Borrow had a certain something of Mezzofanti’s prodigious memory for words, accompanied by the great Italian’s lack of philological science. It may be remembered in this connection that Mr. Thomas St. E. Hake in his reminiscences in _Notes and Queries_ of a relation of mine, the late Mr. James Orlando Watts, says that the learned recluse used to express a good deal of humorous contempt of Borrow’s “method of learning languages from dictionaries only,” without any grammatical knowledge. And these strictures, if we consider them, will explain much in regard to the philological disquisitions in “Lavengro,” “The Romany Rye,” and “Wild Wales,” where the knowledge is all “dictionary knowledge.” But it was not the shaky philology that caused “Wild Wales” to fall almost dead from the press. What, then, was the cause? It arose from the fact, as I hinted above, that “Wild Wales” belongs to a different kind of autobiographic narrative from “Lavengro” and “The Romany Rye,” and also, if the truth must be said, from “The Bible in Spain.” At the period when Borrow wrote this book the great and vigorous renascence of the Cymric idea, the new and deep interest that Welshmen are now taking in the preservation of the Welsh tongue, had not begun. That Borrow did not live to this day, when Welsh is much more spoken among the cultivated class than in his time, is to be lamented. With regard to this revival, whatever may become of it (whether the Welsh language can really be made to survive in the great linguistic struggle for life, which will be one of the principal features of the twentieth century), no one will deny that it is a language which from the poetic side as well as from the historic ought to survive. If I tread here upon dangerous ground, I may yet venture to say that one great obstacle against the spread of the Welsh language beyond Wales is the strange orthography. It is difficult for a person unacquainted with Welsh to believe that the sounds represented by such awkward arrangements of consonants as Welsh displays are otherwise than unmusical. And yet as a matter of fact those sounds are very musical. It may be remarked here that there is another language spoken in Europe which suffers from the same misfortune in regard to phonetics—the Magyar language. I have elsewhere in a novel, whose scene is partly laid in Hungary, made a character speak of the disappointment expressed by the traveller in Central Europe, when crossing the Austrian frontier into Hungary by rail, at the sight of the Hungarian names with which the stations become suddenly placarded. German is an ugly-looking language enough, but in this respect it is nothing to the Hungarian. And yet it would be hard to find in the whole of Europe a more musical tongue than that which is represented by the uncouth consonantal syllables. It is not a little striking too that between the Cymric race and the Magyar race there are