Seven Little Australians — A Reader’s Guide

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Turner, Ethel, 1870-1958 Project Gutenberg 2003
Siblings -- Juvenile fiction; Family life -- Australia -- Juvenile fiction; Woolcot family (Fictitious characters) -- Juvenile fiction; Australia -- History -- 1788-1900 -- Juvenile fiction Readers of public-domain and historical texts
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Words: 48,443
Reading time: 211 min
Text sections: 6
Ethel Turner's 1894 novel introduces the unruly Woolcot siblings in colonial Australia, using episodic chapters and shifting perspectives to explore family dynamics, rebellion, and the tension between domestic order and the wild Australian landscape.
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Baby was four, and was a little soft fat thing with pretty cuddlesome ways, great smiling eyes, and lips very kissable when they were free from jam.

She had a weakness, however, for making the General cry, or she would have been really almost a model child. Innumerable times she had been found pressing its poor little chest to make it "squeak;" and even pinching its tiny arms, or pulling its innocent nose, just for the strange pleasure of hearing the yells of despair it instantly set up. Captain Woolcot ascribed the peculiar tendency to the fact that the child had once had a dropsical-looking woolly lamb, from which the utmost pressure would only elicit the faintest possible squeak: he said it was only natural that now she had something so amenable to squeezing she should want to utilize it.

Bunty was six, and was fat and very lazy. He hated scouting at cricket, he loathed the very name of a paper-chase, and as for running an errand, why, before anyone could finish saying something was wanted he would have utterly disappeared. He was rather small for his age;-and I don't think had ever been seen with a clean face. Even at church, though the immediate front turned to the minister might be passable, the people in the next pew had always an uninterrupted view of the black rim where washing operations had left off.

The next on the list--I am going from youngest to oldest, you see--was the "show" Woolcot, as Pip, the eldest boy, used to say. You have seen those exquisite child-angel faces on Raphael Tuck's Christmas cards? I think the artist must just have dreamed of Nell, and then reproduced the vision imperfectly. She was ten, and had a little fairy-like figure, gold hair clustering in wonderful waves and curls around her face, soft hazel eyes, and a little rosebud of a mouth. She was not conceited either, her family took care of that--Pip would have nipped such a weakness very sternly in its earliest bud; but in some way if there was a pretty ribbon to spare, or a breadth of bright material; just enough for one little frock, it fell as a matter of course to her.

Judy was only three years older, but was the greatest contrast imaginable. Nellie used to move rather slowly about, and would have made a picture in any attitude. Judy I think, was never seen to walk, and seldom looked picturesque. If she did not dash madly to the place she wished to get to, she would progress by a series of jumps, bounds, and odd little skips. She was very thin, as people generally are who have quicksilver instead of blood in their veins; she had a small, eager, freckled face, with very, bright dark eyes, a small, determined mouth, and a mane of untidy, curly dark hair that was the trial of her life.

Without doubt she was the worst of the seven, probably because she was the cleverest. Her brilliant inventive powers plunged them all into ceaseless scrapes, and though she often bore the brunt of the blame with equanimity, they used to turn round, not infrequently, and upbraid her for suggesting the mischief. She had been christened "Helen," which in no way account's for "Judy," but then nicknames are rather unaccountable things sometimes, are they not? Bunty said it was because she was always popping and jerking herself about like the celebrated wife of Punch, and there really is something in that. Her other name, "Fizz," is easier to understand; Pip used to say he never yet had seen the ginger ale that effervesced and bubbled and made the noise that Judy did.

I haven't introduced you to Pip yet, have I? He was a little like Judy, only handsomer and taller, and he was fourteen, and had as good an opinion of himself and as poor a one of girls as boys of that age generally have.

Meg was the eldest of the family, and had a long, fair plait that Bunty used to delight in pulling; a sweet, rather dreamy face, and a powdering of pretty freckles that occasioned her much tribulation of spirit.

