Tropic Days — Story, Setting & Ideas

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Banfield, E. J. (Edmund James), 1852-1923 Project Gutenberg 2005 Not confirmed
Dunk Island (Qld.); Natural history -- Australia -- Queensland; Aboriginal Australians -- Government relations Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 88,259
Reading time 384 min
Text sections 10

The source record for Tropic Days — Story, Setting & Ideas measures this digital text at 88,259 words, 6 hr 24 min estimated reading time, and 10 detected text sections.

The text analysis averages about 22.9 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Dunk Island (Qld.),” connecting these edition facts with the source record’s subject description.

Banfield's sketches of life on a North Queensland island blend natural observation with quiet humor. The author's voice shifts from serene beachcombing to wry commentary on Aboriginal ingenuity, as in the eagle's-nest float. A reflective, episodic work that rewards patient reading.
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t green leaves, musty flowers, and purple fruit--gold, silver, and purple in close array--while over the sand the goat-footed convolvulus sends long, succulent shoots bearing huge pink flowers complementary to the purple of the beach-pea (CANVALIA OBTUSIFOLIA).

Under the she-oaks young coral trees have sprung up, but the red flowers are of the past, and so also have the gold and white of the Calophyllums disappeared. But in the evening the breeze brings whiffs of a singular savour, pleasant yet not sweet, which comes from the acre or two of native hops a few yards back. The bruised leaves thereof give off anything but an attractive odour, yet the faint natural exhalations from the plant are sniffed eagerly and to the revivification of pleasant recollections.

Among a crowd of massive shrubs sprawls a plant of loose habit known as CAESALPINA BONDUCELLA, the long clinging branches and the pods of which are armed with hooked prickles. It is a plant of wide range, for the bluish-grey seeds are said to be used in Arabia for necklets. In the idle days of the past the blacks were wont to enclose a single seed in a miniature basket woven of strips of cane for the amusement of infants--probably the first of rattles. It has seized for support some of the branches of a rare tree (CERBERA ODOLLAM) which bears long, glossy, lanceolate leaves, large, pink-centred, white flowers, delicately fragrant, and compressed oval fruit, brilliantly scarlet. The tempting appearance of the fruit is all that may be said in its favour, for it is hard and bitter, and said to be vicious in its effects on the human system; hence the generic title, after the three-headed dog, guardian of the portals of the infernal regions.

Grouped here and there are pale green, big-leaved shrubs (PREMNA OBTUSIFOLIA,) bearing flowers and fruit calling to mind the elder of the old country. The wood is deep yellow in colour, but apparently of no practical use.

Another small tree, suggesting in its regular and well-balanced shape the use of the pruning-knife, is GUETTARDIA SPECIOSA, the flowers of which are white with a tinge of pink in the centre and highly fragrant. The fruit is a hard, woody drupe, containing small seeds. TIMONIUS RUMPHII, belonging to the same Family, but of more frequent occurrence, bears small white flowers and globular fruit. The white, finely grained wood is said to resemble English sycamore. Though harsh and flaky, the surface of the bark seems to retain moisture, making it attractive to several species of fungi and epiphytal ferns, the most conspicuous of the latter being the stag's-horn. Few of the trees near the beach are free from such encumbrances.

To unaccustomed eyes the Pandanus palm is chief among the noticeable features of the flora of the coast of tropical Queensland. Two species are represented on these accommodating sands, each suffering no ill, from imbibing salt water, each exhibiting the peculiarity whence the genus derives its common name--the screw palm, the arrangement of the long, narrow, prickle-edged leaves displaying in the most regular and demonstrative style the perfect spiral. The single stem of youth frequently deteriorates and occasionally disappears altogether, adventitious roots, descending from various heights, forming an elaborate and sure and ever-developing support. The huge, bright orange-tinted fruit of the species known as Odoratissimus is highly attractive in appearance, and to the uninitiated offers pleasing hopes and delicious expectations. It is, however, delusive, being constituted of woody drupes in close clusters collected into a globular head, with meagre yellow pulp at the base of each group, the pulp having an aromatic and unsatisfactory flavour. Each drupe contains an oblong oval kernel, pleasant to the taste, but so trivial in size as to be hardly worth the trouble of extraction unless there is little else to occupy attention save the pangs of hunger. These defects do not detract from the parade of the tree--picturesque, singular, and replete with interest to the observer of the infinite variety of the vegetation of the tropics.

