Masaryk University Faculty of Arts

Department of English

and American Studies

English Language and Literature

Markéta Rozmarová

Ned Kelly in Art: Criminal versus Hero Bachelor’s Diploma Thesis

Supervisor: PhDr. Jitka Vlčková, Ph. D.

2010

I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography.

…………………………………………….. Markéta Rozmarová

Acknowledgement I would like to thank my supervisor PhDr. Jitka Vlčková, Ph.D. for her valuable advice, support and guidence.

Table of Contents

Introduction ............................................................................................................................................................... 5

1. Brief History of Ned Kelly’s Life and Actions ................................................................................................ 7

1.1. Childhood .................................................................................................................... 7

1.2. First Conflicts with the Law ......................................................................................... 8

1.3. The Kelly Gang............................................................................................................ 9

1.4. The Trial .................................................................................................................... 11

2. Ned Kelly’s Significance .................................................................................................................................... 12

2.1. Outlawry and the Robin Hood Principle .................................................................... 12

2.2. Criminal versus Hero ................................................................................................. 15

2.3. Ned Kelly’s Persisting Exceptionality ......................................................................... 20

3. Ned Kelly in Art.................................................................................................................................................. 22

3.1. Ned Kelly in Literature............................................................................................... 23

3.1.1. Literary Representations...................................................................................... 23

3.1.2. Other Writings.................................................................................................... 31

3.2. Ned Kelly in Drama ................................................................................................... 33

3.3. Ned Kelly in Film....................................................................................................... 36

3.4. Ned Kelly in Music..................................................................................................... 40

3.4.1. Folk Music .......................................................................................................... 40

3.4.2. Popular Music..................................................................................................... 45

3.5. Ned Kelly in Fine art.................................................................................................. 48

Conclusion................................................................................................................................................................ 51

Appendices ............................................................................................................................................................... 53

Bibliography ............................................................................................................................................................. 58

List of Works Cited and Consulted ................................................................................... 58

List of Reference Sources ................................................................................................. 61

Resume...................................................................................................................................................................... 62

Resumé...................................................................................................................................................................... 63

5

Introduction

In 1878, a huge part of Australian public started paying attention to a controversial

man, a bushranger, who was about to enrich the Australian history. His name was Ned

Kelly, and his extraordinary courage and daring rebellion would be forever remembered,

although police and many other people considered him a criminal. He killed, he robbed, he

fought for justice.

Ned Kelly became a subject of various disagreements, conflicts, and exchanges of

views. He became an anti-hero, a folk hero, a criminal hero, a social bandit, or whatever

else he might be called. He was executed for things he had done, yet he was supported by

thousands of people who gathered one day before his execution. And this support

continues till today. He became a part of Australian identity, history, and folklore. Probably

every Australian knows who Ned Kelly was, and the idiom “as game as Ned Kelly”1 is an

ordinary part of Australian vocabulary. Throughout the whole twentieth century, he was

a great inspiration to many kinds of artists, and this phenomenon still continues. The aim

of this thesis is to deal with several points. It examines what makes Ned Kelly such

an interesting, unique, and never-dying subject; what kinds of artistic fields he affected;

and, above all, how he is portrayed in art – whether he is percieved as a criminal, or a hero.

The thesis is devided into three parts. The first part provides a brief summary of

Ned’s life, and the second part deals with Ned’s significance and exceptionality. It explains

what makes him a persisting phenomenon, and such an outstanding person to be reflected

in art. This part looks back into history, draws out the principle of a life of an outlaw, and

what the fate of a social bandit is. Furthermore, it examines the contrast between both

sides of Ned’s personality – his heroic and criminal tendencies. These two parts of

the thesis serve as an illustration of the legend that surrounds Ned Kelly, and they provide

facts and important information. They are based on facts, essays, and scholarly works. They

1 See <http://www.thefreedictionary.com/Kelly>

6

are considerably shorter than the third part because they serve as an introduction to

the matter concerning Ned Kelly in art.

The third part is the main part of the thesis, and it deals with Ned Kelly as reflected

in art. The chapter is divided into several subchapters, each of which deals with a different

field of art – literature, drama, film, music, and fine art. It provides an overview of the most

well-known works of art, and pays a close attention to the way Ned Kelly is portrayed,

whether as a positive (hero) or a negative (criminal) character. Since the art (especially folk

music) is also a part of folklore, it partly represents the view of ordinary people. In brief,

whereas the first two factual parts indicate that Ned Kelly was (and still is) perceived as

an Australian folk hero, the third (and main) part examines to what extent this common

knowledge corresponds to thoughts and opinions of artists and ordinary people.

7

1. Brief History of Ned Kelly’s Life and Actions

“I am not a murderer, but if there is an innocent life at stake, then I say I must take some action.”

Ned Kelly

Ned Kelly’s life is a matter of deep study, and many biographies and books about

his life were written in the past to discover who he really was. His life and the ways he

decided to go were influenced by various people, whether they were from his family, from

the same social class, or from some of the authorities such as the police and wealthy

landowners. Moreover, there were aspects having a great impact on his life which he could

not change, such as his origin, the world he grew up in, the life conditions of his immigrant

family, and many others. Since this thesis deals with his personality portrayed in art, it is

important to bring in at least a brief biography of Ned Kelly to understand the whole

context. However, since his life was a complex interplay of many factors, as has been

already mentioned, many details, moments, and people must be omitted.

1.1. Childhood

The exact date of Ned Kelly’s birth is unknown. Some sources, such as Ned Kelly by

Charles Osborne, say it was in June 1855, some say he was born in late 1854 or early 1855,

and others claim he was born in December 1854, such as Ned Kelly by Ian Jones.

Apparently, he came to this world around the year 1855.

His full name was Edward Kelly, and he was the eldest son of John “Red” Kelly,

an Irish convict, and Ellen Quinn, the daughter of an Irish immigrant family (Innes 15).

The Quinn and Kelly families became part of a quite large Irish community which settled

in Australia in the nineteenth century. The Kellys wanted to make a living on a land near

Beveridge in Victoria which was located north of Melbourne. However, the situation was

very unpropitious for poor landowners. Making a living from the land was impossible, and

labouring jobs provided by rich landowners were poorly paid. Therefore, in 1863,

8

the family moved north to a rented farm near Avenel. Here the children of the Kellys could

attend the local school. In spite of this, their situation was not much better (Innes 15).

From Ned Kelly’s early age, his relatives were often in fight with the local police,

and many of them were sentenced to imprisonment a few times, especially for cattle

stealing. Ned grew up in a world where people had to be smarter than the police to survive,

or at least they had to try (Osborne 13). In 1865, Ned’s father was convicted of cattle

stealing too. After four months in prison he was released, and one year later he died. Ellen

Kelly was alone with seven children, and Ned became the “man” of the family. They

moved several times, and finally ended up in Eleven Mile Creek near Greta (Boxer 27-34).

The family tried hard to live serenely and happily: they provided bed, meals and drinks for

travellers to get some money (Innes 16).

1.2. First Conflicts with the Law

When Ned was fourteen years old, he joined a bushranger who called himself Harry

Power, and helped him with bush-ranging activities. This was probably Ned’s first serious

conflict with the law. The police tried to catch them, but were not successful. However,

Harry Power considered Ned a coward, so Ned returned back home. From this time on,

Ned Kelly was almost constantly in conflict with the law, or at least he was considered to

be. The same year, in 1869, he was wrongly accused of robbing a Chinese hawker Ah Fook.

Several days later, Ned was acquitted, and he rejoined Harry Power. Together they robbed

a few people, and then Ned came back home. He was arrested again, but soon he was

released because there was not enough evidence (Innes 17).

In 1870, Ned began his sentence of six months hard labour in Beechworth Gaol.

He was convinced of an insult of Constable Jeremiah McCormick. However, Ned denied

his guilt. Shortly after he was released, Ned was charged with stealing a horse, but in fact,

the horse was stolen by his friend Wild Wright, and Ned claimed that he did not know

9

the horse was stolen when he borrowed it. He was charged with receiving a stolen horse

and sentenced to three years hard labour (Innes 17-18).

Ned was released in 1874, and soon he became famous among the local people

after winning a boxing match with Wild Wright, which was a revenge for the stolen horse.

Ned found work in sawmills and other places, and tried to do his best. For more than three

years he led quite a peaceful life (Innes 19).

1.3. The Kelly Gang

The era of the Kelly Gang was getting near, and Ned was accused of stealing a bull,

and even a mob of calves from wealthy landowners. In this time, Ned was becoming angry

because, as he claimed, none of the accusations were duly justified: “…not long afterwards

I heard again I was blaimed for stealing a mob of calves from Whitty and Farrell which I

knew nothing about. I began to think they wanted me to give them something to talk

about.“ (Jerilderie Letter 15-16). Ned also said that „if a poor man happened to leave his

horse […] they would be impounded” by Whitty and Farrell (Jerilderie Letter 16). This

alleged injustice forced Ned to steal their horses and sell them along with his step-father

(Innes 19).

The police were soon after him and his helpers again. Furthermore, in 1878, Ned

was charged with “wounding with intent to murder” (Innes 21) Constable Alexander

Fitzpatrick in the house of the Kelly family, although others said he was not there when

Fitzpatrick was shot. In fact, his mother Ellen Kelly was supposed to be the one who shot

him because Fitzpatrick „made unwelcome advances to fourteen-year-old Kate.” Ellen

Kelly and three other people were also charged and arrested, meanwhile Ned and his

brother Dan escaped (Innes 21).

The police posted a reward of Ł100 for anyone who could arrest Ned Kelly, and

this only led to a strong harassment of the Kellys: Ned’s five sisters were under persistent

10

control. This whole situation culminated in anger on both sides and led to killings at

Stringybark Creek where three policemen were killed by the Kelly Gang, which now

consisted of Ned Kelly, Dan Kelly, Joe Byrne, and Steve Hart (see appendix 1). Ned

declared they had to shoot to defend themselves, although they did not want to kill

anybody (Innes 23).

After the incident at Stringybark Creek, there was no way to ever lead a normal life

for the Kelly Gang. They were officially outlawed. They kept hiding in forests, creeks and

other places in Victoria, and even in hotels (Jones 141-145).

To live as outlaws and survive, Ned and his companions needed money. There was

obviously no other way to get them than to rob a bank. On 10th December 1878, they

arrived in Euroa and did a bank robbery in the National Bank (Jones 167). After this

incident, the police arrested more than twenty potential supporters of the Kelly Gang with

no evidence (Innes 26). Furthermore, the reward for their arrest was raised (see app. 2).