It was generally believed in the family that she wrote poetry and stories, and even kept a diary, but no one had ever seen a vestige of her papers, she kept them so carefully locked up in her old tin hat-box. Their father, had you asked them they would all have replied with considerable pride, was "a military man," and much from home. He did not understand children at all, and was always grumbling at the noise they made, and the money they cost. Still, I think he was rather proud of Pip, and sometimes, if Nellie were prettily dressed, he would take her out with him in his dogcart.

He had offered to send the six of them to boarding school when he brought home his young girl-wife, but she would not hear of it.

At first they had tried living in the barracks, but after a time every one in the officers' quarters rose in revolt at the pranks of those graceless children, so Captain Woolcot took a house some distance up the Parramatta River, and in considerable bitterness of spirit removed his family there.

They liked the change immensely; for there was a big wilderness of a garden, two or three paddocks, numberless sheds for hide-and-seek, and, best of all, the water. Their father kept three beautiful horses, one at he barracks and a hunter and a good hack at Misrule; so, to make up, the children--not that they cared in the slightest--went about in shabby, out-at-elbow clothes, and much-worn boots. They were taught--all but Pip, who went to the grammar school--by a very third-class daily governess, who lived in mortal fear of her ignorance being found out by her pupils. As a matter of fact, they had found her out long ago, as children will, but it suited them very well not to be pushed on and made to work, so they kept the fact religiously to themselves.

"Oh, don't the days seem lank and long When all goes right and nothing wrong; And isn't your life extremely flat With nothing whatever to grumble at?"

I hope you are not quite deafened yet, for though I have got through the introductions, tea is not nearly finished, so we must stay in the nursery a little longer: All the time I have been talking Pip has been grumbling at the lack of good things. The table was not very tempting, certainly; the cloth looked as if it had been flung on, the china was much chipped and battered, the tea was very weak, and there was nothing to eat but great thick slices of bread and butter. Still, it was the usual tea, and everyone seemed surprised at Pip's outburst.

"My father and Esther" (they all called their young stepmother by her Christian name) "are having roast fowl, three vegetables, and four kinds of pudding," he said angrily; "it isn't fair!"

"But we had dinner at one o'clock, Pip, and yours is saved as usual," said Meg, pouring out tea with a lavish allowance of hot water and sugar.

"Boiled mutton and carrots and rice pudding!" returned her brother witheringly. "Why shouldn't we have roast fowl and custard and things?"

"Yes, why shouldn't we?" echoed little greedy Bunty; his eyes lighting up.

"What a lot it would take for all of us!" said Meg, cheerfully attacking the bread loaf.

"We're only children--let us be thankful for this nice thick bread and this abundance of melting butter," said Judy, in a good little tone.

Pip pushed his chair back from the table.

"I'm going down to ask for some roast fowl," he said, with a look of determination in his eyes. "I can't forget the smell of it, and they'd got a lot on the table--I peeped in the door."

He took up his plate and proceeded downstairs, returning presently, to the surprise of everyone, with quite a large portion on his plate.

"He couldn't very well refuse," he chuckled. "Colonel Bryant is there; but he looked a bit mad--here, Fizz, I'll go you halves."

Judy pushed up her plate eagerly at this unusually magnanimous offer, and received a very small division, a fifth part, perhaps, with great gratitude.

"I just LOVE fowl," said Nell longingly; "I've a great mind to go down and ask for a wing--I believe he'd give it to me."

These disrespectful children, as I am afraid you will have noticed, always alluded to their father as "he."

Nell took up another plate, and departed slowly to the lower regions. She followed into the dining-room at the heels of the housemaid, and stood by the side of her father, her plate well behind her.

"Well, my little maid, won't you shake hands with me? What is your name?" said Colonel Bryant, tapping her cheek playfully.

Nell looked up with shy, lovely eyes.

"Elinor Woolcot, but they call me Nell," she said, holding out her left hand, since her right was occupied with the plate.

