EDWARD FITZGERALD
Edward FitzGerald once declared that he was about the only friend with whom Borrow had never quarrelled.[205] There was probably no reason for this exceptional amity other than the 'genius for friendship' with which FitzGerald has been rightly credited. There were certainly, however, many points of likeness between the two men which might have kept them at peace. Both had written copiously and out of all proportion to the public demand for their work. Both revelled in translation. FitzGerald's eight volumes in a magnificent American edition consists mainly of translations from various tongues which no man presumably now reads. All the world has read and will long continue to read his translation or paraphrase of Omar Khayyám's Rubáiyát. 'Old Fitz,' as his friends called him, lives by that, although his letters are among the best in literature. Borrow wrote four books that will live, but had publishers been amenable he would have published forty, and all as unsaleable as the major part of FitzGerald's translations. Both men were Suffolk squires, and yet delighted more in the company of a class other than their own, FitzGerald of boatmen, Borrow of gypsies; both were counted eccentrics in their respective villages. Perhaps alone among the great Victorian authors they lived to be old without receiving in their lives any popular recognition of their great literary achievements. But FitzGerald had a more cultivated mind than Borrow. He loved literature and literary men whilst Borrow did not. His criticism of books is of the best, and his friendships with bookmen are among the most interesting in literary history. 'A solitary, shy, kind-hearted man,' was the verdict upon him of the frequently censorious Carlyle. When Anne Thackeray asked her father which of his friends he had loved best, he answered 'Dear old Fitz, to be sure,' and Tennyson would have said the same. Borrow had none of these gifts as a letter-writer and no genius for friendship. The charm of his style, so indisputable in his best work, is absent from his letters; and his friends were alienated one after another. Borrow's undisciplined intellect and narrow upbringing were a curse to him, from the point of view of his own personal happiness, although they helped him to achieve exactly the work for which he was best fitted. Borrow's acquaintance with FitzGerald was commenced by the latter, who, in July 1853, sent from Boulge Hall, Suffolk, to Oulton Hall, in the same county, his recently published volume Six Dramas of Calderon. He apologises for making so free with 'a great man; but, as usual, I shall feel least fear before a man like yourself who both do fine things in your own language and are deep read in those of others.' He also refers to 'our common friend Donne,' so that it is probable that they had met at Donne's house.[206] The next letter, also published by Dr. Knapp, that FitzGerald writes to Borrow is dated from his home in Great Portland Street in 1856. He presents his friend with a Turkish Dictionary, and announces his coming marriage to Miss Barton, 'Our united ages amount to 96!—a dangerous experiment on both sides'—as it proved. The first reference to Borrow in the FitzGerald Letters issued by his authorised publishers is addressed to Professor Cowell in January 1857:
I was with Borrow a week ago at Donne's, and also at Yarmouth three months ago: he is well, but not yet agreed with Murray. He read me a long translation he had made from the Turkish: which I could not admire, and his taste becomes stranger than ever.[207]
But Borrow's genius if not his taste was always admired by FitzGerald, as the following letter among my Borrow Papers clearly indicates. Borrow had published The Romany Rye at the beginning of May:
OULTON COTTAGE FROM THE BROAD
Showing the summer house on the left from a sketch by Henrietta MacOubrey. The house which has replaced it has another aspect.
THE SUMMER HOUSE OULTON, AS IT IS TO DAY
Which when compared with Miss MacOubrey's sketch shows that it has been reroofed and probably rebuilt altogether.