Ruby: A Story of the Australian Bush — Key Ideas to Explore
Edition facts
Before opening Ruby: A Story of the Australian Bush — Key Ideas to Explore, the edition data offers a quick orientation: 23,250 words, 1 hr 42 min estimated reading time, and 12 detected text sections.
The text analysis averages about 17.4 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 “Christian life -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
“We shall think on Christmas morning Of our dear ones far away, Wafting them the tender wishes That, alas! we cannot say; Longing for their presence with us, Eye to eye, and hand to hand, On that day of happy meetings, Joy and peace throughout the land.”
Christmas Day in the Australian bush! Not the sort of Christmas Day we dwellers in bonnie Scotland or merry England are accustomed to. The sun is blazing down in remorseless strength upon the parched ground, where the few trees about the station cast so slight a shadow. Past the foot of the straggling garden the little creek dances and ripples on its way to the river, half a mile away, and, as far as eye can reach, stretch the blue distances of bush in long, monotonous undulation.
“Wish he’d come,” says Ruby. “The pudding will be quite cold.”
On such a day as this it does not seem of paramount importance whether the pudding be hot or cold. In fact, Christmas Day though it be, it would be rather a relief to have a cold pudding than otherwise.
Ruby’s anxious little face testifies that such is not her opinion. She has come out to the verandah, and, shading her eyes with her hand from the white glare of the sun, gazes now this way, now that. The pudding lies heavily upon her heart.
“Ruby!” comes a rather querulous voice from the room beyond the shady blue blinds.
The little girl gives one last long glance in every direction, then lets the shading hand drop, and passes through the open doorway of the pretty cottage which is Ruby’s home.
“Isn’t he coming, Ruby?”
The yellow-haired woman lying on the sofa is Ruby’s step-mother. The roses of the once pretty pink cheeks have paled to white, and there are fretful little lines about the corners of the mouth, and a discontented expression in the big blue eyes; but with it all Mrs. Thorne has pretensions to beauty still.
“He’s not in sight yet, mamma,” returns Ruby, wrinkling up her brow. She calls Mrs. Thorne “mamma,” for the fair-faced unaffectionate woman is the only mother the child has ever known. Ruby was only a baby when her own mother died, and “mamma in heaven” is a far less real personage to her little daughter than “mamma” on earth.
“It’s very tiresome.” The lady’s tone is peevish, and she fans herself languidly with a large fan lying by her side. “I can’t conceive what makes your father so irregular at mealtimes. Do bring me something cool to drink, Ruby, like a good child. This heat is intolerable.”
The “station” is built in a quadrangle, and across one corner of this quadrangle Ruby has to go ere she reaches the kitchen. If it is hot in the living room, it is ten times hotter here, where Jenny, a stout, buxom Scotchwoman of forty or thereabouts, who for love of her mistress has braved the loneliness of bush life, is busy amidst her pots and pans getting ready the Christmas dinner.
“Dad’s not come yet, Jenny,” Ruby says as she reaches down a tumbler and prepares the cooling drink which her step-mother has requested. “Do you think the pudding will keep all right?”
“It’ll be none the waur if he’ll no be that long,” Jenny returns, giving the fire a stir-up. “I’d no mind the cookin’ if it wasna’ for the heat; but the heat’s maist awfu’. It near sends a body gyte. To think o’ the Christmas they’ll be havin’ in Scotland too. It a’most gars me greet to think o’ it a’, Miss Ruby, and us awa’ in this queer-like place. It’s fine enough to say that fortunes can be made out here; but I wad rather dae wi’out the fortune an’ stay at hame.”
“But, you see, this is home now,” Ruby says, stirring up her decoction gravely. “That’s what papa always says when mamma gets cross. Mamma doesn’t like staying here, you see. She says Scotland never seemed so bonnie as when she’s away from it. And I’m Scotch, too.” Ruby gives her head rather a proud little toss. “But I call this home. But of course I don’t remember Scotland--hardly,” the little girl admits slowly.
The tumbler has received its final stir-up now, and Ruby carries it through the blazing sun of the courtyard to her step-mother, still lying on the sofa.
“I’ll fan you, mamma, while you’re drinking it, and that’ll make you feel cooler.”
“Thanks, dear; you _are_ a good little girl,” her mother says, with an approving pat for the small hand wielding the fan.