"What a little barbarian you are, Nell!" laughed her father; but he gave her a quick, annoyed glance. "Where is your right hand?"

She drew it slowly from behind and held out the cracked old plate. "I thought perhaps you would give me some fowl too," she said--"just a leg or a wing, or bit of breast would do."

The Captain's brow darkened. "What is the meaning of this? Pip has just been to me, too. Have you nothing to eat in the nursery?"

"Only bread and butter, very thick," sighed Nellie.

Esther suppressed a smile with difficulty.

"But you had dinner, all of you, at one o'clock."

"Boiled mutton and carrots and rice pudding," said Nell mournfully.

Captain Woolcot severed a leg almost savagely and put it on her plate.

"Now run away; I don't know what has possessed you two to-night."

Nellie reached the door, then turned back.

"Oh, if you would just give me a wing for poor Meg--Judy had some of Pip's, but Meg hasn't any," she said, with a beautiful look of distress that quite touched Colonel Bryant.

Her father bit his lip, hacked off a wing in ominous silence, and put it upon her plate.

"Now run away,--and don't let me have any more of this nonsense, dear." The last word was a terrible effort.

Nell's appearance with the two portions of fowl was hailed with uproarious applause in the nursery; Meg was delighted with her share; cut a piece off for Baby, and the meal went on merrily.

"Where's Bunty?", said Nell, pausing suddenly with a very clean drumstick in her fingers, "because I HOPE he hasn't gone too; someway I don't think Father was very pleased, especially as that man was there."

But that small youth had done so, and returned presently crestfallen.

"He wouldn't give me any--he told me to go away, and the man laughed, and Esther said we were very naughty--I got some feathered potatoes, though, from the table outside the door."

He opened his dirty little hands and dropped the uninviting feathered delicacy out upon the cloth.

"Bunty, you're a pig," sighed Meg, looking up from her book. She always read at the table, and this particular story was about some very refined, elegant girls.

"Pig yourself--all of you've had fowl but me, you greedy things!" retorted Bunty fiercely, and eating up his potato very fast.

"No, the General hasn't," said Judy and the old mischief light sprang up suddenly into her dark eyes.

"Now, Judy!" said Meg warningly; she knew too well what that particular sparkle meant.

"Oh, I'm not going to hurt you, you dear old thing," said Miss Judy, dancing down the room and bestowing a pat on her sister's fair head as she passed. "It's only the General, who's after havin' a bit o' fun."

She lifted him up out of the high chair, where he had been sitting drumming on the table with a spoon and eating sugar in the intervals.

"It's real action you're going for to see, General," she said, dancing to the door with him.

"Oh, Judy, what are you going to do?" said Meg entreatingly.

"Ju-Ju!" crowed the General, leaping almost out of Judy's arms, and scenting fun with the instinct of a veteran.

Down the passage they went, the other five behind to watch proceedings. Judy sat down with him on the last step.

"Boy want chuck-chuck, pretty chuck-chuck?" she said insidiously.

"Chuck-chuck, chuck-a-chuck," he gurgled, looking all around for his favourite friends.

"Dad got lots--all THIS many," said Judy, opening her arms very wide to denote the number in her father's possession. "Boydie, go get them!"

"Chuck-chuck," crowed the General delightedly, and struggling to his feet--"find chuck-chuck."

"In there," whispered Judy, giving him a gentle push into the half-open dining-room door; "ask Dad."

Right across the room the baby tottered on fat, unsteady little legs.

"Are the children ALL possessed to-night, Esther?" said the Captain, as his youngest son clutched wildly at his leg and tried to climb up it.

He looked down into the little dirty, dimpling face. "Well, General, and to what do we owe the honour of your presence?"

"Chuck-chuck, chuck-a-chuck, chuck, chuck, chuck," said the General, going down promptly upon all fours to seek for the feathered darlings Judy had said were here.

