II.
The two books Lavengro and Romany Rye are in reality one work, an unfinished autobiography, commenced upon a moderate and quite feasible scale; but after about a third of the ground is covered the scale is enormously increased, the narrative, encumbered by a vast amount of detail, makes less and less progress, and finally stops short, without any obvious, but rather
a lame and impotent conclusion, at chapter xlvii. of the Romany Rye, or chapter cxlvii. of the work considered as one whole. The disproportion of the scale will be sufficiently indicated when we point out that the first twenty-two years of the author’s life are treated pretty equally in fifty-seven chapters (i. to lvii.). The remaining ninety chapters (lviii. to cxlvii.) are wholly taken up by the incidents of less than four months, the four summer months of 1825. The first twenty-two years of the author’s life are far from commonplace. The interest is well sustained, but is seldom intense,—at no point is the author’s memory sufficiently teeming to cause an overflow; but with the conclusion of his sojourn in London, May 22nd, 1825, commences an itinerant life, the novelty of which graves every incident in the most vivid possible manner upon the writer’s recollection. With his emancipation from town life a new graphic impulse is developed. Borrow seizes a new palette and sets to work with fresher colours upon a stupendous canvas. This canvas may be described as taking the form of a triptych. In the first compartment we have the first sensations of the roadfarer’s life and some minor adventures: a visit to Stonehenge; the strange meeting with a returned convict, who turns out to be the old applewoman’s son; the vignette of the hostelry, with the figures of the huge fat landlord and the handmaid Jenny; the visit to the stranger gentleman who protects himself by “touching” against evil chance; the interview with the Rev. Mr. Platitude, and the bargain struck with the travelling tinker, Jack
Slingsby, whose stock-in-trade and profession the writer determines to adopt. Then comes the word-master’s detection in his new sphere of life by the malignant gipsy godmother, Mrs. Herne, from whose remorseless attempt to poison him he is rescued by the kindly hearted Welsh preacher Peter Williams and his wife Winifred. In requital he manages to relieve the good man of a portion of the load of superstitious terror by which he is burdened. This section of the narrative is terminated by a graphic description of his renewal of associateship with his old friend Jasper Petulengro, the satisfaction he gives that worthy for having been the innocent cause of Mrs. Herne’s death, and his decision to pitch his tent in the dingle. Chapters lviii. to lxxxii. are taken up with the foregoing incidents, which lead up to the central episode of the autobiography, the settlement in the dingle, with which the reader is here presented. This episode, forming the second panel in the detailed scheme, occupies chapters lxxxiii. to cxvi., but it is bisected near the middle by the termination of Lavengro at chapter c. The two parts are united now for the first time, and are given a prominent setting in relief from the rest of the narrative. The third compartment of the triptych, which occupies chapters cxvii. to cxlvii. (that is, chapters xvii. to xlvii. of the Romany Rye), is devoted to what we may call the horse-dealing episode. After the loss of Isopel Berners, the Romany Rye, as the author-hero is now termed, consoles himself by the purchase of a splendid horse, to obtain which he consents, much
against his will, to accept a loan of £50 from Jasper Petulengro, the product of that worthy’s labours in the prize ring. He travels across England with the horse, meeting with adventures by the way, narrating them to others, and obtaining some curious autobiographical narratives in return. Finally he reaches Horncastle, and sells the animal at the horse fair there for £150. Here, in August 1825, the narrative of his life abruptly ends. [{43}]
It must not be supposed by any means that the interest of Borrow’s two autobiographical volumes is concentrated in the last eighteen chapters of Lavengro and the first sixteen chapters of the Romany Rye. The quality of continuity is, it is true, best preserved in the dingle episode. Artistically the Brynhildic figure of Isopel serves as the best relief that could be found for Borrow’s own “Titanic self.” There is undoubtedly a feeling of unity here which is hardly to be felt in any other part of the Borrovian “Odyssey.”
