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Physically, Gibbon was as small as Johnson was large, but there was a curious affinity in their bodily ailments. Johnson, as a youth, was ulcerated and tortured by the king's evil, in spite of the Royal touch. Gibbon gives us a concise but lurid account of his own boyhood.
"I was successively afflicted by lethargies and fevers, by opposite tendencies to a consumptive and dropsical habit, by a contraction of my nerves, a fistula in my eye, and the bite of a dog, most vehemently suspected of madness. Every practitioner was called to my aid, the fees of the doctors were swelled by the bills of the apothecaries and surgeons. There was a time when I swallowed more physic than food, and my body is still marked by the indelible scars of lancets, issues, and caustics."
Such is his melancholy report. The fact is that the England of that day seems to have been very full of that hereditary form of chronic ill-health which we call by the general name of struma. How far the hard-drinking habits in vogue for a century or so before had anything to do with it I cannot say, nor can I trace a connection between struma and learning; but one has only to compare this account of Gibbon with Johnson's nervous twitches, his scarred face and his St. Vitus' dance, to realize that these, the two most solid English writers of their generation, were each heir to the same gruesome inheritance.
I wonder if there is any picture extant of Gibbon in the character of subaltern in the South Hampshire Militia? With his small frame, his huge head, his round, chubby face, and the pretentious uniform, he must have looked a most extraordinary figure. Never was there so round a peg in a square hole! His father, a man of a very different type, held a commission, and this led to poor Gibbon becoming a soldier in spite of himself. War had broken out, the regiment was mustered, and the unfortunate student, to his own utter dismay, was kept under arms until the conclusion of hostilities. For three years he was divorced from his books, and loudly and bitterly did he resent it. The South Hampshire Militia never saw the enemy, which is perhaps as well for them. Even Gibbon himself pokes fun at them; but after three years under canvas it is probable that his men had more cause to smile at their book-worm captain than he at his men. His hand closed much more readily on a pen-handle than on a sword-hilt. In his lament, one of the items is that his colonel's example encouraged the daily practice of hard and even excessive drinking, which gave him the gout. "The loss of so many busy and idle hours were not compensated for by any elegant pleasure," says he; "and my temper was insensibly soured by the society of rustic officers, who were alike deficient in the knowledge of scholars and the manners of gentlemen." The picture of Gibbon flushed with wine at the mess-table, with these hard-drinking squires around him, must certainly have been a curious one. He admits, however, that he found consolations as well as hardships in his spell of soldiering. It made him an Englishman once more, it improved his health, it changed the current of his thoughts. It was even useful to him as an historian. In a celebrated and characteristic sentence, he says, "The discipline and evolutions of a modern battalion gave me a clearer notion of the Phalanx and the Legions, and the captain of the Hampshire Grenadiers has not been useless to the historian of the Roman Empire."
If we don't know all about Gibbon it is not his fault, for he wrote no fewer than six accounts of his own career, each differing from the other, and all equally bad. A man must have more heart and soul than Gibbon to write a good autobiography. It is the most difficult of all human compositions, calling for a mixture of tact, discretion, and frankness which make an almost impossible blend. Gibbon, in spite of his foreign education, was a very typical Englishman in many ways, with the reticence, self-respect, and self-consciousness of the race. No British autobiography has ever been frank, and consequently no British autobiography has ever been good. Trollope's, perhaps, is as good as any that I know, but of all forms of literature it is the one least adapted to the national genius. You could not imagine a British Rousseau, still less a British Benvenuto Cellini. In one way it is to the credit of the race that it should be so. If we do as much evil as our neighbours we at least have grace enough to be ashamed of it and to suppress its publication.
There on the left of Gibbon is my fine edition (Lord Braybrooke's) of Pepys' Diary. That is, in truth, the greatest autobiography in our language, and yet it was not deliberately written as such. When Mr. Pepys jotted down from day to day every quaint or mean thought which came into his head he would have been very much surprised had any one told him that he was doing a work quite unique in our literature. Yet his involuntary autobiography, compiled for some obscure reason or for private reference, but certainly never meant for publication, is as much the first in that line of literature as Boswell's book among biographies or Gibbon's among histories.
