Boer War Lyrics — Reading Companion

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Selmer, Louis Project Gutenberg 2014 Not confirmed
South African War, 1899-1902 -- Poetry Readers of public-domain and historical texts
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Edition facts

Words 16,283
Reading time 71 min
Text sections 3

The catalog record for Boer War Lyrics — Reading Companion provides practical reading context through 16,283 words, 1 hr 11 min estimated reading time, and 3 detected text sections.

The text analysis averages about 33.6 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “South African War, 1899-1902 -- Poetry,” connecting these edition facts with the source record’s subject description.

Louis Selmer's 1903 collection of poems on the South African War, structured as a lyric sequence with recurring images of blood-soaked furrows, war as a grim sower, and a preface that frames the verses as a polemic against might over right.
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Read the Text

Have had a six foot some of Christian ground.

Or, grant, this stories not, by far, Quite twists, the way his craving came; That a wider mark went roves with Fame: E'en so--the fatuous head he gave his star Balked still true rise, yon warier climb, Which must match foot with patient Time.

But, take in both; let honor owe Some voice to each; yet some base touch no merit downs, Sinks born kings to range with clowns, Wreaked here its curse thro' human law, And, deriving whence no issue sleep, Would have had yon stern verdict keep.

Since, so had no lure that Mammon piles Blazed wide to men, "I know ye all; Lo, here my truck, lo, there your soul! And, what devil doubts, but damned files For lasting count, scores twice this creed: "Fair ends must bear what foul means breed."

So had ne'er cried out 'gainst fearsome spilth No brave mens' blood, no blasted home Made sick the times, sensed fierce the stars, past where they dome Shrilled wildly forth "this is the husbandry whose tilth, When gathered full its ghastly sheaf, Shall blight with shame each laureled leaf,

"That England wears, where ranker grow,"-- Well--this topped, I thought, all patient sense, And it seemed I said "Now pray you whence This dire bode? What glass be yours that it should show What veils all view,"--here, while my lip still quivering hung, Their wizard spell had tied my tongue;

As from out my Dream there rose once more, This time that other's grim, now boding voice I thought so sleek, yet full of poise, And, tho' still you traced the snap it bore, 'T had now an eager, vast, nay, solemn sound, As if chiming with the sky-paths 'round.

Withal, it was mine ancient friend's, the Trap, As lo, he dire spoke, "and had I been there, Where southward down the Capelands bear, Had I not quenched with my good cap, O'er-topped his crest, that Milner man, Whose swell of head to the Imperial plan

"Such havoc worked, that toiling Day Nor patient Night, tho' joining chore, Retrieves the base that rose before; But as sad Fates their grim plots lay, Nor scorn no aid from scheming Breath, Shall, waning, sink t'ward leveling Death."

At this--as from its curb had once more broke The Will--my safer self--tho' cowed and pent Within their witching grip, I roused and bent The tongue to hot retort, and spoke: "Who're you, that spurs so fierce the instant Right, Who'ld wage conclusions with the patient Light?"

Then more calm--for within his look There sate a gleam, that still, clear gaze, By which dim Destiny all opposite weighs, Nay, her least owing brings to book-- I faltered forth: "What? him they've frilled a lord? You'ld from your great good heart have spared a cord?"

"Knit closer up this raveled night? Or bee'st thou then?"--Here fell again, past pen to tell, On tongue and will that gruesome spell, Tho' heart and brain seemed steeped in light; As in voice, whose vast no star-deep girds, 'Rose grim, I thought, that eerie Thirds;'

Now halting, meek, no more. O, futile trope! To suit to trick of verbal range What boundless garbs past millioned change, Yet here, in humble guise of him, the Rope, Spoke valiant out, tho' slept each sense-watch there, Unvoicing very thunder by compare:

"And had I been where across the sea, Confederate, girt, with bulwark tides, Fair Albion, on proud leave, divides, With Ocean's state, his empery; On his white bastion fearless stands, While lift with light the beaconed hands;

But out of mark, unstatured, sinks, All tribute once, now scarce a heed, Some trick, at best, sad memories breed, When the large well, whence Honor drinks, He fierce pollutes, the loath cup drains, Inglorious pledged to siren gains;

When the large glow, which constant shone, Now winnows Night no never more, Blasphemes its trust, the spacious charge it missioned bore, And all his anchored pride be overthrown, While up from heaving seas comes brooding cast, To moan of threnody, his vanished past.