It is nevertheless true that, taken as a whole, a marked characteristic of the two volumes is the evenness with which the charms are scattered hither and thither betwixt the four covers. Attractive, therefore, as the Isopel Berners episode unquestionably is, and convenient as
it is to the reader to have it detached for him in its unity, its perusal must not be taken for a moment to absolve the lover of good literature from traversing chapter by chapter, canto by canto, the whole of the Borrevian epic. It is outside the dingle that he will have to look for the faithfully described bewilderment of the old applewoman after the loss of her book, and for the compassionate delineation of the old man with the bees and the donkey who gave the young Rye to drink of mead at his cottage, and was unashamed at having shed tears on the road. The most heroic of the pugilistic encounters takes place, it is true, in the thick of the dingle, but it is elsewhere that the reader will have to look for the description of the memorable thrashing inflicted upon the bullying stage-coachman by the “elderly individual” who followed the craft of engraving, and learnt fisticuffs from Sergeant Broughton. In the same neighbourhood he will find the admirable vignette of the old man who could read the inscription on Chinese crockery pots, but could not tell what’s o’clock, and the life narratives of the jockey and of the inexpert thimble-rigger, Murtagh, who was imprisoned three years for interrupting the Pope’s game at picquet, but finally won his way by card-sharping to the very threshold of the Cardinalate. In the second half of the Romany Rye, too, he will find the noble apostrophes to youth, and ale, and England, “the true country for adventures,” which he will compare, as examples of Borrovian eloquence, with the stirring description of embattled England in the third chapter
of Lavengro, or the apostrophe to the Irish cob and the Author’s first ride in chapter thirteen.
Borrow’s is a wonderful book for one to lose one’s way in, among the dense undergrowth, but it is a still grander book for the reader to lose himself in. In the dingle, best of all, he can “forget his own troublesome personality as completely as if he were in the depths of the ancient forest along with Gurth and Wamba.” Labyrinthine, however, as the autobiography may at first sight appear, the true lover of Borrow will soon have little difficulty in finding the patteran or gypsy trail (for indeed the Romany element runs persistently as a chorus-thread through the whole of the autobiographical writings), which serves as a clue to the delights of which his work is so rich a storehouse. The question that really exercises Borrovians most is the relative merit of stories and sections of the narrative—the comparative excellence of the early ‘life’ in Lavengro and of the later detached episodes in the Romany Rye. Most are in some sort of agreement as to the supremacy of the dingle episode, which has this advantage: Borrow is always at his best when dealing with strange beings and abnormal experiences. When he is describing ordinary mortals he treats them with coldness as mere strangers. The commonplace town-dwellers seldom arouse his sympathy, never kindle his enthusiasm. He is quite another being when we wander by his side within the bounds of his enchanted dingle.
This history of certain doings in a Staffordshire dingle, during the month of July 1825, begins with a battle-royal,
which places Borrow high amongst the narrators of human conflicts from the days of the Iliad to those of Pierce Egan; yet the chapters that set forth this episode of the dingle are less concerned with the “gestes” than with the sayings of its occupants. Rare, indeed, are the dramatic dialogues amid the sylvan surroundings of the tree-crowned hollow, that surpass in interest even the vivid details of the memorable fray between the flaming tinman and the pugilistic philologer. Pre-eminent amongst the dialogues are those between the male occupant of the dingle and the popish propagandist, known as the man in black. More fascinating still, perhaps, are the word-master’s conversations with Jasper; most wonderful of all, in the opinion of many, is his logomachy with Ursula under the thorn bush. We shall not readily forget Jasper’s complaints that all the ‘old-fashioned, good-tempered constables’ are going to be set aside, or his gloomy anticipations of the iron roads in which people are to ‘thunder along in vehicles pushed forward by fire and smoke.’ As for his comparison of the gypsies to cuckoos, the roguish charring fellows, for whom every one has a bad word, yet whom every one is glad to greet once again when the spring comes round, or Ursula’s exposition of gypsy love and marriage beneath the hedge,—these are Borrow at his best, as he is most familiar to us, in the open air among gypsies. With the popish emissary it is otherwise: his portrait is the creation of Borrow’s most studied hatred. Yet it must be admitted that the man in black is a triumph of complex characterisation. A joyous liver and an unscrupulous
libertine, sceptical as Voltaire, as atheistic as a German professor, as practical as a Jew banker, as subtle as a Jesuit, he has as many ways of converting the folks among whom he is thrown as Panurge had of eating the corn in ear. For the simple and credulous—crosses and beads; for the hard-hearted and venal—material considerations; for the cultured and educated—a fine tissue of epigrams and anthropology; for the ladies—flattery and badinage. A spiritual ancestor of Anatole France’s marvellous full-length figure of Jerôme Coignard, Borrow’s conception takes us back first to Rabelais and secondly to the seventeenth-century conviction of the profound Machiavellism of Jesuitry.
