had lost her golden glove, and

She had a saving clause in case the young farmer mislaid the glove before he saw the ad., and an OLD bloke got holt of it and fetched it along. But everything went all right. The young farmer turned up with the glove. He was a very respectable young farmer, and expressed his gratitude to her for having "honour-ed him with her love." They were married, and the song ends with a picture of the young farmeress milking the cow, and the young farmer going whistling to plough. The fact that they lived and grafted on the selection proves that I hit the right nail on the head when I guessed, in the first place, that the old nobleman was "stony".

In after years,

But whether he was pleased or otherwise to hear it, after years of matrimonial experiences, the old song doesn't say, for it ends there.

Flash Jack is more successful with "Saint Patrick's Day".

This is greatly appreciated by Jimmy Nowlett, who is suspected, especially by his wife, of being more cheerful when on the roads than when at home.

"Sam Holt" was a great favourite with Jimmy Nowlett in after years.

Sam Holt must have been very hard up for tucker as well as beauty then, for

Sam Holt was, apparently, a hardened flash Jack.

Reference is made to his "manner of holding a flush", and he is asked to remember several things which he, no doubt, would rather forget, including

The song is decidedly personal.

But Sam Holt makes a pile and goes home, leaving many a better and worse man to pad the hoof Out Back. And—Jim Nowlett sang this with so much feeling as to make it appear a personal affair between him and the absent Holt—

(with increasing feeling)

For the chances will be that Sam Holt's old mate

An echo from "The Old Bark Hut", sung in the opposition camp across the gully:

However:

Somebody tackling the "Old Bullock Dray"; it must be over fifty verses now. I saw a bushman at a country dance start to sing that song; he'd get up to ten or fifteen verses, break down, and start afresh. At last he sat down on his heel to it, in the centre of the clear floor, resting his wrist on his knee, and keeping time with an index finger. It was very funny, but the thing was taken seriously all through.

Irreverent echo from the old Lambing Flat trouble, from camp across the gully:

and

All the camps seem to be singing to-night:

Good lines, the introduction:

Granny Mathews fails to coax her niece into the kitchen, but persuades her to sing inside. She is the girl who learnt 'sub rosa' from the bad girl who sang "Madeline". Such as have them on instinctively take their hats off. Diggers, &c., strolling past, halt at the first notes of the girl's voice, and stand like statues in the moonlight:

Diggers wanted to send that girl "Home", but Granny Mathews had the old-fashioned horror of any of her children becoming "public"—

But it grows late, or rather, early. The "Eyetalians" go by in the frosty moonlight, from their last shift in the claim (for it is Saturday night), singing a litany.

"Get up on one end, Abe!—stand up all!" Hands are clasped across the kitchen table. Redclay, one of the last of the alluvial fields, has petered out, and the Roaring Days are dying.... The grand old song that is known all over the world; yet how many in ten thousand know more than one verse and the chorus? Let Peter McKenzie lead:

And hearts echo from far back in the past and across wide, wide seas:

Now boys! all together!

The world was wide then.