Ursula Bethell

Mary Ursula Bethell (pseudonym, Evelyn Hayes; 6 October 1874 – 15 January 1945) was a New Zealand poet. She settled at the age of 50 at Rise Cottage on the Cashmere Hills near Christchurch, with her companion Effie Pollen, where she created a sheltered garden with views over the city and towards the Southern Alps, and began writing poems about the landscape. Although she considered herself "by birth and choice English", and spent her life travelling between England and New Zealand, she was one of the first distinctively New Zealand poets, seen today as a pioneer of its modern poetry.

Bethell was the eldest daughter of the well-to-do sheep farmer Richard Bethell and his wife Isabel Anne, née Lillie, and was born in Horsell, Surrey, England, in 1874. Her parents had both lived in New Zealand in the 1860s, but returned to London where they married. Shortly after her birth, in 1875, her parents returned with her to New Zealand, where her two younger siblings brother Marmaduke and sister Rhoda were born.She was educated at Rangiora Primary School and Christchurch Girls' High School, and developed a love of the Canterbury landscape that would last for the rest of her life. In later years, she wrote of the Ashley River:

It was the river, the river. We played there,
out, out of the house, out of the garden, out under the wide sky.

— "By The Ashley River"

Her father died in April 1885. Two years later, at age 15, she travelled back to England and boarded with the family of Ruth Mayhew, who became a lifelong friend, as she attended Oxford High School for Girls and a Swiss finishing school. She returned to New Zealand in 1892 and devoted herself to charitable work, before again returning to Europe in 1895 to study painting in Geneva and music in Dresden. Having enough private wealth to support herself, she took up social work in London with the Anglican organisation Women Workers for God, or "Grey Ladies". She continued to perform social work in a religious context in England and New Zealand, travelling between the two, including in the war years.

In 1924 Bethell permanently settled in New Zealand, in the Cashmere Hills near Christchurch. She bought a newly built home, Rise Cottage in Westenra Terrace, which she shared with another returnee New Zealander, Effie Pollen. The theory that Bethell's relationship with Pollen was homosexual (which would have sat ill with her Anglicanism and her social aspirations in that period) was explored in some detail by the fellow poet Janet Charman, as a visiting scholar at the University of Auckland in 1997. Bethell herself described the relationship as "prevailingly maternal", but there is no way of knowing for sure what the relationship between them was, except that it was a close and loving relationship.

Bethell only began to write poetry at the age of about 50. Most of it was written during her years at Rise Cottage with Pollen. At first she had no design to publish her poems, but wrote them as messages to send in letters to her friends. She was deeply affected by Pollen's death in 1934, writing to a friend that the event was "a complete shattering of my life.... [for] from her I have had love, tenderness, and understanding... and close and happy companionship". She wrote little more afterwards, so that most of her output dates from the one decade of 1924 to 1934. Vincent O'Sullivan said, "She was surprised that people admired her 'garden' poems, often written as casual messages to friends.... By the late 1920s, she was also writing the more deliberate and intellectually adventurous poems which took their place in her later two books." After Pollen's death, she sold Rise Cottage and moved into a room in a house she had gifted to the Anglican church.

Her first collection, From a Garden in the Antipodies (1929), is her best-known work; its poems have often been anthologised. It expresses an awareness of her separation from "loved and lost London", and themes of religious thought and nature that marked all her work. Her later collections include poems for which there had been no place in the first collection, and memorial poems to Pollen. Her poetry is ascribed by the Oxford Companion to Twentieth-Century Literature in English "a plainness and spareness (as well as freshness of image) which distinguishes it from the more ornamented verse the country had previously produced."