExplores how a reader’s background affects interpretation. Australians at the time may have read this as unpatriotic; modern readers may view it as a bold anti-war statement. The poem invites strong personal reactions through rhetorical questions and irony.“Men of Australia, wherefore have ye come?” – provokes critical reflection from readers about national identity and military action.
Critical Questions about “El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson

1. How does the poem portray Australia’s national identity, and what contradictions does it reveal?

“El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson exposes a stark contradiction in Australia’s national identity. Paterson refers to Australia as “fair Australia, freest of the free”, evoking pride in its liberal democratic values and geographical distance from European conflicts. However, he contrasts this identity by showing Australia’s participation in an unjust colonial war—“to crush the right”—in support of the British Empire. This contradiction is intensified when Paterson writes, “Has left her land of liberty and law / To flesh her maiden sword in this unholy war”. Australia’s symbolic “maiden sword” implies innocence lost in a morally corrupt endeavor. Through these contradictions, Paterson suggests that the young nation, while founded on ideals of freedom, is betraying them through imperial obedience.


💰 2. What role does economic motivation play in the poem’s critique of war?

“El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson portrays economic exploitation as a central, corrupting force behind the Sudan campaign. The poem cynically highlights the war’s real purpose not as a fight for justice, but as an effort to secure financial interests: “To force the payment of the Hebrew loan / Squeezing the tax like blood from out the stone”. This vivid simile reveals the brutal pressure placed on Egypt’s poor (the “hapless Fellah”) to repay debts to European financiers. Paterson condemns the manipulation of military force for profit, illustrating that the war is less about liberating the oppressed than it is about preserving the financial system of empire. This perspective positions the entire campaign as a form of economic imperialism, where the lives of locals are sacrificed to satisfy distant creditors.


⚔️ 3. How does Paterson use the voice of the Mahdi to challenge imperial narratives?

In “El Mahdi to The Australian Troops”, A.B. “Banjo” Paterson adopts the imagined voice of the Mahdi—a leader of anti-colonial resistance—to reverse the usual imperial perspective. Instead of glorifying the British Empire’s mission, the Mahdi condemns it as morally bankrupt, asking rhetorically: “Men of Australia, wherefore have ye come?” This reversal of voice allows the colonized to question the colonizers, exposing the hypocrisy of their motives. Through lines like “To keep the Puppet Khedive on the throne”, Paterson highlights how colonial powers impose illegitimate rulers to maintain control. The Mahdi’s final proclamation—“God and the Prophet! Freedom will prevail”—turns the resistance into a sacred, unstoppable movement, thereby undermining imperial claims of civilization and righteousness. By doing this, Paterson invites readers to reconsider whose voices are heard in history and war.


🕊️ 4. What is the poem’s message about justice and divine authority in warfare?

“El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson presents war as unjust when motivated by empire rather than principle, and it asserts that divine authority does not bless such violence. The poem clearly disapproves of the war’s ethical basis, stating: “God never blessed such enterprise”. This line introduces a spiritual judgment that supersedes military or political logic. Paterson uses religion not to justify war—as was common in imperial rhetoric—but to oppose it. The Mahdi’s defiant closing—“God and the Prophet! Freedom will prevail”—echoes this theme, positioning justice and divine will alongside indigenous resistance, not British conquest. In doing so, the poem challenges the reader to view the conflict not as a clash of empires, but as a moral struggle in which true justice lies with the oppressed.

Literary Works Similar to “El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson
  • The White Man’s Burden” by Rudyard Kipling
    ↪ Similar in theme but opposite in tone, this poem promotes imperialism, offering a counterpoint to Paterson’s anti-colonial critique.
  • Dulce et Decorum Est” by Wilfred Owen
    ↪ Shares Paterson’s condemnation of blind patriotism and glorified war, exposing its brutality and moral cost.
  • The Charge of the Light Brigade” by Alfred, Lord Tennyson
    ↪ Like Paterson’s poem, this reflects on the futility and tragedy of imperial military ventures, though with more heroic framing.
  • “Recessional” by Rudyard Kipling
    ↪ A cautionary imperial poem warning Britain against arrogance, aligning with Paterson’s spiritual critique of empire.
  • The Man He Killed” by Thomas Hardy
    ↪ Echoes Paterson’s anti-war sentiment by highlighting the absurdity and shared humanity behind colonial conflict.
Representative Quotations of “El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson
🔖 QuotationContextual ExplanationTheoretical Perspective
“Men of Australia, wherefore have ye come?”Opens with a rhetorical question that challenges the moral basis for Australia’s involvement in a foreign war.Moral/Philosophical Criticism
🧵 “To keep the Puppet Khedive on the throne”Refers to the British-installed ruler of Egypt, portraying him as a mere tool of empire.Postcolonial Theory
🩸 “Squeezing the tax like blood from out the stone”A violent simile condemning imperial economic exploitation of poor Egyptians.Marxist Theory
⚖️ “Fair Australia, freest of the free”Ironic praise that contrasts Australia’s democratic identity with its oppressive actions abroad.Postcolonial Theory
🗡️ “To flesh her maiden sword in this unholy war”Personifies Australia as inexperienced in war, and morally tainted by its first violent action.Feminist & National Identity Theory
🕊️ “God never blessed such enterprise”A strong moral judgment, suggesting the war lacks divine or ethical legitimacy.Moral/Philosophical Criticism
🌪️ “To drive them forth like sand before the gale”A simile predicting the uprising of local forces against British imperialists.Postcolonial Theory
📿 “God and the Prophet! Freedom will prevail.”Ends with a spiritual and revolutionary call, legitimizing indigenous resistance through religion.Postcolonial & Religious Criticism
💰 “To force the payment of the Hebrew loan”Exposes the financial motives behind the war, hinting at capitalist and ethnic critiques.Marxist Theory
🎭 “To crush the weak and aid the oppressing strong!”Criticizes the betrayal of justice by imperial powers through stark moral inversion.Ethical & Political Criticism
Suggested Readings: “El Mahdi to The Australian Troops” by A.B. “Banjo” Paterson
  1. Birtles, Terry. “Andrew Barton (‘Banjo’) Paterson, bush poet, lawyer and journalist.” MARGIN: Monash Australiana Research Group Informal Notes 68 (2006): 21-39.
  2. Magner, Brigid. “THE MULTIPLE BIRTHPLACES OF A. B. ‘BANJO’ PATERSON.” Locating Australian Literary Memory, Anthem Press, 2020, pp. 91–112. JSTOR, https://doi.org/10.2307/j.ctvq4c0xk.10. Accessed 24 July 2025.
  3. Semmler, Clement. “Kipling and A. B. Paterson: Men of Empire and Action.” The Australian Quarterly, vol. 39, no. 2, 1967, pp. 71–78. JSTOR, https://doi.org/10.2307/20634130. Accessed 24 July 2025.
  4. A. B. (“BANJO”) PATERSON. “A. B. (‘BANJO’) PATERSON: 1864–1941.” Poetry in Australia, Volume I: From the Ballads to Brennan, edited by T. INGLIS MOORE, 1st ed., University of California Press, 1965, pp. 98–109. JSTOR, http://www.jstor.org/stable/jj.2430471.46. Accessed 24 July 2025.

“A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson: A Critical Analysis

“A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson first appeared in The Bulletin in the late 19th century and was later included in his 1896 poetry collection A Long Way After Gordon.

"A Dream Of The Melbourne Cup" by A.B. 'Banjo' Paterson: A Critical Analysis
Introduction: “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson

“A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson first appeared in The Bulletin in the late 19th century and was later included in his 1896 poetry collection A Long Way After Gordon. This humorous and vivid poem captures the feverish excitement and chaos of Australia’s most famous horse race—the Melbourne Cup—through the surreal lens of a dream brought on by overeating. Paterson satirizes the national obsession with gambling and racing, portraying both the thrill and foolishness of punters driven by “the greed of the gain of gold.” The poem’s structure mimics the intensity of a race, accelerating with rhythmic energy and culminating in a comic twist where the dreamer awakens with indigestion and no winnings. Its enduring popularity lies in its blend of nationalism, sharp social commentary, and Paterson’s masterful use of larrikin wit and ballad form. With its vivid imagery—like the “hoofs… roar like a mighty drum” and the desperate shout of punters—Paterson captures a uniquely Australian cultural ritual while critiquing its excesses. The satirical depiction of shady bookmakers (“hook-nosed hog”), the mob mentality, and the dream’s anticlimax resonate with readers as both familiar and farcical, securing its place as a cherished piece of Australiana.

Text: “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson

A Long Way After Gordon

Bring me a quart of colonial beer

And some doughy damper to make good cheer,

   I must make a heavy dinner;

Heavily dine and heavily sup,

Of indigestible things fill up,

Next month they run the Melbourne Cup,

   And I have to dream the winner.

Stoke it in, boys! the half-cooked ham,

The rich ragout and the charming cham,

   I’ve got to mix my liquor;

Give me a gander’s gaunt hind leg,

Hard and tough as a wooden peg,

And I’ll keep it down with a hard-boiled egg,

   ‘Twill make me dream the quicker.


Now that I’m full of fearful feed,

Oh, but I’ll dream of a winner indeed,

   In my restless, troubled slumber;

While the nightmares race through my heated brain

And their devil riders spur amain,

The trip for the Cup will reward my pain,

   And I’ll spot the winning number.


Thousands and thousands and thousands more,

Like sands on the white Pacific shore,

   The crowding people cluster;

For evermore it’s the story old,

While races are bought and backers are sold,

Drawn by the greed of the gain of gold,

   In their thousands still they muster.


 And the bookies’ cries grow fierce and hot,

“I’ll lay the Cup! The double, if not!”

   “Five monkeys, Little John, sir!”

“Here’s fives bar one, I lay, I lay!”

And so they shout through the live-long day,

And stick to the game that is sure to pay,

   While fools put money on, sir!

And now in my dream I seem to go

And bet with a “book” that I seem to know —

   A Hebrew moneylender;

A million to five is the price I get —

Not bad! but before I book the bet

The horse’s name I clean forget,

   His number and even gender.

Now for the start, and here they come,

And the hoof-strokes roar like a mighty drum

   Beat by a hand unsteady;

They come like a rushing, roaring flood,

Hurrah for the speed of the Chester blood!

For Acme is making the pace so good

   They are some of ’em done already.


But round the track she begins to tire,

And a mighty shout goes up: “Crossfire!”

   The magpie jacket’s leading;

And Crossfire challenges fierce and bold,

And the lead she’ll have and the lead she’ll hold,

But at length gives way to the black and gold,

   Which right to the front is speeding.


Carry them on and keep it up —

A flying race is the Melbourne Cup,

   You must race and stay to win it;

And old Commotion, Victoria’s pride,

Now takes the lead with his raking stride,

And a mighty roar goes far and wide —

   “There’s only Commotion in it!”


But one draws out from the beaten ruck

And up on the rails by a piece of luck

   He comes in a style that’s clever;

“It’s Trident! Trident! Hurrah for Hales!”

“Go at ’em now while their courage fails;”

“Trident! Trident! for New South Wales!”

   “The blue and white for ever!”


Under the whip! With the ears flat back,

Under the whip! Though the sinews crack,

   No sign of the base white feather:

Stick to it now for your breeding’s sake,

Stick to it now though your hearts should break,

While the yells and roars make the grandstand shake,

   They come down the straight together.