Two months later, the Kelly Gang did another bank robbery in Jerilderie where

Ned dictated the famous Jerilderie Letter to Byrne. The letter served as an explanation and

justification of all his actions.

The gang carried on hiding in mountain retreats. Later in 1880, the gang killed

Aaron Sherritt because he betrayed them. The murder was committed by Joe Byrne.

The gang was now very close to their last action they planned, and it was fighting

the police. The gang supposed the police would soon travel on a police train from

Melbourne or Benalla, so they destroyed the rails near Glenrowan so that the train would

derail. They hid in Glenrowan Inn, and took people from nearby houses as hostages. All in

all there were sixty-two hostages in the inn. They had to wait more then one day for the

train, so they were all drinking and playing games together, but one of the hostages,

Thomas Curnow, managed to escape and warn the coming train. He stopped the train

from derailing, and the police went right to the Glenrowan Inn. The gang decided to fight,

11

they put on their armour and went outside. The inn was set on fire during the long fight,

and the police were shooting at anyone who was inside. In the end, Ned was shot about

twenty-eight times, but he survived. His companions were all found dead inside the inn.

On 28th June 1880, Ned Kelly was finally captured (Innes 30-34).

1.4. The Trial

In August 1880, Ned was taken to Beechworth Gaol for his preliminary hearing.

He was charged with the murder of two people: Thomas Lonigan and Michael Scanlon

who were killed at the Stringybark Creek. He stayed in Melbourne Gaol till the trial on 28th

October, which was attended by crowds of people including journalists and sympathizers.

(Innes 35). The trial lasted to the next day, and in the end Ned Kelly was found guilty:

I have now to pronounce your sentence. You will be taken from here to the

place from whence you came, and thence on a day appointed by the Executive

Council to a place of execution, and there you will be hanged by the neck until

you be dead. May the Lord have mercy on your soul. (Jones 312)

The Kelly family did not want to give up, so they distributed a petition to spare

Ned’s life. On 6th November 1880, the Kellys presented their petition to the Governor with

32,424 signatures, and said they could get more of them if they had more time. However,

their demand was refused. On 11th November 1880, Ned Kelly was executed by hanging.

The petition was finally signed by approximately 60,000 people (Jones 317).

12

2. Ned Kelly’s Significance

“But the day will come when we shall all have to go to a bigger court than this.”

Ned Kelly

Ned Kelly became an important part of Australian history and national identity. His

life and actions influenced lives of many people and made him a famous person who was

often a subject of discussions and also of some political matters (Osborne 6). It is no

surprise that such a person had a great potential to become an icon and a figure popular

among various artists from all fields. However, Ned Kelly is not a typical celebrated hero,

nor is he a notorious killer. In fact, he is a so-called outlaw and a folk hero, eventually

a criminal hero, a social bandit, or a bushranger2. Whatever he is called, his character is

quite complicated to fully understand, and opinions about him may rather differ.

Therefore, it is essential to look at his persona more in detail and provide enough

information about the legend that surrounds him. There is undoubtedly something about

Ned Kelly that makes him so famous and debated so often, something that makes him so

attractive and inspiratory to many people working in artistic fields. Looking back to

the history of outlawry, and a comparison of his good and bad acts could be a right way to

help us understand it more clearly.

2.1. Outlawry and the Robin Hood Principle3

Since the term “outlaw” and its history is crucial to fully understand the idea of this

thesis, a deeper explanation of the word is necessary. There are many more or less famous

outlaws in the history of numerous countries in the world. Some of them are considered

social heroes or social bandits, and some of them are viewed as pure criminals and

derelicts.

2 A “bushranger” was a man living outside the law, he stole cattle, robbed travellers and then he escaped into ‘bush’ (Innes 17). 3 The term “Robin Hood Principle” is used in an essay by Graham Seal, “The Robin Hood Principle: Folklore, History, and the Social Bandit”.

13

Most of dictionaries say the same thing. Outlaw is a “a fugitive from the law”,

“a habitual criminal”, “a person excluded from normal legal protection and rights”

(The Free Dictionary), or a “person under the sentence of outlawry” (Dictionary.com). In

other words, outlaw is a person living outside the law.

Outlawry is quite closely connected to the history of England4. In England,

the offender was almost implicitly sentenced to death, which was not so common in other

countries (Encyclopædia Britannica Online).

In English common law, an outlaw was nothing more than a wild animal. Darryl

Ogier says in his essay that “in the thirteen century, English courts might still pronounce

outlawry with the formula caput gerat lupinum” (Ogier 57), which means “let his be a wolf’s

head” or “may he bear a wolfish head”5.The animal’s head thus refers to the whole person.

It is quite obvious that an outlaw was deprived of all rights and, furthermore, he was not

considered human. Anybody was allowed to kill him as if he was a wild animal. To be

outlawed was a very strict punishment because the oultaw could not use the law to defend

himself.

An outlaw was usually someone who repeatedly defied the law, and as an outlaw he

could not live in society like before. One could be declared an outlaw in English law until

1879, and in Scots law until the late 1940s (Encyclopædia Britannica Online).

The term “outlaw” is also associated with the term “social banditry” and “social

bandit” which is a kind of an outlaw:

The point about social bandits is that they are peasant outlaws whom the lord

and state regard as criminals, but who remain within peasant society, and are

considered by their people as heroes, as champions, avengers, fighters for

4 Since Australia is a British colony, the law of Australia is based on English common law (Encyclopaedia Britannica Online). 5 See <http://www.wordinfo.info/words/index/info/view_unit/3465/>

14

justice, perhaps even leaders of liberation, and in any case as men to be admired,

helped and supported. (Pillai)

This is very much connected with the English folklore figure Robin Hood who is

barely considered a criminal. As Encyclopaedia Britannica says, Robin Hood was

a legendary rebel outlaw and a hero who was a subject of English ballads from the 14th and

later centuries. He and his companions are shown “robbing and killing representatives of

authority and giving the gains to the poor.” His enemies were, among others, wealthy

landowners. He fought against restricting laws and “treated women, the poor, and people

of humble status with courtesy” (Encyclopædia Britannica Online).

Although the legend of Robin Hood may differ in many aspects from Ned Kelly’s

life, it is largely believed that Kelly belongs to the group of social bandits who were trying

to fight for justice and equity, but the justice he could not get compelled him to meddle

with crime.

In his essay, Graham Seal deals with the similarities between Robin Hood and

famous outlaw heroes from all around the world, and he calls these similarities and

traditions “the Robin Hood principle” (Seal, “The Robin Hood Principle” 68). This

principle serves as a universal model of outlaws, no matter where they come from, who

“are celebrated in folklore” and “romanticized in the mass media” (Seal 69). They are also

very often symbols of national identity, national icons, and important legends (Seal 69-70).

Seal also states that the hero is “usually charismatic” person who “is spurred into defiance

by an often relatively minor incident” (Seal 69). There is a certain scheme similar to

the Robin Hood legend, which is nearly always followed:

By making use of an existing narrative framework, within which is embedded a

crude but often effective moral code, the celebrated outlaw, his sympathizers,

and his oppressors appear to act out a cultural script with their roles pre-

determined by the tradition. This script almost inevitably leads to a bloody

15

denouement. The dead hero then develops an afterlife that feeds back into the

tradition, both keeping the legend alive and providing the basis for the

heroization of the next individual to raise a sword, bow, or gun against an

oppressive power. (Seal 69)

Graham Seal includes Ned Kelly into the list of outlaws who followed this scheme,

and thus he indicates that Ned was one of these outlaws who were and still are considered

national heroes and icons. He went through a similar process that Seal describes, and his

life could be in some aspects compared to that of Robin Hood. However, there are still

things that should be discussed: some of Ned Kelly’s actions appear to be useless and

aggravating, and they do not seem like acts of a fully innocent person who was forced to

do them. There were certainly things Ned Kelly did not have to do at all, and these actions

were most probably the reason of various conflicts between Kelly’s sympathizers and his

enemies, and the matter of many discussions about his crimes, decisions, mistakes, and also

his good deeds. Although he is more likely to be a national hero and the Australian Robin

Hood, there is also a darker side of his personality, which is more closely depicted in

the next sub-chapter.

2.2. Criminal versus Hero

An unavoidable question is whether Ned was really a hero or a criminal who

deserved to be hanged. This question cannot be answered fully, however, this subchapter

examines both points of view, which are based on the facts.

The most important fact that speaks on Ned’s behalf is his troublesome

childhood. He was from a poor immigrant family, he was always surrounded by people

who were often charged with horse or cattle stealing including his father, and at the age of

twelve he lost his father and became the man of the family. What cannot be neglected is

also the situation of the immigrants: “Of all the many ex-convict families that stayed in

16

early Australia – English, Irish, Scottish, Welsh – it was the Irish, in particular, who had

the greatest trouble throwing off their clouded past, and who were most likely to remain

outcast in the young country:”6 (Boxer 19). Boxer also says that “the poor settlers had

arrived to find only the worst scraps left for them, from which they had to try and scrape

their living, while beside them huge ranches were already established” (21). All these things

made the life even harder for poor immigrants, and it is quite probable they were forced to

steal from the others, especially from the rich landowners. The Kelly family and its relatives

became a target of the police. In other words, they were highly suspicious if any crime or

theft occured because of their bad reputation.

On the other hand, why would Ned join Harry Power, a bushranger, who was

definitely involved in crime? Was it only an excess of a fourteen-year-old boy? Or an

attempt to help his family? What we know is that his mother probably supported him in

this (Jones 33). Ian Jones says: “When the world seems to offer little justice, when the law

is of England, ancient enemy of the Irish, and when it can be seen to stand between you

and a chance to tip the scales your way, then criminality takes on a very different

perspective” (33). It is obvious that in such circumstances, when people were oppressed by

the law, a crime was a way to save one’s life or family.

However, there were incidents such as the killings at Stringybark Creek, the death

of Aaron Sherritt, and the Glenrowan affair, which definitely crossed the line. According to

Ned’s defence, he was forced to all of this: “‘It is all very well to say that we shot the police

in cold blood. We had to do it in self defence.’” (Jones 305). According to Jones, Ned also

noted that “he had been driven to become an outlaw” (305). This statement suggests that

Ned believed it was not his fault that he became an outlaw, because the conditions of his

former life forced him to fight against the law. For example, he was accused unjustly a few

times. Ah Fook said Ned attacked and robbed him, which was most probably a lie

6 Ned’s father John Kelly was an ex.convict from Tipperary, but he never spoke about his crime, which “was odd”. Some claims appeared that John “was transported for socio-political reasons”(Jones 1).

