A Bibliography of the Writings in Prose and Verse of George Henry Borrow
Page 2
Vol. VI. „ viii + 576 + an Index of 8 pages, together with six engraved Plates.
Issued in drab paper boards, with white paper back-labels. The leaves measure 8⅝ × 5 inches.
It is evident that no fewer than five different printing houses were employed simultaneously in the production of this work.
The preliminary matter of all six volumes was printed together, and the reverse of each title-page carries at foot the following imprint: “London: / Shackell and Arrowsmith, Johnson’s-Court, Fleet-Street.”
The same firm also worked the whole of the Second Volume, and their imprint is repeated at the foot of p. 574 [misnumbered 140].
Vol. I bears, at the foot of p. 550, the following imprint: “Printed by W. Lewis, 21, Finch-Lane, Cornhill.”
Vol. III bears, at the foot of p. 572, the following imprint: “J. and C. Adlard, Printers, / Bartholomew Close.”
Vols. IV and VI bear, at the foot of pages 600 and 576 respectively, the following imprint: “D. Sidney & Co., Printers / Northumberland-street, Strand.”
Vol. V bears, at the foot of p. 684, the following imprint: “Whiting and Branston, / Beaufort House, Strand.”
Both Dr. Knapp and Mr. Clement Shorter have recorded full particulars of the genesis of the Celebrated Trials. Mr. Shorter devotes a considerable portion of Chapter xi of George Borrow and his Circle to the subject, and furnishes an analysis of the contents of each of the six volumes. Celebrated Trials is, of course, the Newgate Lives and Trials of Lavengro, in which book Borrow contrived to make a considerable amount of entertaining narrative out of his early struggles and failures.
There is a Copy of the First Edition of Celebrated Trials in the Library of the British Museum. The Press-mark is 518.g.6.
(2) [Faustus: 1825]
Faustus: / His / Life, Death, / and / Descent into Hell. / Translated from the German. / Speed thee, speed thee, / Liberty lead thee, / Many this night shall harken and heed thee. / Far abroad, / Demi-god, / Who shall appal thee! / Javal, or devil, or what else we call thee. / Hymn to the Devil. / London: / W. Simpkin and R. Marshall. / 1825.
Collation:—Foolscap octavo, pp. xii + 251; consisting of: Half-title (with imprint “Printed by / J. and C. Adlard, Bartholomew Close” at the foot of the reverse) pp. i–ii; Title-page, as above (with blank reverse) pp. iii–iv; Preface (headed The Translator to the Public) pp. v–viii; Table of Contents pp. ix–xii; and Text pp. 1–251. The reverse of p. 251 is occupied by Advertisements of Horace Welby’s Signs before Death, and John Timbs’s Picturesque Promenade round Dorking. The headline is Faustus throughout, upon both sides of the page. At the foot of the reverse of p. 251 the imprint is repeated thus, “J. and C. Adlard, Bartholomew Close.” The signatures are A (6 leaves), B to Q (15 sheets, each 8 leaves), plus R (6 leaves).
Issued (in April, 1825) in bright claret-coloured linen boards, with white paper back-label. The leaves measure 6¾ × 4¼ inches. The published price was 7s. 6d.
The volume has as Frontispiece a coloured plate, engraved upon copper, representing the supper of the sheep-headed Magistrates, described on pp. 64–66. The incident selected for illustration is the moment when the wine ‘issued in blue flames from the flasks,’ and ‘the whole assembly sat like so many ridiculous characters in a mad masquerade.’ This illustration was not new to Borrow’s book. It had appeared both in the German original, and in the French translation of 1798. In the original work the persons so bitterly satirized were the individuals composing the Corporation of Frankfort.
In 1840 ‘remainder’ copies of the First Edition of Faustus were issued with a new title-page, pasted upon a stub, carrying at foot the following publishers’ imprint, “London: / Simpkin, Marshall & Co. / 1840.” They were made up in bright claret-coloured linen boards, uniform with the original issue, with a white paper back-label. The published price was again 7s. 6d.