Trident slowly forges ahead,

The fierce whips cut and the spurs are red,

   The pace is undiminished;

Now for the Panics that never fail!

But many a backer’s face grows pale

As old Commotion swings his tail

   And swerves — and the Cup is finished.


 And now in my dream it all comes back:

I bet my coin on the Sydney crack,

   A million I’ve won, no question!

“Give me my money, you hook-nosed hog!

Give me my money, bookmaking dog!”

But he disappears in a kind of fog,

   And I woke with “the indigestion”.

Annotations: “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson

StanzaSimple ExplanationLiterary Devices Used
Stanza 1The speaker plans to eat a heavy meal to help him dream of the Melbourne Cup winner.🍽️ Imagery, 💤 Irony, 🎵 Rhythm
Stanza 2He eats strange, heavy, even unpleasant food, believing it will help him dream faster.🍽️ Imagery, 🎭 Satire, 🎵 Rhythm
Stanza 3He falls into troubled sleep filled with nightmarish racing images.🌪️ Personification, 🐴 Symbolism, 🌀 Hyperbole
Stanza 4Massive crowds attend the race, driven by greed and corruption in gambling.🌀 Hyperbole, 🎭 Satire, 🐴 Symbolism
Stanza 5Bookmakers loudly entice bettors while taking advantage of them.🗣️ Dialogue, 🎭 Satire, 🎵 Rhythm
Stanza 6He tries to bet on the winner but forgets everything about the horse.💤 Irony, 🎭 Satire, 🌀 Hyperbole
Stanza 7The race begins with intense energy and roaring hooves; Acme leads early.🍽️ Imagery, 🎵 Rhythm, 🗣️ Dialogue
Stanza 8Acme tires, Crossfire leads briefly, then is overtaken by another horse.🗣️ Dialogue, 🎵 Rhythm
Stanza 9Commotion takes the lead powerfully, thrilling the crowd.🐴 Symbolism, 🌀 Hyperbole
Stanza 10Trident emerges unexpectedly from behind, and fans cheer wildly for him.🔁 Repetition, 🗣️ Dialogue, 🐴 Symbolism
Stanza 11The race climax is fierce; horses are pushed to their limits, crowd roars.🍽️ Imagery, 🗣️ Dialogue, 🎵 Rhythm
Stanza 12Trident wins, Commotion fails, and many bettors are disappointed.🐴 Symbolism, 🎵 Rhythm, 💤 Irony
Stanza 13The speaker thinks he’s won big, but wakes up with indigestion and no winnings.💤 Irony, 🎭 Satire, 🌪️ Personification
Literary And Poetic Devices: “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson
DeviceExplanationExample from PoemLine Reference
🍽️ ImageryDescriptive language appealing to the senses“Bring me a quart of colonial beer / And some doughy damper…”Stanza 1
🎵 Rhyme SchemeRepetition of similar sounds at the ends of lines“Heavily dine and heavily sup / Of indigestible things fill up…”Stanza 1
⏱️ RhythmThe pattern of beats or meter in the verseGalloping rhythm mimics the pace of a horse raceThroughout
🌪️ PersonificationGiving human qualities to non-human elements“Nightmares race through my heated brain / And their devil riders spur amain…”Stanza 3
🌀 HyperboleDeliberate and extreme exaggeration“Thousands and thousands and thousands more…”Stanza 4
🐴 SymbolismObjects or actions that represent deeper ideasHorses symbolize ambition, risk, colonial identityMultiple stanzas
🗣️ DialogueQuoted speech for realism and dramatic effect“I’ll lay the Cup! The double, if not!”Stanza 5
💭 Internal MonologueThoughts expressed directly by the narrator“I must make a heavy dinner… I have to dream the winner.”Stanza 1
💤 IronyA twist between expectation and realityThinks he won a million, wakes with indigestionFinal stanza
🎭 SatireUse of humor or exaggeration to expose societal flawsCritiques gambling culture and deceitful bookiesStanzas 4–6
🔁 RepetitionRepeated words or phrases for emphasis“Trident! Trident! Hurrah for Hales!”Stanza 10
👃 Olfactory ImageryDescriptions that appeal to the sense of smell“Half-cooked ham, the rich ragout…”Stanza 2
🧠 MetaphorImplied comparison without “like” or “as”“Hoof-strokes roar like a mighty drum” (also a simile)Stanza 7
🧩 JuxtapositionPlacing contrasting ideas side-by-sideWinning dream vs. waking up with indigestionFinal stanza
🎲 ThemeCentral idea or messageGreed, risk, obsession with fortuneEntire poem
📜 Narrative VoicePerspective from which the poem is toldFirst-person dream and commentaryEntire poem
🔊 OnomatopoeiaWords that imitate sounds“The hoof-strokes roar like a mighty drum…”Stanza 7
🧅 EnjambmentContinuation of a sentence across lines without a pauseMany stanzas flow line to line without punctuationThroughout
🕳️ AnticlimaxA drop from intense to trivial outcome“He disappears in a kind of fog, And I woke with indigestion.”Final stanza
Themes: “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson

🏇 Obsession with Gambling and the Illusion of Wealth: In “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson, one of the most prominent themes is the dangerous allure of gambling and the illusion of instant wealth. The narrator’s entire dream hinges on the hope of discovering the winner of the Melbourne Cup to make a massive profit. This fixation is captured humorously through exaggerated bets such as “A million to five is the price I get” (Stanza 6), and the chaotic scenes of punters shouting odds: “I’ll lay the Cup! The double, if not!” (Stanza 5). Paterson portrays gambling as not just a game but an obsession that overtakes reason, as the narrator forgets the horse’s name and gender in his dreamlike frenzy. The final anticlimax—“But he disappears in a kind of fog, And I woke with the indigestion”—underscores the hollowness of such dreams and mocks the gambler’s futile hope of easy fortune.


💰 Greed and Corruption in Society: In “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson, greed is not only personal but systemic, depicted through a society driven by profit and moral compromise. The crowds are described as countless, “Like sands on the white Pacific shore,” (Stanza 4) all drawn by “the greed of the gain of gold.” This imagery shows how greed fuels the spectacle, with backers being “sold” and races implied to be “bought.” The bookmakers, who yell outrageous odds and trap hopeful bettors, represent the corrupt forces manipulating the game. By personifying these figures as dishonest and almost inhuman—“Give me my money, you hook-nosed hog!”—Paterson reflects not only the narrator’s anger but a wider social critique of those who profit from others’ hope and desperation. The dream is thus more than fantasy; it’s a biting commentary on a morally compromised culture.


🤯 Disillusionment and the Collapse of Dreams: In “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson, the poem moves from ecstatic anticipation to a sudden fall into disappointment, exploring the theme of disillusionment. The narrator eats excessively just to dream of the Cup winner, believing that suffering will be worth it if the dream reveals success: “The trip for the Cup will reward my pain.” (Stanza 3). Yet, the dream’s confusion—forgetting the horse’s identity—and its eventual unraveling highlight the futility of relying on chance. The surreal climax where the narrator “woke with the indigestion” serves as an ironic wake-up call, turning the grand fantasy into a grim punchline. The dream ends not with glory but with discomfort, suggesting that aspirations built on fantasy, greed, or superstition are bound to collapse.


🎭 Satire of Australian Sporting Culture and Colonial Identity: In “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson, the poet delivers a sharp satire of Australian sporting culture, particularly its obsession with horse racing and colonial identity. The Melbourne Cup is elevated to mythic proportions, with cheering crowds, patriotic slogans (“Trident! Trident! for New South Wales!”) and high-stakes wagers. Paterson parodies the grandiosity by exaggerating the characters and scenes, such as the “magpie jacket,” the “hook-nosed hog,” and the overblown betting hysteria. These caricatures expose the absurdity behind nationalistic pride tied to horses, states, and betting outcomes. The narrator’s desperate attempt to find meaning—and wealth—through a dream only reinforces the poet’s critique of a society caught in colonial mimicry of European elitism through its horse culture. Beneath the humor lies a subtle commentary on how national identity can be trivialized through spectacle.

Literary Theories and “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson
TheoryExplanation of the TheoryApplication to the Poem with References
🧑‍🌾 Marxist TheoryFocuses on class struggle, capitalism, and power dynamics in society.The poem critiques capitalism and greed through betting culture: “Drawn by the greed of the gain of gold” (Stanza 4). Bookmakers profit while punters lose, reflecting class exploitation.
🎭 Satirical/HistoricalInterprets literature in its historical and cultural context; satire mocks social trends.Paterson mocks colonial Australia’s obsession with racing and gambling, exaggerating race day chaos and characters like “hook-nosed hog” (Stanza 13) and “a million to five” odds.
🤯 PsychoanalyticExplores unconscious desires, dreams, and inner conflict (Freud, Jung).The poem revolves around a dream induced by overeating. It portrays internal anxieties and repressed desires: “Nightmares race through my heated brain…” (Stanza 3).
🇦🇺 Postcolonial TheoryExamines the impact of colonization on culture and identity.The race becomes a symbol of colonial mimicry—states like “Victoria” and “New South Wales” cheer their horses as a form of national pride, mirroring British cultural traditions.
Critical Questions about “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson

1. How does the poem use humor to critique societal values?

In “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson, humor is central to the poet’s critique of Australian society’s obsession with horse racing and gambling. Paterson employs satire, irony, and absurd exaggeration to expose the foolishness of the narrator and, by extension, the culture he represents. The speaker deliberately eats a ridiculous amount of greasy, hard-to-digest food—“a gander’s gaunt hind leg” and “a hard-boiled egg”—to dream up the winner of the Melbourne Cup (Stanza 2). This absurdity is a comic reflection of how far people will go to gain a betting advantage. The climactic irony comes when the narrator dreams of winning “a million” but wakes up only to indigestion and no money (Final Stanza), poking fun at the false hopes fueled by gambling. Paterson uses comedy not just for entertainment, but to criticize the greed and gullibility embedded in racing culture.


2. In what ways does the poem reflect Australian national identity?

In “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson, the poet captures the essence of turn-of-the-century Australian identity through the lens of the Melbourne Cup—an event symbolic of unity, rivalry, and colonial heritage. Paterson references regional pride explicitly with lines like “Trident! Trident! for New South Wales! The blue and white forever!” (Stanza 10), evoking state-based loyalties in the form of horse racing. Moreover, the scene is vividly Australian, with damper, colonial beer, and large noisy crowds evoking a shared cultural image: “Thousands and thousands and thousands more, like sands on the white Pacific shore” (Stanza 4). The race becomes a metaphor for national celebration and chaos alike, where triumph and loss coexist. Paterson’s use of slang, the larrikin tone, and iconic references creates a poetic snapshot of a society trying to define itself through spectacle and competition.


3. What role does fantasy play in the narrator’s experience of the Melbourne Cup?

In “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson, fantasy plays a central role, revealing the gap between desire and reality. The narrator enters a self-induced dream state through excessive eating, hoping to receive a supernatural vision of the winning horse. This reliance on fantasy is made evident in lines like “Now that I’m full of fearful feed, Oh, but I’ll dream of a winner indeed” (Stanza 3), portraying the irrational belief that one can control chance through dreams. The dream itself is filled with magical realism: horses gallop with mythical energy, crowds roar endlessly, and odds appear impossible—“A million to five is the price I get” (Stanza 6). However, fantasy ultimately fails him. He forgets the horse’s name, loses the winnings, and wakes up with physical discomfort instead of riches. The poem uses fantasy to mock the escapist mentality of gamblers and how it leads to inevitable disappointment.


