The Empire Makers: A Romance of Adventure and War in South Africa — Text and Context
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Before opening The Empire Makers: A Romance of Adventure and War in South Africa — Text and Context, the edition data offers a quick orientation: 90,729 words, 6 hr 35 min estimated reading time, and 10 detected text sections.
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Project Gutenberg metadata also associates the work with “South African War, 1899-1902 -- Fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
This was his last term at school; and during the years he had spent at Shebourne Academy, he had learnt that the most precious of all a brave man's possessions is the habit of controlling his temper. He had a fiery temper. Now, a temper is as needful to boy and man as a pair of strong arms, but, like strength, this must be kept in reserve for occasions when force is required, not dissipated in senseless outbursts. As our story progresses, the reader will find out more about the characteristics and temper of Ned Romer.
Early in life he had been left an orphan, under the guardianship of his late father's solicitor.
This guardian was a bachelor, who evidently considered it to be the beginning and end of his duty to pay the school fees and other expenses of his ward.
Thus Ned had never been invited to visit his guardian during his holidays, the master of the college, or academy, Dr Heardman, LL.D., M.A., etc., being paid to look after the boy during the holidays. In consequence of these arrangements, Shebourne Academy was the only home that Ned Romer had ever known, and his schoolfellows were his only friends.
Some lads would have felt lonely and have pined under the monotony of such a life; but Ned was not one of the brooding kind. The country all round the academy was beautiful, being in the heart of Devonshire, and within sight of Dartmoor hills. What money he required, in reason, his guardian freely sent, and as Ned had lived here ever since he could remember, his needs were not extravagant, with such Spartan tastes as he had.
Books he had in profusion, for the doctor's library was at his disposal. He found amusement enough during the vacations in studying botany and reading books of travel and exploration.
When asked by his guardian what vocation he would like to take up in life, during one of that gentleman's rare visits, Ned had answered promptly--
"I mean to be a traveller."
His guardian was pleased with this reply; at least, he seemed to be so from the way his foxy face beamed and the manner in which he rubbed his hands together.
"Yes, Ned, I think such a life would suit a bold, strong lad like you exactly. You might go to Australia or Africa, and make a fortune in no time."
"Oh, I don't care much about the fortune," replied Ned, carelessly. "As long as I have enough to live and keep clear of debt, I'll be satisfied, so that I can do some good and help on civilisation and the glory and power of England."
"Like the great Cecil Rhodes, eh--the Empire maker?" said his guardian, slyly.
"That is my ambition, Mr Raymond," answered Ned, calmly.
He was not very familiar with his guardian, and although he could not say that he disliked him, yet he always felt better pleased to bid him good-bye than to welcome him at the beginning of his infrequent and short visits.
"Hum--yes; I think we shall be able to advance your views in this respect. Your father was not a rich man when he died, Edward. However, I need not go into that matter now, as I shall tell you all about it when you have left school. But I dare say--as I have been careful of what he did leave--that I shall be able to provide you with a comfortable start in life."
This conversation had taken place on the last visit of Mr Jabez Raymond to Shebourne Academy at the beginning of the finishing term. Since then Ned had diligently pursued his studies, and was pretty well prepared to face the world, as far as theory could prepare a young man. Experience must hereafter be the finisher of his education.
Clarence Raybold and Fred Weldon ranked next to Ned Romer in proficiency and expertness. They were both bold fellows, who had moulded themselves, as far as they could, on the pattern of their leader and hero, Ned.
Both had battled and worked their way upwards to their present proud position. The other boys owned their superiority, but--as will chance so often--while being good and faithful chums, there was not a little rivalry between them as to which should stand next to Ned Romer. Some of the boys boasted that Raybold, the Africander, was the strongest and best; some vowed by Weldon, the Australian.
A school is somewhat like a ship; there cannot be two first officers any more than there can be two captains, if perfect harmony is to be maintained.
