The Life of George Borrow [152]
it that the book will sell, which, after all, is the rub." He liked the sincerity, the style, the effect of incident piling on incident. It reminded him of Gil Blas with a touch of Bunyan. Borrow is "such a TRUMP . . . as full of meat as an egg, and a fresh-laid one." All this he tells John Murray, and concludes with the assurance, "Borrow will lay you golden eggs, and hatch them after the ways of Egypt; put salt on his tail and secure him in your coop, and beware how any poacher coaxes him with 'raisins' or reasons out of the Albemarle preserve." {349a}
Ford was never tired of applying new adjectives to Borrow and his work. He was "an extraordinary fellow," "this wild missionary," "a queer chap." Borrow, on the other hand, cherished a sincere regard for the man who had shown such enthusiasm for his work. To John Murray, Junr., he wrote (4th April 1843): "Pray remember me to Ford, who is no humbug and is one of the few beings that I care something about."
Throughout his correspondence with Borrow, Richard Ford showed a judgment and an appreciation of what the public would be likely to welcome that stamped him as a publishers' "reader" by instinct. Such advice as he gave to Borrow in the following letter set up a standard of what a book, such as Borrow had it in his power to write, actually should be. It unquestionably influenced Borrow:-
10th June 1842.
"My advice again and again is to avoid all fine writing, all descriptions of mere scenery and trivial events. What the world wants are racy, real, genuine scenes, and the more out of the way the better. Poetry is utterly to be avoided. If Apollo were to come down from Heaven, John Murray would not take his best manuscript as a gift. Stick to yourself, to what you have seen, and the people you have mixed with. The more you give us of odd Jewish people the better . . . Avoid WORDS, stick to DEEDS. Never think of how you express yourself; for good matter MUST tell, and no fine writing will make bad matter good. Don't be afraid that what YOU may not think good will not be thought so by others. It often happens just the reverse . . . New facts seen in new and strange countries will please everybody; but old scenery, even Cintra, will not. We know all about that, and want something that we do not know . . . The grand thing is to be bold and to avoid the common track of the silver paper, silver fork, blue-stocking. Give us adventure, wild adventure, journals, thirty language book, sorcery, Jews, Gentiles, rambles, and the INTERIOR of Spanish prisons--the way you get in, the way you get out. No author has yet given us a Spanish prison. Enter into the iniquities, the fees, the slang, etc. It will be a little a la Thurtell, but you see the people like to have it so. Avoid rant and cant. Dialogues always tell; they are dramatic and give an air of reality."
The Bible in Spain was published 10th December, and one of the first copies that reached him was inscribed by the author to "Ann Borrow. With her son's best love, 13th Decr. 1842."
From the critics there was praise and scarcely anything but praise. It was received as a work bearing the unmistakable stamp of genius. Lockhart himself reviewed it in The Quarterly Review, confessing the shame he felt at not having reviewed The Zincali. "Very good--very clever--very neatly done. Only one fault to find--too laudatory," was Borrow's comment upon this notice.
And through the clamour and din of it all, old Mrs Borrow wrote to her daughter-in-law telling her of the call of an old friend, whom she had not seen for twenty-eight years, and who had come to talk with her of the fame of her son, "the most remarkable man that Dereham ever produced. Capt. Girling is a man of few words, but when he DO speak it is to some purpose." Ford wrote also (he was always writing impulsive, boyish letters) telling how Borrow's name would "fill the trump of fame," and that "Murray is in high bone" about the book. Hasfeldt wrote, too, saying that he saw his "friend 'tall George,' wandering over the mountains
Ford was never tired of applying new adjectives to Borrow and his work. He was "an extraordinary fellow," "this wild missionary," "a queer chap." Borrow, on the other hand, cherished a sincere regard for the man who had shown such enthusiasm for his work. To John Murray, Junr., he wrote (4th April 1843): "Pray remember me to Ford, who is no humbug and is one of the few beings that I care something about."
Throughout his correspondence with Borrow, Richard Ford showed a judgment and an appreciation of what the public would be likely to welcome that stamped him as a publishers' "reader" by instinct. Such advice as he gave to Borrow in the following letter set up a standard of what a book, such as Borrow had it in his power to write, actually should be. It unquestionably influenced Borrow:-
10th June 1842.
"My advice again and again is to avoid all fine writing, all descriptions of mere scenery and trivial events. What the world wants are racy, real, genuine scenes, and the more out of the way the better. Poetry is utterly to be avoided. If Apollo were to come down from Heaven, John Murray would not take his best manuscript as a gift. Stick to yourself, to what you have seen, and the people you have mixed with. The more you give us of odd Jewish people the better . . . Avoid WORDS, stick to DEEDS. Never think of how you express yourself; for good matter MUST tell, and no fine writing will make bad matter good. Don't be afraid that what YOU may not think good will not be thought so by others. It often happens just the reverse . . . New facts seen in new and strange countries will please everybody; but old scenery, even Cintra, will not. We know all about that, and want something that we do not know . . . The grand thing is to be bold and to avoid the common track of the silver paper, silver fork, blue-stocking. Give us adventure, wild adventure, journals, thirty language book, sorcery, Jews, Gentiles, rambles, and the INTERIOR of Spanish prisons--the way you get in, the way you get out. No author has yet given us a Spanish prison. Enter into the iniquities, the fees, the slang, etc. It will be a little a la Thurtell, but you see the people like to have it so. Avoid rant and cant. Dialogues always tell; they are dramatic and give an air of reality."
The Bible in Spain was published 10th December, and one of the first copies that reached him was inscribed by the author to "Ann Borrow. With her son's best love, 13th Decr. 1842."
From the critics there was praise and scarcely anything but praise. It was received as a work bearing the unmistakable stamp of genius. Lockhart himself reviewed it in The Quarterly Review, confessing the shame he felt at not having reviewed The Zincali. "Very good--very clever--very neatly done. Only one fault to find--too laudatory," was Borrow's comment upon this notice.
And through the clamour and din of it all, old Mrs Borrow wrote to her daughter-in-law telling her of the call of an old friend, whom she had not seen for twenty-eight years, and who had come to talk with her of the fame of her son, "the most remarkable man that Dereham ever produced. Capt. Girling is a man of few words, but when he DO speak it is to some purpose." Ford wrote also (he was always writing impulsive, boyish letters) telling how Borrow's name would "fill the trump of fame," and that "Murray is in high bone" about the book. Hasfeldt wrote, too, saying that he saw his "friend 'tall George,' wandering over the mountains