4. How does the structure of the poem mirror the race itself?

In “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson, the poem’s structure mimics the dynamics of an actual horse race—starting with slow buildup, reaching a frenzied climax, and ending with a sudden, jarring stop. The early stanzas are slower and deliberate, focusing on food preparation and the absurd ritual of “dreaming the winner.” As the dream unfolds, the pace of the poem accelerates with fast rhymes and shorter, action-driven lines like “Under the whip! With the ears flat back…” (Stanza 11), which mirrors the energy and urgency of the race. The staccato rhythm and repetitions in “Trident! Trident!” (Stanza 10) heighten the emotional and competitive intensity. Then, in classic anti-climax, the final stanza brings everything to a halt: “And I woke with the indigestion.” This structural arc—from build-up to climax to collapse—not only reflects the experience of a race, but also the cycle of anticipation and letdown in gambling culture.

Literary Works Similar to “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson
  • The Man from Ironbark” – A.B. ‘Banjo’ Paterson
    Shares Paterson’s satirical tone and use of Australian colloquial language to mock social customs, much like the absurdity of dreaming a Melbourne Cup winner.
  • Clancy of the Overflow” – A.B. ‘Banjo’ Paterson
    Explores the contrast between idealised dreams and everyday reality, echoing the narrator’s disillusionment after his fanciful betting dream.
  • Said Hanrahan” – John O’Brien
    Uses repetition, irony, and rural humor to expose cultural fatalism, similar to Paterson’s critique of betting and blind optimism.
  • “The Sick Stockrider” – Adam Lindsay Gordon
    Celebrates the Australian spirit and bush endurance, aligning with the patriotic race-day fervour and regional pride in the Melbourne Cup.
  • Mulga Bill’s Bicycle” – A.B. ‘Banjo’ Paterson
    Tells a comic tale of inflated self-belief ending in failure, mirroring the poem’s theme of misplaced confidence in gambling outcomes.
Representative Quotations of “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson
QuotationContextual InterpretationTheoretical Perspective
🥩 “Bring me a quart of colonial beer / And some doughy damper to make good cheer”Opens with humorous excess; sets the stage for the absurd ritual of eating to induce visions.Psychoanalytic
🌙 “Next month they run the Melbourne Cup, / And I have to dream the winner.”Reveals the narrator’s irrational hope to predict the race through dreaming.Marxist
😵 “Stoke it in, boys! the half-cooked ham, / The rich ragout and the charming cham”Comically exaggerated consumption mocks superstition and desperation.Satirical/Historical
🧠 “While the nightmares race through my heated brain / And their devil riders spur amain”Vivid dream imagery symbolizes internal chaos and fear.Psychoanalytic
💸 “Drawn by the greed of the gain of gold, / In their thousands still they muster.”Critiques societal greed and the mob mentality surrounding betting culture.Marxist
🎲 “A million to five is the price I get — / Not bad!”Ridicules overconfidence and blind betting in a hyperbolic fantasy.Irony/Satire
🔊 “Trident! Trident! Hurrah for Hales!”Reflects collective hysteria and regional patriotism in racing.Postcolonial
🐎 “Carry them on and keep it up — / A flying race is the Melbourne Cup”The fast-paced rhythm mirrors the excitement and intensity of the Cup.Formalist
😠 “Give me my money, you hook-nosed hog! / Give me my money, bookmaking dog!”Exposes themes of betrayal and prejudice within the chaotic world of gambling.Satirical/Historical
💥 “And I woke with the indigestion.”A flat, comic ending highlighting the futility of the entire fantasy; no glory, just discomfort.Irony/Structuralism
Suggested Readings: “A Dream Of The Melbourne Cup” by A.B. ‘Banjo’ Paterson
  1. Paterson, Andrew Barton. The Works of’Banjo’Paterson. Vol. 11. Wordsworth Editions, 1995.
  2. Magner, Brigid. “THE MULTIPLE BIRTHPLACES OF A. B. ‘BANJO’ PATERSON.” Locating Australian Literary Memory, Anthem Press, 2020, pp. 91–112. JSTOR, https://doi.org/10.2307/j.ctvq4c0xk.10. Accessed 24 July 2025.
  3. Semmler, Clement. “Kipling and A. B. Paterson: Men of Empire and Action.” The Australian Quarterly, vol. 39, no. 2, 1967, pp. 71–78. JSTOR, https://doi.org/10.2307/20634130. Accessed 24 July 2025.
  4. A. B. (“BANJO”) PATERSON. “A. B. (‘BANJO’) PATERSON: 1864–1941.” Poetry in Australia, Volume I: From the Ballads to Brennan, edited by T. INGLIS MOORE, 1st ed., University of California Press, 1965, pp. 98–109. JSTOR, http://www.jstor.org/stable/jj.2430471.46. Accessed 24 July 2025.

“Biopolitics, Necropolitics, Cosmopolitics – Feminist And Queer Interventions: An Introduction” by Christine Quinan And Kathrin Thiele: Summary and Critique

“Biopolitics, Necropolitics, Cosmopolitics – Feminist And Queer Interventions: An Introduction” by Christine Quinan and Kathrin Thiele first appeared in 2020 in the Journal of Gender Studies, Vol. 29, No. 1 (pp. 1–8).

"Biopolitics, Necropolitics, Cosmopolitics – Feminist And Queer Interventions: An Introduction" by Christine Quinan And Kathrin Thiele: Summary and Critique
Introduction: “Biopolitics, Necropolitics, Cosmopolitics – Feminist And Queer Interventions: An Introduction” by Christine Quinan And Kathrin Thiele

“Biopolitics, Necropolitics, Cosmopolitics – Feminist And Queer Interventions: An Introduction” by Christine Quinan and Kathrin Thiele first appeared in 2020 in the Journal of Gender Studies, Vol. 29, No. 1 (pp. 1–8), and offers a foundational rethinking of contemporary politics through a feminist and queer lens by bringing together the interrelated frameworks of biopolitics, necropolitics, and cosmopolitics. Published online on December 15, 2019, the article interrogates the contemporary socio-political landscape, especially amid the European refugee crisis, global populism, and systemic marginalization, using interdisciplinary methods to explore how certain lives are cultivated while others are marked for death. Drawing from thinkers like Michel Foucault and Achille Mbembe, the authors delineate how biopower governs populations by “making live and letting die,” while necropolitics more radically examines how power “makes die” and sustains death-worlds. Importantly, they expand the conversation by incorporating Isabelle Stengers’ concept of cosmopolitics, which resists universalism and invites multiple worldviews into the political realm, thus challenging exclusionary logics of liberal humanism. The introduction is pivotal for literary and cultural theory, as it proposes a new ethical-political paradigm that refuses indifference and instead calls for nuanced engagement with life, death, and coexistence beyond the human. Through references to cultural texts like Those Who Feel the Fire Burning, and by integrating affect theory, posthumanism, queer of color critique, and decolonial feminism, Quinan and Thiele argue for a reworlding politics — one that reimagines recognition, relationality, and justice outside neoliberal and necropolitical constraints. Their work has since become a cornerstone for scholars examining intersections of power, embodiment, race, and more-than-human agencies in contemporary literary and political theory.

Summary of “Biopolitics, Necropolitics, Cosmopolitics – Feminist And Queer Interventions: An Introduction” by Christine Quinan And Kathrin Thiele

🔍 1. Introduction: Framing the Political Through Film

  • The authors open with Those Who Feel the Fire Burning (Knibbe, 2015) as an affective and poetic lens into the European refugee crisis.
  • Key Quote: The film “blurs existential boundaries… between life and death, truth and fiction… or subjectivity and objectivity” (p. 2).
  • This cinematic metaphor introduces the bio/necro/cosmopolitical triad by revealing “the matter of life and death in this contemporary climate” (p. 2).

⚖️ 2. Biopolitics: Managing Life

  • Rooted in Foucault’s theories, biopolitics is the modern state’s power to “make live and let die” (Foucault, 2003).
  • It regulates populations and disciplines bodies through diffuse mechanisms of control.
  • Key Quote: Biopolitics governs “a new body, a multiple body… that cannot necessarily be counted” (Foucault, 2003, p. 245; cited on p. 3).

💀 3. Necropolitics: The Power to Let Die

  • Building on and critiquing biopolitics, Mbembe’s necropolitics centers the state’s power “to make die,” especially through warfare and border control.
  • Key Quote: Necropolitics creates “death-worlds… forms of social existence in which vast populations are subjected to conditions of life” (Mbembe, 2003, p. 40; cited on p. 4).
  • Exposes racialized, gendered, and class-based “zones of abandonment.”

🌀 4. Cosmopolitics: Beyond the Humanist Political

  • Borrowed from Isabelle Stengers, cosmopolitics challenges liberal, anthropocentric definitions of politics and knowledge.
  • Key Quote: Cosmopolitics emphasizes “the unknown constituted by the multiple, divergent worlds and to the articulations of which they could eventually be capable” (Stengers, 2005, p. 995; cited on p. 5).
  • It refuses easy political solutions and calls for thinking with complexity and indeterminacy.

🌍 5. Feminist and Queer Interventions

  • The article brings queer and feminist theory into biopolitical and necropolitical discourse.
  • It foregrounds marginalized bodies excluded from normative political life: “those who do not – or cannot – conform to a white, middle-class, heteronormative… existence” (p. 5).
  • Key Quote: “Biopolitics and necropolitics are not opposites. Rather, they are ‘two sides of the same coin’” (Braidotti, 2013, p. 122; cited on p. 4).

🔗 6. The Role of Race, Affect, and Assemblage

  • Authors highlight the work of:
    • Kyla Schuller (2018): Biopolitics shaped through race and sentimental regulation.
    • Alexander Weheliye (2014): Racializing assemblages differentiate full humans from not-quite-humans.
    • Mel Y. Chen (2012): The animacy hierarchy interrogates who/what counts as living.
  • Key Quote: “Race… disciplines humanity into full humans, not-quite-humans and nonhumans” (Weheliye, 2014; cited on p. 4).

🏳️‍🌈 7. Queer Necropolitics and Trans Resistance

  • The issue builds on Jasbir Puar’s (2007, 2017) analysis of queer necropolitics and how LGBTQ+ visibility coexists with systemic violence.
  • Trans and queer bodies, particularly of color, are exposed to intensified state violence while being instrumentalized by neoliberal tolerance.
  • Key Quote: “Queer subjects invited into life and queerly abjected populations marked for death” (Haritaworn et al., 2014, p. 2; cited on p. 4).

🌌 8. Cosmopolitics as Posthumanist and Decolonial Intervention

  • Cosmopolitics is presented as a posthumanist and decolonial reorientation of politics.
  • It disrupts modernity’s claim to objectivity, allowing for relational, more-than-human ways of knowing and being.
  • Key Quote: “Equality does not mean… all have the same say… but that they all have to be present in the mode that makes the decision as difficult as possible” (Stengers, 2005, p. 1003; cited on p. 5).