As a race we are too afraid of giving ourselves away ever to produce a good autobiography. We resent the charge of national hypocrisy, and yet of all nations we are the least frank as to our own emotions – especially on certain sides of them. Those affairs of the heart, for example, which are such an index to a man's character, and so profoundly modify his life – what space do they fill in any man's autobiography? Perhaps in Gibbon's case the omission matters little, for, save in the instance of his well-controlled passion for the future Madame Neckar, his heart was never an organ which gave him much trouble. The fact is that when the British author tells his own story he tries to make himself respectable, and the more respectable a man is the less interesting does he become. Rousseau may prove himself a maudlin degenerate. Cellini may stand self-convicted as an amorous ruffian. If they are not respectable they are thoroughly human and interesting all the same.
The wonderful thing about Mr. Pepys is that a man should succeed in making himself seem so insignificant when really he must have been a man of considerable character and attainments. Who would guess it who read all these trivial comments, these catalogues of what he had for dinner, these inane domestic confidences – all the more interesting for their inanity! The effect left upon the mind is of some grotesque character in a play, fussy, self-conscious, blustering with women, timid with men, dress-proud, purse-proud, trimming in politics and in religion, a garrulous gossip immersed always in trifles. And yet, though this was the day-by-day man, the year-by-year man was a very different person, a devoted civil servant, an eloquent orator, an excellent writer, a capable musician, and a ripe scholar who accumulated 3000 volumes – a large private library in those days – and had the public spirit to leave them all to his University. You can forgive old Pepys a good deal of his philandering when you remember that he was the only official of the Navy Office who stuck to his post during the worst days of the Plague. He may have been – indeed, he assuredly was – a coward, but the coward who has sense of duty enough to overcome his cowardice is the most truly brave of mankind.
But the one amazing thing which will never be explained about Pepys is what on earth induced him to go to the incredible labour of writing down in shorthand cipher not only all the trivialities of his life, but even his own very gross delinquencies which any other man would have been only too glad to forget. The Diary was kept for about ten years, and was abandoned because the strain upon his eyes of the crabbed shorthand was helping to destroy his sight. I suppose that he became so familiar with it that he wrote it and read it as easily as he did ordinary script. But even so, it was a huge labour to compile these books of strange manuscript. Was it an effort to leave some memorial of his own existence to single him out from all the countless sons of men? In such a case he would assuredly have left directions in somebody's care with a reference to it in the deed by which he bequeathed his library to Cambridge. In that way he could have ensured having his Diary read at any date he chose to name after his death. But no allusion to it was left, and if it had not been for the ingenuity and perseverance of a single scholar the dusty volumes would still lie unread in some top shelf of the Pepysian Library. Publicity, then, was not his object. What could it have been? The only alternative is reference and self-information. You will observe in his character a curious vein of method and order, by which he loved, to be for ever estimating his exact wealth, cataloguing his books, or scheduling his possessions. It is conceivable that this systematic recording of his deeds – even of his misdeeds – was in some sort analogous, sprung from a morbid tidiness of mind. It may be a weak explanation, but it is difficult to advance another one.
One minor point which must strike the reader of Pepys is how musical a nation the English of that day appear to have been. Every one seems to have had command of some instrument, many of several. Part-singing was common. There is not much of Charles the Second's days which we need envy, but there, at least, they seem to have had the advantage of us. It was real music, too – music of dignity and tenderness – with words which were worthy of such treatment. This cult may have been the last remains of those mediaeval pre-Reformation days when the English Church choirs were, as I have read somewhere, the most famous in Europe. A strange thing this for a land which in the whole of last century has produced no single master of the first rank!
