_LAVENGRO_
_The Bible in Spain_ bears on its title-page the date 1843, although my
copy makes it clear in Borrow's handwriting that it was really ready for
publication in the previous year.
[Illustration: [handwritten text]
Mary Borrow
With Her Husband's Love.
13 Dec'r 1842]
Borrow's handwriting had changed its character somewhat when he
inscribed to his wife a copy of his next book _Lavengro_ in 1851.
[Illustration: [handwritten text]
Mary Borrow
With Her Husband's Love.]
In the intervening eight or nine years he had travelled much--suffered
much. During all these years he had been thinking about, talking about,
his next book, making no secret of the fact that it was to be an
Autobiography. Even before _The Bible in Spain_ was issued he had
written to Mr. John Murray foreshadowing a book in which his father,
William Taylor, and others were to put in an appearance. In the
'Advertisement' to _The Romany Rye_ he tells us that 'the principal part
of _Lavengro_ was written in the year '43, that the whole of it was
completed before the termination of the year '46, and that it was in the
hands of the publisher in the year '48.' As the idea grew in his mind,
his friend, Richard Ford, gave him much sound advice:
Never mind nimminy-pimminy people thinking subjects _low_.
Things are low in manner of handling. Draw Nature in rags and
poverty, yet draw her truly, and how picturesque! I hate your
silver fork, kid glove, curly-haired school.[169]
And so in the following years, now to Ford, now to Murray, he traces his
progress, while in 1844 he tells Dawson Turner that he is 'at present
engaged in a kind of Biography in the Robinson Crusoe style.'[170] But
in the same year he went to Buda-Pesth, Venice, and Constantinople. The
first advertisement of the book appeared in _The Quarterly Review_ in
July 1848, when _Lavengro, An Autobiography_, was announced. Later in
the same year Mr. Murray advertised the book as _Life, A Drama_; and Dr.
Knapp, who had in his collection the original proof-sheets of
_Lavengro_, reproduces the title-page of the book which then stood as
_Life, A Drama_, and bore the date 1849. Borrow's procrastination in
delivering the complete book worried John Murray exceedingly. Not
unnaturally, for in 1848 he had offered the book at his annual sale
dinner to the booksellers who had subscribed to it liberally. Eighteen
months later Murray was still worrying Borrow for the return of the
proof-sheets of the third and last volume. Not until January 1850 do we
hear of it as _Lavengro, An Autobiography_, and under this title it was
advertised in _The Quarterly Review_ for that month as 'nearly ready for
publication.' In April 1850 we find Woodfall, John Murray's printer,
writing letter after letter urging celerity, to which Mrs. Borrow
replies, excusing the delay on account of her husband's indifferent
health. They have been together in lodgings at Yarmouth. 'He had many
plunges into the briny Ocean, which seemed to do him good.'[171] Murray
continued to exhort, but the final chapter did not reach him. 'My sale
is fixed for December 12th,' he writes in November, 'and if I cannot
show the book then I must throw it up.' This threat had little effect,
for on 13th December we find Murray still coaxing his dilatory author,
telling him with justice that there were passages in his book 'equal to
Defoe.' The very printer, Mr. Woodfall, joined in the chase. 'The public
is quite prepared to devour your book,' he wrote, which was unhappily
not the case. Nor was Ford a happier prophet, although a true friend
when he wrote--'I am sure it will be _the_ book of the year when it is
brought forth.'[172] The activity of Mrs. Borrow in this matter of the
publication of _Lavengro_ is interesting. 'My husband ... is, I assure
you, doing all he can as regards the completion of the book,' she
writes to Mr. Murray in December 1849, and in November of the following
year Murray writes to her to say that he is engraving Phillips's
portrait of Borrow for the book. 'I think a cheering letter from you
will do Mr. Borrow good,' she writes later. Throughout the whole
correspondence between publisher and printer we are impressed by Mrs.
Borrow's keen interest in her husband's book, her anxiety that he should
be humoured. Sadly did Borrow need to be humoured, for if he had
cherished the illusion that his book would really be the 'Book of the
Year' he was to suffer a cruel disillusion. Scarcely any one wanted it.
All the critics abused it. In _The Athenæum_ it was bluntly pronounced a
failure. 'The story of _Lavengro_ will content no one,' said Sir William
Stirling-Maxwell in _Fraser's Magazine_. The book 'will add but little
to Mr. Borrow's reputation,' said _Blackwood_. The only real insight
into the book's significance was provided by Thomas Gordon Hake in a
letter to _The New Monthly Review_, in which journal the editor,
Harrison Ainsworth, had already pronounced a not very favourable
opinion. '_Lavengro's_ roots will strike deep into the soil of English
letters,' wrote Dr. Hake, and he then pronounced a verdict now
universally accepted. George Henry Lewes once happily remarked that he
would make an appreciation of Boswell's _Life of Johnson_ a test of
friendship. Many of us would be almost equally inclined to make such a
test of Borrow's _Lavengro_. Tennyson declared that an enthusiasm for
Milton's _Lycidas_ was a touchstone of taste in poetry. May we not say
that an enthusiasm for Borrow's _Lavengro_ is now a touchstone of taste
in English prose literature?