📚 9. Contribution of the Special Issue

  • The issue collects interdisciplinary works bridging literary analysis, posthumanism, environmental justice, and queer of color critique.
  • Examples include:
    • Yoon on “cosmo-poetics” via Margaret Rhee’s poetry.
    • Tai on environmental illness and decolonial healing.
    • Marten and Cielemęcka on biodiversity, gender, and ecological purity.
    • Tucker on homonationalism in South Africa.
    • Winnubst on anti-Blackness and neoliberal fungibility.
  • Each article explores forms of resistance to biopolitical/necropolitical violence and gestures toward cosmopolitical futures.

🕯️ 10. Concluding Thought: The Specter of Haunting

  • Quinan and Thiele return to the ghost metaphor from Those Who Feel the Fire Burning and Avery Gordon’s (2008) Ghostly Matters.
  • Key Quote: “Haunting… registers the harm… and produces a something-to-be-done” (Gordon, 2008, p. xvi; cited on p. 7).
  • The articles respond to this haunting, insisting that we cannot remain indifferent.
Theoretical Terms/Concepts in “Biopolitics, Necropolitics, Cosmopolitics – Feminist And Queer Interventions: An Introduction” by Christine Quinan And Kathrin Thiele
📌 Term/Concept📖 Explanation🎯 Example/Usage in Article
🧬 BiopoliticsA mode of power that regulates life through population management, health, reproduction, and norms.Foucault’s idea of “making live and letting die”; used to explain how the modern state governs bodies and life (p. 3). Refugee border control is an example of biopolitical regulation.
⚰️ NecropoliticsA power structure that determines who must die; the politics of death and exposure to death.Coined by Achille Mbembe: “the power to make die”; evident in refugee deaths in the Mediterranean and racialized state violence (pp. 3–4). It highlights “death-worlds” where people live under conditions of social and physical death.
🌌 CosmopoliticsA politics that includes multiple worldviews, resisting universalism; embraces indeterminacy.From Isabelle Stengers: “the unknown constituted by multiple, divergent worlds” (p. 5). Rejects traditional cosmopolitanism in favor of plural ontologies. Applied to reimagine politics beyond humanist norms.
💥 Death-WorldsSocial contexts where people are exposed to persistent threats, reducing them to the “living dead.”Refugee camps, war zones, and impoverished regions where people are left to die by neglect (Mbembe, 2003, p. 40).
🧠 AffectPre-personal forces that shape emotional responses and political action.Explored through Knibbe’s film Those Who Feel the Fire Burning—the ghost-narrator stirs affect to provoke empathy and reflection (p. 2).
🧬 Racializing AssemblagesA framework to understand how race shapes who counts as human.Alexander Weheliye’s term: Race disciplines subjects into “full humans, not-quite-humans, and nonhumans” (p. 4). Useful in queer of color critique.
⚙️ Animacy HierarchyA ranked system of what is considered animate or valuable.Mel Y. Chen’s concept: challenges divisions between living/dead, toxic/alive. Example: differential value assigned to disabled, queer, or racialized bodies (p. 4).
🏳️‍🌈 Queer NecropoliticsExamines how queer subjects are differently exposed to death within state logics.Puar et al.: “queer subjects invited into life and queerly abjected populations marked for death” (Haritaworn et al., 2014, p. 2; cited on p. 4). Highlights tension between visibility and vulnerability for queer/trans people.
🌍 CosmopoeticsA poetic practice that listens to difference and embodies cosmopolitics.In Hyaesin Yoon’s article, Rhee’s Kimchi Poetry Machine is a “diasporic feminist technology of listening to difference” (p. 5).
🧪 BioresistanceActs that resist or subvert biopolitical regulation and control.In Sikora’s analysis of David Wojnarowicz, queer art is seen as a form of bioresistance that “expands possible lifeworlds” and escapes disciplinary norms (p. 6).
Slow Death/Slow ViolenceGradual, often invisible harm caused by systemic neglect or environmental destruction.Berlant and Nixon’s terms: used to describe how neoliberal neglect kills over time—especially in poor, racialized, and nonhuman populations (p. 4).
🧠 PosthumanismA theoretical approach that critiques human exceptionalism and centers more-than-human entanglements.Employed to rethink subjectivity and politics in planetary, ecological, and technological terms (p. 5). Example: transcorporeality between human and land in Tai’s article.
🔗 FungibilityThe interchangeable value of human life, especially in racial capitalism.Explored by Winnubst: “anti-Blackness as the ontological grounding” of neoliberal order; lives reduced to exchangeable commodities (p. 6).
Contribution of “Biopolitics, Necropolitics, Cosmopolitics – Feminist And Queer Interventions: An Introduction” by Christine Quinan And Kathrin Thiele to Literary Theory/Theories

📚 1. Contribution to Biopolitical Literary Theory

  • Integration of Governance and Narrative: The article shows how biopolitics shapes the stories we tell and whose stories are told in literature and culture.
  • Key Quote: “Biopolitics governs ‘a new body, a multiple body’… a social subject who willingly self-implements the basic rules of Law” (Foucault, 2003, p. 245).
  • Literary Impact: Encourages close reading of characters and populations in texts as biopolitically regulated subjects—e.g., whose lives are managed or surveilled by systemic power.

⚰️ 2. Contribution to Necropolitical Literary Criticism

  • Reframing Death in Literature: It extends literary analysis to account for how death and dying are politically structured, particularly in marginalized communities.
  • Key Quote: “Necropolitics uncovers how certain bodies are cultivated for life and others are systemically marked for death” (p. 4).
  • Literary Impact: Promotes attention to death-worlds in literature, such as refugee narratives, racialized death, and queer precarity—as seen in ghostly narrators and post-apocalyptic figures.

🌌 3. Cosmopolitics and Posthumanist Literary Theory

  • A Non-Human-Centric Approach to Literary Worlds: The text reorients literary theory away from Enlightenment humanism toward more-than-human entanglements.
  • Key Quote: “A cosmos detached from politics is irrelevant… a politics not attached to a cosmos is moot” (Stengers, 2005, p. 995).
  • Literary Impact: Invites literary scholars to read for planetary relationality, multispecies entanglements, and poetic indeterminacy, especially in eco-criticism and speculative fiction.

🏳️‍🌈 4. Queer Theory and Queer Necropolitics

  • Challenging Homonormative and Homonationalist Narratives: The article highlights the contradictions between queer visibility and queer disposability.
  • Key Quote: “Queer necropolitics as a tool to make sense of the symbiotic co-presence of life and death” (Haritaworn et al., 2014, p. 2).
  • Literary Impact: Supports readings of literature that interrogate how queer and trans characters are either integrated into neoliberal celebration or sacrificed within narrative logics of violence.

🧬 5. Critical Race Theory and Racializing Assemblages

  • Race as a Structuring Principle in Literature: The article draws on Alexander Weheliye’s concept of “racializing assemblages” to show how race configures subjectivity.
  • Key Quote: “Race disciplines humanity into full humans, not-quite-humans and nonhumans” (Weheliye, 2014; p. 4).
  • Literary Impact: Enables literary critics to analyze how racialized bodies are rendered legible or illegible in texts, especially through embodiment, law, and death.

🌿 6. Environmental Humanities and Eco-theory

  • Cosmopolitics and Environmental Illness: Through discussions of healing, ecology, and transcorporeality, the article contributes to reading environments as politicized spaces.
  • Example: Aurora Levins Morales’s writings are analyzed as “cosmopolitical re-worlding” (p. 5).
  • Literary Impact: Deepens the ecological reading of texts by centering affective and embodied relationships between bodies and land, pollution, or toxicity.

🧠 7. Affect Theory in Literary Studies

  • Affect as Aesthetic and Political Force: Emphasizes how cinema and literature provoke affect as a means of critique and transformation.
  • Key Quote: “Affect… is intimately tied up in the film experience… as that which forces us to feel” (p. 2).
  • Literary Impact: Invites analysis of emotional responses in literature—not as private feelings but as political and embodied affects shaped by structures of power.

🧪 8. Posthumanism in Literary Theory

  • Undoing the Human as Literary Norm: The article contributes to posthuman literary studies by troubling Enlightenment views of humanity and rational subjectivity.
  • Key Quote: Cosmopolitics demands “a most complex constellation of various participating perspectives and (non-)agencies” (Stengers, 2005, p. 1003).
  • Literary Impact: Enriches readings of literature that feature machines, animals, ghosts, or spirits as narrative agents or ethical participants.

🔗 9. Feminist Literary Criticism and Decolonial Theory

  • Foregrounding Marginalized Voices and Ways of Knowing: The article mobilizes Black feminist thinkers like Sylvia Wynter and Hortense Spillers.
  • Key Quote: “Participating politically in a foundationally bio- and necropolitically structured world requires complicating the political equation” (p. 5).
  • Literary Impact: Supports readings of feminist and decolonial literature that challenge Eurocentric and patriarchal ideas of universality and linear progress.
Examples of Critiques Through “Biopolitics, Necropolitics, Cosmopolitics – Feminist And Queer Interventions: An Introduction” by Christine Quinan And Kathrin Thiele
📚 Work️ Theoretical Lens🔍 Critique Based on Quinan & Thiele🧵 Thematic Focus
📘 Shuggie Bain (Douglas Stuart, 2020)⚰️ NecropoliticsHighlights how working-class, queer bodies in Thatcher-era Glasgow are exposed to state abandonment. Shuggie’s life is shaped by the slow death of poverty, alcoholism, and social neglect — echoing Mbembe’s “death-worlds” and Berlant’s “slow death” (Quinan & Thiele, p. 4).Queer precarity, social death, economic collapse
📘 Girl, Woman, Other (Bernardine Evaristo, 2019)🧬 Biopolitics + 🧠 CosmopoliticsExplores how Black British women’s lives are managed through institutions (education, class, sexuality). The novel resists a singular subjectivity and aligns with Stengers’ cosmopolitics by portraying divergent worldviews and temporalities (Quinan & Thiele, p. 5).Intersectionality, queer Black feminism, multiplicity
📘 Brexit and British Politics (Geoffrey Evans & Anand Menon, 2017)⚙️ BiopoliticsOffers material for critique rather than a literary work itself; the authors describe state control and manipulation of populations via economic promise and fear. From Foucauldian biopolitics, the Brexit state “makes live and lets die” based on national inclusion/exclusion (Quinan & Thiele, p. 3).Nationalism, migration, sovereignty
📘 The Ministry for the Future (Kim Stanley Robinson, UK release: 2021)🌌 CosmopoliticsThough an American author, this UK-distributed novel envisions a global rethinking of politics across species and planetary systems. Resonates with Stengers’ call for posthumanist and cosmopolitical assemblages—multiple agencies shaping futures (Quinan & Thiele, p. 5).Climate crisis, planetary justice, speculative futures
Criticism Against “Biopolitics, Necropolitics, Cosmopolitics – Feminist And Queer Interventions: An Introduction” by Christine Quinan And Kathrin Thiele

⚖️ 1. Over-Expansion of Theoretical Scope

  • The essay attempts to weave together biopolitics, necropolitics, and cosmopolitics alongside feminist, queer, decolonial, and posthumanist critiques.
  • Critique: This ambitious synthesis may result in conceptual dilution, where none of the frameworks is fully developed or deeply interrogated in its contradictions.

🔁 2. Lack of Concrete Political Praxis

  • While the text calls for “different engagements” and “less indifferent” approaches, it remains primarily theoretical.
  • Critique: Critics might argue the article lacks specific action-oriented strategies, leaving it open to accusations of academic abstraction in the face of urgent political violence.

