The explorer's journals of the expedition to Port Essington, 1844-45.
19th-Century Australian Travel Writing
Prussian Dr. Friedrich Wilhelm Ludwig Leichhardt (1813-1848) was a naturalist and explorer. Leichhardt was noted for his explorations of northern and central Australia; in 1842 he undertook a collecting expedition between Sydney, the Hunter River, and Moreton Bay and in 1844 he led a privately funded expedition from the Darling Downs to Port Essington; in 1846 he undertook a government funded expedition from Moreton Bay to Perth, however the team was turned back 800kms into their journey. Journal of an Overland Expedition is based on his 1844 journey from the Darling Downs to Port Essington, with the diary written at the time of his exploration. The diary was a detailed and particular account of the stores brought, the journey, the Aboriginal peoples encountered, and featured descriptions of the geography, flora and fauna. During the party's travels they collected specimens of 'natural history'. The work concludes with an account of the successful party's return home. Leichardt's later expedition in 1848, also crossing central Australia from the Condamine River to the Swan River, ended with the disappearance of the exploring party. Despite many investigations, the disappearance remains a mystery.
'Scholars considering the acoustics of exploration have focused on how explorers heard Australian space in terms of silence, to argue this silenced Indigenous presence, or that stillness, was incongruous with how a place to be colonised should sound. I focus on the acoustically attuned Ludwig Leichhardt, a science-poet indebted to the Enlightenment, but also engaged with the German Romantic legacy. The manifold acoustic dimensions of expeditioning – including music – were important to him in different ways. The acoustic world could be assayed and harnessed in ways that were often consistent with colonialism. But there was also something fugitive about acoustics. They could mark a site for emotional engagement with place, and sometimes embryonic cross-cultural dialogue. Yet the possibilities were not always heard and, in line with Romanticism, the acoustic could drag down expeditioners’ spirits just as it could buoy them up. It could baffle or be a site for Indigenous resistance.' (Publication abstract)
'Scholars considering the acoustics of exploration have focused on how explorers heard Australian space in terms of silence, to argue this silenced Indigenous presence, or that stillness, was incongruous with how a place to be colonised should sound. I focus on the acoustically attuned Ludwig Leichhardt, a science-poet indebted to the Enlightenment, but also engaged with the German Romantic legacy. The manifold acoustic dimensions of expeditioning – including music – were important to him in different ways. The acoustic world could be assayed and harnessed in ways that were often consistent with colonialism. But there was also something fugitive about acoustics. They could mark a site for emotional engagement with place, and sometimes embryonic cross-cultural dialogue. Yet the possibilities were not always heard and, in line with Romanticism, the acoustic could drag down expeditioners’ spirits just as it could buoy them up. It could baffle or be a site for Indigenous resistance.' (Publication abstract)