But Esther gathered up the dear, dirty-faced young rascal and bore him struggling out of the room. At the foot of the stairs she nearly stumbled over the rest of the family.

"Oh, you scamps, you bad, wicked imps!" she said, reaching out to box all their ears, and of course failing.

She sat down on the bottom stair to laugh for a second, then she handed the General to Pip. "To-morrow," she said, standing up and hastily smoothing the rich hair that the General's hands had clutched gleefully--"to-morrow I shall beat every one of you with the broomstick."

They watched the train of her yellow' silk dress disappear into the dining-room again, and returned slowly to the nursery and their interrupted tea.

Virtue Not Always Rewarded

It was not to be expected that such an occurrence could be passed entirely over, but then again it is difficult to punish seven children at the same time. At first Captain Woolcot had requested Esther to ask Miss Marsh, the governess, to give them all ten French verbs to learn; but, as Judy pointed out, the General and Baby and Bunty and Nell had not arrived at the dignity of French verbs yet, so such a punishment would be iniquitous. The sentence therefore had not been quite decided upon as yet, and everyone felt in an uncomfortable state of suspense.

"Your father says you're a disgraceful tribe," said the young stepmother slowly, sitting down on the nursery rocking-chair a day later. She had on a trailing morning wrapper of white muslin with cherry ribbons, but there was a pin doing duty for a button in one or two places and the lace was hanging off a bit at the sleeve.

"Meg, dear, you're very untidy, you know, and Judy's absolutely hopeless."

Meg was attired in an unbecoming green cashmere, with the elbows out and the plush torn off in several places, while Judy's exceedingly scant and faded pink zephyr had rents in several places, and the colour was hardly to be seen for fruit-stains.

Meg coloured a little. "I know, Esther, and I'd like to be nicely-dressed as well as anyone, but it really isn't worth mending these old things."

She picked up her book about the elegant girls who were disturbing her serenity and went over to the armchair with it.

"Well, Judy, you go and sew up those rents, and put some buttons on your frock." Esther spoke with unusual determination.

Judy's eyes snapped and sparkled.

"'Is that a dagger that I see before me, the handle to my hand? Come, let me grasp it,'" she said saucily, snatching one of the pins from Esther's dress, fastening her own with it, and dropping a curtsey.

Esther reddened a little now.

"That's the General, Judy: he always pulls the buttons off my wrappers when I play with him. But I'm forgetting. Children, I have bad news for you."

There was a breathless silence. Everyone crowded round her knees.

"Sentence has been proclaimed," said Judy dramatically: "let us shave our heads and don sackcloth."

"Your father says he cannot allow such conduct to go unpunished, especially as you have all been unusually tiresome lately; therefore: you are all--"

"To be taken away and hanged by the neck until we are dead!"

"Be quiet, Judy. I have tried my best to beg you off, but it only makes him more vexed. He says you are the untidiest, most unruly lot of children in Sydney, and he will punish you each time you do anything, and--"

"There shall be weeping and gnashing of teeth."

"Oh, shut up, Judy! Can't you let us hear?" Pip put his hand over her mouth and held her by the hair while Esther told the news.

"None of you are to go to the pantomime. The seats were taken for Thursday night, and now, you very foolish children, you will all have to stay at home."

There was a perfect howl of dismay for a minute or two. They had all been looking forward to this treat for nearly a month, and the disappointment was a really bitter one to them all.

"Oh, I say, Esther, that's too bad, really! All the fellows at school have been." Pip's handsome face flushed angrily. "And for such a little thing, too!"

"Just because you had roast fowl for dinner," said Judy, in a half-choked voice. "Oh, Esther, why couldn't you have had cow, or horse, or hippopotamus--anything but roast fowl?"

"Couldn't you get round him, Esther?" Meg looked anxiously at her.

"Oh, you sweet, beautiful Essie, do try!"

