COMPARE HOW TWO TEXTS CREATED IN DIFFERENT GENRES USE STYLISTIC FEATURES TO
INVITE EMPATHY FOR A PARTICULAR INDIVIDUAL OR GROUP:
A growing number of Australians want to hear the national stories of Australia as it allows them to connect
with their land. Australians are loyal to these narratives and do not want to change. One such short story is
‘The Drover’s Wife’ by the legendary author, Henry Lawson. Set in 1893, the realist short story follows the
journey of a nameless young woman in the harsh outback of the Australian lowlands. Lawson gives voice
to women of the 1800’s, reflecting on his feminine upbringing by his strong mother. By using the
characterisation of the drover’s wife and her son, Tommy, he portrays the ideas that the iconic pioneer
woman is a paradox, and that toxic masculinity has been prevalent in Australian history since colonisation.
This allows the Australian audience to empathise with the drover’s wife and her dire situation. However, in
2016, Leah Purcell transforms the narrative, completely changing the story and yet retaining familiar
aspects. Her western play, set in the highlands, allows her to connect with the loyalist audience and yet
engage a new one interested in the untold – real – history of Australia’s colonisation. Purcell gives voice to
women as well as the First Nation’s People, who were silenced in Lawson’s version. By also using
symbolism and characterisation, she reinforces Lawson’s idea of the iconic pioneer woman, but challenges
the toxic masculinity idea. The Australian audience is confronted and outraged at the atrocities committed
by white men on the drover’s wife and the aboriginals, evoking empathy for both marginalised groups.
Firstly, the characterisation of the drover’s wife in Lawson’s story, portrays the idea that the iconic pioneer
woman is a paradox of strength and resilience but lacks power and self-determination. In the 1800s,
women were expected to stay indoors at all times and look after the children. However, Lawson grew up
with his mother who was a strong believer in women’s right. This influenced his perspective on women, as
he grew up believing they were strong, independent and resilient. He creates the character of the drover’s
wife to portray his perspective, and the hardships women go through. However, the drover’s wife still
spends most of her time inside and is given no name. Lawson narrates about how “[she] beat out the fire,”
and “walked 19 miles with her stillborn”, suggesting the drover’s wife’s independence and durability.
However, he also says, “…there are things a bushwoman cannot do…” which reinforces the idea of the
iconic pioneer woman being a paradox. This positions readers to empathise with her as despite being so
resourceful, she lacks power in a predominantly white, male society. Furthermore, the fact that she remains
unnamed throughout the story suggests that she symbolizes a generation who helped establish the
foundations of white settlement deep in the Australian continent. The characterisation of the character,
Tommy, also strengthens the idea of toxic masculinity being prevalent in Australian history since
colonisation. When the snake first appears, “Tommy declares that he’ll beat the snake…”, portraying his
character as brave and courageous, despite being so young. In many ways, it appears he is attempting to
fulfill the role of the “man of the house” in his father’s absence, reinforcing the trend of hypermasculinity.
Readers emapthise with Tommy as he appeals to their values of having a childhood. Tommy evidently has
been forced to grow up and step in his father’s shoes, despite having an adult (the drover’s wife) in the
house.
Similarly, Purcell makes use of the symbolism of the Martini Henry rifle to challenge and yet, reinforce the
idea of the iconic pioneer woman being a paradox. From the very beginning of the play, the drover’s wife,
Molly is shown with a rifle in her hand, immediately juxtaposing Lawson’s start. The rifle symbolises power
and capability, and the fact that it is in a woman’s hand, she subverts the gender expectations of the 1800s.
When the character of McNealy is introduced, “she [Molly] aims her rifle at him,” which has McNealy
stepping back in surrender. This allows the Australian audience to see that Molly is the one in control,
which subverts the idea of the iconic pioneer woman lacking strength, as Molly here is full of it. The
audience endorses this change from Lawson as it appeals to their value of women empowerment, and they
empathise with women of the past as not all of them had the courage of Molly. Furthermore, Purcell has
given the drover’s wife a name, and in that sense, has given her an identity, highlighting Molly’s
individuality. She no longer identifies by a man’s name, subverting the gender role expectations of the
1800s. Molly then has a huge contraction when dealing with McNealy, and this gives him the distraction he
needs to “rip the rifle out of her hands” and comments, “I’m assumin’ ya didn’t have time to reload.” This
suggests the display of hypermasculinity as McNealy incorrectly assumes that she is weak and does not
have the guts to actually shoot. The colloquial language also insinuates a smug and arrogant tone,
implicating hypermasculinity. However, the fact that McNealy was able to easily take away the rifle,
INVITE EMPATHY FOR A PARTICULAR INDIVIDUAL OR GROUP:
A growing number of Australians want to hear the national stories of Australia as it allows them to connect
with their land. Australians are loyal to these narratives and do not want to change. One such short story is
‘The Drover’s Wife’ by the legendary author, Henry Lawson. Set in 1893, the realist short story follows the
journey of a nameless young woman in the harsh outback of the Australian lowlands. Lawson gives voice
to women of the 1800’s, reflecting on his feminine upbringing by his strong mother. By using the
characterisation of the drover’s wife and her son, Tommy, he portrays the ideas that the iconic pioneer
woman is a paradox, and that toxic masculinity has been prevalent in Australian history since colonisation.