17

(Jones 39). Allegedly he insulted and assaulted Constable Jeremiah McCormick, which was

likely to be unjustified too (Jones 62). He was convicted of stealing a horse (which he did

not) and, finally, he was accused of stealing a bull and a mob of calves (Innes 19). This all

led to the subsequent actions of the Kelly gang. On the other hand, it is very debatable

whether the killings had to go so far or not. At the Stringybark Creek, the Kelly gang did

not try to escape the police. Instead, they watched them from behind the trees and waited,

probably anticipating that there could be many of other policemen anywhere (Jones 128).

Whether the killings were planned, or at least expected, is very hard to say. Ned Kelly never

admitted he wanted to kill anybody: “‘We could have shot these men without speaking but

not wishing to take their lives we waited’” (Jones 129). The fact that they finally killed three

policemen is quite disturbing. Nevertheless, Ned and his companions denied they did it on

purpose: “I could not have been more sorry for them this cannot be called wilful murder

for I was compelled to shoot them, […]” (Innes 23). If this was a murder in self-defence, it

only led to other plans and killings, which were certainly done on purpose. The murder of

Aaron Sherritt was supposed to be “a trigger for starting a mass police movement towards

Beechworth” by train that would be derailed (Innes 30). Ian Jones claims that Ned “seems

to have opposed the murder.[…] In the end, however, he reluctantly accepted Joe’s

decision to kill his mate” (217). If it was really a reluctant decision can probably not be

proved.

What was the real original purpose of the Glenrowan affair is not clear. The train

full of policemen was supposed to derail, and this could certainly cause many injuries, and

even deaths. Allegedly, the gang wanted to disarm the policemen, capture some of them,

and later exchange them for prisoners related to the Kelly family, who were (like Ned

himself before) wrongly convicted (Innes 30). All the same, the gang was said to have

declared at Glenrowan Inn that their plan was to “send the train and its occupants to hell”

18

(Innes 30). This last incident seems to be very suspicious, and it is not easy to say whether

they claimed such things in excitedness and nervousness, or whether they were serious.

Many of Ned’s actions were presumably justifiable, others seemed to have crossed

the line. Still the facts indicate that Ned Kelly and his companions were not cold-blooded

murderers, and the reactions of the public were diverse. After Ned was released in 1874

and started to work in sawmills, he led a peaceful life for some time. In Ned Kelly, Ian Jones

says that his workmates described him as “quiet, very unobtrusive and an excellent

man”(Jones 78). They also said he was “a warm-hearted but rather impulsive young

fellow”, who “would almost do anything to serve a friend”(Jones 78). This indicates that

Ned, although he was impulsive, was considered as a good person among the people

around him. Also the daring but nonviolent bank robbery in Euroa evoked a positive

reaction of the public. Lyn Innes says that “the fact that the robbery was directed against

an institution rather than indiviuals helped to produce a favourable public response to and

interest in the Kelly gang” (25). Regarding the process of the robbery itself, the witnesses

confirmed that Ned Kelly was a charming man with good manners: “she [Mrs Susy Scott]

‘began chaffing Kelly’ and told him ‘he was a much more handsome and well dressed man

than she had expected and by no means the ferocious ruffian she imagined him to be’”

(Jones 168). Mrs Scott’s mother was present as well, and she recalled his first words:

“‘Don’t be frightened, nothing will happen to you, I have a mother of my own’” (Jones

168). The attitude of people was obviously quite affirmative, and the Melbourne Herald

wrote that “‘…The bushrangers played with the children and boys and treated everyone

with the greatest civility.’” People also said that “he [Ned] told the prisoners he was sorry

he hadn’t passed a pub or he would have bought them a drink” (Jones 171). Also

the hostages in Glenrowan Inn acknowledged that while they were waiting for the train to

derail, they were having a great time, drinking, and playing games (Innes 32). This suggests

19

that there were groups of people who sympathized with the Kelly gang, and the crowds

that gathered after Ned’s conviction on Guy Fawkes Day proved it.

By contrast, there were people who criticized these sympathizers. According to

Jones, Melbourne’s pressmen tried to denigrate this mass support: “The Argus7 said that

the women present were ‘from little Bourke Street8 and the vicinity’, inferring that they

were prostitutes” (315). Furthermore, Jones states:

The Telegraph quoted an unnamed detective who said, ‘he had never , in the

whole of his experience…seen such a number of known vagabonds, thieves and

persons who had been convicted, gathered in one place.’ While it pointed out

that ‘the lower classes were largely represented’, the same paper found it

‘humiliating to have to admit that a great number of respectable working men

were present’. (315)

There was obviously a considerable protest against Ned Kelly, his companions and

his supporters as well. The Bendigo Independent 9called these people “male and female beasts”

(Jones 315) and claimed “these came out of their holes and were at the Kelly meeting, and

shocking the respectable classes, and enabling them to comprehend upon what a fearful volcano society

stands”10 (315). Countless numbers of such conflicts occurred, however, it seems that

the supporters and sympathizers represent the majority, and this continues even today.

Ned’s controversy, audacity, gallantry and his “proper highwayman style” (Seal, Tell ’em I

Died Game 107) made him an outlaw hero, and a figure of “traditional song and story” (Seal

107). Ned and his mates were popular because they “socialized with their captives, drank

with them (at the bushrangers’ own expense, it seems), danced, sang, and played party

7 The Argus was published in Melbourne from 1846-1957. For more information see <http://www.nla.gov.au/argus/> 8 Bourke Street is a well-known shopping area in the centre of Melbourne. For more information see <http://www.australianexplorer.com/melbourne_bourke_street.htm> 9 For more information see <http://catalogue.nla.gov.au/Record/2986309> 10 Italics added by the author of the source, Ian Jones.

20

games with them.” Although it may seem quite deficient, “these apparently trivial acts were

the stuff of Ned Kelly’s popularity and continuing support” (Seal 108).

2.3. Ned Kelly’s Persisting Exceptionality

Every country has its own icon or national hero, and Ned Kelly managed to

become the icon of Australia. The Australian authorities of the second half of

the nineteenth century probably thought they were finally done with this famous

bushranger, but it has been more than a century since he was hanged, and he is still not

forgotten. What is more, he is very much remembered and reminded.

His extraordinary and controversial life made him a person who cannot be past

recall, although he certainly made some bad decisions. He became a hero for such people

like immigrants and the poor who lived in the same conditions as he did, oppressed by

the law. They worshipped him because he was courageous enough to fight against injustice,

and thus represented everything they ever wished for. He also became an enemy,

a criminal, and a murderer for those who had some power, such as the police and

authorities that were protecting the law, which was the scope of their employment, and it is

not surprising they felt endangered. For the others, he probably became the daring but

good man who had bad luck because the law was bad (Lindop 41).

All in all, he had the greatest potential to become a significant icon and a legend,

and that is exactly what happened. Although he was partly a criminal, and he was

responsible for deaths of several people, he was, according to what has been said in

previous chapters, considered more of a hero than a criminal. And all of this still continues

nowadays in Australia. As Graham Seal says in his book, “Ned Kelly was one of

the national icons we displayed to the world at the 2000 Sydney Olympic Games.” (Seal

XVII). This is a proof that Australia is aware of Ned Kelly’s exceptionality and its

persistence, and that he is still remembered. It also suggests that Australian people are

21

proud of him. Whether they really are or not, the main thing is that he is a part of

Australia’s identity: “But whether we celebrate or denigrate him, love him or loathe him,

Ned Kelly remains inextricably bound up with our sense of national identity” (Seal XVII).

The fact that he is considered one of the symbols of Australian national identity had also

a great impact on various types of art and human creativity.

22

3. Ned Kelly in Art

“Oh, Ned, you’re better off dead.”

Sandy Denny: ‘The Ballad of Ned Kelly’

Throughout the whole twentieth century and the beginning of the twenty-first

century, Ned Kelly was an interesting subject of various artistic fields. His exceptionality

and significance served as inspiration to many people, Australian and non-Australian as

well.

Ned Kelly was depicted in films, novels, poems, songs, ballads, and even in fine art.

Since art is also considerably associated with folklore, it says a lot about what ordinary

people thought about him. Art is a way of expression one’s opinions, feelings and

imagination, and it is not restricted by any rules, which proves that it is sincere and free-

harted. This particular and main part of the thesis deals with Ned Kelly as depicted in art. It

provides an overview of the most significant and well-known works of art concerning his

personage, and furthermore, it examines the way he is depicted: whether as a hero or

a criminal.

This chapter serves as a main support or a disproval of the claim that Ned Kelly is

considered more of a hero than a criminal. Art is a matter of expressing ideas, and it is also

a matter of general public because anyone can do art. Considering this fact, this chapter

could serve partly as an illustration of ordinary people’s attitudes toward Ned Kelly

(especially the part concerning Ned in folk music). Apart from previous chapters, which

were based on scholarly works, this chapter deals primarily with points of view of various

artists, and also with Australian folklore. This seems to be the best way to find out how

Ned was perceived by people shortly after his execution, and if the perception changed

during the twentieth century or not.

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3.1. Ned Kelly in Literature11

Reactions to Ned Kelly were and still are assorted, and literature is one of

the results of it. Various literary representations, biographies, poems, and other writings

have been produced, and they deal with Ned Kelly from many points of view. Since

the literary works regarding Ned are innumerous, this chapter contains an overview of

the most significant works, and generally provides a portrayal of Ned Kelly’s character

from writers’ perspective.

3.1.1. Fiction and Literary Representations

One of the first literary works on Ned Kelly and his gang was The Book of Keli or

the Chronicles of the Kelly Pursuers by George Wilson Hall, published in 1879. The short text

consists of eight chapters, and “the sewn pamphlet of twenty eight pages retailed for

sixpence and quicky sold out” (Hall, “Introduction”).

The aim of the book was, without any doubt, to ridicule the enemies of the Kelly

Gang. Lyn Innes says: “The Book of Keli is a satire directed against the Victorian police,

and its characters would have been easily recognizable to the Victorian public” (71).

