This is already pure Borrow, with a vigour excusing if not quite transmuting its rant. He creates a sort of hero in his own image, and it should be read as an introduction and invocation to "Lavengro" and "The Romany Rye." It is one of the few contemporary records of Borrow at about the age when he wrote "Celebrated Trials," made horse-shoes and fought the Blazing Tinman. So far as I know, it was more than ten years before he wrote anything so good again, and he never wrote anything better in verse, unless it is the song of the "genuine old English gentleman," in the twenty-fourth chapter of "Lavengro": "Give me the haunch of a buck to eat, and to drink Madeira old, And a gentle wife to rest with, and in my arms to fold, An Arabic book to study, a Norfolk cob to ride, And a house to live in shaded with trees, and near to a river side; With such good things around me, and blessed with good health withal, Though I should live for a hundred years, for death I would not call." The only other verse of his which can be remembered for any good reason is this song from the Romany, included among the translations from thirty languages and dialects which he published, in 1835, with the title of "Targum," and the appropriate motto: "The raven has ascended to the nest of the nightingale." The Gypsy verses are as follows: The strength of the ox, The wit of the fox, And the leveret's speed,-- Full oft to oppose To their numerous foes, The Rommany need. Our horses they take, Our waggons they break, And ourselves they seize, In their prisons to coop, Where we pine and droop, For want of breeze. When the dead swallow The fly shall follow O'er Burra-panee, Then we will forget The wrongs we have met And forgiving be. It will not be necessary to say anything more about Borrow's verses. Poetry for him was above all declamatory sentiment or wild narrative, and so he never wrote, and perhaps never cared much for poetry, except ballads and his contemporary Byron. He desired, as he said in the note to "Romantic Ballads," not the merely harmonious but the grand, and he condemned the modern muse for "the violent desire to be smooth and tuneful, forgetting that smoothness and tunefulness are nearly synonymous with tameness and unmeaningness." He once said of Keats: "They are attempting to resuscitate him, I believe." He regarded Wordsworth as a soporific merely. CHAPTER XII--LONDON