RUBBLE AND ROSELEAVES

AND THINGS OF THAT KIND

BY

F. W. BOREHAM

BY WAY OF INTRODUCTION

Every man has a genius for something or other. I have a genius for a comfortable armchair and a blazing fire. Add to these two ingredients what Bob Cratchit would call a circle of congenial companions (meaning, as his considerate creator points out, a semi-circle) and I am as destitute of envy as the Miller of the Dee. I stipulate, however, that my companions shall be so very much to my taste that, when in the mood, I can talk to my heart’s content without seeming garrulous, and, when in the mood, can remain as silent as the Sphinx without appearing sullen.

This outrageous spasm of autobiography is necessitated as an explanation of Rubble and Roseleaves. The contents are neither essays nor sermons nor anything of the kind. The inexhaustible patience of my readers has lured me into the habit of talking on any mortal—or immortal—subject that takes my fancy. I have merely set down here a few wayward notions that have, in the course of my wanderings, occurred to me. But, in self-defense, let me add that these outbursts have been punctuated by whole infinitudes of silence. The silences are eloquently represented by the gaps between the chapters.

FRANK W. BOREHAM.

ARMADALE, MELBOURNE, AUSTRALIA.

Easter, 1923.

​

CONTENTS

PART I

I. OLD ENVELOPES … 11

II. ‘WHISTLING JIGS TO MILESTONES‘ … 22

III. THE FRONT-DOOR BELL … 35

IV. THE GREEN CHAIR … 46

V. LIVING DOGS AND DEAD LIONS … 57

VI. NEW BROOMS … 67

VII. A GOOD WIFE AND A GALLANT SHIP … 78

PART II

I. ODD VOLUMES … 91

II. O’ER CRAG AND TORRENT … 101

III. THE PRETENDER … 113

IV. ACHMED‘S INVESTMENT … 124

V. SATURDAY … 134

VI. THE CHIMES … 145

VII. ‘BE SHOD WITH SANDALS‘ … 156

PART III

I. WE ARE SEVEN … 169

II. THE FISH-PENS … 181

III. EDGED TOOLS  … 192

IV. OLD PHOTOGRAPHS … 202

V. A BOX OF BLOCKS … 214

VI. PIECRUST … 226

VII. ALL‘S WELL THAT ENDS WELL … 235

​