The story of the book is focused on few policemen trying to catch the Kelites (meaning

the Kelly Gang). However, they are absolutely incapable of finding them, and it is not only

due to the smartness of the gang, but primarily due to the policemen’s cowardice and

inability. Hall uses a humorous style of writing, and as it is said in the introduction of

the book, the text “would have been read and enjoyed by the members of the Kelly Gang”

(Hall). Especially the last chapter describes absurd decisions of the police:

“In which direction are they?” And the Ethiopian said, “Me see um just ober to

the north.” […]

11 Due to a lack of primary sources in the Czech Republic, some of the extracts from books and other information are taken from Ned Kelly by Lyn Innes.

24

And when the captain saw all was ready, he placed himself in front of his army,

and said, “Now boys the tribes of the Kelites are to the north; follow me

quickly, we will go directly to the south; quick boys, or they will see us.” So they

galloped away with great haste from the camp of the Kelites, and the Ethiopians

followed after them shouting, “Dat be de wrong way.” (Hall, Ch.8)

The behaviour of the police is derided throughout the book, and in the end

the Kelites, still unapprehended, say: “Go to, thou Bobpeelers, and get thee to your homes,

for we will never be captured by you” (Hall, Ch.8). Such an ending might have been an idle

wish of the author who obviously sympathized with the gang.

In 1881, James Skipp Borlase published the first episodes of Ned Kelly: The Ironclad

Australian Bushranger. This “serialized romance” (Innes 75) is a fictional story of the Kelly

Gang’s adventures. Ned is portrayed as a man whose wife died tragically, and his parents

were executed. However, he has a nice daughter, and he is known for his phenomenal

armour, which he wears anywhere he rides (Innes 75). Extracts from two chapters

provided by Innes suggest that Ned is viewed as a typical hero who is very honourable by

nature, but has to revenge an injustice against his wife and parents: “You see the world and

I have been at war for ever so many years, and it’s a natural thing to hate one’s foe,

especially a foe that murdered one’s father and mother” (Innes 77). It is obvious that

the author wanted to make Ned seem like an absolutely innocent unlucky man who lost his

close family, so his angry feelings can be justifiable. The text looks a bit too heart-breaking,

and even excessive, but on the other hand, it is supposed to be a romance, which explains

the emotional dialogues between Ned and his daughter, and the high contrast between

Ned’s kindness and hardiness:

I cannot believe that you are a bad man, because you have been so good to me;

but if other people are not so wicked as you have always made them out to me

to be, why wage such a cruel and relentless war against them? (Innes 77)

25

The daughter depicts Ned’s good features, and, at the same time, she is not afraid

to ask him various questions, so that he can vindicate his actions: “I have sworn to kill your

mother’s heartless destroyer, like a dog, whenever and wherever I meet him” (Innes 77). In

this work, Ned is undoubtedly viewed as a hero.

Robbery Under Arms by Rolf Boldrewood is a successful work describing a life of

Dick Marston: an anti-hero, and a bushranger. Although the character is fictional, the book

was published three years after Ned’s execution in 1883, and there are many similarities

between the two: Ned was an Irish gentleman who claimed to have been forced to become

an outlaw, and Marston joined a gang of Starlight who “was an English gentleman but for

years led a roving life of adventure and crime” (Kirby 2). Whether the similarity is

accidental or not is not clear, however, Innes points out a few facts that are interesting:

Dick was a son of an Irish convict, his brother was shot by police, they used to steal cattle,

and “their mother suffered on their behalf” (Innes 79). All of these signs suggest that Ned

might have been an inspiration to this work. Nevertheless, the author “writes with

a measure of sympathy for the men who were caught up in a life of crime in the colony”

(Kirby 3). If Ned was the original inspiration of this book, he was viewed as a popular

criminal hero.

A very successful novel about Ned Kelly was The Girl Who Helped Ned Kelly by

Charles E. Taylor, published in 1928. According to Lyn Innes, the novel is one of

the attempts to create a character of a woman who is romantically connected to Ned,

although such a woman probably never really existed according to the claims of Ned’s

relatives (131). Although the romantic novel was a success, it is fictional for the most part,

and it definitely evokes sympathy for Ned, who is described as “a brave, though misguided,

young Australian,” who has “superb qualities of leadership” (Innes 131). However,

the book places emphasis on the fact that Ned, no matter what a good person he is, is

against the law, and he would not be that lucky without his friends. A few examples can be

26

found in chapters I, XXIV, and XXV: “I’m a bushranger, with a price on my head, but I’ve

got the truest friends in the world. If I hadn’t I wouldn’t be here today” (Innes 132).

“Ned’s unfortunate in some respects, but in one at least he’s the luckiest of men. No one

ever had more loyal friends, prepared to sacrifice so much to help him” (Innes 133). Ned is

thus viewed as a person who, although he is involved in crime, is worth the effort to help

him. In chapter XXV, Ned and his gang return from a bank they robbed together, and they

hide with help of Ned’s sisters, friends, his girlfriend, and the girldfriend’s family. Many

people are involved in helping the gang, and it makes the readers wish them luck.

On the other side, the police is not fully denounced. Some of the policemen are

positive characters:

[…] ‘There is something about that chap Martin I like,’ she announced a

little later. ‘He’s up against my brothers, still he’s a man.’

[…] ‘I wonder why those policemen came here. They must know that if you

are friendly to our family you can’t do anything to help the gang.’

‘Of course I ain’t able, but I suppose you can’t blame ’em. They’ve got their

jobs to do, same as other people.’

‘That’s right, and some of them are pretty decent about it, but not all of

them.’ (Innes 135)

In spite of this, Ned seems generally like a positive character, who can appreciate

good friends, and whose crimes are may be considered as well-founded. His crimes, such as

robberies and murders, are not omitted, but they do not seem to influence his character too

negatively.

Sister Kate by Jean Bedford is focused on Ned’s sisters Kate and Margaret, however,

it is worth mentioning because it is a successful novel, which became a part of English

syllabuses at high schools in Australia (Innes 207). This novel from 1982 is concerned

especially with Kate’s perception of the Kelly Gang. The story is fictional, and describes

Kate’s good relationship with her brothers, Joe Byrne, and Steve Hart. Although the time is

27

very bad for her and other members of the family, she takes the risk and secretly helps and

visits the Kelly Gang in the Warby Ranges (Innes 207). Obviously she is not happy about

the Kelly Gang and bank robberies, but she welcomes their help:

It should have been only a time of fear and worry for us all, but the money from

the bank robberies was welcome: Maggie and I had new clothes, and there were

toys for the little ones and a new saddle for Gracie’s mare. (Innes 207)

She is undoubtedly in a very dangerous and burdensome situation, but her

relatioship with Ned is naturally good because he is her family, and he tries hard to help

her. As Innes mentions, Bedford also “portrays the more human and less heroic aspects of

the men in the Kelly gang and their differing characters” (207). Generally, it seems that

Ned is shown as a positive character since Kate consider the police “cowards” (Innes 208),

and she does everything to help them in their struggle.

Some of the literary works on Ned are extremely fictional, such as Kelly Country by

Arthur Bertram Chandler. The book was written in the second half of the twentieth

century, in 1983. Ned Kelly inspired Chandler to create a story with Ned as a leader who

manages to win the fight in Glenrowan, which later leads to the establishment of Republic

of Australia. Ned becomes a leader of the republic, and an emphasis is placed on his Irish

origin: Irish customs and traditions are dominant, “uniforms include saffron kilts and

the national flag is green and yellow” (Innes 190). This book offers an alternative

continuation of Ned’s life if he had managed to derail the train in Glenrowan. Obviously,

he is seen as a smart and powerful person, who is able to fight against injustice until

Australia gains independence. Ned is definitely viewed as a person who has a potential to

have a great impact on Australia:

‘We must show that we have the ability to strike at will,’ he [Ned] went on.

‘That we have the ability to deliver a blow at the very fortress of the rulers of

this State. And that we have supporters on the capital who will assist us, who

28

will fight by our side. I needn’t be tellin’ ye that my good friends – our good

friends – in Melbourne are keepin’ me informed as to the feelin’ in the city.’

(Innes 192)

It is evident that Chandler points out Ned’s leadership, which actually was one of

his real abilities, and lets him reach the absolute extreme he probably could: gaining the

control over Australia and giving it independence. This idea almost seems like a utopia, and

it undoubtedly shows Ned as a positive character and a national hero who could “save”

Australia, which is quite ironic since it was Australian people who considered him

an enemy.

In 1991, a successful novel Our Sunshine by Robert Drewe was published. Drewe’s

interest in Australian myths and stereotypes resulted, among other works, in the story of

Ned’s life primarily before the Glenrowan affair. The story is told from Ned’s standpoint

and, as Michael Ackland suggests in his critical essay, the author “creates ‘a chronicle of

imagination’ that brings to life the familiar arguments that race, class, and injustice played

a considerable part in Kelly’s revolt” (Ackland). This statement obviously speaks on Ned’s

side, and confirms the claims that Ned’s actions were strongly influenced by

the circumstances, which he could not change. Moreover, Ackland cites one particular

situation from the book, when Ned says: “‘Did I ever consider going straight? Madam, it's

not as cut and dried as that. Things flew over into other things.’” According to Ackland,

this sentence indicates that Drewe believed that “existence is shaped by coincidence” and

actions with “unforseeable and irreversible consequences”, which means that not only were

Ned’s actions affected by the circumstances, but he also could not change

the consequences. Reportedly, Drewe was also sceptical “about the role of the media in

reporting reality” (Ackland). Many newspapers at that time wrote unflattering articles about

Ned, which was mentioned in the second chapter of this thesis, and it was probably what

Drewe reacted to in this novel.

29

In an extract from Our Sunshine presented by Innes, Ned complains about

the prejudice on the part of the police:

Police’s version has me evil from the start, born into a bad-blooded family on

both sides, to be stamped out like rabbits, like some sort of plague. They tut-tut

about my riding with Harry Power the bushranger at fourteen and holding up

the squatter McBean. And the fight with the Chinaman name Ah- pardon me,

ladies- Fook. Couldn’t make those charges stick but they went on my record just

the same. (Innes 198)

Evidently, Ned is depicted as a positive character, but his “dark side” is shown as

well, for instance when he describes his feelings about robbing banks: “Naturally, the real

pleasure’s in the handing over of the cash. There’s no neater transaction – I love it” (Innes

199). However, these contrasts stress out the controversy that always surrounded him, and

they also shape his nature that is similar to that of Robin Hood: “So – make a bonfire of

the ledgers and the poor men’s debts” (Innes 199). This extract is also from a scene

describing Ned’s feelings and memories about the bank robberies. It explains that,

although he feels good when he is handed over the cash, his intention is to fight against the

institution in general, and to express his disagreement with the unfair treatment of the poor

people. Robert Drewe thus portrayed Ned Kelly positively as a criminal hero.