The man in black and Jasper are great, but the master attraction of the region that we are to traverse is admittedly Isopel Berners. It will perhaps be observed that our heroine makes her appearance on the stage rather more in the fashion of Molly Seagrim than of that other engaging Amazon of romance, Diana Vernon, whose “long hair streaming in the wind” forms one single point of resemblance to our fair Isopel. In other respects, certainly no two heroines could be more dissimilar. Unaided even by the slightest assistance from the graphic arts, the difficulty of picturing the lineaments of this muscular beauty, as she first burst on the sight of our autobiographer upon the declivity of the dingle, may be freely confessed, ere an attempt is made to describe her. We know, however, on the testimony of a sincere admirer, that she was over six feet high, with loose-flowing, flaxen hair; that she wore a
tight bodice and a skirt of blue, to match the colour of her eyes; and that eighteen summers had passed over her head since she first saw the light in the great house of Long Melford, a nursery in which she learnt to fear God and take her own part, and a place the very name of which she came to regard as a synonym for a strong right arm. Borrow’s first impression of her was one of immensity; she was big enough, he said, to have been born in a church; almost simultaneously, he observed her affinity to those Scandinavian divinities to which he assigned the first place in the pantheon of his affections. She reminded him, indeed, of the legendary Ingeborg, queen of Norway. It is remarkable, and well worth noticing, that the impression that she produced was instantaneous. Our wanderer had never been impressed in any similar fashion by any of the gypsy women with whom he was brought into contact, though, as many a legend and ballad can attest, such women have often exerted extraordinary attraction over Englishmen of pure blood. But it is evident that his physical admiration was reserved for a tall blonde of the Scandinavian type, to which he gave the name of a Brynhilde. Hence, notwithstanding his love of the economics of gypsy life, his gypsy women are for the most part no more than scenic characters; they clothe and beautify the scene, but they have little dramatic force about them. And when he comes to delineate a heroine, Isopel Berners, she is physically the very opposite of a Romany chi.
Fewer words will suffice to describe Isopel’s first impressions of her future partner in the dingle. She
unmistakably regarded him as a chaffing fellow who was not quite right in his head; and there is reason for believing, that, though she came to entertain a genuine regard for the young ‘squire,’ her opinions as to the condition of his brain underwent no sensible modification. She herself is fairly explicit on this subject: she seems indeed to have arrived at the deliberate conviction that, if not abnormally selfish, he was at any rate fundamentally mad; and there was perhaps a germ of truth in the conclusion, sufficient at any rate to colour Lombroso’s theory of the inherent madness of men of genius. One of the testimonies that we have as to Borrow’s later life at Oulton is to the effect that he got bewildered at times and fancied himself Wodin; but the substratum of sanity is strongly exhibited in the remedy which he himself applied. “What do you think I do when I get bewildered after this fashion? I go out to the sty and listen to the grunting of the pigs until I get back to myself.” [{49}]
Of Isopel’s history we know extremely little, save what she herself tells us. Her father was an officer
who was killed in a naval action before he could fulfil the promise of marriage he had made to her mother, a small milliner, who died in the workhouse at Long Melford within three months of the effort of giving birth to an amazon so large and so fierce and so well able to take her own part as Isopel. At fourteen this fine specimen of workhouse upbringing was placed in service, from which she emancipated herself by knocking down her mistress. After two years more at the “large house” she was once more apprenticed; and this time knocked down her master in return for an affront. A second return to the workhouse appearing inadvisable, she traversed the highways of England in various capacities, and became acquainted with some of those remarkable though obscure characters who travelled the roads of our country at that period. A sense of loneliness drove her among unworthy travelling companions, such as the flying tinker and grey Moll, in whose society she breaks upon our notice. Some of the vagrants with whom she came into contact had occasionally attempted to lay violent hands upon her person and effects, but had been invariably humbled by her without the aid of either justice or constable.