But the reception of _Lavengro_ by the critics, and also by the
public,[173] may be said to have destroyed Borrow's moral fibre.
Henceforth, it was a soured and disappointed man who went forth to meet
the world. We hear much in the gossip of contemporaries of Borrow's
eccentricities, it may be of his rudeness and gruffness, in the last
years of his life. Only those who can realise the personality of a
self-contained man, conscious, as all genius has ever been, of its
achievement, and conscious also of the failure of the world to
recognise, will understand--and will sympathise.
Borrow, as we have seen, took many years to write _Lavengro_. 'I am
writing the work,' he told Dawson Turner, 'in precisely the same manner
as _The Bible in Spain_, viz., on blank sheets of old account-books,
backs of letters,' etc., and he recalls Mahomet writing the Koran on
mutton bones as an analogy to his own 'slovenliness of manuscript.'[174]
I have had plenty of opportunity of testing this slovenliness in the
collection of manuscripts of portions of _Lavengro_ that have come into
my possession. These are written upon pieces of paper of all shapes and
sizes, although at least a third of the book in Borrow's very neat
handwriting is contained in a leather notebook, of which I give examples
of the title-page and opening leaf in facsimile. The title-page
demonstrates the earliest form of Borrow's conception. Not only did he
then contemplate an undisguised autobiography, but even described
himself, as he frequently did in his conversation, as 'a Norfolk man.'
Before the book was finished, however, he repudiated the
autobiographical note, and by the time he sat down to write _The Romany
Rye_ we find him fiercely denouncing his critics for coming to such a
conclusion. 'The writer,' he declares, 'never said it was an
autobiography; never authorised any person to say it was one.' Which was
doubtless true, in a measure. Yet I find among my Borrow Papers the
following letter from Whitwell Elwin, who, writing from Booton Rectory
on 21st October 1852, and addressing him as 'My dear Mr. Borrow,' said:
[Illustration: THE ORIGINAL TITLE-PAGE OF _LAVENGRO_.
_From the Manuscript in the possession of the Author of 'George Borrow
and his Circle.'_]
I hoped to have been able to call upon you at Yarmouth, but a
heavy cold first, and now occupation, have interfered with my
intentions. I daresay you have seen the mention made of your
_Lavengro_ in the article on Haydon in the current number of
_The Quarterly Review_, and I thought you might like to know
that every syllable, both comment and extract, was inserted by
the writer (a man little given to praise) of his own _accord_.
Murray sent him your book, and that was all. No addition or
modification was made by myself, and it is therefore the
unbiassed judgment of a _very critical_ reviewer. Whenever you
appear again before the public I shall endeavour to do ample
justice to your past and present merits, and there is one point
in which you could aid those who understand you and your books
in bringing over general readers to your side. I was myself
acquainted with many of the persons you have sketched in your
_Lavengro_, and I can testify to the extraordinary vividness
and accuracy of the portraits. What I have seen, again, of
yourself tells me that romantic adventures are your natural
element, and I should _a priori_ expect that much of your
history would be stranger than fiction. But you must remember
that the bulk of readers have no personal acquaintance with
you, or the characters you describe. The consequence is that
they fancy there is an immensity of romance mixed up with the
facts, and they are irritated by the inability to distinguish
between them. I am confident, from all I have heard, that this
was the source of the comparatively cold reception of
_Lavengro_. I should have partaken the feeling myself if I had
not had the means of testing the fidelity of many portions of
the book, from which I inferred the equal fidelity of the rest.
I think you have the remedy in your own hands, viz., by giving
the utmost possible matter-of-fact air to your sequel. I do not
mean that you are to tame down the truth, but some ways of
narrating a story make it seem more credible than others, and
if you were so far to defer to the ignorance of the public they
would enter into the full spirit of your rich and racy
narrative. You naturally look at your life from your own point
of view, and this in itself is the best; but when you publish a
book you invite the reader to participate in the events of your
career, and it is necessary then to look a little at things
from _his_ point of view. As he has not your knowledge you must
stoop to him. I throw this out for your consideration. My sole
wish is that the public should have a right estimate of you,
and surely you ought to do what is in your power to help them
to it. I know you will excuse the liberty I take in offering
this crude suggestion. Take it for what it is worth, but
anyhow....
