Lavengro: The Scholar, the Gypsy, the Priest — Edition Insights
Edition facts
Lavengro: The Scholar, the Gypsy, the Priest — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 232,904 words, 16 hr 53 min estimated reading time, and 19 detected text sections.
The text analysis averages about 24.8 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “England -- Fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
There was not the same public to welcome the Gypsy as had hailed the Colporteur. The pious phrases which had garnished so plentifully the earlier book had now almost wholly disappeared. There is no evidence that Lavengro ever offered Petulengro a Bible. Even the denunciations of Popery have a dubious sound. What is sometimes called 'the religious world' were no longer buyers of Borrow. Nor was 'the polite world' much better pleased. The polite reader was both puzzled and annoyed. First of all: Was the book true--autobiography or romance? A polite reader objects to be made a fool of. One De Foe in a couple of centuries is enough for a polite reader. Then the glorification of ale and of gypsies and prize-fighters--would it not be better at once to dub the book vulgar, and so have done with it for ever? An ill-regulated book, a strange book, a mad book, a book which condemns the world's way. If I may judge from the reviews, this is how _Lavengro_ struck many, but by no means all. The book had its passionate admirers, its lovers from the first. Men, women, and boys took it to their hearts. Happy day when _Lavengro_ first fell into boyish hands. It brought adventure and the spirit of adventure to your doorstep. No need painfully to walk to Hull, and there take shipping with Robinson Crusoe; no need to sail round the world with Captain Cook, or even to shoot lions in Bechuanaland with that prince of missionaries, Mr. Robert Moffat; for were there not gypsies on the common half a mile from one's homestead, and a dingle at the end of the lane? But the general verdict was, '"Lavengro" has gone too far.'
Borrow was not the man to whistle and let the world go by. His advice to his country men and women was: 'To be courteous to everybody as Lavengro was, but always independent like him, and if people meddle with them, to give them as good as they bring, even as he and Isopel Berners were in the habit of doing; and it will be as well for him to observe that he by no means advises women to be too womanly, but, bearing the conduct of Isopel Berners in mind, to take their own parts, and if anybody strikes them to strike again.'
This is not the spirit which is patient under reproof. Borrow was not going to be sentenced by the gentility party. He would fulfil his dukkeripen. _Lavengro_ having ended abruptly enough, Borrow took .up the tale where he had left it off; and though he kept his admirers on the tenter-hooks for six years, did at last in 1857 give to the world _The Romany Rye_, to which he added an Appendix. Ah! that Appendix! It is Borrow's Apologia, and therefore must be read. It is interesting and amusing, and is therefore easily read. But it is a cruel and outrageous bit of writing all the same, proving, were proof needed, that it is every whit as easy to be spiteful and envious in dells as in drawing-rooms, and as vain and egotistical on a Norfolk Broad as in Grosvenor Square. In this Appendix Borrow defends 'Lavengro,' both the book and the man, at some length, and with enormous spirit. At gentility in all its manifestations he runs amuck. The Stuarts have a chapter to themselves. Jacobites, old and new; Papists, old and new; and, alas! Sir Walter Scott as the father of 'Charley o'er the Waterism,' all fall by turn under the lash of Lavengro. The attack on the memory of Sir Walter is brutal. Not so, we may be sure, did Pearce, and Cribb, and Spring, and Big Ben Brain, and Broughton, heroes of renown, win name and fame in the brave days of old. They never struck a man when he was down, or gloated over a rival's fall. However, it will not do to get angry with George Borrow. One could never keep it up. Still, the Appendix is a pity.
George Borrow's Lavengro opens with a narrator who is both a scholar and a wanderer, a figure whose identity shifts between the three roles announced in the subtitle. The prose is deliberately unhurried, often meandering into philosophical asides or sudden recollections, as when the narrator, contemplating the Armenian's offer, muses on the virtue of patience and the possibility of a knock-down blow cementing friendship. This digressive quality, noted by Augustine Birrell in his introduction as part of Borrow's 'wayward fancy,' gives the narrative an improvisational feel, as if the reader is overhearing a private meditation.
The Unreliable Boundary Between Fact and Fiction
Birrell's introduction immediately foregrounds a central tension: whether characters like Isopel Berners are products of creative fancy or actual acquaintances. He writes that Borrow 'bewitches' rather than enthralls, and that 'reality and romance, though Borrow made them wear double harness, are not meant to be driven together.' This ambiguity is not a flaw but a deliberate structural feature. The narrator's internal debates—such as weighing the Armenian's offer against the indignity of cuffs—are rendered with such circumstantial detail that they feel like transcribed memory, yet the reader is never allowed to settle on a stable ground of fact. The text itself seems to resist classification, hovering between memoir, picaresque, and philosophical dialogue.
Commerce, Patience, and the Armenian Episode
The extended episode with the Armenian merchant reveals a recurring pattern: the narrator is drawn into schemes of commerce and self-advancement, only to recoil at their moral or physical costs. He imagines acquiring 'a colossal fortune' through 'the Armenian way of doing business,' then wakes 'in dreadful perplexity as to how I should dispose of it.' The Moldavian clerk, with his guttural monosyllables and sidelong motions, becomes a cipher for the dehumanizing routines of trade. Borrow's prose here is precise about physical gestures—the clerk 'motioned to me with his forefinger,' 'ensconced his head therein'—while the narrator's thoughts spiral into hypothetical violence ('I think I should, in the event of his cuffing me, knock the Armenian down'). This oscillation between pragmatic calculation and impulsive fantasy is characteristic of the narrator's voice.
Voice and the Art of Digression
Borrow's narrative voice is the book's most distinctive feature: it is conversational, self-interrupting, and prone to sudden shifts in register. In the space of a few paragraphs, the narrator moves from the 'feeling of the solitary half-crown' in his pocket to a meditation on the 'poetical' nature of Armenian commerce, then to a dream of fortune and perplexity. Birrell describes Borrow's books as 'carelessly written, impatient, petulant, in parts repellant,' yet 'full of the elixir of life.' This voice does not aim for smooth progression; it circles, doubles back, and leaps forward. The reader must accept the narrator's associative logic, which treats a knock-down blow as a potential 'cementer of friendship' and a clerk's silence as a meaningful gesture. The effect is that of a mind in motion, recording its own processes rather than a polished plot.
Readers approaching Lavengro should expect a work that resists easy categorization. The narrative rewards attention to its tonal shifts and recurring motifs—the solitary half-crown, the Armenian's cuffs, the clerk's silent gestures—rather than to a conventional story arc. Borrow's prose invites the reader to share in the narrator's uncertainties, making the act of reading itself a kind of wandering.
Reading Borrow’s wandering, conversational mind always feels a bit like sitting by a fire with someone who’s lived a dozen lives. There’s a particular wistfulness in how he clings to the gypsies’ fleeting world. It reminds me, oddly, of the quiet domestic choices in Miss Billy's Decision — Themes and Context — the way certain paths, once taken, shape us more than we know at the time.
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