George Borrow: The Man and His Books

by Edward Thomas

In juice of rue
And trefoil too;
In marrow of bear
And blood of Trold,
Be cool’d the spear,
Threetimes cool’d,
When hot from blazes
Which Nastroud raises
For Valhall’s May.

1st Valk. Whom it woundeth,
It shall slay.

2nd Whom it woundeth,
It shall slay.

3rd Whom it woundeth,
It shall slay.

In 1826 he was to publish “Romantic Ballads,” translated from the Gaelic, Danish, Norse, Swedish, and German, with eight original pieces. He “hoped shortly” to publish a complete translation of the “Kjæmpe Viser” and of Gaelic songs, made by him “some years ago.” Few of these are valuable or interesting, but I must quote “Svend Vonved” because Borrow himself so often refers to it. The legend haunted him of “that strange melancholy Swayne Vonved, who roams about the world propounding people riddles; slaying those who cannot answer, and rewarding those who

can with golden bracelets.” When he was walking alone in wild weather in Cornwall he roared it aloud:

Svend Vonved sits in his lonely bower;
He strikes his harp with a hand of power;
His harp returned a responsive din;
Then came his mother hurrying in:
Look out, look out, Svend Vonved.

In came his mother Adeline,
And who was she, but a queen so fine:
“Now hark, Svend Vonved! out must thou ride
And wage stout battle with knights of pride.”
Look out, look out, Svend Vonved.

“Avenge thy father’s untimely end;
To me, or another, thy gold harp lend;
This moment boune thee, and straight begone!
I rede thee, do it, my own dear son.”
Look out, look out, Svend Vonved.

Svend Vonved binds his sword to his side;
He fain will battle with knights of pride.
“When may I look for thee once more here?
When roast the heifer and spice the beer?”
Look out, look out, Svend Vonved.

“When stones shall take, of themselves, a flight
And ravens’ feathers are waxen white,
Then may’st thou expect Svend Vonved home:
In all my days, I will never come.”
Look out, look out, Svend Vonved.

If we did not know that Borrow used these verses as a kind of incantation we should be sorry to have read them. But one of the original pieces in this book is as good in itself as it is interesting. I mean “Lines to Six-foot-three”:

A lad, who twenty tongues can talk,
And sixty miles a day can walk;
Drink at a draught a pint of rum,
And then be neither sick nor dumb;
Can tune a song, and make a verse,
And deeds of northern kings rehearse;
Who never will forsake his friend,
While he his bony fist can bend;
And, though averse to brawl and strife,
Will fight a Dutchman with a knife.
O that is just the lad for me,
And such is honest six-foot three.

A braver being ne’er had birth
Since God first kneaded man from earth;
O, I have come to know him well,
As Ferroe’s blacken’d rocks can tell.
Who was it did, at Suderöe,
The deed no other dared to do?
Who was it, when the Boff had burst,
And whelm’d me in its womb accurst,
Who was it dashed amid the wave,
With frantic zeal, my life to save?
Who was it flung the rope to me?
O, who, but honest six-foot three!

Who was it taught my willing tongue,
The songs that Braga fram’d and sung?
Who was it op’d to me the store
Of dark unearthly Runic lore,
And taught me to beguile my time
With Denmark’s aged and witching rhyme;
To rest in thought in Elvir shades,
And hear the song of fairy maids;
Or climb the top of Dovrefeld,
Where magic knights their muster held!
Who was it did all this for me?
O, who, but honest six-foot three!

Wherever fate shall bid me roam,
Far, far from social joy and home;
’Mid burning Afric’s desert sands;
Or wild Kamschatka’s frozen lands;
Bit by the poison-loaded breeze
Or blasts which clog with ice the seas;
In lowly cot or lordly hall,
In beggar’s rags or robes of pall,
’Mong robber-bands or honest men,
In crowded town or forest den,
I never will unmindful be
Of what I owe to six-foot three.

That form which moves with giant grace—
That wild, tho’ not unhandsome face;
That voice which sometimes in its tone
Is softer than the wood-dove’s moan,
At others, louder than the storm
Which beats the side of old Cairn Gorm;
That hand, as white as falling snow,
Which yet can fell the stoutest foe;
And, last of all, that noble heart,
Which ne’er from honour’s path would start,
Shall never be forgot by me—
So farewell, honest six-foot three.

This is already pure Borrow, with a vigour excusing if not quite transmuting its rant. He creates a sort of hero in his own image, and it should be read as an introduction and invocation to “Lavengro” and “The Romany Rye.” It is one of the few contemporary records of Borrow at about the age when he wrote “Celebrated Trials,” made horse-shoes and fought the Blazing Tinman. So far as I know, it was more than ten years before he wrote anything so good again, and he never wrote anything better in verse, unless it is the song of the “genuine old English gentleman,” in the twenty-fourth chapter of “Lavengro”:

“Give me the haunch of a buck to eat, and to drink Madeira old,
And a gentle wife to rest with, and in my arms to fold,
An Arabic book to study, a Norfolk cob to ride,
And a house to live in shaded with trees, and near to a river side;
With such good things around me, and blessed with good health withal,
Though I should live for a hundred years, for death I would not call.”

The only other verse of his which can be remembered for any good reason is this song from the Romany, included among the translations from thirty languages and dialects which he published, in 1835, with the title of “Targum,” and the appropriate motto: “The raven has ascended to the nest of the nightingale.” The Gypsy verses are as follows:

The strength of the ox,
The wit of the fox,
And the leveret’s speed,—
Full oft to oppose
To their numerous foes,
The Rommany need.

Our horses they take,
Our waggons they break,
And ourselves they seize,
In their prisons to coop,
Where we pine and droop,
For want of breeze.

When the dead swallow
The fly shall follow
O’er Burra-panee,
Then we will forget
The wrongs we have met
And forgiving be.