The cockatoo apple (CAREYA AUSTRALIS), which has several useful qualities, flourishes exceedingly. The ripe fruit, green and insipid, was wont to be eaten by the blacks, bark from the branches was twisted into fishing-lines, that of the roots used for poisoning fish, while the leaves, heated over the fire until the oil exuded, were applied to bruised and aching parts of the body. Extraordinary tenacity of life distinguished the tree, the axe, fire, and poison failing under some circumstances to vanquish it.

Banfield opens Tropic Days with an epigraph from Borrow that sets the tone: idleness as a form of occupation. The author describes his island government of three as 'gainful' not in wealth but in personal freedom and communion with nature. The prose moves between precise natural detail—sunrises, beach plants, shadows—and a self-deprecating humor that undercuts any pretension. The voice is that of a beachcomber who observes without disturbing, letting 'the-mind to dwell on any but the vaguest speculations.'

The Idle Moment as Method

The first part, 'Sun Days in Idle Moment,' establishes a narrative pace that mirrors its subject: unhurried, attentive, yet deliberately loose. Banfield describes 'delicious lapses—fag-ends of the day' as opportunities for a dreamy mood. The prose itself enacts this rhythm, moving from broad observations of the sun's path to minute details of beach plants and shadows. The author's voice is meditative but not sentimental; he notes that those 'out of touch with great and dusty events' may be more sensitive to the universe's 'recurrent freshness.' This section establishes the book's central tension: the beachcomber's freedom versus the exacting duties of island administration, resolved through a tone that treats both with equal seriousness.

The Canoe-Maker and the Eagle's-Nest Float

Part II shifts to the 'passing face' of Aboriginal life, and Banfield's voice becomes more ethnographic yet still personal. In 'The Canoe-Maker' and 'Eagles-Nest Float,' he describes rafts made from mangrove branchlets and Pandanus roots, noting that the float is 'almost completely submerged' when in use. The author's humor emerges in a mock-Shakespearean address from hunter to wife: 'My dear, in the words of Shakespeare...' Yet the passage is grounded in observation of hunger and necessity. Banfield presents these contrivances as 'the pathetic expression of man's first struggle against the restrictions of the sea,' a phrase that balances sympathy with a clear-eyed view of material limits. The narrative voice here is more detached than in Part I, but still avoids the clinical tone of a formal ethnology.

Pace and the Passing Scene

The book's structure—three parts moving from sun-days to the passing face to miscellanea—creates a gradual deceleration. Early sketches are expansive, dwelling on light and fragrance; later pieces are shorter, more anecdotal. In 'The Little Brown Man' and 'Up and Away,' the prose tightens, and the author's presence recedes. The final section includes reflections on 'Time's Finger' and 'The Soul Within the Stone,' where the voice becomes philosophical but never abstract. Banfield's pacing mirrors his subject: the island's rhythms of sun and tide, the slow work of canoe-making, the sudden urgency of a turtle hunt. Readers attuned to these shifts will find the book's unity not in plot but in a consistent observational stance that values the 'idle moment' as a mode of knowledge.

Tropic Days rewards a reading that matches its own pace: slow, attentive to detail, and open to digression. Banfield's voice is the thread that binds these sketches, and his humor—dry, self-aware, occasionally arch—prevents the natural descriptions from becoming mere catalogues. The book is best approached not as a narrative but as a series of meditations, each complete in itself, that together evoke a place and a way of seeing. Let the author's own method guide you: observe without disturbing, and accept the mood of the moment.

Reading Tropic Days feels like sitting still long enough to watch a tide recede, finding small truths in the pause. There's a similar patience in A Book of Prefaces — Context and Discussion, where prefaces become quiet conversations about why we linger over certain words. I miss that unhurried trust in the reader's own pace, the way Banfield lets an eagle's nest teach us without announcing its lesson.

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