Isopel Berners The History of certain doings in a Staffordshire Dingle, July, 1825

The last century was yet in its infancy when the author of The Romany Rye first saw the light in the sleepy little East Anglian township of East Dereham, in the county distinguished by Borrow as the one in which the people eat the best dumplings in the world and speak the purest English. "Pretty quiet D[ereham]" was the retreat in those days of a Lady Bountiful in the person of Dame Eleanor Fenn, relict of the worthy editor of the Paston Letters. It is better known in literary history as the last resting-place of a sad and unquiet spirit, escaped from a world in which it had known nought but sorrow, of "England's sweetest and most pious bard," William Cowper. But Destiny was weaving a robuster thread to connect East Dereham with literature, for George Borrow {1} was born there on July 5th, 1803, and, nomad though he was, the place was always dear to his heart as his earliest home.

In 1816, after ramblings far and wide both in Ireland and in Scotland, the Borrows settled in Norwich, where George was schooled under a master whose name at least is still familiar to English youth, Dr. Valpy (brother of Dr. Richard Valpy). Among his schoolfellows at the grammar school were Rajah Brooke and Dr. James Martineau. George Borrow, a hardened truant from his earliest teens, was once horsed, to undergo a flogging, on the back of James Martineau, and he never afterwards took kindly to the philosophy of that remarkable man. We are glad to know that Edward Valpy's ferule was weak, though his scholarship was strong. Stories were current that even in those days George used to haunt the gipsy tents on that Mousehold Heath which lives eternally in the breezy canvases of "Old Crome," and that he went so far as to stain his face with walnut-juice to the right Egyptian hue. "Are you suffering from jaundice, Borrow," asked the Doctor, "or is it merely dirt?" While at Norwich, too, he was greatly influenced in the direction of linguistics by the English "pocket Goethe," William Taylor, the head of a clan known as the Taylors of Norwich, to distinguish them from a race in which the principle of heredity was even more strikingly developed--the Taylors of Ongar. In February 1824 his father, the gallant Captain Thomas Borrow, died, and his articles in the firm of a Norwich solicitor having determined, George went to London to commence literary man, in the old sense of the servitude, under the well-known bookseller-publisher, Sir Richard Phillipps. In Grub Street he translated and compiled galore, but when the trees began to shoot in 1825 he broke his chain and escaped to the country, to the dingle, and to Isopel Berners.

To dwell upon the bare outlines of Borrow's early career would be a superfluously dull proceeding. We shall only add a few names and dates to the framework, supplied with a fidelity that is rare in much more formal works of autobiography, in the pages of Lavengro. From the same pages we may detach just a few of the earlier influences which went to make up the rare and complex individuality of the writer. Borrow's father, a fine old soldier, in revealing his son's youthful idiosyncrasy, projects a clear mental image of his own habit of mind. "The boy had the impertinence to say the classics were much over-valued, and amongst other things that some horrid fellow or other, some Welshman, I think (thank God it was not an Irishman), was a better poet than Ovid. {2} That a boy of his years should entertain an opinion of his own, I mean one which militates against all established authority, is astonishing. As well might a raw recruit pretend to offer an unfavourable opinion on the manual and platoon exercise. The idea is preposterous; the lad is too independent by half."

Borrow's account of his father's death is a highly affecting piece of English. The ironical humour blent with pathos in his picture of this ill-rewarded old disciplinarian (who combined a tenderness of heart with a fondness for military metaphor that frequently reminds one of "My Uncle Toby"), the details of the ailments and the portents that attended his infantile career, and, above all, the glimpses of the wandering military life from barrack to barrack and from garrison to garrison, inevitably remind the reader of the childish reminiscences of Laurence Sterne, a writer to whom it may thus early be said that George Borrow paid no small amount of unconscious homage. A homage of another sort, fully recognised and declared, was that paid to the great work of Defoe, and to the spirit of strange and romantic enterprise which it aroused in its reader.

After Robinson Crusoe there played across the disk of his youthful memory a number of weird and hairy figures never to be effaced. A strange old herbalist and snake-killer with a skin cap first whetted his appetite for the captivating confidences of roadside vagrants, and the acquaintanceship serves as an introduction to the scene of the gipsy encampment, where the young Sapengro or serpent charmer was first claimed as brother by Jasper Petulengro. The picture of the encampment may serve as an example of Borrovian prose, nervous, unembarrassed, and graphic.

One day it happened, being on my rambles, I entered a green lane which I had never seen before. At first it was rather narrow, but as I advanced it became considerably wider. In the middle was a drift-way with deep ruts, but right and left was a space carpeted with a sward of trefoil and clover. There was no lack of trees, chiefly ancient oaks, which, flinging out their arms from either side, nearly formed a canopy and afforded a pleasing shelter from the rays of the sun, which was burning fiercely above. Suddenly a group of objects attracted my attention. Beneath one of the largest of the trees, upon the grass, was a kind of low tent or booth, from the top of which a thin smoke was curling. Beside it stood a couple of light carts, whilst two or three lean horses or ponies were cropping the herbage which was growing nigh. . . .