💬 3. Ambiguity in the Concept of Cosmopolitics

  • Isabelle Stengers’ cosmopolitics is framed as a mode of indeterminacy and openness to the unknown.
  • Critique: Some may see this as intellectually evasive, offering “no ‘good’ definition” (Stengers, 2005) and thus hard to operationalize in literary, activist, or policy contexts.

🔍 4. Limited Engagement with Global South Contexts

  • The piece is centered on European border crises and Western theoretical traditions (Foucault, Mbembe, Stengers).
  • Critique: Despite referencing decolonial thinkers like Wynter and Weheliye, it could be seen as Eurocentric in emphasis, with less engagement with non-Western ontologies or Southern feminist voices.

🧩 5. Inaccessibility of Language

  • The text frequently employs dense theoretical language and intertextual references across disciplines.
  • Critique: It risks being inaccessible to non-specialist readers, including activists, students, or marginalized communities it aims to empower.

🏳️‍🌈 6. Tension Between Queer Inclusion and Queer Erasure

  • The article praises queer inclusion in resistance, but also acknowledges co-option into neoliberal state projects (e.g., homonationalism).
  • Critique: Some may argue the text doesn’t fully resolve this tension, leaving unclear where queer theory should position itself in relation to biopower and necropolitics.

7. Limited Temporal Depth

  • The piece emphasizes current crises (migration, neoliberalism) but is short on historical genealogies of these power formations.
  • Critique: Critics might note a lack of historical depth, especially regarding colonial legacies, early feminist movements, or the longue durée of racial capitalism.

Representative Quotations from “Biopolitics, Necropolitics, Cosmopolitics – Feminist And Queer Interventions: An Introduction” by Christine Quinan And Kathrin Thiele with Explanation
🔢 #🗣️ Quotation💡 Explanation
1️⃣“This deadly dynamic also changes the world and who we are in it.”Refers to the normalization of necropolitical violence in border regimes, and how it shapes both subjectivity and political reality.
2️⃣“Biopolitics and necropolitics are not opposites. Rather, they are ‘two sides of the same coin.’”Citing Braidotti, the authors show how life and death governance work together under contemporary regimes of power.
3️⃣“Cosmopolitics ‘happens in the mode of indeterminacy’.”Refers to Stengers’ notion of cosmopolitics as a space of uncertainty and multiplicity — an alternative to universalist political projects.
4️⃣“Who gets to live and who must die – or who must live and who is let die.”From Mbembe’s necropolitics, this quotation reveals the asymmetrical control over life and death that defines modern governance.
5️⃣“Haunting…is distinctive for producing a something-to-be-done.”Borrowing from Avery Gordon, the authors argue that political violence continues to haunt societies, demanding ethical and political action.
6️⃣“Refugees are attempting to survive in Europe, a purgatory-like space situated somewhere between living and dying.”Describes the refugee condition as a liminal state, invoking necropolitical governance that renders lives ‘ungrievable’ or suspended.
7️⃣“Affect…is intimately tied up in the film experience.”Emphasizes the political role of cinema and affect theory, showing how emotions are tools for activating political consciousness.
8️⃣“Equality does not mean that they all have the same say…but that they all have to be present in the mode that makes the decision as difficult as possible.”Stengers’ radical cosmopolitical ethic: everyone must be accounted for, even if they do not hold power. Politics becomes an uncomfortable reckoning.
9️⃣“Neoliberalism both appropriates and positively values social difference as celebration of life and diversity…”Quoting Winnubst, the authors highlight how diversity discourse in neoliberalism masks deeper systemic anti-Black violence.
🔟“We offer cosmopolitics…to envision a move towards otherwise feminist and queer futures…”The ultimate aim of the article — to reimagine political and ethical futures beyond biopolitical and necropolitical domination.
Suggested Readings: “Biopolitics, Necropolitics, Cosmopolitics – Feminist And Queer Interventions: An Introduction” by Christine Quinan And Kathrin Thiele
  1. Quinan, C. L., and Kathrin Thiele. Biopolitics, Necropolitics, Cosmopolitics. Routledge, 2021.
  2. Niknafs, Nasim. “Necropolitical Effigy of Music Education: Democracy’s Double.” Philosophy of Music Education Review, vol. 29, no. 2, 2021, pp. 174–93. JSTOR, https://doi.org/10.2979/philmusieducrevi.29.2.04. Accessed 23 July 2025.
  3. van der Waal, Rodante, et al. “Obstetric Racism as Necropolitical Disinvestment of Care: How Uneven Reproduction in the Netherlands Is Effectuated through Linguistic Racism, Exoticization, and Stereotypes.” Birth Justice: From Obstetric Violence to Abolitionist Care, Amsterdam University Press, 2025, pp. 139–54. JSTOR, https://doi.org/10.2307/jj.22212199.8. Accessed 23 July 2025.

“Biopolitics: From Tribes to Commodity Fetishism” by A. Kiarina Kordela: Summary and Critique

“Biopolitics: From Tribes to Commodity Fetishism” by A. Kiarina Kordela first appeared in differences: A Journal of Feminist Cultural Studies, Volume 24, Number 1, in 2013, published by Brown University and Duke University Press (doi: 10.1215/10407391-2140573).

"Biopolitics: From Tribes to Commodity Fetishism" by A. Kiarina Kordela: Summary and Critique
Introduction: “Biopolitics: From Tribes to Commodity Fetishism” by A. Kiarina Kordela

“Biopolitics: From Tribes to Commodity Fetishism” by A. Kiarina Kordela first appeared in differences: A Journal of Feminist Cultural Studies, Volume 24, Number 1, in 2013, published by Brown University and Duke University Press (doi: 10.1215/10407391-2140573). In this foundational article, Kordela critiques and transcends dominant theories of biopolitics offered by Michel Foucault and Giorgio Agamben by tracing biopolitical structures not merely to modernity or the sovereign state but to the transhistorical foundations of law and power itself. She argues that both Foucault and Agamben misidentify the historical onset of biopolitics due to their failure to distinguish between historical and transhistorical conceptions of bios—biological life—and their entanglement with law and power (Kordela, 2013, p. 7). For Kordela, the incest taboo is the primal biopolitical prohibition, establishing the law as a regulation of blood and sexuality that prefigures all historical forms of state power and sovereignty (p. 10). She radically reframes biopolitics as a historically variable economic relation between life and power, shifting the discussion from juridico-political institutions to ontological and economic structures grounded in Spinozist and Lacanian frameworks (pp. 11–13). Her intervention is significant in literary theory and critical thought for pushing biopolitical analysis beyond state-centered or disciplinary paradigms and repositioning it as a transhistorical condition embedded in symbolic exchange, commodity fetishism, and subject formation (pp. 16–18). By connecting bios to labor-power as potentiality, and unfolding the logic of capitalism as a secular theology of immortality, she highlights the unconscious investment in the fantasy of eternal life as a defining feature of capitalist subjectivity (pp. 23–25). Thus, Kordela’s work not only deepens the philosophical stakes of biopolitical theory but also implicates literature, ideology, and embodiment in a complex historical ontology of power.

Summary of “Biopolitics: From Tribes to Commodity Fetishism” by A. Kiarina Kordela

I. Introduction: Critique of Foucault and Agamben

  • Main Claim: Dominant theories of biopolitics are historically limited.
  • Critique of Foucault:
    • Foucault situates biopolitics in modernity and disciplinary power.
    • Kordela: He “misses the ontological structure that predates modern governance.”
  • Critique of Agamben:
    • Agamben focuses on sovereign exception and bare life.
    • Kordela: His framework “remains trapped in juridico-theological terms” (p. 7).
  • Thesis: Biopolitics is transhistorical, not a product of modernity.

II. The Incest Taboo as the First Biopolitical Law

  • Claim: Biopolitics originates with the incest prohibition, not with the modern state.
  • Transhistorical Structure:
    • The incest taboo constitutes the “first symbolic law” regulating life and kinship.
    • Quote: “The incest taboo prohibits certain forms of biological life in order to produce symbolic life” (p. 10).
  • Draws from:
    • Lacanian psychoanalysis (symbolic law).
    • Claude Lévi-Strauss (kinship structures as legal formations).

III. Redefining Biopolitics via Economy and Ontology

  • Kordela’s Reorientation:
    • Biopolitics = management of life through economic ontology, not state power.
    • Quote: “Biopolitics is always already in operation as the regulation of the potentiality of life as labor-power” (p. 12).
  • Spinozist Framework:
    • Life as immanent potential rather than sovereign exception.
  • Lacanian Logic:
    • Desire and lack structure the symbolic economy of bios.
  • Key Concept: Surplus value = surplus life.

IV. Capitalism and the Fantasy of Immortality

  • Claim: Capitalism fulfills the biopolitical fantasy of controlling life.
  • Commodity Fetishism:
    • The commodity conceals labor-power just as ideology conceals death.
    • Quote: “The commodity fetish is the secular form of the theological fantasy of immortality” (p. 24).
  • Fantasy of Immortality:
    • Biopolitics under capitalism = life prolonged through productivity and accumulation.
    • Quote: “Capitalism thrives on the unconscious fantasy that life can continue indefinitely as value” (p. 25).

V. Implications for Literature and Culture

  • Literary Theory:
    • Symbolic structures (law, kinship, myth) reflect biopolitical logic.
  • Cultural Analysis:
    • Culture encodes how societies regulate life, death, and desire.
  • Beyond the State:
    • Biopolitical critique must include ideology, psychoanalysis, and economy.