Of her specific exploits as a bruiser we hear of at least two near Dover. Once, the cart she and her old mistress travelled with was stopped by two sailors, who would have robbed and stripped the owners. “Let me get down,” she exclaimed simply, and so saying she got down, and fought with them both until they turned round and ran away. On another occasion, while combing out her long hair
beneath a hedge, she was insulted by a jockey. Starting up, though her hair was unbound, she promptly gave him what he characterised as “a most confounded whopping,” and “the only drubbing I ever had in my life; and lor, how with her right hand she fibbed me while she held me round the neck with her left arm! I was soon glad to beg her pardon on my knees, which she gave me in a moment when she saw me in that condition, being the most placable creature in the world, and not only her pardon but one of the hairs which I longed for, which I put through a shilling for purposes of pleasant deception at country fairs.” The hair with the shilling attached to it eventually became a treasured possession of the Romany Rye.
Rude as some of these characteristics may appear, we are left in no manner of doubt as to the essential nobility, befitting her name, of Miss Berners—her character and bearing. Her carriage, especially of the neck and shoulders, reminded the postilion of the Marchioness of ---; and he took her unhesitatingly for a young lady of high rank and distinction, who had temporarily left her friends, and was travelling in the direction of Gretna Green with the fortunate Rye. The word-master, in disabusing the postilion of this idea, gave utterance to the conviction that he might search the world in vain for a nature more heroic and devoted.
Like a lady of the highest quality, the beauteous queen of the dingle was subject to the vapours and to occasional fits of inexplicable weeping; but as a general rule she shared with Borrow himself a proud contempt for that
mad puppy gentility, and her predominant characteristic, like his, was the simplicity that puzzled by reason of its directness and its purity. [{52}] That these qualities were not unaccompanied by a considerable amount of hauteur, is shown by her uncompromising rejection of the ceremonial advances made to her by that accomplished courtier, the man in black.
“Lovely virgin,” said he, with a graceful bow and stretching out his hand, “allow me to salute your fingers.”
“I am not in the habit of shaking hands with strangers,” said Belle.
“I did not presume to request to shake hands with you,” said the man in black. “I merely wished to be permitted to salute with my lips the extremities of your two forefingers.”
“I never permit anything of the kind,” said Belle. “I do not approve of such unmanly ways.”
His importunity is rebuked more forcibly upon another occasion, when the nymph bids the priest with asperity to “hold his mumping gibberish.”
The striking beauty of Belle, especially that of her blue eyes and flaxen hair, and the impressiveness of her demeanour, calm and proud, which compelled the similitude to a serious and queenly heroine, such as ‘Queen Theresa of Hungary, or Brynhilda, the Valkyrie, the beloved of Sigurd, the serpent-killer,’ is emphasised by the contrast drawn between her and the handsome
brunette Mrs. Petulengro, who is for the nonce subjugated by Isopel’s beauty, and craves the privilege of acting as her tire-woman.
Alas, as is so often the case in life, Lavengro and the reader are only just beginning to realise the beauty and the value of the “bellissima,” as the man in black calls her, when she is on the point of sinking beneath our horizon, passing away like the brief music of an aubade.
