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Boer War Lyrics

Chapter 3: PRELUDE.
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A sequence of lyric poems composed during and after a contemporary colonial war, presenting polemic and reflective voices that condemn aggressive imperial force and greed while mourning violence and its scars. The pieces combine vivid imagery, elegy, satire, and forecast-like commentary to examine leadership, national character, and the human cost of conflict, moving from battlefield portrayals to calls for peace and reckonings with aftermath. Formal variety ranges from songs and prelude to shorter lyric meditations and a concluding concordance, producing a compact, rhetorically charged exploration of war, conscience, and the tension between glory and moral right.

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Title: Boer War Lyrics

Author: Louis Selmer

Release date: January 10, 2014 [eBook #44641]
Most recently updated: October 23, 2024

Language: English

Credits: Produced by Charlene Taylor, Chuck Greif and the Online
Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK BOER WAR LYRICS ***

BOER WAR LYRICS

 
BY
LOUIS SELMER
 
 

THE

PUBLISHERS
114
FIFTH AVENUE
London     NEW YORK     Montreal



Copyright, 1903,
by
THE

 

CONTENTS.

PAGE
Preludevii
On the Trail of the Lion3
The Gibbet-Song28
The Scar48
To England: A Forecast56
War60
Clio66
Ave Pax68
Alpha70
Omega71
Greatness72
Peter Cronje82
Christian De Wet84
Oom Paul85
Cecil Rhodes87
Chamberlain89
Salisbury90
Peace Pending92
Peace96
After99
Christian De Wet101
Sine Die103
A Concordance104

PREFACE.

MOST of the verses in this little volume were conceived and written, if not quite finished, at the time of Cronje’s surrender at Paardeberg.

A certain doubt, however, as to any message of theirs, though modestly set off by a belief in their polemic and literary value, has, I think now, unduly delayed their advent into the crowded world of print; and, though the present juncture of a heralded, but, by no means, perfected peace, be perhaps not a very opportune moment for their publication, I have yet thought well to give them forth; the more, since what so be the outcome of the negotiations pending, and whichsoever be the motive of the stronger party thereto—whether a bitter, though slowly realized necessity, or, a trick of pure heart, or, say, tardy insight and charity, both—be this as it may—the long, though fruitless attempt on England’s part to compel a surrender by the South African republics of their political existence, illustrating and upholding, as no modern exhibition of this kind has done, how rampant is still in Man, and collective Man especially, a tacit faith in the bigger fist, or, euphemistically speaking, the predatory law of nature—this, I repeat it, can never, it seems to me, be sufficiently reprehended; and a hearty condemnation of it may, therefore, fitly form the theme of conscientious, if necessarily, censorious verse: with which contention the following pieces are frankly submitted, even at this late day of a stupendous struggle of moral Right—whatsoever its intellectual grounds and equipment—against an aggressive and overweening Might, whose partial defence allowed, rests, after all, and as already maintained, its wider base on purely material force, on that callous and objective expediency, which History, in her account of human odds, evermore reveals, and, far too often, glaringly condones.

New York, May, 1902.

 

Since the above was set down, Peace has at last gone forth, and of a pace with the better drift and traditions of England; but even so, there seems no valid ground why these Lyrics should not be heard, as an exponent in brief—inadequate, if you like, yet human no less—of a, for a long time, not to be forgotten broil, if, indeed, the sad imp of Contention has had his last say about it.

November, 1902.

PRELUDE.

Out of rare heart-deeps flowing,
Primer than thought-spring founts,
Upward, ’gainst vaster knowing,
Lightsome the Song-word mounts.
And athrob with some faith etern,
From Being’s deep-violed strings,
Draweth, to heaves that burn,
The advent and sooth of things.
Invokes unto Song, where the still Hopes go,
The Spirit’s immutable law.

 

 

BOER WAR LYRICS.

ON THE TRAIL OF THE LION.

(History in Verse.)

INTRODUCTION.

And this—yes, this, was the song of the Sorrowful True,
Which Father Wicked, the Old, for his child, the New,
He, and that cherub of rowdy fist,
Who’ll blithely shake it where erst he kissed—
That covered Holy, the unctuous Wrong—
With his blushing bouncer, St. Meek, the Strong;
Set jointly down (while in crafty doubt
A wilful Muse turned it inside out,
Bared hide and heart of the stalking lore,
Its bluff and cant to their dismal core—)
Set down, I say, to mock-halcyon cheers,
As, with knife at throat of the suckling years,
They bled the weans, lest with peaceful bear,
Or, for other virtues in hiding there,
The gods, who winnow all mortal stock,
Should nurse the goats while they weed the flock—
Let for lack of pasture the true herd pine:
And all for what? For a humping quibble on Mine and Thine!

Nay, lest Rue, the babbler, with saucy dare,
Should sit in judgment twixt Foul and Fair;
Should slaver worse, if she came of age,
With inglorious snivel wise Clio’s page:
Lest all of this, with what sousing tact
They niced her the diverse of whim and fact;
How glowed their zeal as they raked the Rue,
Broke font and tablet and put her through
Such drench of penance and convert-course,
Such Christian baptism from Truth, the Source:
Sure text nor ritual made never doubt,
Nor seasoned clerks, as with wary snout,
Each subtle wealsman stood sly at bay:
For leet or laurel—let wise Time say.
* * * * * * *
Well—this was the Song of the Sorrowful True:
A rip of a Muse—but it gives her view.
Curt and clear tho’, did the touches fall,
Such pithy halves as outspeak the Whole:
Are you with me still? Can you check a flout?
Then stretch a will to hear it out?

VIDELICET:
(Hour before Dawn—The Muse brooding.)
O, what hangs so leaden on the brow of Night,
As if grim Darkness ’pon herself had bred,
To make a second and a direr gloom?
What wrestles so the advent of the Light,
Whence from yon paths the white stars tread
Should visioned peer its orient bloom?
What thrills, withal, do baffled heave,
Then urge anew against the serried Dark,
At such beseech, their silent suit?
What muttered rolls half-halting cleave
These omened airs that still hang stark,
As big with what they dare not bruit?
(Faint Dawn.)

THE GIBBET-SONG.[1]

[1] The onus of the South African War seems, in the main, to have rested on three pairs of shoulders—those of Rhodes (who has now excused himself), Chamberlain and Milner.

The Gallows is a composite something—a sort of trio-also—known to assume burdens, likewise, to-wit: the Beam, the Trap, and the Rope.

I dozed—had dipped in gray of dreams—
While at gate of mind no sentry sat,
But such blithe watch and ward whereat
The Fancy laughs, more tricksy sports her airy gleams—
Had dipped—unrobed, immersed, for all she fought,
In the bath, each leaden limb of weary Thought.