As a pendant to the landscape take a Flemish interior. The home of the Borrows had been removed in the meantime, in accordance with the roving traditions of the family, from Norman Cross to Edinburgh and from Edinburgh to Clonmel.

And to the school I went [at Clonmel], where I read the Latin tongue and the Greek letters with a nice old clergyman who sat behind a black oaken desk with a huge Elzevir Flaccus before him, in a long gloomy kind of hall with a broken stone floor, the roof festooned with cobwebs, the walls considerably dilapidated and covered over with stray figures in hieroglyphics evidently produced by the application of a burnt stick.

In Ireland, too, he made the acquaintance of the gossoon Murtagh, who taught him Irish in return for a pack of cards. In the course of his wanderings with his father's regiment he develops into a well-grown and well-favoured lad, a shrewd walker and a bold rider. "People may talk of first love--it is a very agreeable event, I dare say--but give me the flush, the triumph, and glorious sweat of a first ride." {5}

At Norwich he learns modern languages from an old emigre, a true disciple of the ancien cour, who sets Boileau high above Dante; and some misty German metaphysics from the Norwich philosopher, who consistently seeks a solace in smoke from the troubles of life. His father had already noted his tendency to fly off at a tangent which was strikingly exhibited in the lawyer's office, where "within the womb of a lofty deal desk," when he should have been imbibing Blackstone and transcribing legal documents, he was studying Monsieur Vidocq and translating the Welsh bard Ab Gwilym; he was consigning his legal career to an early grave when he wrote this elegy on the worthy attorney his master.

He has long since sunk to his place in a respectable vault, in the aisle of a very respectable church, whilst an exceedingly respectable marble slab against the neighbouring wall tells on a Sunday some eye wandering from its prayer-book that his dust lies below. To secure such respectabilities in death he passed a most respectable life, a more respectable-looking individual never was seen.

In the meantime as a sequel to his questionings on the subjects of reality and truth, the Author was asking himself "What is death?" and the query serves as a prelude to the first of the many breezy dialogues with that gipsy cousin-german to Autolycus, Jasper Petulengro.

"What is your opinion of death, Mr. Petulengro?"

"My opinion of death, brother, is much the same as that in the old song of Pharaoh . . . when a man dies he is cast into the earth and his wife and child sorrow over him. If he has neither wife nor child, then his father and mother, I suppose; and if he is quite alone in the world, why, then he is cast into the earth and there is an end of the matter."

"And do you think that is the end of man?"

"There's an end of him, brother, more's the pity."

"Why do you say so?"

"Life is sweet, brother."

"Do you think so?"

"Think so! there's night and day, brother, both sweet things; sun, moon and stars, brother, all sweet things; there's likewise a wind on the heath. Life is very sweet, brother: who would wish to die?"

"I would wish to die."

"You talk like a gorgio--which is the same as talking like a fool; were you a Romany chal you would talk wiser. Wish to die, indeed! a Romany chal would wish to live for ever."

"In sickness, Jasper?"

"There's the sun and stars, brother."

"In blindness, Jasper?"

"There's the wind on the heath, brother; if I could only feel that I would gladly live for ever. Daeta, we'll now go to the tents and put on the gloves, and I'll try to make you feel what a sweet thing it is to be alive, brother."

Leaving Norwich and his legal trammels, a few weeks after his father's death, in 1824, Lavengro reaches London--the scene of Grub Street struggles not greatly relaxed in severity since the days of Newbery, Gardener and Christopher Smart. As the genius of Hawthorne was cooped up and enslaved for the American "Peter Parley," so that of Borrow was hag- ridden by a bookseller publisher of an even worse type, the radical alderman and philanthropic sweater, Sir Richard Phillipps. For this stony-hearted faddist he covered reams of paper with printers' copy; and we are told that the kind of compilation that he liked (and probably executed) best was that of Newgate Lives and Trials. He had well-nigh reached the end of his tether when he had the conversation with Phillipps's head factotum, Taggart, which we cite below and recommend feelingly to the consideration of every literary aspirant. Sordid and commonplace enough are the details; simple and free from every kind of inflation the language in which they are narrated. Yet how picturesque are these vignettes of London life! How vivid and yet how strange are the figures that animate them! The harsh literary impresario with his "drug in the market," who seems to have stalked straight out of Smollett, {8} the gnarled old applewoman, with every wrinkle shown, on her stall upon London Bridge, the grasping Armenian merchant who softened at the sound of his native tongue, the giddy young spendthrift Francis Ardry and the confiding young creature who had permitted him to hire her a very handsome floor in the West End, the gipsies and thimble-riggers in Greenwich Park--what moving and lifelike figures are these, stippled in with a seeming absence of art, yet as strange and as rare as a Night in Bagdad, a chapter of Balzac, or the most fantastic scene in the New Arabian Nights.