Faustus was translated by Borrow from the German of Friedrich Maximilian von Klinger. Mr. Shorter suggests, with much reason, that Borrow did not make his translation from the original German edition of 1791, but from a French translation published in Amsterdam in 1798.
The reception accorded to Faustus was the reverse of favourable. The Literary Gazette said (July 16th, 1825):—
“This is 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’s translation of Klinger’s novel was reprinted in 1864, without any acknowledgment of the name of the translator. Only a few stray words in the text were altered. But five passages were deleted from the Preface, which, not being otherwise modified or supplemented, gave—as was no doubt the intention of the publishers—the work the appearance of a new translation specially prepared. This unhallowed edition bears the following title-page:
Faustus: / His / Life, Death, and Doom. / A Romance in Prose. / Translated from the German. / [Quotation as in the original edition, followed by a Printer’s ornament.] / London: / W. Kent and Co., Paternoster Row. / 1864.—Crown 8vo, pp. viii + 302.
“There is no reason to suppose,” remarks Mr. Shorter (George Borrow and his Circle, p. 104) “that the individual, whoever he may have been, who prepared the 1864 edition of Faustus for the Press, had ever seen either the German original or the French translation of Klinger’s book.”
There is a copy of the First Edition of Faustus in the Library of the British Museum. The Press-mark is N.351.
(3) [Romantic Ballads: 1826]
Romantic Ballads, / Translated from the Danish; / and / Miscellaneous Pieces; / By / George Borrow. / Through gloomy paths unknown— / Paths which untrodden be, / From rock to rock I roam / Along the dashing sea. / Bowring. / Norwich: / Printed and Published by S. Wilkin, Upper Haymarket. / 1826.
Collation:—Demy octavo, pp. xii + 187; consisting of: Half-title (with imprint “Norwich: / Printed by S. Wilkin, Upper Haymarket” upon the centre of the reverse) pp. i–ii; Title-page, as above (with blank reverse) pp. iii–iv; Table of Contents (with blank reverse) pp. v–vi; Preface pp. vii–viii; Prefatory Poem From Allan Cunningham to George Borrow pp. ix–xi, p. xii is blank; Text of the Ballads pp. 1–184; and List of Subscribers pp. 185–187. The reverse of p. 187 is blank. There are head-lines throughout, each page being headed with the title of the Ballad occupying it. The imprint is repeated at the foot of p. 184. The signatures are a (a half-sheet of 4 leaves), b (a quarter-sheet of 2 leaves), B to M (eleven sheets, each 8 leaves), and N (a half-sheet of 4 leaves), followed by an unsigned quarter-sheet of 2 leaves carrying the List of Subscribers. [12] Sigs. G 5 and H 2 (pp. 89–90 and 99–100) are cancel-leaves, mounted on stubs, in every copy I have met with.
Issued (in May 1826) in dark greenish-grey paper boards, with white paper back-label, lettered “Romantic / Ballads / From the / Danish By / G. Borrow / Price 10/6 net.” The leaves measure 9 × 5½ inches.
The volume of Romantic Ballads was printed at Norwich during the early months of 1826. The edition consisted of Five Hundred Copies, but only Two Hundred of these were furnished with the Title-page transcribed above. These were duly distributed to the subscribers. The remaining Three Hundred copies were forwarded to London, where they were supplied with the two successive title-pages described below, and published in the ordinary manner.
“I had an idea that, provided I could persuade any spirited publisher to give these translations to the world, I should acquire both considerable fame and profit; not perhaps a world-embracing fame such as Byron’s, but a fame not to be sneered at, which would last me a considerable time, and would keep my heart from breaking;—profit, not equal to that which Scott had made by his wondrous novels, but which would prevent me from starving, and enable me to achieve some other literary enterprise. I read and re-read my ballads, and the m
ore I read them the more I was convinced that the public, in the event of their being published, would freely purchase, and hail them with merited applause”—[“George Borrow and his Circle,” 1913, p. 102.]