Probably the most successful novel ever written on Ned Kelly is The True History of

the Kelly Gang by Peter Carey. This book, published in 2001, was a winner of The Man

Booker Prize12 and the Commonwealth Writers’ Prize13, which are the top British literary

awards (Comninos). Although the title says it is a “true” story and it basically follows true

events, the author added some fictional moments, and the novel is therefore considered as

a fiction. The novel is written as a long letter from Ned to his fictional daughter:

12 For more information see <http://www.themanbookerprize.com/> 13 For more information see <http://www.commonwealthfoundation.com/culturediversity/writersprize/>

30

I lost my own father at 12 yr. of age and know what it is to be raised on lies and

silences my dear daughter you are presently too young to understand a word I

write but this history is for you and will contain no single lie may I burn in Hell

if I speak false. (Carey 7)

The fact that the major part of the book is written from Ned’s point of view

emphasizes the alleged truthfulness of the story, and it also makes it very authentic.

The language of Ned’s letter is very informal, it is barely concerned with punctuation, and

it contains unsual expressions and abbreviations:

We all witnessed the bushranger lay his carbine on the table it were a terrifying

weapon its bore were almost one inch the stock 1/2 cut away the barrel severely

shortened.

[…]

Shutup you little b----r cried my mother but it done no good Dan were a

wombat charging back to Annie’s bed […] (Carey 62-63)

This kind of writing supports the authenticity of the letter. Ned describes all his life

in this way until the siege at Glenrowan, when he gives his letter to Thomas Curnow who

promises to do a proofreading for him, but only if he is allowed to take it immediately

home. Ned lets him go, which is a fatal mistake because Thomas is the one who betrays

him. However, this final part of the novel is fictional except that Thomas was really

the traitor.

As regards Ned’s personality, it is naturally portrayed as honest, since it is “him”

who tells the story. He describes him as a victim of a colonial injustice:

God willing I shall live to see you read these words to witness your

astonishment and see your dark eyes widen and your jaw drop when you finally

comprehend the injustice we poor Irish suffered in this present age. (Carey 7)

31

The novel continues in a similar way with Ned justifying his actions and describing

all his life. A reader most probably develops a positive attitude to Ned, who seems to be

a tough but a very kind person. He is also concerned with his daughter and ommits bad

words, which are replaced by hyphens. All in all, Ned Kelly is depicted as a good person

and as a victim whose actions are fully justified in this novel. The final two chapters are

written from a point of view of an unknown author whose initials are “S.C.” (Carey 419).

He describes the fight at Glenrowan Inn in full details. In this part, Ned is shown as a man

who fought until the last moment, and who died game14.

3.1.2. Other Writings

Other writings concerning Ned Kelly include plenty of works based on facts,

however, they seem to be infuenced by authors’ subjectivity. This part examines some of

the most significant ones.

The Last of the Bushrangers: An Account of the Capture of the Kelly Gang by Francis

Augustus Hare is a very significant work because it was written from a point of view of

a policeman who was involved in the hunt for the Kelly Gang in 1878. Hare concentrates

on the hunting of the gang, and puts the information from his own point of view.

However, the book is based on facts and his real experience. The essential aspect of this

book is that Ned is not viewed as a brave man fighting for justice. Furthermore, Hare

claims that Ned Kelly did not ‘die game’ as everybody said at that time. According to Hare,

the police were “doing their ‘level best’” (Hare 3), and denies claims that they were

cowards. He also speaks about the sympathy for the Kelly Gang, and accredits it to people

from lower classes, and also to their indolence and fear to stand up to him:

[…] they commanded an enormous amount of sympathy among the lower

orders. It was a well-known fact that they had friends and adherents, either open

14 The expression “game as Ned Kelly” is still used in Australia, and means “very daring and devil-may-care” (The Dinkum Dictionary).

32

or semi-veiled, all over the colony. The families of the Kellys, Hart, and Byrne

were large ones, and members of them were to be found scattered over all the

district ever ready to provide asylum, or furnish information as to the

movements of the police. (Hare 4).

[…] I said to him, ‘I suppose you will be very sorry when they are captured?’

‘No,’ he said, ‘I won’t, I am getting tired of them. They give us a lot of trouble –

destroy our fences and injure our property, and we dare not say a word about it.

If we did, we would only get the worst of it.’ (Hare 318)

Ned is evidently presented as a man who is definitely a criminal supported by poor

people, and some of them are afraid to say anything against him. Hare also points out that

Ned’s popularity was intensified by the fact that he never “made a victim of a poor man”

(Hare 5). This indicates that the author was convinced that Ned’s crimes against the police

and banks were unjustifiable, and that the police were doing their jobs best they could.

Moreover, Hare states that Ned did not die as a hero, but as a coward who left his

“comrades behind him in the hotel” and “begged for mercy” when he was captured (Hare

318-319). In general terms, Ned is perceived as a criminal who acted inexcusably and badly.

This work is an opposite to the Jerilderie Letter in a way because both of the authors, Ned

Kelly and F. A. Hare, offer interpretations that are opposed to each other. They were both

involved in this matter, and they both try to justify their actions and blame the other side.

Although Francis Augustus Hare might have tended to be subjective, his book should be

certainly taken to consideration.

A very interesting work, based also on the facts, is The Complete Inner History of the

Kelly Gang and Their Pursuers by James Jerome Kenneally, published in 1929. The author of

this publication drew on official reports of the police, and on evidence from the Kelly

family members. In a foreword by Gerald C. Stanley, readers learn that most of works

written on this topic attacked the Victorian police and their malpractice, however, many of

them were accused of being non-objective. The work by Kenneally is different, because he

33

“has not entered the field as a partisan” (Innes 138). Kenneally supports the idea that Kelly

was forced to defend himself and his family the way he did because “the Kellys, prior to

the fight in the Wombat Ranges15, were harried and harrassed by the police, until they

could no longer feel that they were ‘being treated with equal justice’” (Innes 139). This

work claims to represent a view of an objective person, an investigator, and suggests that

not only strong supporters of the Kelly Gang attacked the behaviour of the police, which is

what many people thought at the time of Ned’s execution. However, the objectivity of the

work is impugnable (Ironoutlaw.com). The works itself also pays attention to the members

of the Kelly family, and the Kelly Gang members, and generally presents a positive view of

the Kellys.

Naturally, Ned Kelly was also a subject of many historical studies and biographies,

which could not be examined here because they are rather scholarly than artistic. However,

it seems appropriate to mention the most well-known ones, which are Australian Son: The

Story of Ned Kelly by Max Brown, Ned Kelly: A Short Life by Ian Jones, Ned Kelly: The Authentic

Illustrated Story by Keith McMenomy, and I am Ned Kelly by John Molony.

3.2. Ned Kelly in Drama

Ned Kelly’s personality and extraordinary life was used also in many dramatic

interpretations. Conceptions of the following most known plays quite differ, but they

definitely share one common aspect: Ned is displayed in a positive way.

Probably the first and very old play is Catching the Kellys by J. Pickersgill from 1879.

The script for the play was lost, however, Lyn Innes provides two reviews from

the Australasian, which say that the drama was a satire directed against the police: “The

thieves and murderers are exalted into the position of heroes, and the police are made to

appear cowardly, and therefore ridiculous” (Innes 91). Nevertheless, the play reviews are

15 A place where the Stringybark Creek incident happened.

34

from years 1879 and 1881, and it is apparent that the press was rather on the part of

the police:

Mr. Pickersgill’s object, we have no doubt, was nothing more than to make us

laugh for half an hour at some absurd situations; […] And it is not well to flatter

their vicious vanity by representing the police in any light which increases their

already large hatred of authority. (Innes 91)

This review is a great proof that Ned and his companions were shown as heroes in

this play. The police became a target of ridicule and sarkasm, meanwhile Ned was the brave

one.

In 1918, Robbit Jon Clow published a play called The Cause of Kelly, written in blank

verse. The play has a very unsual concept of Ned Kelly as a military leader because he is

called simply Ned Kelly in the beginning, and during the story he is “promoted” to

“Captain Kelly”, and later even “General Kelly” (Innes 122). It is quite clear already in

the “Introduction” by the author that Ned plays a role of a national hero:

In the work before us it has not fallen to bring out those faults in Kelly which

are inseparable from human nature. No matter what his faults were, he is the

father of our National Courage, and the heart of our Literature. (Innes 123)

The sympathy of the author for the main hero of this play is more than obvious,

therefore it makes it clear that Ned plays a positive character in the play. However, the play

more or less follows true events from Ned’s early life to his execution, and no happy

ending occurs. On the other hand, Ned acts like a very smart and brave man in the end

when, a moment before his execution, he says:

(With terrible emphasis and pointing with his forefinger): Such is life !!

You and I will meet over yonder

And much sooner than you think. (All retire) (Innes 128)

Kelly died game in this play, and as a hero.

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The most successful play, which was originally a radio drama, is Ned Kelly by

Douglas Stewart16 from 1943. This play contains many fictional information, but it

excellently points out Ned’s contrastive character features, which is a typical and important

factor surrounding his personality. Stewart gives space to the good and bad in Ned’s

character. The play pictures the events from the bank robberies to the capture of Ned

Kelly in Glenrowan. Ned is not depicted strictly as a hero, nor as a criminal – there are

humorous scenes that made him popular among people, and also scenes depicting his

arrogance and killing tendencies that made him hated.

In the second scene of the first act, Ned and his gang keep hostages in

the Jerilderie Hotel and talk about the murders in Stringybark Creek. Ned does not regret it

because the policemen could kill him too, and he claims that nobody has to be afraid of the

Kellys if they leave them alone (Stewart 67). One of the hostages replies that the police will

not leave them alone because thay cannot, but Ned does not care (Stewart 68). He seems

like a cold-blooded murderer, but, on the other hand, he justifies his cruelty with saying

that the police had been following him since he was a boy (Stewart 68). On the other hand,

Ned is very generous to the poor throughout the play, but he keeps his tough and daring

manners. Regarding the police and authorities, Ned is very relentless and wants a revenge,

but he apparently does not want to hurt anyone else.