Rapidly, much too rapidly, do we approach that summer dawn when Belle, dressed neatly and plainly, her hair no longer plaited in Romany fashion or floating in the wind, but secured by a comb, uncovered no longer, but wearing a bonnet, her features very pale, allowed her cold hand to be wrung—it was for the last time—by the unconscious Rye. The latter ascended to the plain and thence looked down towards the dingle. “Isopel Berners stood at the mouth, the beams of the early morning sun shone full on her noble face and figure. I waved my hands towards her, she slowly lifted up her right arm; I turned away, and never saw Isopel Berners again.”
Hardly less forlorn is the reader than the philologist when the latter arrives back at the dingle, after a visit to the tavern two miles away, to find that the tardily recognised treasure is lost to him for ever,—resolved at length, too late, to give over teasing Belle by pretending to teach her Armenian, determined, when the need is past, to regularise his “uncertificated” relations with the glorious damozel, and resigned, when
concession is fruitless, to sink those objections to America which Belle had disavowed, but which he had been proud to share with disbanded soldiers, sextons, and excisemen. To this decision his tortuous conferences with Jasper, and his frank soliloquy in the dingle, had bent him fully forty-eight hours before Belle’s ultimate departure, unwilling though he was to incur the yoke of matrimony.
“I figured myself in America” (says he, in his reverie over the charcoal fire), “in an immense forest, clearing the land destined by my exertions to become a fruitful and smiling plain. Methought I heard the crash of the huge trees as they fell beneath my axe; and then I bethought me that a man was intended to marry—I ought to marry; and if I married, where was I likely to be more happy as a husband and a father, than in America, engaged in tilling the ground? I fancied myself in America engaged in tilling the ground, assisted by an enormous progeny—well, why not marry and go and till the ground in America? I was young, and youth was the time to marry in and to labour in; I had the use of all my faculties; my eyes, it is true, were rather dull from early study, but I could see tolerably well with them and they were not bleared. I felt my arms and thighs and teeth—they were strong and sound enough; so now was the time to labour, to marry, eat strong flesh, and beget strong children—the power of doing all this would pass away with youth, which was terribly transitory. I bethought me that a time would come when my eyes would be bleared and perhaps sightless; my arms and thighs strengthless and sapless; when my teeth would shake in my jaws, even supposing they did not drop out. No going a-wooing then, no labouring, no eating strong flesh and begetting lusty children then; and I bethought me how, when all this should be, I should bewail the days of my youth as misspent, provided I had not in them founded for myself a home, and begotten strong children to take care of me in the days when I could not take care of myself; and thinking of these things I became sadder and sadder, and stared vacantly upon the fire until my eyes closed in a doze.”
It is significant that upon his return from the dream that followed this reverie, the would-be colonist blew upon the embers and filled and heated the kettle, that he might be able to welcome Isopel with a cup of the beverage that she loved. It was the newly awakened Benedick brushing his hat in the morning; but unhappily his conversion was not so complete as Benedick’s. Love-making and Armenian do not go together, and in the colloquy that ensued, Belle could not feel assured that the man who proposed to conjugate the verb “to love” in Armenian, was master of his intentions in plain English. It was even so. The man of tongues lacked speech wherewith to make manifest his passion; the vocabulary of the word-master was insufficient to convince the workhouse girl of one of the plainest meanings a man can well have. From the banter of the man of learning the queen of the dingle sought refuge in a precipitate flight. Almost simultaneously the word-master, albeit with reluctance, decided that it was high time to give over his “mocking and scoffing.” When he returned with this resolve to the dingle, Isopel Berners had quitted it, never to return.
Yet ever and anon that splendid and pathetic figure
will cross the sky line of his mental vision—and of ours. “Then the image of Isopel Berners came into my mind,” and the thought “how I had lost her for ever, and how happy I might have been with her in the New World.”