Allan Cunningham’s appreciation of the manner in which Borrow had succeeded in his effort to introduce the Danish Ballads to English readers is well expressed in the following letter:
27, Lower Belgrave Place,
London.
16th May, 1826.
My dear Sir,
I like your Danish Ballads much, and though Oehlenslæger seems a capital poet, I love the old rhymes best. There is more truth and simplicity in them; and certainly we have nothing in our language to compare with them. . . . ‘Sir John’ is a capital fellow, and reminds one of Burns’ ‘Findlay.’ ‘Sir Middel’ is very natural and affecting, and exceedingly well rendered,—so is ‘The Spectre of Hydebee.’ In this you have kept up the true tone of the Northern Ballad. ‘Svend Vonved’ is wild and poetical, and it is my favourite. You must not think me insensible to the merits of the incomparable ‘Skimming.’ I think I hear his neigh, and see him crush the ribs of the Jute. Get out of bed, therefore, George Borrow, and be sick or sleepy no longer. A fellow who can give us such exquisite Danish Ballads has no right to repose. . . .
I remain,
Your very faithful friend,
Allan Cunningham.
Contents.
Page.
Introductory Verses. By Allan Cunningham. [Sing, sing, my friend; breathe life again]
ix
The Death-Raven. [The silken sail, which caught the summer breeze]
I give herewith a reduced facsimile of the first page of the original Manuscript of this Ballad. No other MS. of it is known to be extant.
1
Fridleif and Helga. [The woods were in leaf, and they cast a sweet shade]
21
Sir Middel. [So tightly was Swanelil lacing her vest]
Previously printed (under the title Skion Middel, the first line reading, “The maiden was lacing so tightly her vest,”) in The Monthly Magazine, November 1823, p. 308. Apart from the opening line, the text of the two versions (with the exception of a few trifling verbal changes) is identical.
Another, but widely different, version of this Ballad is printed in Child Maidelvold and Other Ballads, 1913, pp. 5–10. In this latter version the name of the heroine is Sidselil in place of Swanelil, and that of the hero is Child Maidelvold in place of Sir Middel.
28
Elvir-Shades. [A sultry eve pursu’d a sultry day]
Considerable differences are to be observed between the text of the Manuscript of Elvir-Shades and that of the printed version. For example, as printed the second stanza reads:
I spurr’d my courser, and more swiftly rode,
In moody silence, through the forests green,
Where doves and linnets had their lone abode.
In the Manuscript it reads:
Immers’d in pleasing pensiveness I rode
Down vistas dim, and glades of forest green,
Where doves and nightingales had their abode.
32
The Heddybee-Spectre. [I clomb in haste my dappled steed]
In 1829 Borrow discarded his original (1826) version of The Heddybee-Spectre, and made an entirely new translation. This was written in couplets, with a refrain repeated after each. In 1854 the latter version was revised, and represents the final text. It commences thus:
At evening fall I chanced to ride,
My courser to a tree I tied.
So wide thereof the story goes.
Against a stump my head I laid,
And then to slumber I essay’d
So wide thereof the story goes.
From the Manuscript of 1854 the ballad was printed (under the amended title The Heddeby Spectre) in Signelil, A Tale from the Cornish, and Other Ballads, 1913, pp. 22–24. Borrow afterwards described the present early version as ‘a paraphrase.’
37
Sir John. [Sir Lavé to the island stray’d]
There is extant a Manuscript of Sir John which apparently belongs to an earlier date than 1826. The text differs considerably from that of the Romantic Ballads. I give a few stanzas of each.
1826.
The servants led her then to bed,
But could not loose her girdle red!
“I can, perhaps,” said John.
He shut the door with all his might;
He lock’d it fast, and quench’d the light:
“I shall sleep here,” said John.
A servant to Sir Lavé hied:—
“Sir John is sleeping with the bride:”
“Aye, that I am,” said John.