What national change is it which has driven music from the land? Has life become so serious that song has passed out of it? In Southern climes one hears poor folk sing for pure lightness of heart. In England, alas, the sound of a poor man's voice raised in song means only too surely that he is drunk. And yet it is consoling to know that the germ of the old powers is always there ready to sprout forth if they be nourished and cultivated. If our cathedral choirs were the best in the old Catholic days, it is equally true, I believe, that our orchestral associations are now the best in Europe. So, at least, the German papers said on the occasion of the recent visit of a north of England choir. But one cannot read Pepys without knowing that the general musical habit is much less cultivated now than of old.
V
It is a long jump from Samuel Pepys to George Borrow – from one pole of the human character to the other – and yet they are in contact on the shelf of my favourite authors. There is something wonderful, I think, about the land of Cornwall. That long peninsula extending out into the ocean has caught all sorts of strange floating things, and has held them there in isolation until they have woven themselves into the texture of the Cornish race. What is this strange strain which lurks down yonder and every now and then throws up a great man with singular un-English ways and features for all the world to marvel at? It is not Celtic, nor is it the dark old Iberian. Further and deeper lie the springs. Is it not Semitic, Phoenician, the roving men of Tyre, with noble Southern faces and Oriental imaginations, who have in far-off days forgotten their blue Mediterranean and settled on the granite shores of the Northern Sea?
Whence came the wonderful face and great personality of Henry Irving? How strong, how beautiful, how un-Saxon it was! I only know that his mother was a Cornish woman. Whence came the intense glowing imagination of the Brontes – so unlike the Miss-Austen-like calm of their predecessors? Again, I only know that their mother was a Cornish woman. Whence came this huge elfin creature, George Borrow, with his eagle head perched on his rocklike shoulders, brown-faced, white-headed, a king among men? Where did he get that remarkable face, those strange mental gifts, which place him by himself in literature? Once more, his father was a Cornishman. Yes, there is something strange, and weird, and great, lurking down yonder in the great peninsula which juts into the western sea. Borrow may, if he so pleases, call himself an East Anglian – "an English Englishman," as he loved to term it – but is it a coincidence that the one East Anglian born of Cornish blood was the one who showed these strange qualities? The birth was accidental. The qualities throw back to the twilight of the world.
There are some authors from whom I shrink because they are so voluminous that I feel that, do what I may, I can never hope to be well read in their works. Therefore, and very weakly, I avoid them altogether. There is Balzac, for example, with his hundred odd volumes. I am told that some of them are masterpieces and the rest pot-boilers, but that no one is agreed which is which. Such an author makes an undue claim upon the little span of mortal years. Because he asks too much one is inclined to give him nothing at all. Dumas, too! I stand on the edge of him, and look at that huge crop, and content myself with a sample here and there. But no one could raise this objection to Borrow. A month's reading – even for a leisurely reader – will master all that he has written. There are "Lavengro," "The Bible in Spain," "Romany Rye," and, finally, if you wish to go further, "Wild Wales." Only four books – not much to found a great reputation upon – but, then, there are no other four books quite like them in the language.
He was a very strange man, bigoted, prejudiced, obstinate, inclined to be sulky, as wayward as a man could be. So far his catalogue of qualities does not seem to pick him as a winner. But he had one great and rare gift. He preserved through all his days a sense of the great wonder and mystery of life – the child sense which is so quickly dulled. Not only did he retain it himself, but he was word-master enough to make other people hark back to it also. As he writes you cannot help seeing through his eyes, and nothing which his eyes saw or his ear heard was ever dull or commonplace. It was all strange, mystic, with some deeper meaning struggling always to the light. If he chronicled his conversation with a washer-woman there was something arresting in the words he said, something singular in her reply. If he met a man in a public-house one felt, after reading his account, that one would wish to know more of that man. If he approached a town he saw and made you see – not a collection of commonplace houses or frowsy streets, but something very strange and wonderful, the winding river, the noble bridge, the old castle, the shadows of the dead. Every human being, every object, was not so much a thing in itself, as a symbol and reminder of the past. He looked through a man at that which the man represented. Was his name Welsh? Then in an instant the individual is forgotten and he is off, dragging you in his train, to ancient Britons, intrusive Saxons, unheard-of bards, Owen Glendower, mountain raiders and a thousand fascinating things. Or is it a Danish name? He leaves the individual in all his modern commonplace while he flies off to huge skulls at Hythe (in parenthesis I may remark that I have examined the said skulls with some care, and they seemed to me to be rather below the human average), to Vikings, Berserkers, Varangians, Harald Haardraada, and the innate wickedness of the Pope. To Borrow all roads lead to Rome.