Ruby Thorne spends Christmas Day watching for her father, not opening presents. The opening chapter of Molly E. Jamieson's 1890s novel immediately establishes a tension between holiday expectation and the physical reality of an Australian summer: the pudding lies heavy on Ruby's mind, but the blazing sun makes cold food seem welcome. The story's emotional center is Ruby's anxious waiting, not religious observance or festive cheer.
The catalog subjects list 'Christian life' and 'Christmas stories,' yet the excerpts show religion surfacing mainly through the Scottish servant Jenny's dialect-heavy exhortations to 'pit yer trust in the Lord.' Ruby herself resists this comfort, wanting only her father. The bush setting dominates—the creek, the glare, the distant flames—making the Christian framing feel secondary to the landscape and the child's psychology.
Waiting as the Central Action
Ruby's primary activity in the excerpts is waiting. She stands on the verandah, shading her eyes, scanning the path by the river. She leaves dinner untouched, sits with knees drawn up, and returns to her post after tea. The narrative slows to match her vigil: 'the long, long afternoon wears away,' and the reader feels the tedium through repeated descriptions of the glare and the unchanging view.
This waiting is not passive but charged with fear. Ruby watches flames 'leaping up into the still air' and imagines harm befalling her father. Her stepmother, Mrs. Thorne, lies on the sofa with 'fretful little lines about the corners of the mouth,' offering no comfort. The emotional weight falls entirely on Ruby, making her a solitary figure in a landscape that offers no distraction.
The text uses waiting to reveal character: Ruby's love for her father is absolute—'All her love is centred in dad'—and she never mentions her deceased mother. This single-minded attachment drives the plot forward, even when nothing visible happens.
Voice and Dialect: Jenny's Scottish Interjections
Jenny, the servant, speaks in a thick Scots dialect that contrasts sharply with the standard English of the narration and other characters. She calls Ruby 'ma lambie,' asks 'Are ye no weel?' and sighs for 'bonnie Scotland' with its 'shady glens.' After six years in Australia, her tongue remains 'aggressively Scotch,' as the narrator notes.
This linguistic difference does more than add local color. Jenny's voice introduces a religious perspective that Ruby resists. When Ruby frets about her father, Jenny says 'Pit yer trust in the Lord,' but Ruby 'only wriggles again' and wants no solemn talk. The dialect marks Jenny as an outsider—both culturally and spiritually—whose comfort fails to reach the child.
The excerpts also show Jenny's practical role: she washes dishes, tidies, and makes tea. Her dialect appears in domestic contexts, grounding her piety in daily labor. The contrast between her steady routine and Ruby's anxious watching underscores the story's focus on interior experience over external action.
The Bush as a Character: Heat, Fire, and Distance
The Australian bush in these excerpts is not a backdrop but an active presence. The sun blazes 'in remorseless strength,' the creek dances 'on its way to the river,' and the blue distances stretch in 'long, monotonous undulation.' The heat is palpable: Christmas pudding seems irrelevant, and even the 'breath o' caller air' Jenny seeks is impossible.
Fire dominates the second excerpt. Ruby watches flames 'like so many forked and lurid tongues' from Glengarry, and the narrative links the fire to her father's absence. The landscape becomes a source of threat, not beauty. The 'hazy blue of the summer sky' is 'strangely out of place' against the flames, suggesting a world where natural beauty and danger coexist uneasily.
Distance matters too. Ruby watches 'the pathway by the river' where she rode with Dick that morning, but the return never comes within the excerpts. The bush separates people: Ruby from her father, Jenny from Scotland, the stepmother from any engagement. The setting enforces isolation, making Ruby's waiting both a personal ordeal and a condition of life in this place.
Readers approaching Ruby: A Story of the Australian Bush should set aside expectations of a conventional Christmas story or a didactic Christian tale. The excerpts suggest a narrative driven by a child's emotional intensity and a vividly rendered environment, with religious elements appearing as one voice among many. Pay attention to what Ruby does not say—about her mother, about her stepmother's past, about what happens next—as the gaps may be as telling as the text itself.
There’s something about Ruby’s fierce little heart, waiting through that scorching Christmas for her father, that stays with you. It made me think of another old favourite, The Cadets of Flemming Hall — Reading Companion, where the quiet ache of wanting to belong feels just as real. Both remember childhood as longing, not just adventure.
Sophia Perez
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William King
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