perhaps a scar, but no dimples of love; and her brow is wrinkled over, though she is yet young. Her complexion is more than dark, for it is almost that of a Mulatto; and her hair, which hangs in long locks on either side of her face, is black as coal, and coarse as the tail of a horse, from which it seems to have been gathered.
“There is no female eye in Seville can support the glance of hers, so fierce and penetrating, and yet so artful and sly, is the expression of their dark orbs; her mouth is fine and almost delicate, and there is not a queen on the proudest throne between Madrid and Moscow who might not, and would not, envy the white and even rows of teeth which adorn it, which seem not of pearl but of the purest elephant’s bone of Multan. She comes not alone; a swarthy two-year old bantling clasps her neck with one arm, its naked body half extant from the coarse blanket which, drawn round her shoulders, is secured at her bosom by a skewer. Though tender of age it looks wicked and sly, like a veritable imp of Roma. Huge rings of false gold dangle from wide slits in the lobes of her ears; her nether garments are rags, and her feet are cased in hempen sandals. Such is the wandering Gitana, such is the witch-wife of Multan, who has come to spae the fortune of the Sevillian countess and her daughters.
“‘O may the blessing of Egypt light upon your head, you high-born Lady! (May an evil end overtake your body, daughter of a Busnee harlot!) and may the same blessing await the two fair roses of the Nile here flowering by your side! (May evil Moors seize them and carry them across the water!) O listen to the words of the poor woman who is come from a distant country; she is of a wise people, though it has pleased the God of the sky to punish them for their sins by sending them to wander through the world. They denied shelter to the Majari, whom you call the queen of heaven, and to the Son of God,
when they flew to the land of Egypt, before the wrath of the wicked king; it is said that they even refused them a draught of the sweet waters of the great river when the blessed two were athirst. O you will say that it was a heavy crime; and truly so it was, and heavily has the Lord punished the Egyptians. He has sent us a-wandering, poor as you see, with scarcely a blanket to cover us. O blessed lady (accursed be thy dead as many as thou mayest have), we have no money to purchase us bread; we have only our wisdom with which to support ourselves and our poor hungry babes; when God took away their silks from the Egyptians, and their gold from the Egyptians, he left them their wisdom as a resource that they might not starve. O who can read the stars like the Egyptians? and who can read the lines of the palm like the Egyptians? The poor woman read in the stars that there was a rich ventura for all of this goodly house, so she followed the bidding of the stars and came to declare it. O blessed lady (I defile thy dead corse), your husband is at Granada, fighting with King Ferdinand against the wild Corahai! (May an evil ball smite him and split his head!) Within three months he shall return with twenty captive Moors, round the neck of each a chain of gold. (God grant that when he enter the house a beam may fall upon him and crush him!) And within nine months after his return God shall bless you with a fair chabo, the pledge for which you have sighed so long! (Accursed be the salt placed in its mouth in the church when it is baptized!) Your palm, blessed lady, your palm, and the palms of all I see here, that I may tell you all the rich ventura which is hanging over this good house; (May evil lightning fall upon it and consume it!) but first let me sing you a song of Egypt, that the spirit of the Chowahanee may descend more plenteously upon the poor woman.’
“Her demeanour now instantly undergoes a change. Hitherto she has been pouring forth a lying and wild
harangue, without much flurry or agitation of manner. Her speech, it is true, has been rapid, but her voice has never been raised to a very high key; but she now stamps on the ground, and placing her hands on her hips, she moves quickly to the right and left, advancing and retreating in a sidelong direction. Her glances become more fierce and fiery, and her coarse hair stands erect on her head, stiff as the prickles of the hedgehog; and now she commences clapping her hands, and uttering words of an unknown tongue, to a strange and uncouth tune. The tawny bantling seems inspired with the same fiend, and, foaming at the mouth, utters wild sounds, in imitation of its dam. Still more rapid become the sidelong movements of the Gitana. Movements! she springs, she bounds, and at every bound she is a yard above the ground. She no longer bears the child in her bosom; she plucks it from thence, and fiercely brandishes it aloft, till at last, with a yell, she tosses it high into the air, like a ball, and then, with neck and head thrown back, receives it, as it falls, on her hands and breast, extracting a cry from the terrified beholders. Is it possible she can be singing? Yes, in the wildest style of her people; and here is a snatch of the song, in the language of Roma, which she occasionally screams:
“En los sastos de yesque plai me diquélo,
Doscusañas de sonacai terélo,—
Corojai diquélo abillar,
Y ne asislo chapescar, chapescar.”“On the top of a mountain I stand,
With a crown of red gold in my hand,—
Wild Moors come trooping o’er the lea,
O how from their fury shall I flee, flee, flee?
O how from their fury shall I flee?
Such was the Gitana in the days of Ferdinand and Isabella, and much the same is she now in the days of Isabel and Christina. . . .”
Here, it is true, there is a substantial richly-coloured and
strange subject matter, such as could hardly be set down in any way or by anyone without attracting the attention. Borrow makes it do more than this. The word “extant” may offend a little, but the writer can afford many such blemishes, for he has life in his pen. He is, as it were himself substantial, richly-coloured, strange and with big strokes and splashes he suggests the thing itself. There have been writers since Borrow’s day who have thought to use words so subtly that they are equivalent to things, but in the end their words remain nothing but words. Borrow uses language like a man, and we forget his words on account of the vividness of the things which they do not so much create as evoke. I do not mean that it can be called unconscious art, for it is naively conscious and delighting in itself. The language is that of an orator, a man standing up and addressing a mass in large and emphatic terms. He succeeds not only in evoking things that are very much alive, but in suggesting an artist that is their equal, instead of one, who like so many more refined writers, is a more or less pathetic admirer of living things. In this he resembles Byron. It may not be the highest form of art, but it is the most immediate and disturbing and genial in its effect. Finally, the whole book has body. It can be browsed on. It does not ask a particular mood, being itself the result of no one mood, but of a great part of one man’s life. Turn over half a dozen pages and a story, or a picture, or a bit of costume, or of superstition, will invariably be the reward. It reads already like a book rather older than it really is, but not because it has faded. There was nothing in it to fade, being too hard, massive and unvarnished. It remains alive, capable of surviving the Gypsies except in so far as they live within it and its fellow books.