This play depicts Ned’s good and bad features and is not one-sided. However, the

story gradually excites sympathy for Ned and the gang, and the arrest of Ned in Glenrowan

at the end of the play brings back compassion for him. Ned fights the police and

remembers everything he has gone through. He says that the police made him an outlaw,

they drove him out of his home, hunted him like an animal, and now he has still time to kill

a few of them before they get him (Stewart 215). Despite his crimes, he looks like the

victim.

16 This play is available only in Czech language in this country, therefore direct citations are not used.

36

3.2. Ned Kelly in Film

The film industry was very young at the beginning of the twentieth century, and the

first feature film ever made was probably the Australian The Story of the Kelly Gang, directed

in 1906 by Charles Tait (Juddery). The fact that the first feature film was dedicated to Ned

Kelly’s story tells something about his significance in Australia. However, only parts of the

film were preserved, and that is why there is no certain information about the original

length of the film (Juddery). It is not clear what exactly was this film dealing with, but

information provided in an article by Mark Juddery suggest it began with the Fitzpatrick

incident at Kelly’s house and ended with the fight in Glenrowan. Furthermore, it seems

that the Kelly Gang was portrayed in a positive way because, as Juddery says, “reviews were

mostly positive, even if they didn’t share the film’s sympathy for the Kelly gang.” This was

still quite a short time after Ned’s execution, and apparently there were many people who

thought Ned Kelly was a mere criminal. Despite this fact, there were also artists who were

not afraid to show their sympathy for the Kelly Gang. The film also managed to revive

the legend of Ned Kelly:

Despite its ‘feature film’ status, however, the greatest importance of The Story

of the Kelly Gang may tie in its place in Australian mythology. It turned Ned

Kelly, a working-class outlaw who had been dead for twenty-six years, into

Australia’s favourite folk hero. (Juddery)

This succesful attempt of putting Ned on screen was followed by many others

during the century. In 1920s, Harry Southwell produced three films about the gang.

However, Southwell concentrated on showing Ned as a criminal, and the Victorian police

as heroes (Innes 119). Many critics claimed the historical facts shown in The Kelly Gang were

inacurrate, such as Ned’s last words: “‘Far better the scaffold than the dog’s life we’ve led.

What fools we have been’” (Innes 119). The other two films were called When the Kellys

37

Were out and When the Kellys Rode (The Internet Movie Database), and they showed Ned as

a murderer and a robber as well. Both of these versions were banned (Innes 119).

Other not very known films about Ned were The Glenrowan Affair in 1951,

Stringybark Massacre in 1960, and The Trial of Ned Kelly in 1977 (The Internet Movie

Database). These films were the first to point out Ned’s Irish origin, and they tended to

sympathize with him (Innes 211).

The most famous feature films produced in the last forty years are Ned Kelly from

1970, Reckless Kelly from 1993, and Ned Kelly from 2003. All these films emphasize Ned’s

fight for justice and liberty, and they romanticize his character by adding a woman he is in

love with.

Ned Kelly from 1970, starring Mick Jagger as Ned Kelly, was directed by Tony

Richardson, and focuses on events concerning the cattle stealing, shooting at Constable

Fitzgerald, the Stringybark Creek killings, bank robberies, and the Glenrowan affair

followed by the trial. Ned and his family are basically victims of the terrible behaviour of

the police. All the policemen, such as Fizgerald and Hare, and also the judge appearing in

the court room, are very unsympathetic characters who seem to absolutely ignore

the situation of poor immigrants. On the contrary, Ned is a young man who only wants to

protect his family and friends, but due to several previous conflicts with the law he is

always the suspect when a crime occurs. Generally, the film follows a classical scheme of

Ned’s life: he is a brave man and a gentleman, who wants poor people to be treated well by

the police. His crimes are not presented as actions of a cold-blooded person, but as actions

that need to be done to save his life, and to help the poor. This impression is raised by

Ned’s regrets whenever somebody suffers or dies: “I don’t want anymore killing” (Ned

Kelly, Richardson). This statement occurs during the Stringybark Creek killings. This

incident is considered “a clear stand-up fight” by Kelly’s supporters, but the police do not

share this opinion, of course. During the bank robberies and the Glenrowan massacre, Ned

38

seems to be very popular among ordinary people, since he burns important documents

from banks, and women find him very charming and handsome. The film ends rather

surprisingly with Ned saying to the judge: “I’ll meet you…there!”, and he points down (Ned

Kelly, Richardson). He might be suggesting that he is aware of his mistakes and that he is

going to Hell. At the same time, he indicates that the judge will go to Hell as well because

he wrongfully condemned Ned to death and did not treat the poor people fairly.

Reckless Kelly from 1993 was directed by Yahoo Serious, and he also played

the leading role. The film is a crazy parody of the Kelly Gang, set in contemporary

Australia. Ned’s bravery and heroism is presented in a novel way, and crimes he comitted

are basically omitted except of bank robberies. The system of robbing banks is slightly

different - it consists in breaking down an automated teller machine17, and then depositing

the money to people who took out a loan from the bank. Authorities are terrified, whereas

reactions of local people are very positive. The film is full of such extremes, and in a scene

set in a supermarket, a woman happily claims that thanks to the deposits she can now

“afford more groceries” (Reckless Kelly, Serious). The film ends with a parody of

the Glenrowan massacre. However, Ned and his friends win the fight. Although the film

makes Ned look a bit silly, it manages to depict his basic character features: he fights

against injustice and is extraordinarily brave. The police are incapable of catching him and

are defeated in the end, which makes them look ridiculous. This film is a nice example of

Ned as an icon: no matter if its aim was to ridicule him or to point out his bravery in

a funny way, it proves that Ned is perceived as an iconic figure and as a folk hero.

The last well-known film was Ned Kelly by Gregor Jordan, released in 2003. The

leading role was played by Heath Ledger, and the scenic structure is quite similar to that of

Tony Richardson’s film from 1970. This drama pictures Ned’s life from 1871 to the day he

was caught, on 28 June 1880. The film is based on Our Sunshine by Robert Drewe, and the

17 An abbreviation “ATM” is more common.

39

narrator of the story is Ned himself (Ned Kelly, Jordan). Again, there are a lot of scenes

where Ned expresses his disagreement with the way poor people are treated, and also

scenes where people approve their support to him. These two aspects are to be found in a

scene in Jerilderie where Ned confronts his hostages:

My mother is rotting away in a prison cell because of the lies of a policeman

named Fitzpatrick. She’s an innocent woman, and so are these boys here. My

Irish brethren have been unlawfully imprisoned and blacklisted from their

selections. How do you expect me to behave other than to stand up against this

treatment? Anyone of you can take a shot at me and not be charged for it.

There’s me gun. (Ned Kelly, Jordan)

None of the hostages tries to kill him, and they even help him with thinking up

various unflattering names for the Victorian police in the Jerilderie Letter. This particular

part is based on true words from the letter, and says that Ned’s family is a victim of “big

ugly fat-necked wombat headed big bellied magpie legged narrow hipped splaw-footed

sons of Irish Bailiffs or english landlords which is better known as Officers of Justice or

Victorian police” (Jerilderie Letter).

Since the film is based on Robert Drewe’s novel, it reflects the belief that Ned

grew up in unfavourable circumstances, and becoming an outlaw was not a voluntary

decision. Despite this fact, there are two moments which undermine his purely good

intentions. The first of them is a fictional one, and it takes place in his ex-lover’s animal

building. Ned suggests they could run away together, which means he would have to leave

his friends behind. This contradicts his previous effort to protect all of his friends and

family members. The second one is a murder of Aaron Sherrit, which actually happened.

Although it was Joe Byrne who committed the crime, it denies their claims that they would

never kill anyone intentionally – only in self-defence. Aaron Sherritt was a traitor, but

40

the murder looked more like a revenge than a self-defence. After all, the film portrays Ned

as a fighter for justice, and watchers would most likely forgive him these offences.

3.4. Ned Kelly in Music

Music played an important part in reflecting Ned’s personality. His legend inspired

many people to tell various stories, which resulted in a large amount of folk songs and

ballads. These songs belong to Australian oral tradition, and they reflect views of ordinary

people, many of whom lived at the end of the nineteenth century, shortly after his

execution – and even at the time before his death. They told stories about bank robberies,

the Stringybark Creek murders, Ned’s gallantry and courage, and they also expressed their

own opinions. Thus the songs represent a very unique image of Ned Kelly, and they also

helped the making of the Australian eternal icon. Furthermore, many popular songs by

famous artists were written on Ned Kelly, which brought fame to Ned all over the world.

3.4.1. Folk Music18

Probably all of the well-known folk songs and ballads originated in the time period

from 1979 to approximately 1930s. However, major part of them are from the end of

the nineteenth century, when Ned Kelly was a new-blown legend. Moreover, most of them

are anonymous, which is not unusual in oral tradition. Graham Seal and Charles Osborne

provide - among other information - a collection of the most notorious songs and ballads

on Ned Kelly and his gang, and as Graham Seal says, it is very likely that “they were

composed by the anonymous voices of the supposedly inarticulate amongst Kelly

sympathisers” (109). The songs were written even at the time the Kelly Gang was still

active, and they horrified the authorities because they generally celebrated Ned’s “classic

highwayman figure”, his gallantry and courage (109-110).

18 Extracts of songs and ballads are taken from Tell ’em I Died Game: The Legend of Ned Kelly by Graham Seal, and Ned Kelly by Charles Osborne.

41

There are several basic themes that repeatedly occur in all of the songs and ballads.

One of the most obvious is the celebration of the gang’s courage and boldness. The lyrics

express sympathy for the daring acts of Ned and his companions, and affection for their

fight with rich people and the police. In “The Ballad of the Kelly gang”, reputedly written

by Joe Byrne himself, says:

Tis sad to think such plucky hearts in crime should be employed,

But with great persecution they’ve all been much annoyed,

[…]

Now hand out all your arms you have, the audacious robbers said,

And all your ammunition, or a bullet through your head. (Seal 6)

Words such as “plucky” and “audacious” in this example are very often used in

the folk songs and ballads, which means that the Kelly Gang was looked at with

admiration. Similar ways of describing the gang was also used in “Going to Ballarat”, “My

Name is Edward Kelly”, and in “Ye Sons of Australia” – the last one by J.K. Moir. These

songs celebrate the bravery of Ned and the gang, and also Ned’s gameness:

But bold Kelly and his comrades thought they’d like a nearer look,

For being short of shrub, they wished to interview the cook; […](Seal 44)

I’d rather die like Donahue, that bushranger so brave,

Than be taken by the government to be treated like a slave.

