It says much for the amazing charm of Borrow’s writing that The Bible in Spain is very much better than a glorified tract. It must have come as a surprise to many a grave, pious reader of the Bible Society’s publications.
And the Bible Society made the Vagabond from the literary point of view. Borrow’s book—The Zincali—or an account of the gypsies of Spain, published in 1841, had brought his name before the public. But The Bible in Spain (1843) made him famous—doubtless to the relief of “glorious John Murray,” the publisher, who was doubtful about the book’s reception.
It is a fascinating book, and if lacking the unique flavour of the romantic autobiographies, Lavengro and The Romany Rye, has none the less many of the characteristics that give all his writings their distinctive attraction.
II
Can we analyse the charm that Borrow’s books and Borrow’s personality exercise over us, despite the presence of unpleasing traits which repel?
In the first place he had the faculty for seizing upon
the picturesque and picaresque elements in the world about him. He had the ready instinct of the discursive writer for what was dramatically telling. Present his characters in dramatic form he could not; one and all pass through the crucible of his temperament before we see them. We feel that they are genuinely observed, but they are Borrovized. They speak the language of Borrow. While this is quite true, it is equally true that he knows exactly how to impress and interest the reader with the personages.
Take this effective little introduction to one of the characters in The Bible in Spain:—
“At length the moon shone out faintly, when suddenly by its beams I beheld a figure moving before me at a slight distance. I quickened the pace of the burra, and was soon close at its side. It went on, neither altering its pace nor looking round for a moment. It was the figure of a man, the tallest and bulkiest that I had hitherto seen in Spain, dressed in a manner strange and singular for the country. On his head was a hat with a low crown and broad brim, very much resembling that of an English waggoner; about his body was a long loose tunic or slop, seemingly of coarse ticken, open in front, so as to allow the interior garments to be occasionally seen; these appeared to consist of a jerkin and short velveteen pantaloons. I have said that the brim of the hat was broad, but broad as it was, it was insufficient to cover an immense bush of coal-black hair, which, thick and curly, projected on either side; over the left shoulder was flung a kind of satchel, and in the right hand was held a long staff or pole.
“There was something peculiarly strange about the figure, but what struck me the most was the tranquillity with which it moved along, taking no heed of me, though, of course, aware of my proximity, but looking straight forward along the road, save when it occasionally raised a huge face and large eyes towards the moon, which was now shining forth in the eastern quarter.
“‘A cold night,’ said I at last. ‘Is this the way to Talavera?’
“‘It is the way to Talavera, and the night is cold.’
“‘I am going to Talavera,’ said I, ‘as I suppose you are yourself.’
“‘I am going thither, so are you, Bueno.’
“The tones of the voice which delivered these words were in their way quite as strange and singular as the figure to which the voice belonged; they were not exactly the tones of a Spanish voice, and yet there was something in them that could hardly be foreign; the pronunciation also was correct, and the language, though singular, faultless. But I was most struck with the manner in which the last word, bueno, was spoken. I had heard something like it before, but where or when I could by no means remember. A pause now ensued; the figure stalking on as before with the most perfect indifference, and seemingly with no disposition either to seek or avoid conversation.
“‘Are you not afraid,’ said I at last, ‘to travel these roads in the dark? It is said that there are robbers abroad.’
“‘Are you not rather afraid,’ replied the figure, ‘to travel these roads in the dark—you who are ignorant of the country, who are a foreigner, an Englishman!’
“‘How is it that you know me to be an Englishman?’ demanded I, much surprised.
“‘That is no difficult matter,’ replied the figure; ‘the sound of your voice was enough to tell me that.’
“‘You speak of voices,’ said I; ‘suppose the tone of your own voice were to tell me who you are?’
“‘That it will not do,’ replied my companion; ‘you know nothing about me—you can know nothing about me.’
“‘Be not sure of that, my friend; I am acquainted with many things of which you have little idea.’
“‘Por exemplo,’ said the figure.
“‘For example,’ said I, ‘you speak two languages.’
“The figure moved on, seemed to consider a moment, and then said slowly, ‘Bueno.’
“‘You have two names,’ I continued; ‘one for the house and the other for the street; both are good, but the one by which you are called at home is the one which you like best.’
“The man walked on about ten paces, in the same manner as he had previously done; all of a sudden he turned, and taking the bridle of the burra gently in his hand, stopped her. I had now a full view of his face and figure, and those huge features and Herculean form still occasionally revisit me in my dreams. I see him standing in the moonshine, staring me in the face with his deep calm eyes. At last he said—
“‘Are you then one of us?’”
An admirable sketch, adroitly conceived and executed