Borrow’s name did not appear. He was “the editor,” and as such was referred to in the preface contributed by Sir Richard himself. Among other things he tells of how, in some cases, “the Editor has compressed into a score of pages the substance of an entire volume.” Sir Richard was a philosopher as well as a preface-writing publisher, and it was only natural that he should speculate as to the effect upon his editor’s mind of months spent in reading and editing such records of vice. “It may be expected,” he writes, “that the Editor should convey to his readers the intellectual impressions which the execution of his task has produced on his mind. He confesses that they are mournful.” Sir Richard was either a master of irony, or a man of singular obtuseness.
One effect of this delving into criminal records had been to raise in Borrow’s mind strange doubts about virtue and crime. When a boy, he had written an essay in which he strove to prove that crime and virtue were mere terms, and that we were the creatures of necessity or circumstance. These broodings in turn reawakened the theory that everything is a lie, and that nothing really exists except in our imaginations. The world was “a maze of doubt.” These indications of an overtaxed brain increased, and eventually forced Borrow to leave London. His work was thoroughly uncongenial. He disliked reviewing; he had failed in his endeavours to render Proximate Causes into intelligible German; and it had taken him some time to overcome his dislike of the sordid stories of crime and criminals that he had to read and edit. He became gloomy and depressed, and prone to compare the real conditions of authorship with those that his imagination had conjured up.
The most important result of his labours in connection with Celebrated Trials was that upon his literary style. There is a tremendous significance in the following passage. It tells of the transition of the actual vagabond into the literary vagabond, with power to express in words what proved so congenial to Borrow’s vagabond temperament:
“Of all my occupations at this period I am free to confess I liked that of compiling the Newgate Lives and Trials [Celebrated Trials] the best; that is, after I had surmounted a kind of prejudice which I originally entertained. The trials were entertaining enough; but the lives—how full were they of wild and racy adventures, and in what racy, genuine language were they told. What struck me most with respect to these lives was the art which the writers, whoever they were, possessed of telling a plain story. It is no easy thing to tell a story plainly and distinctly by mouth; but to tell one on paper is difficult indeed, so many snares lie in the way. People are afraid to put down what is common on paper, they seek to embellish their narratives, as they think, by philosophic speculations and reflections; they are anxious to shine, and people who are anxious to shine can never tell a plain story. ‘So I went with them to a music booth, where they made me almost drunk with gin, and began to talk their flash language, which I did not understand,’ [52a] says, or is made to say, Henry Simms, executed at Tyburn some seventy years before the time of which I am speaking. I have always looked upon this sentence as a masterpiece of the narrative style, it is so concise and yet so clear.” [52b]
By the time the work was published and Borrow had been paid his fee, all relations between editor and publisher had ceased, and there was “a poor author, or rather philologist, upon the streets of London, possessed of many tongues,” which he found “of no use in the world.” [52c] A month after the appearance of Celebrated Trials (18th April), and a little more than a year after his arrival in London, Borrow published a translation of Klinger’s Faustus. [53a] He himself gives no particulars as to whether it was commissioned or no. It may even have been “the Romance in the German style” from the Green Box. It is known that he received payment for it by a bill at five or six months, [53b] but there is no mention of the amount. It would appear that the translation had long been projected, for in The Monthly Magazine, July 1824, there appeared, in conjunction with the announcement of Celebrated Trials, the following paragraph: “The editor of the preceding has ready for the press, a Life of Faustus, his Death and Descent into Hell, which will also appear the next winter.”
Faustus did not meet with a very cordial reception. The Literary Gazette (16th July 1825) characterised it as “another work to which no respectable publisher ought to have allowed his name to be put. The political allusion and metaphysics, which may have made it popular among a low class in Germany, do not sufficiently season its lewd scenes and coarse descriptions for British palates. We have occasionally publications for the fireside,—these are only fit for the fire.”
Borrow had apparently been in some doubt about certain passages, for in a note headed “The Translator to the Public,” he defends the work as moral in its general teaching:
“The publication of the present volume may at first sight appear to require some brief explanation from the Translator, inasmuch as the character of the incidents may justify such an expectation on the part of the reader. It is, therefore, necessary to state that, although scenes of vice and crime are here exhibited, it is merely in the hope that they may serve as beacons, to guide the ignorant and unwary from the shoals on which they might otherwise be wrecked. The work, when considered as a whole, is strictly moral.”
It must be confessed that Faustus does not err on the side of restraint. Many of its scenes might appear “lewd . . . and coarse” to anyone who for a moment allowed his mind to wander from the morality of “its general teaching.” The attacks upon the lax morals of the priesthood must have proved particularly congenial to the translator.
The more Borrow read his translations of Ab Gwilym, the more convinced he became of their merit and the profit they would bring to him who published them. The booksellers, however, with singular unanimity, declined the risk of introducing to the English public either Welsh or Danish ballads; and their translator became so shabby in consequence, that he refrained from calling upon his friend Arden, for whom he had always cherished a very real friendship. He began to lose heart. His energy left him and with it went hope. He was forced to review his situation. Authorship had obviously failed, and he found himself with no reasonable prospect of employment.