They clung round her eagerly. Baby flung her arms round her neck and nearly choked her; Nell stroked her cheek; Pip patted her back, and besought her to "be a good fellow"; Bunty buried his nose in her back hair and wept a silent tear; Meg clasped her hand in an access of unhappiness; the General gave a series of delighted squeaks; and Judy in her wretchedness smacked him for his pains.

Esther would do her best, beg as she had never done before, coax, beseech, wheedle, threaten; and they let her go at last with that assurance.

"Only I'd advise you all to be preternaturally good and quiet all day," she said, looking back from the doorway. "That would have most effect with him, and he is going to be at home all day."

GOOD! It was absolutely painful to witness the virtue of those children for the rest of the day.

It was holiday-time, and Miss Marsh was away, but not once did the sound of quarrelling, or laughing, or crying fly down to the lower regions.

"'Citizens of Rome, the eyes of the world are upon you!'" Judy had said solemnly, and all had promised so to conduct themselves that their father's heart could not fail to be melted.

Pip put on his school jacket, brushed his hair, took a pile of school books, and proceeded to the study where his father was writing letters, and where he was allowed to do his home-lessons.

"Well, what do you want?" said the Captain, with a frown. "No, it's no good coming to the about that pup, sir--I won't have you keep it."

"I came to study, sir," said Pip mildly. "I feel I'm a bit backward with my mathematics, so I won't waste all the holidays, when I'm costing you so much in school fees."

The Captain gave a little gasp and looked hard at Pip; but the boy's face was so unsmiling and earnest that he was disarmed, and actually congratulated himself that his eldest son was at last seeing the error of his ways.

"There are those sets of problems in that drawer that I did when I was at school," he said graciously. "If they are of any use to you, you can get them out."

"Thanks awfully--they will be a great help," said Pip gratefully.

He examined them with admiration plainly depicted upon his face.

"How very clearly and correctly you worked, Father," he said with a sigh. "I wonder if ever I'll get as good as this! How old were you, Father, when you did them?"

"About your age," said the Captain, picking up the papers.

From its opening chapter, Seven Little Australians announces itself as a story that will not feature model children. The narrator directly addresses the reader, warning that Australian children are 'never' really good, and that the story's 'seven select spirits' are full of 'joyousness and rebellion and mischief.' This framing sets the tone for a work that moves briskly between domestic chaos and broader outdoor adventures, often within a single chapter.

The structure is episodic, with chapter titles like 'Fowl for Dinner' and 'A Catapult and a Catastrophe' signaling comic or dramatic set pieces. Yet the narrative also shifts abruptly from nursery tea to a child's delirium in a shed, as seen in the truant chapter where Judy's feverish breakdown is juxtaposed with her father's oblivious departure. These contrasts in setting and mood are a recurring feature of Turner's method.

Nursery Tea and the Architecture of Misrule

The opening chapter, 'Chiefly Descriptive,' establishes the Woolcot household as a place where 'nursery tea' is conducted with 'a minimum of comfort and a maximum of noise.' The narrator contrasts this with English domestic formality, noting that in Australia, parents and children often dine together, leading to a 'bon camaraderie' and an 'utter absence of veneration' from the young. This setting is not merely backdrop; it is the engine of the plot. The cramped, noisy nursery becomes a stage for squabbles, alliances, and the constant negotiation of authority. Later, when Judy hides in the old shed, the domestic space is inverted: the shed becomes a refuge from the house, but also a site of physical danger and emotional crisis. The movement between these spaces—from the regulated chaos of the nursery to the isolated, decaying shed—mirrors the children's fluctuating relationship with parental control.

The Shed as Sanctuary and Trap

In Chapter XI, 'The Truant,' the narrative shifts from the house to an old shed where Judy has taken refuge after running away. The shed is described through Bunty's frantic perspective: he climbs 'up cactuses and into windows' to reach her, and later displays his 'scars proudly' to Meg. The physical difficulty of accessing the shed—through prickly plants and narrow openings—emphasizes its separateness from the ordered world of the house. Inside, Judy alternates between delirium and lucidity, her feverish calculations of distance and time ('three years before I get there') revealing a mind strained by isolation. The shed is both a sanctuary from her father's discipline and a trap that exacerbates her illness. This dual function recurs in the novel: spaces that seem to offer freedom often become confining, and the children's attempts to escape domestic authority lead them into new forms of vulnerability.