This allows the Australian audience to empathise with the drover’s wife and her dire situation. However, in
2016, Leah Purcell transforms the narrative, completely changing the story and yet retaining familiar
aspects. Her western play, set in the highlands, allows her to connect with the loyalist audience and yet
engage a new one interested in the untold – real – history of Australia’s colonisation. Purcell gives voice to
women as well as the First Nation’s People, who were silenced in Lawson’s version. By also using
symbolism and characterisation, she reinforces Lawson’s idea of the iconic pioneer woman, but challenges
the toxic masculinity idea. The Australian audience is confronted and outraged at the atrocities committed
by white men on the drover’s wife and the aboriginals, evoking empathy for both marginalised groups.
Firstly, the characterisation of the drover’s wife in Lawson’s story, portrays the idea that the iconic pioneer
woman is a paradox of strength and resilience but lacks power and self-determination. In the 1800s,
women were expected to stay indoors at all times and look after the children. However, Lawson grew up
with his mother who was a strong believer in women’s right. This influenced his perspective on women, as
he grew up believing they were strong, independent and resilient. He creates the character of the drover’s
wife to portray his perspective, and the hardships women go through. However, the drover’s wife still
spends most of her time inside and is given no name. Lawson narrates about how “[she] beat out the fire,”
and “walked 19 miles with her stillborn”, suggesting the drover’s wife’s independence and durability.
However, he also says, “…there are things a bushwoman cannot do…” which reinforces the idea of the
iconic pioneer woman being a paradox. This positions readers to empathise with her as despite being so
resourceful, she lacks power in a predominantly white, male society. Furthermore, the fact that she remains
unnamed throughout the story suggests that she symbolizes a generation who helped establish the
foundations of white settlement deep in the Australian continent. The characterisation of the character,
Tommy, also strengthens the idea of toxic masculinity being prevalent in Australian history since
colonisation. When the snake first appears, “Tommy declares that he’ll beat the snake…”, portraying his
character as brave and courageous, despite being so young. In many ways, it appears he is attempting to
fulfill the role of the “man of the house” in his father’s absence, reinforcing the trend of hypermasculinity.
Readers emapthise with Tommy as he appeals to their values of having a childhood. Tommy evidently has
been forced to grow up and step in his father’s shoes, despite having an adult (the drover’s wife) in the
house.
Similarly, Purcell makes use of the symbolism of the Martini Henry rifle to challenge and yet, reinforce the
idea of the iconic pioneer woman being a paradox. From the very beginning of the play, the drover’s wife,
Molly is shown with a rifle in her hand, immediately juxtaposing Lawson’s start. The rifle symbolises power
and capability, and the fact that it is in a woman’s hand, she subverts the gender expectations of the 1800s.
When the character of McNealy is introduced, “she [Molly] aims her rifle at him,” which has McNealy
stepping back in surrender. This allows the Australian audience to see that Molly is the one in control,
which subverts the idea of the iconic pioneer woman lacking strength, as Molly here is full of it. The
audience endorses this change from Lawson as it appeals to their value of women empowerment, and they
empathise with women of the past as not all of them had the courage of Molly. Furthermore, Purcell has
given the drover’s wife a name, and in that sense, has given her an identity, highlighting Molly’s
individuality. She no longer identifies by a man’s name, subverting the gender role expectations of the
1800s. Molly then has a huge contraction when dealing with McNealy, and this gives him the distraction he
needs to “rip the rifle out of her hands” and comments, “I’m assumin’ ya didn’t have time to reload.” This
suggests the display of hypermasculinity as McNealy incorrectly assumes that she is weak and does not
have the guts to actually shoot. The colloquial language also insinuates a smug and arrogant tone,
implicating hypermasculinity. However, the fact that McNealy was able to easily take away the rifle,