But, my word, what English the fellow could write! What an organ-roll he could get into his sentences! How nervous and vital and vivid it all is!
There is music in every line of it if you have been blessed with an ear for the music of prose. Take the chapter in "Lavengro" of how the screaming horror came upon his spirit when he was encamped in the Dingle. The man who wrote that has caught the true mantle of Bunyan and Defoe. And, observe the art of it, under all the simplicity – notice, for example, the curious weird effect produced by the studied repetition of the word "dingle" coming ever round and round like the master-note in a chime. Or take the passage about Britain towards the end of "The Bible in Spain." I hate quoting from these masterpieces, if only for the very selfish reason that my poor setting cannot afford to show up brilliants. None the less, cost what it may, let me transcribe that one noble piece of impassioned prose –
"O England! long, long may it be ere the sun of thy glory sink beneath the wave of darkness! Though gloomy and portentous clouds are now gathering rapidly around thee, still, still may it please the Almighty to disperse them, and to grant thee a futurity longer in duration and still brighter in renown than thy past! Or, if thy doom be at hand, may that doom be a noble one, and worthy of her who has been styled the Old Queen of the waters! May thou sink, if thou dost sink, amidst blood and flame, with a mighty noise, causing more than one nation to participate in thy downfall! Of all fates, may it please the Lord to preserve thee from a disgraceful and a slow decay; becoming, ere extinct, a scorn and a mockery for those self-same foes who now, though they envy and abhor thee, still fear thee, nay even against their will, honour and respect thee…. Remove from thee the false prophets, who have seen vanity and divined lies; who have daubed thy wall with untempered mortar, that it may fall; who see visions of peace where there is no peace; who have strengthened the hands of the wicked, and made the heart of the righteous sad. Oh, do this, and fear not the result, for either shall thy end be a majestic and an enviable one; or God shall perpetuate thy reign upon the waters, thou Old Queen!"
Or take the fight with the Flaming Tinman. It's too long for quotation – but read it, read every word of it. Where in the language can you find a stronger, more condensed and more restrained narrative? I have seen with my own eyes many a noble fight, more than one international battle, where the best of two great countries have been pitted against each other – yet the second-hand impression of Borrow's description leaves a more vivid remembrance upon my mind than any of them. This is the real witchcraft of letters.
He was a great fighter himself. He has left a secure reputation in other than literary circles – circles which would have been amazed to learn that he was a writer of books. With his natural advantages, his six foot three of height and his staglike agility, he could hardly fail to be formidable. But he was a scientific sparrer as well, though he had, I have been told, a curious sprawling fashion of his own. And how his heart was in it – how he loved the fighting men! You remember his thumb-nail sketches of his heroes. If you don't I must quote one, and if you do you will be glad to read it again –
"There's Cribb, the Champion of England, and perhaps the best man in England; there he is, with his huge, massive figure, and face wonderfully like that of a lion. There is Belcher, the younger, not the mighty one, who is gone to his place, but the Teucer Belcher, the most scientific pugilist that ever entered a ring, only wanting strength to be I won't say what. He appears to walk before me now, as he did that evening, with his white hat, white great coat, thin genteel figure, springy step, and keen determined eye. Crosses him, what a contrast! Grim, savage Shelton, who has a civil word for nobody, and a hard blow for anybody. Hard! One blow given with the proper play of his athletic arm will unsense a giant. Yonder individual, who strolls about with his hands behind him, supporting his brown coat lappets, undersized, and who looks anything but what he is, is the king of the light-weights, so-called – Randall! The terrible Randall, who has Irish blood in his veins; not the better for that, nor the worse; and not far from him is his last antagonist, Ned Turner, who, though beaten by him, still thinks himself as good a man, in which he is, perhaps, right, for it was a near thing. But how shall I name them all? They were there by dozens, and all tremendous in their way. There was Bulldog Hudson, and fearless Scroggins, who beat the conqueror of Sam the Jew. There was Black Richmond – no, he was not there, but I knew him well; he was the most dangerous of blacks, even with a broken thigh. There was Purcell, who could never conquer until all seemed over with him. There was – what! shall I name thee last? Ay, why not? I believe that thou art the last of all that strong family still above the sod, where mayst thou long continue – true piece of English stuff – Tom of Bedford. Hail to thee, Tom of Bedford, or by whatever name it may please thee to be called, Spring or Winter! Hail to thee, six-foot Englishman of the brown eye, worthy to have carried a six-foot bow at Flodden, where England's yeomen triumphed over Scotland's King, his clans and chivalry. Hail to thee, last of English bruisers, after all the many victories which thou hast achieved – true English victories, unbought by yellow gold."