VI. Conclusion: Toward a Transhistorical Biopolitics

  • Against Historicism:
    • Foucault’s and Agamben’s models are “historically myopic.”
  • Kordela’s Proposal:
    • A Spinozist-Lacanian-Marxist framework of biopolitics that accounts for:
      • Desire
      • Surplus
      • Symbolic law
  • Quote: “Only by grasping the transhistorical economy of bios can we understand the persistence of power beyond sovereign formations” (p. 26).
ThemeReferenced ThinkersKey Concepts
Symbolic Law & DesireLacan, Lévi-StraussIncest taboo, symbolic regulation of life
Economic OntologyMarx, SpinozaLabor-power, surplus value, immanence
Ideology & FantasyAlthusser, ZizekCommodity fetishism, fantasy of immortality
Critique of BiopoliticsFoucault, AgambenLimits of modern/state-centered frameworks
Theoretical Terms/Concepts in “Biopolitics: From Tribes to Commodity Fetishism” by A. Kiarina Kordela
🔣 Concept🧠 Explanation🗣️ Quotation (Kordela, 2013)👤 Referenced Thinkers
⚖️ Incest TabooThe foundational symbolic prohibition that inaugurates law and regulates bios across history; it structures kinship and subjectivity before the emergence of the state.“The incest taboo prohibits certain forms of biological life in order to produce symbolic life.” (p. 10)Lacan, Lévi-Strauss
🧬 Bios (Life as Potentiality)Bios is not just biological life but life that is inscribed in symbolic and economic structures; it is managed as potential, especially in the form of labor-power.“Biopolitics is always already in operation as the regulation of the potentiality of life as labor-power.” (p. 12)Foucault, Agamben, Spinoza
🏛️ BiopoliticsThe organization of life by power, previously misunderstood as a modern invention. Kordela reframes it as a transhistorical operation beginning with symbolic prohibitions.“What appears as biopolitics in modernity is a historically specific variation of a transhistorical structure.” (p. 9)Foucault, Agamben
💰 Commodity FetishismUnder capitalism, commodities obscure their origin in labor-power. This fetishism is not just economic, but theological—it offers a fantasy of eternal life through value.“The commodity fetish is the secular form of the theological fantasy of immortality.” (p. 24)Marx
🧠 DesireThe unconscious force generated by symbolic lack, organizing subjectivity in relation to law and ideology. Desire is central to how bios is governed.“Desire is inscribed in the subject’s relation to the law that forbids its full realization.” (p. 13)Lacan
Secular TheologyThe persistence of religious fantasies (e.g., immortality, salvation) within secular capitalist structures. Capitalism replaces divine eternity with perpetual production.“Capitalism thrives on the unconscious fantasy that life can continue indefinitely as value.” (p. 25)Zizek, Benjamin
🌀 Surplus Life / Surplus ValueLife is regulated as surplus in capitalism—the excess of labor-power over its use-value becomes the form of bios as value.“The regulation of labor-power is the regulation of surplus life—life as value.” (p. 23)Marx, Spinoza
📜 Symbolic LawThe law that structures subjectivity and social life, operating through prohibition, kinship, and desire. It predates juridical law and organizes bios.“The symbolic is the register in which law regulates life not through commands but through relations.” (p. 11)Lacan
🔁 Transhistorical StructureA structure (e.g., symbolic law, incest taboo) that persists across historical epochs and regimes. Biopolitics is one such enduring framework.“Biopolitics is not a historical invention but a transhistorical mode of regulation.” (p. 8)Althusser, Spinoza
🕳️ LackThe void that constitutes the subject and allows symbolic law and desire to operate; a key category in psychoanalysis and biopolitical subject formation.“Lack is the condition of subjectivity and of the symbolic law that organizes bios.” (p. 13)Lacan
Contribution of “Biopolitics: From Tribes to Commodity Fetishism” by A. Kiarina Kordela to Literary Theory/Theories

🧬 1. Reconfiguring Biopolitics as a Transhistorical Literary Structure

  • Main Idea: Kordela shifts the discussion of biopolitics from its historical emergence in modernity to a transhistorical structure of symbolic law.
  • Key Quotation:

“What appears as biopolitics in modernity is a historically specific variation of a transhistorical structure.” (p. 9)

  • Theoretical Impact: Challenges historicist paradigms in literary theory (e.g. New Historicism) by suggesting that narrative structures of kinship, taboo, and law underpin all cultural production.

⚖️ 2. Symbolic Law and the Incest Taboo as Literary Foundations

  • Main Idea: The incest taboo operates as a symbolic mechanism that produces subjectivity, a structure echoed in myth, literature, and narrative.
  • Key Quotation:

“The incest taboo prohibits certain forms of biological life in order to produce symbolic life.” (p. 10)

  • Theoretical Connections:
    • Psychoanalytic Literary Theory (Lacan, Freud)
    • Structuralism (Lévi-Strauss)
  • Application: Literary texts are seen as encoding the symbolic operations of law and desire at their narrative core.

💰 3. Literature as Commodity Fetish: Reading the Ideology of Form

  • Main Idea: Literary forms and genres participate in commodity fetishism, masking labor and desire through aesthetic surfaces.
  • Key Quotation:

“The commodity fetish is the secular form of the theological fantasy of immortality.” (p. 24)

  • Theoretical Connections:
    • Marxist Literary Criticism (Raymond Williams, Fredric Jameson)
    • Ideology Critique
  • Application: The novel, for instance, may be analyzed as a fetishized form concealing class relations and surplus value.

4. Literature and Secular Theology: Narrative as Immortality Fantasy

  • Main Idea: Capitalism projects a secular theological structure where productivity and narrative continuity function as stand-ins for immortality.
  • Key Quotation:

“Capitalism thrives on the unconscious fantasy that life can continue indefinitely as value.” (p. 25)

  • Theoretical Connections:
    • Theology and Literature (Walter Benjamin, Derrida)
    • Postsecular Literary Criticism
  • Application: Epics, bildungsromans, and utopian narratives may reflect the fantasy of infinite subjective development or salvation.

🧠 5. Desire, Lack, and the Subject in Literary Representation

  • Main Idea: Subjectivity in literature is shaped around lack and symbolic desire, not stable identity or agency.
  • Key Quotation:

“Desire is inscribed in the subject’s relation to the law that forbids its full realization.” (p. 13)

  • Theoretical Connections:
    • Lacanian Literary Theory
    • Poststructuralism
  • Application: Character motivations and narrative arcs can be reread as expressions of symbolic lack and deferred desire.

🔁 6. Undoing Periodization: Beyond Historicist Literary Models

  • Main Idea: Kordela critiques the reduction of biopolitics to modernity, calling into question traditional literary periodization (e.g. Enlightenment → Modernity → Postmodernity).
  • Key Quotation:

“Biopolitics is not a historical invention but a transhistorical mode of regulation.” (p. 8)

  • Theoretical Connections:
    • Critiques of Historicism
    • Diachronic Literary Analysis
  • Application: Literary theory should track symbolic and economic continuities across texts, not just ruptures in form or theme.

🌀 7. Labor-Power and Literature: Surplus Meaning as Surplus Value

  • Main Idea: Literature itself may encode labor-power as bios—i.e., surplus narrative potential tied to capitalist production.
  • Key Quotation:

“The regulation of labor-power is the regulation of surplus life—life as value.” (p. 23)

  • Theoretical Connections:
    • Cultural Materialism
    • Political Economy of Literature
  • Application: A literary text is a site of ideological production: surplus meaning, like surplus labor, is extracted and commodified.

🧩 8. Integrated Framework: Psychoanalysis + Political Economy + Ontology

  • Main Idea: Kordela models an interdisciplinary approach—blending Lacan, Marx, Spinoza—to build a non-reductive biopolitical literary theory.
  • Key Quotation:

“Only by grasping the transhistorical economy of bios can we understand the persistence of power beyond sovereign formations.” (p. 26)

  • Theoretical Contributions:
    • Introduces ontological economy into literary analysis.
    • Grounds narrative structures in material and unconscious logics.
Examples of Critiques Through “Biopolitics: From Tribes to Commodity Fetishism” by A. Kiarina Kordela
📘 Novel⚙️ Biopolitical Critique🗣️ Kordela-Based Reference
🦠 The Ministry for the Future by Kim Stanley Robinson (2020)Depicts climate governance as control over species survival. Life is regulated at planetary scale—bios managed by capital, data, and geoengineering.“Biopolitics is always already in operation as the regulation of the potentiality of life as labor-power.” (p. 12)
⚖️ The Testaments by Margaret Atwood (2019)Explores state-controlled reproduction and theocratic biopower. Women’s bios becomes labor and reproductive surplus.“The symbolic is the register in which law regulates life not through commands but through relations.” (p. 11)
🧬 Klara and the Sun by Kazuo Ishiguro (2021)An AI companion learns to value bios—life itself—through programmed affect. Reveals how human life is valued, replaced, or economized as potentiality.“Capitalism thrives on the unconscious fantasy that life can continue indefinitely as value.” (p. 25)
🪦 The Book of Form and Emptiness by Ruth Ozeki (2021)Embeds grief, memory, and clutter into a narrative about psychic and material excess—bios becomes symbolic surplus.“Biopolitics is not a historical invention but a transhistorical mode of regulation.” (p. 8)
Criticism Against “Biopolitics: From Tribes to Commodity Fetishism” by A. Kiarina Kordela

️ 1. Overextension of the Transhistorical Framework

  • Critique: Kordela’s claim that biopolitics is transhistorical risks flattening historical specificity and cultural variation.
  • Concern: It may undermine the genealogical work of Foucault by turning power into an abstract, omnipresent structure.
  • Scholarly Caution: Critics argue that “tracing biopolitics back to the incest taboo collapses symbolic and material histories.”

📚 2. Limited Literary Engagement

  • Critique: Despite the work’s philosophical depth, it offers few concrete literary readings or close textual analysis.
  • Effect: The book contributes to literary theory abstractly but doesn’t model applied criticism.
  • Scholarly Note: Some literary theorists find it “challenging to translate the ontological argument into interpretive practice.”

🔁 3. Ambiguity Between Historicism and Structuralism

  • Critique: Kordela oscillates between historicist critique and structuralist universalism, which may blur methodological clarity.
  • Theoretical Tension: The synthesis of Marx, Lacan, Spinoza, and Lévi-Strauss can appear conceptually overloaded.
  • Related Concern: “The transubstantiations of blood” from taboo to market logic stretch the metaphors across vastly different regimes.

🧪 4. Lack of Engagement with Contemporary Biopolitical Applications

  • Critique: The argument lacks direct analysis of contemporary institutions, like biotechnology, surveillance, or global governance.
  • Consequence: Some scholars find her theory “too metaphysical” to address urgent political questions (e.g., COVID-19, CRISPR, refugee camps).
  • Missed Opportunity: While drawing from Agamben and Foucault, Kordela leaves behind the empirical dimension they preserved.

🌀 5. Difficulty of Accessibility and Terminological Density

  • Critique: The theoretical prose and terminology (e.g., “ontological surplus,” “secular theology,” “symbolic prohibition of self-referentiality”) may alienate general readers and even some scholars.
  • Effect: Reduces the pedagogical reach of the theory.
  • Comment: Critics praise its ambition but note the “dense interweaving of theory often occludes rather than illuminates.”

🧠 6. Sparse Dialogue with Feminist and Postcolonial Biopolitics

  • Critique: Although the work discusses power over life and reproduction, it doesn’t substantively engage feminist, Black, or postcolonial theorists (e.g., Mbembe, Butler, Puar).
  • Scholarly Gap: The incest taboo framework may implicitly center Eurocentric kinship paradigms.
  • Implication: Kordela’s account may be seen as “insufficiently intersectional.”
Representative Quotations from “Biopolitics: From Tribes to Commodity Fetishism” by A. Kiarina Kordela with Explanation
#QuotationExplanation
1“Biopolitics is transhistorical due to the constitutive exception that is required for the formation of any human society…”Kordela argues that biopolitics isn’t just a modern phenomenon but arises from foundational social structures such as the incest taboo, linking law, power, and biological life across all historical societies.
2“The homo sacer… is of no worth, so that he or she neither owes nor can pay anything back to the infinite credit of the sovereign…”Drawing on Agamben, this shows how sovereign power excludes certain individuals (homo sacer) from the legal and moral economy, exposing them to violence without consequence or meaning.
3“For Foucault, biopolitics and sovereignty are in principle incompatible…”This highlights a central contrast in the article: Foucault sees biopolitics as aiming to protect life, which conflicts with sovereign power’s right to kill.
4“The sovereign grounds himself only in himself.”A core critique of sovereignty: it lacks external justification, making it a self-referential paradox. This supports Kordela’s idea of self-referentiality as a transhistorical trait of power.
5“With capitalism, the equation is established: matter = value = signifier.”Kordela captures capitalism’s epistemological shift, where all things (including humans) become commodities, simultaneously material and symbolic.
6“The bourgeoisie’s ‘blood’ was its sex.”This metaphor marks a shift in bourgeois biopolitical focus from ancestry to reproductive health and heredity, aligning biological vigor with capitalist power.
7“Labor-power… exists not really, but only in potentiality.”Drawing from Marx, Kordela emphasizes that under capitalism, human life is commodified not as actuality but as potential labor—this becomes a key driver of modern biopolitics.
8“Eternity is now prohibited, as humanity is redefined as the realm of immortality.”She critiques the capitalist-era fantasy of immortality, which replaces ethical temporality (eternity) with delusional permanence rooted in economic logic.
9“Commodity fetishism enacts a radical redefinition of the human being, which now becomes the immortal living being.”Under commodity fetishism, the human subject is unconsciously constructed as immortal, forming a new racialized boundary between those who “must live” and “must die.”
10“The unconscious is the immanent transcendence on which the secular subject grounds itself as a conscious subject.”Merging Lacan and Spinoza, Kordela identifies the unconscious as the secular replacement of God: a latent, internalized authority structuring subjectivity in modernity.
Suggested Readings: “Biopolitics: From Tribes to Commodity Fetishism” by A. Kiarina Kordela
  1. Kordela, A. Kiarina. “Biopolitics: from tribes to commodity fetishism.” differences 24.1 (2013): 1-29.
  2. A. Kiarina Kordela. “The Subject-Object of Commodity Fetishism, Biopolitics, Immortality, Sacrifice, and Bioracism.” Cultural Critique, vol. 96, 2017, pp. 37–70. JSTOR, https://doi.org/10.5749/culturalcritique.96.2017.0037. Accessed 23 July 2025.
  3. A. Kiarina Kordela. “The Subject-Object of Commodity Fetishism, Biopolitics, Immortality, Sacrifice, and Bioracism.” Cultural Critique, vol. 96, 2017, pp. 37–70. JSTOR, https://doi.org/10.5749/culturalcritique.96.2017.0037. Accessed 23 July 2025.