Sir Lavé to the chamber flew:
“Arise, and straight the door undo!”
“A likely thing!” said John.
He struck with shield, he struck with spear—
“Come out, thou Dog, and fight me here!”
“Another time,” said John.
Early MS.
They carried the bride to the bridal bed,
But to loose her girdle ne’er entered their head—
“Be that my care,” said John.
Sir John locked the door as fast as he might:
“I wish Sir Lavé a very good night,
I shall sleep here,” said John.
A messenger to Sir Lavé hied:
“Sir John is sleeping with thy young bride!”
“Aye, that I am!” said John.
On the door Sir Lavé struck with his glove:
“Arise, Sir John, let me in to my love!”
“Stand out, you dog!” said John.
He struck on the door with shield and spear:
“Come out, Sir John, and fight me here!”
“See if I do!” said John.
40
May Asda. [May Asda is gone to the merry green wood]
44
Aager and Eliza. [Have ye heard of bold Sir Aager]
47
Saint Oluf. [St. Oluf was a mighty king]
Of Saint Oluf there are three MSS. extant, the first written in 1826, the second in 1829, and the third in 1854. In the two later MSS. the title given to the Ballad is Saint Oluf and the Trolds. As the latest MS. affords the final text of the Poem, I give a few of the variants between it and the printed version of 1826
1826.
St. Oluf built a lofty ship,
With sails of silk so fair;
“To Hornelummer I must go,
And see what’s passing there.”
“O do not go,” the seamen said,
“To yonder fatal ground,
Where savage Jutts, and wicked elves,
And demon sprites, abound.”
St. Oluf climb’d the vessel’s side;
His courage nought could tame!
“Heave up, heave up the anchor straight;
Let’s go in Jesu’s name.
“The cross shall be my faulchion now—
The book of God my shield;
And, arm’d with them, I hope and trust
To make the demons yield!”
And swift, as eagle cleaves the sky,
The gallant vessel flew,
Direct for Hornelummer’s rock,
Through ocean’s wavy blue.
’Twas early in the morning tide
When she cast anchor there;
And, lo! the Jutt stood on the cliff,
To breathe the morning air:
His eyes were like the burning beal—
His mouth was all awry;
The truth I tell, and say he stood
Full twenty cubits high.
* * * * *
“Be still, be still, thou noisy guest—
Be still for evermore;
Become a rock and beetle there,
Above the billows hoar.”
Up started then, from out the hill,
The demon’s hoary wife;
She curs’d the
king a thousand times,
And brandish’d high her knife.
Sore wonder’d then the little elves,
Who sat within the hill,
To see their mother, all at once,
Stand likewise stiff and still.
1854.
Saint Oluf caused a ship be built,
At Marsirand so fair;
To Hornelummer he’ll away,
And see what’s passing there.
Then answer made the steersman old,
Beside the helm who stood:
“At Hornelummer swarm the Trolas,
It is no haven good.”
The king replied in gallant guise,
And sprang upon the prow:
“Upon the Ox [23] the cable cast,
In Jesu’s name let go!”
The Ox he pants, the Ox he snorts,
And bravely cuts the swell—
To Hornelummer in they sail
The ugly Trolds to quell.
The Jutt was standing on the cliff,
Which raises high its brow;
And thence he saw Saint Oluf, and
The Ox beneath him go.
His eyes were like a burning beal,
His mouth was all awry,
The nails which feve’d his fingers’ ends
Stuck out so wondrously.
“Now hold thy peace, thou foulest fiend,
And changed be to stone;
Do thou stand there ’till day of doom,
And injury do to none.”
Then out came running from the hill
The carline old and grey;
She cursed the King a thousand times,
And bade him sail away.
Then wondered much the little Trolds,
Who sat within the hill,
To see their mother all at once
Stand likewise stiff and still.
The entire ballad should be compared with King Oluf the Saint, printed in Queen Berngerd, The Bard and the Dreams, and Other Ballads, 1913, pp 23–29.