The similarity of the timber of the Sydney species ( e.g ., C. glauea , suberosa, 
torulosa ) to that of Quercus (Northern Oak) is, of course, obvious. As regards the 
use of the prefix “ she,” to denote paleness of colour or inferiority, this is an 
Australian practice which has long been established, and which is open to no doubt. 
Bushmen continue to use the term daily, thus we have “ She Beech,” “ She Pine,” 
“ She Ironbark.” 
Branclllets.— The “ foliage ” consists of long fine apparently leafless verti- 
cillate branches. Leaves are really present in Casuarinas, but are reduced to minute 
whorled teeth or bristles forming the top of a cylindrical joint. These branchlet- 
joints arc 1 formed by the concrescence of leaves, each tooth being merely the apex of 
a leaf The transit of such diminutive or rudimentary leaves to those of more 
developed form can be traced in the allied Order Conifer ce from Cypresses to Pines.' 
The branchlet-joints are sometimes more or less furrowed, but, as a rule, the 
furrows are not evident in living specimens, but become visible on drying. 
• 
The stomata lie at the bottom of narrow furrows, which run along the green leafless branches, and 
peculiar hair structures are present in the furrows to which the hair adheres, forming a barrier against 
water, exactly as those of Cytisus. The Casuaririse, which must finish their work for the year during the 
very short rainy period of their native country, require during this time arrangements providing for 
unhindered transpiration no less than does the Cytisus in the Southern Alps.—(Kerner and Oliver, i, 298.) 
Casuarinas, of course, grow in the well-watered coastal areas as well as in the 
coastal tracts; at the same time their structure is essentially xerophilous. 
Attention may here be invited to a paper by L. A. Boodle and W. C. Worsdell, 
“ On the comparative anatomy of Casuarinse, with special reference to the Gnetaceae 
and Cupuliferae.” 
The weirdness of these apparently leafless switch-like trees has not escaped 
the notice of our Australian poefs, but since they are so common I fully expected* 
they would oftener inspire the burden of their song. They suggest the minor key. 
They appear to have impressed Harpur more than any of our poets, and one of his 
poems is entitled “ The Voice of the Swamp Oak ” 
“Up in its dusk boughs out-tressing, 
Like the hair of a giant’s head, 
Mournful things beyond our guessing 
Day and night are uttered. 
Even when the waveless air 
May only stir the slightest leaf, 
A lowly voice keeps moaning there 
Wordless oracles of grief. 
But when nightly blasts are roaming, 
Lowly is that voice no more ; 
From the streaming branches coming 
Elfin shrieks are heard to pour.” 
He thus compares the branchlets to the human hair, and the sighing of the wind 
through them to moans and shrieks. 