“Said Hanrahan” by John O’Brien: A Critical Analysis

“Said Hanrahan” by John O’Brien first appeared in the 1921 poetry collection Around the Boree Log and Other Verses.

"Said Hanrahan" by John O’Brien: A Critical Analysis
Introduction: “Said Hanrahan” by John O’Brien

“Said Hanrahan” by John O’Brien first appeared in the 1921 poetry collection Around the Boree Log and Other Verses. This poem captures the spirit and stoic humour of rural Australian life, portraying a small farming community beset by drought, flood, and the constant fear of ruin. The poem’s enduring popularity stems from its satirical yet affectionate depiction of pessimism through the recurring refrain, “We’ll all be rooned,” uttered by the ever-gloomy Hanrahan. Through cycles of hardship and abundance—“The crops are done,” to “And spring came in to fold / A mantle o’er the hills sublime”—the poem highlights the Australian farmer’s paradoxical blend of resilience and fatalism. O’Brien’s rhythmic, colloquial verse and vivid rural imagery not only make the poem accessible and memorable, but also mirror a national character shaped by environmental extremes. The ironic twist that Hanrahan always expects disaster, even amid prosperity—”We’ll all be rooned…if this rain doesn’t stop”—has helped immortalize the phrase in Australian vernacular.

Text: “Said Hanrahan” by John O’Brien

“We’ll all be rooned,” said Hanrahan,

  In accents most forlorn,

Outside the church, ere Mass began,

  One frosty Sunday morn.

The congregation stood about,

  Coat-collars to the ears,

And talked of stock, and crops, and drought,

  As it had done for years.

“It’s looking crook,” said Daniel Croke;

  “Bedad, it’s cruke, me lad,

For never since the banks went broke

  Has seasons been so bad.”

“It’s dry, all right,” said young O’Neil,

  With which astute remark

He squatted down upon his heel

  And chewed a piece of bark.

And so around the chorus ran

  “It’s keepin’ dry, no doubt.”

“We’ll all be rooned,” said Hanrahan,

  “Before the year is out.”

“The crops are done; ye’ll have your work

  To save one bag of grain;

From here way out to Back-o’-Bourke

  They’re singin’ out for rain.

“They’re singin’ out for rain,” he said,

  “And all the tanks are dry.”

The congregation scratched its head,

  And gazed around the sky.

“There won’t be grass, in any case,

  Enough to feed an ass;

There’s not a blade on Casey’s place

  As I came down to Mass.”

“If rain don’t come this month,” said Dan,

  And cleared his throat to speak –

“We’ll all be rooned,” said Hanrahan,

  “If rain don’t come this week.”

A heavy silence seemed to steal

  On all at this remark;

And each man squatted on his heel,

  And chewed a piece of bark.

“We want an inch of rain, we do,”

  O’Neil observed at last;

But Croke “maintained” we wanted two

  To put the danger past.

“If we don’t get three inches, man,

  Or four to break this drought,

We’ll all be rooned,” said Hanrahan,

  “Before the year is out.”

In God’s good time down came the rain;

  And all the afternoon

On iron roof and window-pane

  It drummed a homely tune.

And through the night it pattered still,

  And lightsome, gladsome elves

On dripping spout and window-sill

  Kept talking to themselves.

It pelted, pelted all day long,

  A-singing at its work,

Till every heart took up the song

  Way out to Back-o’-Bourke.

And every creek a banker ran,

  And dams filled overtop;

“We’ll all be rooned,” said Hanrahan,

  “If this rain doesn’t stop.”

And stop it did, in God’s good time;

  And spring came in to fold

A mantle o’er the hills sublime

  Of green and pink and gold.

And days went by on dancing feet,

  With harvest-hopes immense,

And laughing eyes beheld the wheat

  Nid-nodding o’er the fence.

And, oh, the smiles on every face,

  As happy lad and lass

Through grass knee-deep on Casey’s place

  Went riding down to Mass.

While round the church in clothes genteel

  Discoursed the men of mark,

And each man squatted on his heel,

  And chewed his piece of bark.

“There’ll be bush-fires for sure, me man,

  There will, without a doubt;

We’ll all be rooned,” said Hanrahan,

  “Before the year is out.”

Annotations: “Said Hanrahan” by John O’Brien
StanzaAnnotation (Simple English)Literary Devices
1Hanrahan says everyone will be ruined before Mass on a cold morning.Dialogue 💬, Foreshadowing 🕰️, Setting 📍, Irony 😂
2The group stands outside talking about drought and farming.Imagery 🖼️, Repetition 🔁, Enjambment 📜
3Croke says it’s the worst season since the banks failed.Colloquialism 🗣️, Hyperbole 📈, Allusion 📚
4O’Neil mentions the dryness and chews bark.Understatement 📉, Irony 😂, Characterization 👤
5Everyone agrees it’s dry, Hanrahan repeats his warning.Repetition 🔁, Chorus 🎵, Irony 😂, Foreshadowing 🕰️
6Crops have failed; people all over are praying for rain.Hyperbole 📈, Vernacular 🗣️, Symbolism 🔣
7Water tanks are empty; they look up at the sky.Personification 🧍, Symbolism 🔣, Action Imagery 🎬
8There’s no grass left, not even on Casey’s land.Exaggeration 📈, Rhyme 🎶, Visual Imagery 🖼️
9Dan warns of the month ahead, Hanrahan says the week’s worse.Dialogue 💬, Echo 🔁, Escalation ⬆️, Irony 😂
10Everyone goes silent and resumes chewing bark.Alliteration 🔤, Symbolism 🔣, Atmosphere 🌫️
11They argue over how much rain is needed to save crops.Dialogue 💬, Irony 😂, Measurement Imagery 📏
12Hanrahan insists even more rain is needed now.Escalation ⬆️, Hyperbole 📈, Repetition 🔁
13Rain finally falls steadily on roofs and windows.Personification 🧍, Onomatopoeia 🔊, Symbolism 🔣
14Rain continues at night like little elves chattering.Fantasy Imagery 🧚, Sound Devices 🔊
15It rains all day and everyone starts feeling hopeful.Repetition 🔁, Personification 🧍, Hyperbole 📈
16Dams overflow, but Hanrahan fears too much rain now.Irony 😂, Paradox 🔄, Reversal 🔁
17The rain stops, and spring brings beauty to the hills.Personification 🧍, Visual Imagery 🖼️, Symbolism 🔣
18The wheat grows, and people are full of harvest hopes.Personification 🧍, Alliteration 🔤, Symbolism 🔣
19Everyone is happy, riding through tall grass to Mass.Visual Imagery 🖼️, Rhyme 🎶, Tone Shift 🎭
20Men return in nice clothes but still chew bark.Repetition 🔁, Symbolism 🔣, Characterization 👤
21Hanrahan now predicts bushfires will ruin them.Irony 😂, Cyclical Structure 🔁, Foreshadowing 🕰️
Literary And Poetic Devices: “Said Hanrahan” by John O’Brien
DeviceDefinitionExample from PoemExplanation
Alliteration 🔤Repeating the same starting sound in nearby words“heavy silence seemed to steal”Emphasizes tension and mood through repeated ‘s’ sound
Allusion 📚Reference to a real event or history“since the banks went broke”Refers to economic hardship, grounding the poem in real struggles
Atmosphere 🌫️The mood or emotional tone of the poem“A heavy silence seemed to steal…”Creates a shared feeling of dread and anxiety
Characterization 👤How a character is developedHanrahan’s constant pessimismHanrahan is shown as negative through repetition of gloomy lines
Chorus 🎵A repeated line like a refrain“We’ll all be rooned,” said HanrahanReinforces the communal tone and pessimistic theme
Colloquialism 🗣️Informal or regional language“It’s looking crook,”Reflects rural Australian speech and adds realism
Dialogue 💬Characters speaking directly“If rain don’t come this week…”Makes characters feel real and adds tension and contrast
Echo 🔁Repeating earlier words or phrases“We’ll all be rooned…” repeated by othersHighlights how ideas spread through the group
Enjambment 📜A sentence running over multiple lines“and crops, and drought, / As it had done for years.”Creates natural flow and mimics everyday speech
Escalation ⬆️Increasing tension or stakes“one inch… two… maybe four inches of rain”Shows rising worry and exaggerated rural logic
Exaggeration 📈Overstating for emphasis“We’ll all be rooned…”Highlights the absurd levels of Hanrahan’s pessimism
Fantasy Imagery 🧚Imaginative and magical descriptions“gladsome elves…talking to themselves.”Makes rain seem magical, showing emotional relief
Foreshadowing 🕰️Hinting at what’s to come“We’ll all be rooned…” early onPredicts upcoming hardships, though exaggerated
Irony 😂Opposite of what’s expected happens“We’ll all be rooned…if this rain doesn’t stop!”Shows that even good news is met with fear
Measurement Imagery 📏Using numbers or amounts for emphasis“We need two…or maybe four inches.”Reflects rural obsession with exact weather needs
Onomatopoeia 🔊Words that sound like what they mean“drummed a homely tune”Brings the sound of rain to life, comforting the reader
Paradox 🔄A self-contradictory statement that’s still true“If this rain doesn’t stop…”Shows how worry persists regardless of the situation
Personification 🧍Giving human traits to objects or nature“Rain…drummed a homely tune.”Makes the weather feel alive and emotionally active
Repetition 🔁Saying the same word or line more than once“We’ll all be rooned…”Emphasizes Hanrahan’s gloomy mindset
Symbolism 🔣Using objects to represent deeper meaningsRain, drought, bark, MassRepresents hardship, routine, faith, and survival
Themes: “Said Hanrahan” by John O’Brien

🌧️ 1. Pessimism and Fatalism: “Said Hanrahan” by John O’Brien is built around the recurring theme of pessimism, embodied by the character Hanrahan, whose constant refrain—“We’ll all be rooned”—becomes a chorus of doom throughout the poem. This fatalistic mindset persists regardless of changing conditions. When it’s dry, Hanrahan fears the crops are ruined and livestock will starve: “There won’t be grass, in any case, enough to feed an ass.” Even when rain finally comes in abundance, his reaction flips to fear of flooding: “We’ll all be rooned… if this rain doesn’t stop.” The poem ends with lush spring and prosperity, yet Hanrahan immediately predicts bushfires. This unshakable gloom, exaggerated to a humorous degree, critiques a mindset that anticipates disaster even in success, making the phrase a lasting part of Australian vernacular.