Those are words from the heart. Long may it be before we lose the fighting blood which has come to us from of old! In a world of peace we shall at last be able to root it from our natures. In a world which is armed to the teeth it is the last and only guarantee of our future. Neither our numbers, nor our wealth, nor the waters which guard us can hold us safe if once the old iron passes from our spirit. Barbarous, perhaps – but there are possibilities for barbarism, and none in this wide world for effeminacy.
Borrow's views of literature and of literary men were curious. Publisher and brother author, he hated them with a fine comprehensive hatred. In all his books I cannot recall a word of commendation to any living writer, nor has he posthumous praise for those of the generation immediately preceding. Southey, indeed, he commends with what most would regard as exaggerated warmth, but for the rest he who lived when Dickens, Thackeray, and Tennyson were all in their glorious prime, looks fixedly past them at some obscure Dane or forgotten Welshman. The reason was, I expect, that his proud soul was bitterly wounded by his own early failures and slow recognition. He knew himself to be a chief in the clan, and when the clan heeded him not he withdrew in haughty disdain. Look at his proud, sensitive face and you hold the key to his life.
Harking back and talking of pugilism, I recall an incident which gave me pleasure. A friend of mine read a pugilistic novel called "Rodney Stone" to a famous Australian prize-fighter, stretched upon a bed of mortal sickness. The dying gladiator listened with intent interest but keen, professional criticism to the combats of the novel. The reader had got to the point where the young amateur fights the brutal Berks. Berks is winded, but holds his adversary off with a stiff left arm. The amateur's second in the story, an old prize-fighter, shouts some advice to him as to how to deal with the situation. "That's right. By – he's got him!" yelled the stricken man in the bed. Who cares for critics after that?
You can see my own devotion to the ring in that trio of brown volumes which stand, appropriately enough, upon the flank of Borrow. They are the three volumes of "Pugilistica," given me years ago by my old friend, Robert Barr, a mine in which you can never pick for half an hour without striking it rich. Alas! for the horrible slang of those days, the vapid witless Corinthian talk, with its ogles and its fogles, its pointless jokes, its maddening habit of italicizing a word or two in every sentence. Even these stern and desperate encounters, fit sports for the men of Albuera and Waterloo, become dull and vulgar, in that dreadful jargon. You have to tum to Hazlitt's account of the encounter between the Gasman and the Bristol Bull, to feel the savage strength of it all. It is a hardened reader who does not wince even in print before that frightful right-hander which felled the giant, and left him in "red ruin" from eyebrow to jaw. But even if there be no Hazlitt present to describe such a combat it is a poor imagination which is not fired by the deeds of the humble heroes who lived once so vividly upon earth, and now only appeal to faithful ones in these little-read pages. They were picturesque creatures, men of great force of character and will, who reached the limits of human bravery and endurance. There is Jackson on the cover, gold upon brown, "gentleman Jackson," Jackson of the balustrade calf and the noble head, who wrote his name with an 88-pound weight dangling from his little finger.