and
secondly to the seventeenth-century conviction of the profound
Machiavellism of Jesuitry."

But in "Lavengro" and "The Romany Rye" he is an intruder with a design of
turning these books into tracts. He is treated far more elaborately than
any other character except the author's, and with a massive man's
striving after subtlety. Moreover, Borrow has made it impossible to
ignore him or to cut him out, by interlacing him with every other
character in these two books. With sad persistency and naive ingenuity
he brings it about that every one shall see, or have seen in the past,
this terrible priest. Borrow's natural way of dealing with such a man
would be that of the converted pugilist who, on hearing of an atheist in
the vicinity, wanted to go and "knock the beggar down for Jesus' sake";
and a variation upon this would have been delightful and in harmony with
the rest of the book. But clever as the priest is, Borrow himself is
stronger, honester and cleverer, too. Of course, the priest leads him to
some good things. Above all, he leads to the incident of the
half-converted publican, who is being ruined by sherry and Popery. Borrow
pursuades him to take ale, which gives him the courage to give up
thoughts of conversion, and to turn on his enemies and re-establish
himself, to make a good business, become a churchwarden, and teach boxing
to the brewer's sons, because it is "a fine manly English art and a great
defence against Popery." It is at least a greater defence than Borrow's
pen, or deserves to be.

CHAPTER XXVI--"LAVENGRO" AND "THE ROMANY RYE": THE STYLE

The writing of the autobiography differs from that of "The Bible in
Spain." It is less flowing and more laboured. It has less movement and
buoyancy, but more delicacy and variety. It is a finer and more intimate
style, which over and over again distinguishes Borrow from the Victorian
pure and simple. The dialogue is finer; it is used less to disguise or
vary narrative, and more to reveal character and make dramatic effect;
and it is even lyrical at times. Borrow can be Victorian still. This
example is from the old man's history in "The Romany Rye":

"My mother had died about three years previously. I felt the death of my
mother keenly, but that of my father less than was my duty; indeed, truth
compels me to acknowledge that I scarcely regretted his death. The cause
of this want of proper filial feeling was the opposition which I had
ex