I’d rather fight with all my might as long as I’d eyes to see,

I’d rather die ten thousand deaths than die on the gallows tree. (Seal 112)

Ye sons of Australia, forget not the brave

And gather wild flowers to place on their graves. (Seal 133)

42

Especially the song “My Name is Ned Kelly” shows Ned’s pride and a will to die

game. However, all of them use various words to emphasize the boldness of the Kelly

Gang, such as “brave” and “bold” and others.

Another apparent aspect of the songs is compassion for the gang, and justification

of their actions. Some of the songs contain lyrics stating that Ned wanted to help the poor

people, and that is why he robbed only the rich. His gallantry is also depicted, and it is

probably what made him so popular and much-favoured:

Ned Kelly was an Irishman, Kate Kelly she was bold,

They never robbed a poor man, but banks they robbed of gold. (Seal 11)

The safe was quickly gutted then

The drawers turned out as well,

The Kellys being quite polite,

Like any nobel swell. (“Sticking up of the Euroa Bank”, Seal 66)

Ned Kelly was a gentleman: many hardships did he endure.

He battled to deprive the rich then gave it to the poor. (“Ned Kelly Was

a Gentleman”, Seal 144)

The fact that Ned robbed the rich and gave it to the poor supports the idea that he

was forced to become an outlaw, and that he actually did not have a chance to choose what

his life would be like, which appear for example in “The Ned Kelly Song” by Tex Morton:

“Ned Kelly was born in a ramshackle hut,/He’d battle since he was a kid,/He grew up with

bad men and duffers and thieves/And learned all the bad things they did” (Seal 127).

Apparently, the circumstances he grew up in were not favourable, and injustice on the part

of colonial administration forced him to fight against it.

Concerning the police, they are ridiculed by the lyrics, and they also represent

an important part of the songs. Usually, they are portrayed as cowards and incapable men

43

who are in fact afraid of the Kelly Gang. They are called by unflattering words, and it is

clear that support is on Ned’s side, like for instance in “Farewell to Dan and Edward

Kelly”: “Dirty policemen did outdo you,/In a manner I am told;/Dirty policemen did

outdo you/For that paltry sum of gold” (Seal 110). Antipathy toward the police is obvious

also in “The Kellys’ Foes” by Charles Noble, who probably wrote the song in 1879 or 1880

(Seal 120). The song is written from a perspective of the police, and makes them look

ridiculous:

We are two courageous bobbies, just taken off our beat;

We are sent to catch the Kellys in their quiet snug retreat;

Oh if we come across them, and they think it is no harm-

We’ll run them in, we’ll run them in,

[…]

Of course we’re very wary, and of ourselves we take good care.

To risk our precious lives we’re chary; if danger looms, we won’t be there;

[…] (Seal 120)

Presumably, there is no song or ballad that praises the policemen – they are always

shown as men who are afraid of Ned Kelly. Unlike literary works, music seems to have no

space for the policemen as heroes and the brave ones: “No credit to their bravery, no

credit to their name,/Ned Kelly terrified them all and put their blood to shame” (“Kelly

Was Their Captain”, Seal 114). Ned is thus viewed as a hero, and policemen as cowards.

Another aspect that can be found in songs is direct personal attitude to Ned Kelly,

which means that the opinion is expressed straight from the author’s perspective.

Examples can be found in “The Ballad of the Kelly Gang”, “The Ned Kelly Song”, and in

“Ned Kelly Was a Gentleman”:

Oh, Paddy dear, do shed a tear, I can’t but sympathise,

Those Kelly’s are the devils, and they’ve made another rise.

The matter may be serious, Pat., but sure I can’t but laugh,

44

To think the tales the Bobbys told should all amount to chaff; […] (Seal 8)

Yet when I look round at some people I know,

And the prices of things that we buy;

I just think to myself, well, perhaps after all,

Old Ned wasn’t such a bad guy. (Osborne 200)

I think it was a pity they hanged him from a rope;

They made Australian history but they shattered Kelly’s hope. (Seal 144)

Sympathy for Ned can be found in the major part of folk songs and ballads, if not

in all of them. However, it does not mean that the songs omit Ned’s crimes – on

the contrary, music also serves as a way to tell his story as a bushranger who robbed banks,

and even killed some people. However, the belief that he was forced to commit crimes and

was treated badly by the authorities fully justifies everything he had done. As a whole, his

crimes in combination with his character make a very interesting story, which was so

plentifully reflected in music.

Some of the lyrics tell stories of the bank robberies and murders in detail. For

instance, “Going to Ballarat” describes the murder of Lonigan in Stringybark Creek as

follows:

Reaching for his revolver, but before he touched the stock,

Ned drew his trigger, and dropped him like a Cock.

Then after searching McIntyre, all through the camp they went

And cleared the guns and cartridges and pistols from the tent;

But brave Kelly muttered sadly as he loaded up his gun,

‘Oh, what a bloody pity the bugger tried to run!’ (Seal 44-45)

45

Although the songs do not omit Ned as a criminal, they usually find a way to justify

his actions and clear his name. All in all, folk music depicts Ned Kelly as a hero, as a brave

and bold man who has to fight against injustice, and who wants to help the poor. His

charm and politeness made him very popular among people. Folk music is a good picture

of ordinary people’s views, and if the main views of Ned should be summarized in one

word, the result would be “hero”.

3.4.2. Popular Music

During the twentieth century, Ned Kelly was also a subject of popular music, and it

helped him become famous worldwide. Most of them were written in the second half of

the century.

In 1970s, Waylon Jennings, Tom Ghent and other musicians recorded a sountrack

of country music for the Ned Kelly movie, which was released in 1970. The soundtrack

consists mainly of songs by Waylon Jennings, and in “Ned Kelly”, “Lonigan’s Widow” and

“Blame It on the Kellys” we can find direct references to Ned and the Kellys in general.

Ned is viewed in retrospect, and still there are many signs of defending him: “ They turned

him out to Beechworth jail in 1971,/He’d put in three long years behind those walls/For

the stealing of a horse, which he swore he’d never done,/But now he sees the sun and

turns his back upon it all” (“Ned Kelly”). Although he was accused of stealing, his swear

seems to be good enough to believe he was a good man. However, in “Lonigan’s Widow”

Jennings refers to Lonigan, the killed policeman, and his lonely wife. Lonigan’s wife excites

compassion, but Ned is defended again: “But Lonigan’s widow she’s singing no songs,/She

walks these red hills and she cries all night long./They say that Ned Kelly had never done

wrong,/Tell that to Lonigan’s widow.” On the other hand, this song indicates that there

were truly innocent people who deeply suffered because of Ned’s crimes. “Blame It on

46

the Kellys”, also by Jennings, is a lively and quite an ironic song pointing out the injustice

that annoyed the Kellys:

If anybody steals a horse, blame it on the Kellys!

Anybody breaks the law, blame it on the Kellys!

If anyone does something new, or does what you would like to do,

And if the troopers don’t know who – they blame it on the Kellys.

[…] I think I’ll steal a horse myself – and blame it on the Kellys!

The Kellys are obviously depicted as victims of unceasing chase: every committed

crime is automatically considered as their fault. There are apparent ironic undertones aimed

at the police or, as they are called here, the troopers.

In 1971, Johnny Cash’s album Man in Black was released, and it contained a song

“Ned Kelly”. This song refers to Ned as “a victim of the changes” and as a man who

“loved his people” and “loved his freedom” (Cash). The chorus describes Ned as a bold

man who took the blame on himself. The fact that he fought against injustice brought him

fame, but the end of his fight was sad: “Ned Kelly took the blame/Ned Kelly won

the fame/Ned Kelly brought the shame/And then Ned Kelly hanged” (Cash).

In the last thirty years, Ned Kelly was an inspiration to popular musicians such as

Paul Kelly, Midnight Oil, Redgum, Slim Dusty, and Bernard Fanning. Paul Kelly’s “Our

Sunshine” and Redgum’s “Poor Ned” show Ned as a gallant man who had bad luck in his

life, and who is not a cold-blooded murderer as some people say:

Never known to hurt a woman

He never robbed an honest man

His mother held in jail, his daddy dead

And daily rising the price upon his head (Kelly)

That I might be a bushranger

But I’m not a murdering man

47

I didn’t want to kill Kennedy

Or that copper Lonigan

He alone could have saved his life

By throwing down his gun (Redgum)

On the other hand, songs “Game as Ned Kelly” by Slim Dusty and “Shelter for My

Soul” by Bernard Fanning admit that Ned made mistakes. Slim Dusty’s song also suggest

that people should learn from the mistakes:

And so young Australians take heed of this song

Be game as you like but don’t do any wrong

Remember the warning that ‘crime doesn’t pay’

Remember Ned Kelly and walk the straight way (Slim Dusty)

However, the song does not smear Ned’s name because the singer says he was

“the best known Australian” who “died game” (Slim Dusty). “Shelter for My Soul” is

written on a death row from Ned’s standpoint, and although he says he made mistakes and

now he has to pay for them, the listener feels compassion for him rather than anger or

satisfaction: “For the great mistakes I will surely pay/I’m running low and the devil is on

my trail/When fate delivers me all I’ll ask it for/Is a place to rest and shelter for my soul”

(Fanning).

Generally, it seems that Ned is portrayed more in a positive way in popular music.

There are some moments which indicate Ned made a few mistakes, and that “crime does

not pay”, but the major part of the songs look at him as a brave but unlucky man, who

“was a victim of changes” (Cash). “Our Sunshine” by Paul Kelly also proves that Ned

Kelly is considered as a significant icon in Australia: “Our sunshine, our sunshine/Through

fire and flood, through tears and blood/Through dust and mud still riding on” (Kelly).

“Our sunshine” is definitely a nickname for Ned. The author of the song thus probably

refers to Ned as an Australian sunshine.

48

3.5. Ned Kelly in Fine Art

Ned Kelly was an inspiration to many visual artists including famous Australian

personalities such as Sidney Nolan, Norman Lindsay, Albert Tucker, and Maree Coote.

Since fine art is very open in expressing ideas, it is more difficult to interpret the way Ned

Kelly is portrayed in it.