[Illustration: FACSIMILE OF THE FIRST PAGE OF _LAVENGRO_.
_From the Manuscript in the possession of the Author of 'George Borrow
and his Circle.'_]
To this letter, as we learn from Elwin's _Life_, 'instead of roaring
like a lion,' as Elwin had expected, he returned quite a 'lamb-like
note.'
Read by the light in which we all judge the book to-day, this estimate
by Elwin was about as fatuous as most contemporary criticisms of a
masterpiece. Which is only to say that it is rarely given to
contemporary critics to judge accurately of the great work that comes to
them amid a mass that is not great. That Elwin, although not a good
editor of Pope, was a sound critic of the literature of a period
anterior to his own is demonstrated by the admirable essays from his pen
that have been reprinted with an excellent memoir of him by his
son.[175] In this memoir we have a capital glimpse of our hero:
Among the notables whom he had met was Borrow, whose _Lavengro_
and _Romany Rye_ he afterwards reviewed in 1857 under the title
of 'Roving Life in England,' Their interview was
characteristic of both. Borrow was just then very sore with his
snarling critics, and on some one mentioning that Elwin was a
_quartering_ reviewer, he said, 'Sir, I wish you a better
employment.' Then hastily changing the subject he called out,
'What party are _you_ in the Church--Tractarian, Moderate, or
Evangelical? I am happy to say I am the old _High_.' 'I am
happy to say I am _not_,' was Elwin's emphatic reply. Borrow
boasted of his proficiency in the Norfolk dialect, which he
endeavoured to speak as broadly as possible. 'I told him,' said
Elwin, 'that he had not cultivated it with his usual success.'
As the conversation proceeded it became less disputatious, and
the two ended by becoming so cordial that they promised to
visit each other. Borrow fulfilled his promise in the following
October, when he went to Booton,[176] and was 'full of anecdote
and reminiscence,' and delighted the rectory children by
singing them songs in the gypsy tongue. Elwin during this visit
urged him to try his hand at an article for the _Review_.
'Never,' he said; 'I have made a resolution never to have
anything to do with such a blackguard trade.'
While writing of Whitwell Elwin and his association with Borrow, which
was sometimes rather strained as we shall see when _The Romany Rye_
comes to be published, it is interesting to turn to Elwin's final
impression of Borrow, as conveyed in a letter which the recipient[177]
has kindly placed at my disposal. It was written from Booton Rectory,
and is dated 27th October 1893:
I used occasionally to meet Borrow at the house of Mr. Murray,
his publisher, and he once stayed with me here for two or three
days about 1855. He always seemed to me quite at ease 'among
refined people,' and I should not have ascribed his dogmatic
tone, when he adopted it, to his resentment at finding himself
out of keeping with his society. A spirit of self-assertion was
engrained in him, and it was supported by a combative
temperament. As he was proud of his bodily prowess, and rather
given to parade it, so he took the same view of an argument as
of a battle with fists, and thought that manliness required him
to be determined and unflinching. But this, in my experience of
him, was not his ordinary manner, which was calm and
companionable, without rudeness of any kind, unless some
difference occurred to provoke his pugnacity. I have witnessed
instances of his care to avoid wounding feelings needlessly. He
never kept back his opinions which, on some points, were
shallow and even absurd; and when his antagonist was as
persistently positive as himself, he was apt to be over
vehement in contradiction. I have heard Mr. Murray say that
once in a dispute with Dr. Whewell at a dinner the language on
both sides grew so fiery that Mrs. Whewell fainted.
He told me that his composition cost him a vast amount of
labour, that his first draughts were diffuse and crude, and
that he wrote his productions several times before he had
condensed and polished them to his mind. There is nothing
choicer in the English language than some of his narratives,
descriptions, and sketches of character, but in his best books
he did not always prune sufficiently, and in his last work,
_Wild Wales_, he seemed to me to have lost the faculty
altogether. Mr. Murray long refused to publish it unless it was
curtailed, and Borrow, with his usual self-will and
self-confidence, refused to retrench the trivialities. Either
he got his own way in the end, or he revised his manuscript to
little purpose.
Probably most of what there was to tell of Borrow has been
related by himself. It is a disadvantage in _Lavengro_ and
_Romany Rye_ that we cannot with certainty separate fact from
fiction, for he avowed in talk that, like Goethe, he had
assumed the right in the interests of his autobiographical
narrative to embellish it in places; but the main outline, and
larger part of the details, are the genuine record of what he
had seen and done, and I can testify that some of his minor
personages who were known to me in my boyhood are described
with perfect accuracy.
Two letters by Mr. Elwin to Borrow, from my Borrow Papers, both dated
1853--two years after _Lavengro_ was written,--may well have place here:
To George Borrow, Esq.
