Poetry is one of the most ancient media in which people express their emotions and perhaps one of the most beautiful; as Howard Nemerov gracefully puts it, "It may be said that poems are in one way like icebergs: only about a third of their bulk appears above the surface of the page" (1920-1991). Australian poetry is no exception to this tradition of versified thoughts and feelings, and many a poet have demonstrated an intense focus on both the artistry and harshness of the environment that harbours this nation. Through the creativity and emotions of the poets, Australians are portrayed in a contrasting light as both likeable and dislikeable. This is particularly apparent in the poems being analysed in this essay: A.B. "Banjo" Paterson's, "We're all Australians Now," and Komninos Zervos', "Nobody Calls Me a Wog Anymore." While both Banjo Patterson and Komninos Zervos infuse their poetry with the spirit of mateship and acceptance in Australia, Patterson focuses on the circumstances of war which "instantly mend" the countries' interstate differences while Zervos concentrates on the struggle to achieve tolerance as an international migrant. These two poems share a number of similarities. The first of these is the focus on equality between all, which creates a sense of unity within the participants in the narrative told by each poem. In We're all Australians now, Patterson makes powerful allusions to the nation as a whole using cities as synecdoche for integration such as "From Broome to Hobson's Bay. Broome is a city on the North-Western coast of Australia, while Hobson's Bay is an electorate of Melbourne, in the south east of the country; hence, this metaphor implies the inclusion of the entire country. The third stanza of the poem incorporates people of opposing ethnicities, using a "true blue" metaphor, "the man who used to hump his drum," to introduce the indigenous people to the picture through their musical customs, referring to their drum playing as an identifying feature (Aboriginal Arts and Cultures Centre). They are compared as "fighting side-by-side" with Tasmanian farmers; one cannot escape the carefully constructed and implicit incorporation of two distinct ethnic groups as Tasmanian people are likely the whitest Australians there are, given the cool climate of their state. This creates a contrast between polarised races while portraying them all as equal. The title of the poem suggests the idea of unity and togetherness, and everyone being the same “the phrase 'we're all Australians now,' appears as an anaphora throughout the poem to reinforce the importance of Australian identity. Within this phrase, the persona includes himself, which he doesn't do at any other point throughout the poem; this could suggest that he uses himself as a replacement for everyone through use of the word "we're." In a similar fashion, the use of the word "now" implies reminiscence of previous times, such that the conflict between states is gone but will never be forgotten. Zervos also focuses on equality between people. The title of the poem, which is also its first line and its dominant ideology, states this concept of personal acceptance and equality quite frankly: "nobody calls me a wog anymore . The anapodoton in the next lines "I'm respected as an Australian/An Australian writer/A poet , set the hopeful yet sarcastic tone: despite all the hardship, the persona is accepted as an Australian. The end of the poem shows the use of chiasmus in the line "You need me, and I need you , which gives the effect that the sharing and the acquisition of Australian citizenship is a mutually beneficent deal, thus creating equal opportunity for both participants. This type of relationship generally results in a unified environment: Australia is enriched and the protagon