George Borrow: The Man and His BooksThomas, Edward
General
George Borrow: The Man and His Books
Thomas, Edward
Borrow, George, 1803-1881
"'You hear what the young rye says?' said Mrs. Petulengro. 'I am sure
you will oblige the young rye, if not myself. Many people would be
willing to oblige the young rye, if he would but ask them; but he is not
in the habit of asking favours. He has a nose of his own, which he keeps
tolerably exalted; he does not think small-beer of himself, madam; and
all the time I have been with him, I never heard him ask a favour before;
therefore, madam, I am sure you will oblige him.' . . ."
The men talk together, Jasper telling about the passing of the
"old-fashioned good-tempered constables," the advent of railways, and the
spoiling of road life.
". . . 'Now, madam,' said Mrs. Petulengro, 'I have braided your hair in
our fashion: you look very beautiful, madam; more beautiful, if possible,
than before.' Belle now rose, and came forward with her tire-woman. Mr.
Petulengro was loud in his applause, but I said nothing, for I did not
think Belle was improved in appearance by having submitted to the
ministry of Mrs. Petulengro's hand. Nature never intended Belle to
appear as a Gypsy; she had made her too proud and serious. A more proper
part for her was that of a heroine, a queenly heroine,--that of Theresa
of Hungary, for example; or, better still, that of Brynhilda the
Valkyrie, the beloved of Sigurd, the serpent-killer, who incurred the
curse of Odin, because, in the tumult of spears, she sided with the young
king, and doomed the old warrior to die, to whom Odin had promised
victory.
"Belle looked at me for a moment in silence; then turning to Mrs.
Petulengro, she said, 'You have had your will with me; are you
satisfied?' 'Quite so, madam,' said Mrs. Petulengro, 'and I hope you
will be so too, as soon as you have looked in the glass.' 'I have looked
in one already,' said Belle,' and the glass does not flatter.' . . ."
Here it is easy to notice how the uncolloquial and even ugly English does
not destroy the illusion of the scene, but entirely subserves it and
makes these two or three pages fine painter's work for richness and still
drama.
Public-domain text, read in full here on John Shaqi.
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