BOOTON, NORWICH, _Oct. 26, 1853._
MY DEAR MR. BORROW,--I shall be rejoiced to see you here, and I
hope you will fasten a little luggage to the bow of your
saddle, and spend as much time under my roof as you can spare.
I am always at home. Mrs. Elwin is sure to be in the house or
garden, and I, at the worst, not further off than the extreme
boundary of my parish. Pray come, and that quickly. Your
shortest road from Norwich is through Horsford, and from thence
to the park wall of Haverland Hall, which you skirt. This will
bring you out by a small wayside public house, well known in
these parts, called 'The Rat-catchers.' At this point you turn
sharp to the left, and keep the straight road till you come to
a church with a new red brick house adjoining, which is your
journey's end.
The conclusion of your note to me is so true in sentiment, and
so admirable in expression, that I hope you will introduce it
into your next work. I wish it had been said in the article on
Haydon. Cannot you strew such criticisms through the sequel to
_Lavengro_? They would give additional charm and value to the
work. Believe me, very truly yours,
W. ELWIN.
You are of course aware that if _I_ had spoken of _Lavengro_ in
the _Q.R._ I should have said much more, but as I hoped for my
turn hereafter, I preferred to let the passage go forth
unadulterated.
To George Borrow, Esq.
BOOTON RECTORY, NORWICH, _Nov. 5, 1853._
MY DEAR MR. BORROW,---You bore your mishap with a philosophic
patience, and started with an energy which gives the best
earnest that you would arrive safe and sound at Norwich. I was
happy to find yesterday morning, by the arrival of your kind
present, a sure notification that you were well home. Many
thanks for the tea, which we drink with great zest and
diligence. My legs are not as long as yours, nor my breath
either. You soon made me feel that I must either turn back or
be left behind, so I chose the former. Mrs. Elwin and my
children desire their kind regards. They one and all enjoyed
your visit. Believe me, very truly yours,
W. ELWIN.
I have said that I possess large portions of _Lavengro_ in manuscript.
Borrow's always helpful wife, however, copied out the whole manuscript
for the publishers, and this 'clean copy' came to Dr. Knapp, who found
even here a few pages of very valuable writing deleted, and these he has
very rightly restored in Mr. Murray's edition of _Lavengro_. Why Borrow
took so much pains to explain that his wife had copied _Lavengro_, as
the following document implies, I cannot think. I find in his
handwriting this scrap of paper signed by Mary Borrow, and witnessed by
her daughter:
_Janry. 30, 1869._
This is to certify that I transcribed _The Bible in Spain_,
_Lavengro_, and some other works of my husband George Borrow,
from the original manuscripts. A considerable portion of the
transcript of _Lavengro_ was lost at the printing-office where
the work was printed.
MARY BORROW.
Witness: Henrietta M., daughter of Mary Borrow.
It only remains here to state the melancholy fact once again that
_Lavengro_, great work of literature as it is now universally
acknowledged to be, was not 'the book of the year.' The three thousand
copies of the first issue took more than twenty years to sell, and it
was not until 1872 that Mr. Murray resolved to issue a cheaper edition.
The time was not ripe for the cult of the open road; the zest for 'the
wind on the heath' that our age shares so keenly.
FOOTNOTES:
[169] Knapp's _Life_, vol. ii p. 9.
[170] _Ibid._ p. 11.
[171] Knapp's _Life_, vol. ii. p. 19.
[172] Ford was right, however, if authors wrote only for posterity,
although 1851 was not a very important year among the great Victorian
writers. It produced Carlyle's _John Sterling_, Ruskin's _Stones of
Venice_, and Kingsley's _Yeast_.
[173] Mr. Murray published _Lavengro_ in an edition of 3000 copies in
1851, a second edition (incorrectly called the third) was not asked for
until 1872.
[174] Jenkins's _Life_, p. 387.
[175] _Some XVIII. Century Men of Letters: Biographical Essays_, by the
Rev. Whitwell Elwin, sometime Editor of _The Quarterly Review_, With a
Memoir by his son Warwick Elwin, 2 vols. John Murray, 1902.
[176] Whitwell Elwin was Rector of Booton, Norfolk--a family
living--from 1849 to his death, aged 83, on 1st January 1900. He
succeeded Lockhart as editor of _The Quarterly Review_ in 1853, and
resigned in 1860. He was born in 1816, and educated at Caius College,
Cambridge. Thackeray called him 'a grandson of the late Rev. Dr.
Primrose,' thereby recognising in Elwin many of the kindly qualities of
Goldsmith's admirable creation.
[177] Mr. James Hooper, of Norwich, whose kindness in placing this and
many other documents at my disposal I have already acknowledged. This
letter was first published in _The Sphere_, December 19, 1903.