Recurring Images of Confinement and Escape

Throughout the excerpts, images of confinement and escape appear in quick succession. Judy's delirium includes a frantic mental arithmetic: 'if I walk ten miles a day I shall get home in eleven hundred and eighty-three times ten.' The numbers blur into a desperate sense of distance, and the phrase 'three years—years—years' is 'almost shrieked.' This moment echoes the earlier description of the nursery, where the children's 'spirits' are 'not crushed and saddened' but where the 'light grows dull' in 'the dust and heat of the day.' The tension between the promise of Australian openness and the reality of domestic restriction is embodied in these recurring images. Even the dogcart that carries the Captain away becomes a symbol of escape—for the adults, not the children. The children are left behind, their relief at his departure tinged with the knowledge that they remain confined to the property and its hierarchies.

Shifting Perspectives and Unreliable Witnesses

Turner frequently shifts the narrative focus among the children, creating a mosaic of partial and conflicting viewpoints. In 'The Truant,' Bunty's report to Meg is a jumble of excitement and fear: 'She's in the old shed, Meg, and I'm not sure, but I think she's gone mad.' His account is colored by his own recent beating and his pride in having kept Judy's secret. Meg's response is mechanical—she repeats 'Yes' three times, not fully absorbing what she is told. Pip, arriving later, dismisses the story as 'a yarn of Bunty's,' only to be shocked when he climbs into the shed. These layered perspectives prevent any single character from having complete knowledge. The reader, like the children, must piece together events from fragments. This technique reinforces the novel's interest in the limits of understanding, especially between generations: the Captain leaves for the day unaware of the crisis unfolding in his own shed.

Readers approaching Seven Little Australians should attend to the way Turner uses physical spaces—the nursery, the shed, the paddocks—as more than settings. They are active elements in the story, shaping the children's movements and emotions. The novel's episodic structure rewards attention to how each chapter reconfigures the relationship between domestic order and the unruly impulses of its young characters. The excerpts suggest a work that balances comedy with moments of genuine distress, and that uses the Australian landscape not as picturesque backdrop but as a force that both liberates and isolates.

That old Woolcot house stays with you, all that wildness pressing against the wallpaper’s order. I felt something similar with The mysterious tramp — Text and Context, the way a stranger’s presence quietly unsettles every familiar thing, reminding me how thin the line is between a safe home and the bush just beyond the fence.

Sebastian Mitchell
2 weeks ago

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    John Morris - 1 month ago
    This classic Australian novel is engaging and well-written, with strong character development and a vivid sense of place. The story of the Woolcot siblings is both entertaining and touching. However, the pacing can be uneven, especially during the middle sections. The ending, while impactful, feels a bit rushed. Still, it's a worthwhile read for those who enjoy classic family dramas.

  • ...
    Matthew Phillips - 4 weeks ago
    Seven Little Australians is a timeless classic that has captured my heart. The Woolcot family is wonderfully drawn, each child with a distinct personality that makes you feel like you know them. The story is full of adventure, mischief, and heartfelt moments, set against the beautiful Australian backdrop. It's a poignant tale of family, loss, and resilience that I couldn't put down. A must-read for all ages.

  • ...
    Zachary Hudson - 2 weeks ago
    I had high hopes for this classic, but I found it quite disappointing. The characters are often unlikable, with the father being particularly harsh and unsympathetic. The plot meanders without a clear direction, and the tragic ending feels like a cheap way to evoke emotion. There are better Australian children's books that handle family dynamics with more nuance. I struggled to finish this one.


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