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Updated: June 23, 2025
One can readily imagine that if a generation or two hence there should be any Australian history left unwritten, any unsatisfied curiosity concerning the simple annals now so familiar to us, Rolf Boldrewood's novels might be found, within their limits, a more satisfying source of information than all the rest of contemporary Australian literature combined, the formal chroniclers included, as well as the poets: that is to say, the general view they would furnish of certain features of pioneer life would be fuller and clearer, and, minor details apart, more reliable than could be gathered from any other source.
English readers of Rolf Boldrewood's novels have often wondered why he has ignored in his writings the modern social life of Australia. He has a unique knowledge of the country extending over sixty years, but his literary materials have been drawn only from the first half of this period.
Yes; by Jove! it is He spoke some name I couldn't catch, but Starlight put a finger on his lips, and whispered: 'You won't tell, will you? Say you won't. The other nodded. He smiled just like his old self. 'Poor Aileen! he said, quite faint. His head fell back. Starlight was dead! Boldrewood's characters, as he has said himself, are constructed from many models.
Robbery under Arms not only contains Boldrewood's most dramatic plot, but his most skilful and sympathetic treatment of character. It is a distinct exception to the rest of his work. In the later stories the characters are brightly sketched, but with so casual a touch that they leave no permanent impression with the reader.
But the best contrast to Boldrewood's style is furnished by the author of Geoffry Hamlyn. Henry Kingsley decided the movement of his characters with a loving care. Their interests were paramount to him. They made their own story; the story did not make them.
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