A large number of paintings and drawings of Ned Kelly have several things in

common: Ned usually wears a helmet as a part of his famous iron armour; a horse that is

inseparable from him; and Australian land, which connects Ned to Australian identity and

underlines his bush-ranging. All of these aspects are symbols that characterize Ned’s

personality, and they sort of suggest themselves to be used in depicting the legend that

surrounds him because they are so typical of him.

Norman Lindsay, one of the greatest Australian artists, portrayed Ned in his several

pen and ink drawings, which were used in Douglas Stewart’s drama Ned Kelly (The

University of Sydney). In Lindsay’s drawing called simply “Ned Kelly”, the bushranger is

portrayed as a huge stature wearing his armour and holding a gun (see appenix 3). He

definitely commands respect and even fear. According to Maree Coote, Ned is pictured “as

a beautiful Frankenstein, towering and statuesque; the ultimate gothic-romantic

superhero-arch villain” (Coote 6-7). Again, we can see a contrast between Ned’s power,

courage, and greatness, and his tremendousness and darkness.

The most famous series of paintings concerning Ned is Ned Kelly series by Sidney

Nolan, probably the best known artist in Australia. An interesting fact is that many

Australians today associate Ned with Nolan’s black helmet (see appendix 4) because it is

everywhere – as Innes says, “in advertisements, on badges, on road signs, in cartoons,” et

cetera (Innes 180). The series consists of twenty-seven paintings painted between 1945 and

1947, concentrating mainly on Ned’s conflicts with the law, and encounters with the police.

They are ordered in a story-telling sequence, which includes for example the Stringybark

49

Creek murders, making the armour, the burning in Glenrowan, and the trial (see

appendices 5-6). There are no pictures pointing out Ned’s heroism and charm, which could

mean that Ned is pictured rather as a criminal than a hero. One of the paintings called

“The Watch Tower” shows a policeman on the top of a tower, which was inspired by

Nolan’s own experience, and it indicates that Nolan “indentifies himself with

the policeman rather than Kelly” (Innes 178). However, Nolan’s paintings certainly explore

Ned’s significance as an icon and an Australian legend. He depicts Ned in Australian

landscape wearing his legendary helmet, which connects him irretrievably to Australian

identity and history.

“Metamorphosis of Ned Kelly” is a painting from 1956 by Albert Tucker, a popular

Australian artist from Melbourne (“Albert Tucker”). Ned is portrayed with a helmet and on

a horse again, however, both he and his horse look like skeletons dried in merciless

Australian heat (see appendix 7). The painting is very dark, and as Maree Coote describes it,

it is “more true, more brutal, and still echoing the iconic silhouette” (Coote 7).

One of the recent well-known Australian artist Maree Coote concentrates on

celebration of Ned Kelly as an icon (Coote 9), and her colourful paintings made in years

2004-2005 portray combination of Ned in various situations, Australian landscape, nature,

and, of course, his black helmet. She has a very original style of painting, and she depicts

Ned in both ways: as a hero and a human being who died too soon and did not have

a chance to enjoy life (see appendix 8), and as a criminal who robbed banks and killed

people (see appendix 9). Whether a hero or a criminal, Australian identity is very strongly

connected to him. Ned is obviously a symbol of Australia as well as a kangaroo – and

Maree Coote managed to connect these two symbols into one (see appendix 10), which

emphasizes Ned’s belonging to Australian history.

As regards to fine art, it is not clear whether Ned is pictured as a bad or a good

man. On the other hand, fine art can depict him as an extraordinary icon more effectively

50

than any other artistic field. It depicts Ned as a national symbol, as an icon, and as

an essential part of Australia, where his black helmet became more than just a part of his

armour – it became a part of national identity.

51

Conclusion

The main purpose of the thesis was to examine Ned Kelly’s role in art – whether he

is presented as a hero or a criminal. However, the first two chapters focused on Ned’s life,

his significance and exceptionality, and compared the both sides of his personage. Finally, it

came to the conclusion that he had a great potential to become a very important historical

person in Australia, the same way as Robin Hood is important in England. Although he

was a very controversial person, most people seem to remember him as a man who fought

against a bad treatment of his family and poor immigrants by colonial authorities. He was

popular for his kindness and gallantry, which was not common among bushrangers. His

extraordinary life, boldness, and his fight for justice and liberty followed by his execution

made him a phenomenal person. Thus he became an immense inspiration for many artists.

The aim of the main part of the thesis, “Ned Kelly in Art”, was to analyze and

examine various works of art including literature, drama, film, music, and fine art, which

concerned Ned Kelly and the Kelly Gang. The analysis of the major works showed that, in

most cases, Ned Kelly is portrayed as a folk hero. Despite the fact that there were several

works taking an opposite stand in the era from 1870 to 1930s, Ned Kelly’s heroism in art

seemed to predominate over his criminal reputation during the twentieth century. This

increasing popularity might have been caused by the fact that people felt more free to

express their opinions, whereas at the time of Ned’s execution, people often published

their folk songs and ballads anonymously to stay safe. At the same time, the folk music in

the end of the nineteenth century presented Ned unconditionally as a folk hero, which

suggests that the majority of ordinary people’s attitudes toward Ned and his gang was

positive already at that time.

Some of the works approached this subject more objectively, giving space to both

Ned’s good and bad deeds, but in the end, Ned mostly seems to be a good man who

happened to be in a wrong place in a wrong time, and who defended his honour.

52

The crimes Ned Kelly committed are, in fact, considered by the artists as actual crimes –

they do not try to claim he was innocent. However, they suggest that Ned was forced by

the circumstances to committ most of the crimes and to become an outlaw, which offers

quite a different perspective. Considering all the facts this thesis discussed, and analyses it

provided, Ned’s role in art is certainly generally positive.

53

Appendices

Appendix 1:

The Kelly Gang. The picture of Ned was taken one day before his execution.

Excerpted from Ned Kelly: A True Story by Christine Lidop.

Appendix 2:

The reward for the gang after the raids on Jerilderie and the Bank of New South Wales.

Excerpted from Ned Kelly by Charles Osborne.

54

Appendix 3

“Ned Kelly” by Norman Lindsay, 1946.

Excerpted from Australian Ironoutlaw webpage.

Appendix 4

Famous black helmet in “Ned Kelly” by Sidney Nolan.

Excerpted from Ned Kelly: 27 Paintings by Sidney Nolan by Robert Melville.

55

Appendix 5

“Death of Constable Scanlon” by Sidney Nolan.

Excerpted from Ned Kelly: 27 Paintings by Sidney Nolan by Robert Melville.

Appendix 6

“Siege at Glenrowan” by Sidney Nolan.

Excerpted from Ned Kelly: 27 Paintings by Sidney Nolan by Robert Melville.

56

Appendix 7

“Metamorphosis of Ned Kelly” by Albert Tucker, 1956.

Excerpted from State Library of Victoria webpage.

Appendix 8

“Ned is a Virgin” by Maree Coote, 2004.

Excerpted from 50 Neds:Ned Kelly-Icon of Australian Art by Maree Coote.

57

Appendix 9

“Blood on the Wattle” by Maree Coote, 2004.

Excerpted from 50 Neds:Ned Kelly-Icon of Australian Art by Maree Coote.

Appendix 10

“KangaNed II” by Maree Coote, 2004.

Excerpted from 50 Neds:Ned Kelly-Icon of Australian Art by Maree Coote.

58

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62

Resume

This thesis deals with a famous Australian bushranger, Ned Kelly, and the way he is

depicted in various artistic fields. His controversial personage was often a subject of many

quarrels and exchanges of views because, although he was officially an outlaw, he was very

popular among ordinary people who referred to him as a folk hero.

The thesis examines the way he is perceived by artists, whether as a folk hero or

a criminal, and it comprehends the major works of arts from the end of the nineteenth

century to the beginning of the twenty-first century. By means of analyses of various

literary representations, dramas, films, songs, and paintings, this thesis seeks to gather

enough information to come to a definite conclusion. The result of this research proves

that Ned Kelly was portrayed in a positive way by the majority of the works. It also

indicates that during the twentieth century artists expressed their views more and more

freely and objectively, since the political situation in Austraila has considerably changed

since that time.

Furthermore, the research is preceded by Ned’s brief biography and other

important information that are necessary to completely understand the legend that

surrounds him. For instance, the thesis provides definitions of important terms, the history

of outlawry, and it compares Ned with the famous Robin Hood. The thesis also elaborate

on Ned’s good and bad deeds, which serves as a deeper study of the controversial

reputation that surrounds him. Thus the thesis presents Ned Kelly’s significance, and

provides the most important facts that should be taken to consideration when analysing

the works of art.

63

Resumé

Hlavním tématem této práce je slavný australský bandita Ned Kelly, a způsob jakým

je zobrazován v nejrůznějších uměleckých odvětvích. Jeho kontroverzní osobnost byla

často přemětem mnoha sporů a debat, a to z toho důvodu, že přestože byl oficiálně psanec

postavený mimo zákon, byl zároveň velmi populární mezi obyčejnými lidmi, kteří ho

považovali za národního hrdinu.

Tato práce zkoumá jak je Ned Kelly vnímán umělci, zda jako hrdina nebo zločinec,

a zahrnuje nejdůležitější umělecká díla od konce 19. do začátku 21. století. Pomocí analýzy

literárních děl, dramat, filmů, písní a výtvarného umění se tato práce snaží shromáždit

dostatek informací k vyvození jednoznačného závěru. Výsledek tohoto výzkumu dokazuje,

že většina těchto děl zobrazuje Neda Kellyho v pozitivním světle. Dále také naznačuje, že

během 20. století umělci vyjadřovali svůj názor stále více svobodněji a objektivně, jelikož

politická situace v Austrálii se od té doby značně změnila.

Kromě toho tato práce obsahuje úvodní část, která se zaměřuje na stručný

životopis Neda Kellyho a na další důležité informace, které jsou nezbytné pro plné

porozumění legendy, která ho provází. Práce předkládá například definice důležitých

termínů, informace z historie anglického zákona, a také srovnání se slavným Robinem

Hoodem. Dále detailně rozvádí dobré a špatné činy Ned Kellyho, což slouží jako hlubší

studie jeho kontroverzní osobnosti. Tímto způsobem práce nastiňuje Nedův význam a

výjimečnost, a poskytuje tak důležitá fakta, která by měla být brána v potaz při analyzování

daných uměleckých děl.