Hume Nesbit's The Empire Makers opens not on the veldt but in the schoolyard of Shebourne Academy, where Ned Romer, Clarence Raybold, and Fred Weldon are introduced as paragons of Victorian boyhood: 'three braver, franker, and more chivalrous hearts never beat in male breasts.' The preface immediately establishes the novel's polemical stance, framing the Second Boer War as a 'war of Justice and Right' and the Boers as 'ignorant savages.' This dual identity—part schoolboy adventure, part imperialist tract—shapes every subsequent episode, from the trio's run-ins with the Transvaal government to their discovery of an ancient Central African nation. The excerpts reveal a narrative that oscillates between precise survival details (quinine doses, leopard hunts) and broad ideological assertions, creating a distinctive tension between the concrete and the rhetorical.
The Imperialist Preface as Narrative Frame
The preface functions as a political manifesto, not a conventional introduction. Nesbit directly addresses readers as 'Imperialists' and 'pro-Boers,' urging the former to remain steadfast and the latter to convert. The language is deliberately confrontational: 'Who would not sooner share the grave of a soldier in Africa than grasp the hand of a pro-Boer in England?' This framing colours every subsequent event. When the heroes later 'take a little hand in this present war,' their actions are pre-interpreted as righteous. The preface also reveals the novel's intended audience—those already sympathetic to the imperial cause—and its rhetorical strategy: to make adventure serve as propaganda. Notably, the preface's emotional appeal ('drop a tear over their sacred graves') contrasts with the brisk, matter-of-fact tone of the adventure chapters, suggesting a deliberate layering of sentiment and action.
Survival, Medicine, and the Management of Danger
The excerpts show a marked attention to practical survival details that ground the adventure in verisimilitude. Ned Romer administers quinine 'regularly to each man two grains' and repeats the dose 'every half-hour' when fever appears. The narrative catalogues threats methodically: 'wild beasts and savages they scared with their gunpowder and bullets. The malaria they fought with their medicine-chest. The insect pests they endured with philosophy.' This tripartite structure—violence, pharmacology, endurance—reflects a Victorian faith in systematic problem-solving. Clarence's recurring depression, attributed to a 'knock on the head by the Boers,' is treated as a medical rather than a moral failing. The dead leopard is skinned for its pelt, but the decision to abandon the skins ('we cannot cart any more luggage') introduces a note of practical sacrifice. These details suggest a narrative that values competence as much as courage.
Nocturnal Soundscapes and the African Wild
Nesbit devotes unusual attention to the auditory environment of the African night. The camp is surrounded by 'howlings, sharp cries, and vibrating roarings of hungry animals,' while frogs produce 'an increasing chorus, running up and down the scale of notes, from the deep bass of the bull to the reed-like treble of the tender froglet.' Mosquitoes add 'irritating and brisk humming.' Ned's comment—'No one could feel lonely while this concert went on'—treats the soundscape as a companionable nuisance rather than a threat. This sensory detail contrasts with the more abstract imperial rhetoric elsewhere. The passage also reveals a hierarchy of attention: the leopard's death-throes are described clinically, while the frogs are given a musical metaphor. Such choices indicate where the author's descriptive interest genuinely lies—not in the grand sweep of empire, but in the immediate, textured experience of the bush.
Readers should note that the excerpts represent only a fraction of the novel's 90,000 words, and the Central African 'ancient nation' mentioned in the preface does not appear in these samples. The tone shifts markedly between the preface's polemic and the chapters' adventure prose; the latter is more restrained and detail-oriented. Pay attention to how Nesbit balances the trio's schoolboy camaraderie with the harsh demands of survival, and whether the imperialist frame ever constrains the narrative's freedom. The novel rewards those interested in the intersection of popular fiction and political advocacy at the turn of the century.
Flipping through The Empire Makers, I paused on the schoolmates’ first night under the veldt stars, that odd comfort in shared silence. It carried me straight back to a quieter guide I keep nearby, The Wilderness Castaways — A Reader’s Guide, which lingers on similar moments of being lost, yet oddly at home. Both hold that strange tenderness.
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