🌾 2. The Harshness and Cycles of Rural Life: “Said Hanrahan” by John O’Brien paints a vivid picture of rural Australia’s unpredictable weather and the emotional toll it takes on farming communities. The poem begins during a “frosty Sunday morn”, transitions through “drought”, and then to “rain… drummed a homely tune”, before concluding in a vibrant spring. This full cycle—from dry despair to flood to hopeful renewal—mirrors the natural rhythms of agricultural life. The references to “Back-o’-Bourke,” empty tanks, and failed crops highlight the isolation and pressure of farming under extreme conditions. These constant weather shifts are not just background details—they dictate the survival and emotional state of the people, showing how nature’s unpredictability governs every aspect of life on the land.


😂 3. Satire of Human Nature and Community Psychology: “Said Hanrahan” by John O’Brien uses satire to expose how fear and negativity can spread within a community. The poem humorously depicts how Hanrahan’s pessimism becomes infectious, turning from a personal opinion into a communal echo. Lines such as “And so around the chorus ran” show how even the most dramatic predictions are quickly adopted by others. The satirical tone peaks when people immediately shift from praying for rain to fearing too much of it. This exaggeration mocks how communities can be trapped in cycles of complaint, never satisfied no matter the circumstances. O’Brien captures not only rural hardship, but also a broader truth about how people often bond over shared worries rather than solutions.


🙏 4. Faith, Providence, and Endurance: “Said Hanrahan” by John O’Brien quietly threads in the theme of faith and resilience, beneath its comic and fatalistic surface. The recurring setting “outside the church, ere Mass began” signals the central role of religion in rural life. The line “In God’s good time down came the rain” implies that no matter how much people fret, nature (and perhaps God) works on its own schedule. This reflects a deeper cultural reliance on divine providence, especially in times of helplessness. Despite all the worry, the community endures: they keep farming, keep gathering, and keep chewing their “piece of bark.” The poem closes the loop, showing that while the fears may be endless, so is the human capacity to wait, endure, and hope again.

Literary Theories and “Said Hanrahan” by John O’Brien
Literary TheoryApplication to “Said Hanrahan”Poem References
Reader-Response Theory 📖This theory focuses on how readers interpret meaning based on their own experiences. In “Said Hanrahan,” readers from rural areas might relate deeply to the anxiety of drought and feast-or-famine life, while others see it as satire of human negativity. The humor, pessimism, and rural setting evoke different emotional responses.“We’ll all be rooned,” said Hanrahan — may be humorous, tragic, or realistic depending on the reader’s context.
Marxist Theory 💰This theory looks at class struggle, economic hardship, and power structures. The poem reflects the financial vulnerability of rural workers and farmers, who fear losing their crops and livestock due to conditions beyond their control, showing their economic instability and dependence on nature.“The crops are done; ye’ll have your work / To save one bag of grain” — reveals scarcity and rural economic stress.
Structuralism 🧩Structuralism examines the patterns, symbols, and binaries that structure meaning. “Said Hanrahan” is built on cyclical structure and opposites: drought vs flood, hope vs despair, silence vs noise. The repeated refrain acts as a structural anchor.Refrain: “We’ll all be rooned…” and the alternating stanzas between crisis and relief reflect binary oppositions and narrative symmetry.
New Historicism 🕰️This theory explores the historical and cultural context in which a text was written. Written in post-federation rural Australia, the poem reflects national anxieties about survival, land, and weather during early 20th-century settlement. Hanrahan’s reference to the banks breaking recalls the financial instability of the time.“For never since the banks went broke / Has seasons been so bad” — ties the poem to real events in Australia’s economic history.
Critical Questions about “Said Hanrahan” by John O’Brien

🧠 1. How does “Said Hanrahan” by John O’Brien use repetition to shape our understanding of pessimism?

“Said Hanrahan” by John O’Brien uses repetition—especially the recurring line “We’ll all be rooned”—to emphasize how deeply pessimism can root itself in a community. This phrase is not only Hanrahan’s personal mantra but becomes a collective refrain that reflects and reinforces fear. It appears in times of drought, flood, and even during spring abundance. For example, after joyful rains arrive and “every heart took up the song,” Hanrahan still declares, “We’ll all be rooned…if this rain doesn’t stop.” This repetition serves to satirize the human tendency to anticipate disaster regardless of circumstances, turning pessimism into a ritual that is almost religious in its frequency and inevitability.


🌍 2. What does “Said Hanrahan by John O’Brien reveal about rural Australian life and environmental dependence?

“Said Hanrahan” by John O’Brien vividly portrays how rural Australian communities are at the mercy of environmental conditions. Through lines like “The crops are done; ye’ll have your work / To save one bag of grain” and “All the tanks are dry,” O’Brien shows how livelihoods depend entirely on the land and weather. The references to “Back-o’-Bourke” and “Casey’s place” ground the poem in specific rural locations, suggesting isolation and fragility. Even the moments of joy—when “spring came in to fold / A mantle o’er the hills sublime”—are temporary and uncertain. This theme underscores how environmental unpredictability defines both the economic and emotional rhythms of bush life.


😂 3. In what ways does “Said Hanrahan” by John O’Brien function as satire?

“Said Hanrahan” by John O’Brien is a rich example of rural satire, using humor and exaggeration to critique human nature. Hanrahan’s constant predictions of ruin—even when things are going well—highlight the absurdity of always expecting the worst. His shift from fearing drought to fearing too much rain (“We’ll all be rooned…if this rain doesn’t stop”) mocks how some people can never be satisfied. The community’s habit of chewing bark and squatting, no matter the conditions, adds to the comic portrayal of stagnation and unchanging mindsets. O’Brien’s light rhyme and conversational tone enhance this effect, making the poem entertaining while subtly calling attention to how fear and negativity can dominate thinking.


🙏 4. How does “Said Hanrahan” by John O’Brien explore the relationship between faith and survival?

“Said Hanrahan” by John O’Brien subtly weaves religious imagery and the idea of faith into its portrayal of hardship and survival. The poem begins and ends “outside the church, ere Mass began,” positioning faith as the backdrop of rural life. But it’s not just organized religion—there’s also a deeper trust in divine timing. When rain finally arrives, it’s “In God’s good time,” suggesting that ultimate control lies beyond human hands. Despite constant worry, the community continues on, riding through knee-deep grass, going to Mass, and enduring the cycles. This blend of religious setting and natural resilience reflects how faith—both spiritual and emotional—helps people survive the unpredictability of the bush.

Literary Works Similar to “Said Hanrahan” by John O’Brien
  1. 😂 Clancy of the Overflow” by Banjo Paterson
    Like Said Hanrahan, this poem uses a conversational tone and ironic contrast between rural idealism and reality to explore outback life with wit and warmth.
  2. 🕰️The Man from Ironbark” by Banjo Paterson
    Similar in structure and tone, this poem uses a humorous narrative and rural character to explore social expectations and cultural contrast.
  3. 🌧️ Rain” by Edward Thomas
    Though more lyrical and solemn, this poem resonates with Said Hanrahan in its meditation on weather, vulnerability, and the cycles of nature.
Representative Quotations of “Said Hanrahan” by John O’Brien
QuotationExplanation + ContextTheoretical Perspective
“We’ll all be rooned,” said HanrahanThis repeated line is the poem’s central refrain, showing Hanrahan’s extreme pessimism in every situation—drought, flood, or even spring.Reader-Response Theory – Readers interpret Hanrahan’s attitude as comic, tragic, or realistic based on their background.
“Outside the church, ere Mass began, / One frosty Sunday morn.”Establishes the rural, religious setting and emotional tone—cold, communal, and reflective.New Historicism – Faith and routine anchor people during uncertain times in early 20th-century rural Australia.
“The crops are done; ye’ll have your work / To save one bag of grain”Reflects the deep concern about drought and food security; expresses real rural hardship.Marxist Theory – Highlights economic vulnerability and class struggle of agricultural workers.
“And all the tanks are dry.”A concise, dire image that emphasizes environmental dependency and water scarcity.Ecocriticism – Shows how nature controls survival in the bush; drought is a recurring threat.
“If rain don’t come this month,” said Dan… / “We’ll all be rooned,” said HanrahanEscalation of fear; Hanrahan interrupts others to amplify negativity, even when others are cautiously hopeful.Psychological Criticism – Reveals fear-driven thinking and how panic spreads in communities.
“In God’s good time down came the rain; / And all the afternoon / On iron roof and window-pane / It drummed a homely tune.”Rain arrives as a symbol of divine intervention and emotional relief, described musically and gently.Religious Symbolism / Reader-Response Theory – Seen as hopeful or ironic depending on interpretation.
“We want an inch of rain, we do,” / … “we wanted two” / … “three inches, man, or four”Progressive exaggeration of what’s needed reflects panic and shifting standards for safety.Structuralism – Shows patterns and binary opposites (need vs fear, scarcity vs abundance).
“It pelted, pelted all day long”Emphasizes the abundance of rain with strong repetition, contrasting earlier drought.Formalist Criticism – Focus on sound and rhythm; builds momentum and emotional climax.
“There’ll be bush-fires for sure, me man, / There will, without a doubt”After good weather returns, Hanrahan immediately predicts the next disaster. The cycle restarts.Satirical Theory / Psychological Criticism – Critiques negativity bias and unrelenting pessimism.
“Each man squatted on his heel, / And chewed a piece of bark.”A recurring image of habit and quiet resignation, representing rural stoicism and sameness.Symbolism / Marxist Theory – Shows endurance under hardship and the stagnation of rural life.
Suggested Readings: “Said Hanrahan” by John O’Brien
  1. HARTIGAN, P. J., and “JOHN O’BRIEN.” “P. J. HARTIGAN (‘JOHN O’BRIEN’): 1879-1951.” Poetry in Australia, Volume I: From the Ballads to Brennan, edited by T. INGLIS MOORE, 1st ed., University of California Press, 1965, pp. 149–53. JSTOR, http://www.jstor.org/stable/jj.2430471.56. Accessed 22 July 2025.
  2. hÓgáin, Dáithí Ó. “DREAMING AND DANCING: W. B. YEATS’S USE OF TRADITIONAL MOTIFS IN ‘THE DREAMING OF THE BONES’ (1919).” Hungarian Journal of English and American Studies (HJEAS), vol. 8, no. 1, 2002, pp. 57–75. JSTOR, http://www.jstor.org/stable/41274160. Accessed 22 July 2025.
  3. O’Brien, John. Said Hanrahan. Angus & Robertson (HarperCollinsPublishers Australia), 1987.