Ah! had I been there, ere hawks could trail, Could, hounding, snatch at brooding Peace; Ere her wild brother's bugle shook the seas: Had I not ta'en a reef in Joseph's sail-- The Crest and Swell, which false at source, Pluck whelm and blast to path their course;

Ere broke the storm, yon blood-red tide, Man's will, 'gainst very Fate is bound To probe and check, but which he, callous, failed to sound: Had I not made his tacks go wide, Charmed lasting 'round with my good noose The brazen throat that poohed the truce,

Louis Selmer's Boer War Lyrics (1903) is a sequence of poems that moves from a preface defending the volume's late publication to a series of titled pieces such as "On the Trail of the Lion," "The Gibbet-Song," and "War." The work is structured around recurring images of blood, seed, and furrow, with war personified as a grim sower who "broad-cast flings his dripping grain." Selmer's preface explicitly states that the verses were conceived around the time of Cronje's surrender at Paardeberg, and he presents them as a "hearty condemnation" of England's use of force against the South African republics.

A Lyric Sequence Framed by War's Personification

The collection is not a random gathering of poems but a deliberate sequence. The table of contents lists twenty-one pieces, beginning with a "Prelude" and ending with "Sine Die" and "A Concordance." The central poem "War" personifies conflict as a figure who "walketh the War" along a "blood-red furrow," tending his "fierce acre." This image recurs in "The Gibbet-Song" and "The Scar," where the physical and moral wounds of war are explored. Selmer's preface frames the entire work as a response to the "stupendous struggle of moral Right ... against an aggressive and overweening Might." The poems thus form a coherent argument, moving from specific events (Cronje, De Wet, Rhodes) to broader meditations on war and peace.

Recurring Images of Blood, Seed, and Furrow

Throughout the excerpts, a cluster of related images appears: blood, seed, furrow, and harvest. In "War," the speaker describes the war-god as a sower who "broad-cast flings his dripping grain" and tends his "dank pastures, whose soil, / Moistened by ages, augur his toil." This agricultural metaphor is extended to include the idea of purging: "Lest, unpurged of tare and weed, / God's dear harvest come in vain." The same imagery appears in the preface, where Selmer speaks of the "long, though fruitless attempt on England's part to compel a surrender." The poems thus consistently link war to the cycle of sowing and reaping, suggesting that violence is a kind of grim husbandry.

Movement Between Specific Figures and Abstract Reflection

Selmer's sequence alternates between poems named after historical individuals—"Peter Cronje," "Christian De Wet," "Oom Paul," "Cecil Rhodes," "Chamberlain," "Salisbury"—and more abstract pieces like "War," "Peace," and "Greatness." This movement creates a rhythm between the particular and the universal. The named poems likely offer character sketches or judgments, while the abstract ones develop the philosophical framework. The preface indicates that Selmer sees the war as illustrating "how rampant is still in Man ... a tacit faith in the bigger fist." The structure thus allows him to move from concrete examples to general condemnation, a technique that gives the collection both historical specificity and moral weight.

The Role of the Preface and Paratexts

The preface is an integral part of the work, not merely a conventional introduction. Selmer uses it to explain the delay in publication, to state his political stance, and to frame the poems as a "conscientious, if necessarily, censorious verse." He also includes a postscript dated November 1902, after peace was declared, noting that the lyrics remain relevant. The inclusion of a "Concordance" at the end suggests a scholarly or systematic intent, perhaps indexing key terms or themes. These paratexts—preface, postscript, concordance—give the volume a self-conscious, almost academic structure, reinforcing the idea that the poems are meant to be read as a coherent argument rather than as spontaneous outpourings.

Readers approaching Boer War Lyrics should attend to the interplay between the named poems and the abstract ones, as well as the recurring imagery of blood and seed. The preface provides essential context for Selmer's polemical intent, while the concordance hints at a deliberate architecture. The work is best read as a unified sequence rather than a collection of separate pieces.

I found myself turning back to the blood-soaked furrows in Selmer’s preface, the way he lets that single image carry the whole weight of the thing. It reminded me, oddly, of another quiet book I once kept nearby, On Patrol — Background and Themes, where the same sense of ground being reluctantly claimed comes through in a softer register. Strange how one sorrow echoes another.

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  • ...
    Joanne Johnson - 1 month ago
    {'type': 'positive', 'content': 'Boer War Lyrics is a powerful and moving collection that brings to life the human side of a often overlooked conflict. The poems are stirring, with a blend of patriotism and compassion. They capture the harsh realities, the bravery, and the sorrow with profound sensitivity. This book is a valuable piece of historical poetry that resonates emotionally and intellectually.'}

  • ...
    Kyle Pena - 2 weeks ago
    {'type': 'negative', 'content': 'Boer War Lyrics is a disappointingly superficial treatment of a complex war. The poems rely heavily on jingoistic rhetoric without offering deeper insight or genuine sentiment. The language is often overblown and clichéd, making the collection feel dated and insincere. A more nuanced and critical perspective would have made this a more meaningful work.'}

  • ...
    Brian Stewart - 2 weeks ago
    {'type': 'neutral', 'content': "Boer War Lyrics contains some memorable poems that effectively convey the atmosphere of the era. The author's passion for the subject is evident. However, the collection is somewhat uneven, with a few poems feeling repetitive in theme and structure. It's a worthwhile read for those interested in the period, but it might not appeal to general poetry readers."}


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