The Romany Rye — Reading Notes

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Borrow, George, 1803-1881 Project Gutenberg 1996 Not confirmed
England -- Fiction; Adventure stories; Romanies -- Fiction Readers of public-domain and historical texts
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Words 166,985
Reading time 727 min
Text sections 13

The source record for The Romany Rye — Reading Notes measures this digital text at 166,985 words, 12 hr 7 min estimated reading time, and 13 detected text sections.

The text analysis averages about 28.5 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.

George Borrow's picaresque sequel follows a blacksmith-narrator through English byways, where the forging of a linch-pin and a counterfeit-note episode reveal a world of itinerant labor, disguise, and legal peril.
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Petulengro was making holes in the earth, at about twenty inches distant from each other, into which he inserted certain long rods with a considerable bend towards the top, which constituted no less than the timber of the tent, and the supporters of the canvas. Mrs. Petulengro, and a female with a crutch in her hand, whom I recognised as Mrs. Chikno, sat near him on the ground, whilst two or three children, from six to ten years old, who composed the young family of Mr. and Mrs. Petulengro, were playing about.

"Here we are, brother," said Mr. Petulengro, as he drove the sharp end of the bar into the ground; "here we are, and plenty of us--Bute dosta Romany chals."

"I am glad to see you all," said I; "and particularly you, madam," said I, making a bow to Mrs. Petulengro; "and you also, madam," taking off my hat to Mrs. Chikno.

"Good-day to you, sir," said Mrs. Petulengro; "you look, as usual, charmingly, and speak so, too; you have not forgot your manners."

"It is not all gold that glitters," said Mrs. Chikno. "However, good- morrow to you, young rye."

"I do not see Tawno," said I, looking around; "where is he?"

"Where, indeed!" said Mrs. Chikno; "I don't know; he who countenances him in the roving line can best answer."

"He will be here anon," said Mr. Petulengro; "he has merely ridden down a by-road to show a farmer a two-year-old colt; she heard me give him directions, but she can't be satisfied."

"I can't indeed," said Mrs. Chikno.

"And why not, sister?"

"Because I place no confidence in your words, brother; as I said before, you countenances him."

"Well," said I, "I know nothing of your private concerns; I am come on an errand. Isopel Berners, down in the dell there, requests the pleasure of Mr. and Mrs. Petulengro's company at breakfast. She will be happy also to see you, madam," said I, addressing Mrs. Chikno.

"Is that young female your wife, young man?" said Mrs. Chikno.

"Yes, young man; your wife, your lawful certificated wife?"

"No," said I; "she is not my wife."

"Then I will not visit with her," said Mrs. Chikno; "I countenance nothing in the roving line."

"What do you mean by the roving line?" I demanded.

"What do I mean by the roving line? Why, by it I mean such conduct as is not tatcheno. When ryes and rawnies live together in dingles, without being certificated, I call such behaviour being tolerably deep in the roving line, everything savouring of which I am determined not to sanctify. I have suffered too much by my own certificated husband's outbreaks in that line to afford anything of the kind the slightest shadow of countenance."

"It is hard that people may not live in dingles together without being suspected of doing wrong," said I.

"So it is," said Mrs. Petulengro, interposing; "and, to tell you the truth, I am altogether surprised at the illiberality of my sister's remarks. I have often heard say, that it is in good company--and I have kept good company in my time--that suspicion is king's evidence of a narrow and uncultivated mind; on which account I am suspicious of nobody, not even of my own husband, whom some people would think I have a right to be suspicious of, seeing that on his account I once refused a lord; but ask him whether I am suspicious of him, and whether I seek to keep him close tied to my apron-string; he will tell you nothing of the kind; but that, on the contrary, I always allows him an agreeable latitude, permitting him to go where he pleases, and to converse with any one to whose manner of speaking he may take a fancy. But I have had the advantage of keeping good company, and therefore--"

"Meklis," said Mrs. Chikno, "pray drop all that, sister; I believe I have kept as good company as yourself; and with respect to that offer with which you frequently fatigue those who keeps company with you, I believe, after all, it was something in the roving and uncertificated line."

"In whatever line it was," said Mrs. Petulengro, "the offer was a good one. The young duke--for he was not only a lord, but a duke too--offered to keep me a fine carriage, and to make me his second wife; for it is true that he had another who was old and stout, though mighty rich, and highly good-natured; so much so, indeed, that the young lord assured me that she would have no manner of objection to the arrangement; more especially if I would consent to live in the same house with her, being fond of young and cheerful society. So you see--"

"Yes, yes," said Mrs. Chikno, "I see, what I before thought, that it was altogether in the uncertificated line."

"Meklis," said Mrs. Petulengro; "I use your own word, madam, which is Romany: for my own part, I am not fond of using Romany words, unless I can hope to pass them off for French, which I cannot in the present company. I heartily wish that there was no such language, and do my best to keep it away from my children, lest the frequent use of it should altogether confirm them in low and vulgar habits. I have four children, madam, but--"

"I suppose by talking of your four children you wish to check me for having none," said Mrs. Chikno, bursting into tears; "if I have no children, sister, it is no fault of mine, it is--but why do I call you sister?" said she, angrily; "you are no sister of mine, you are a grasni, a regular mare--a pretty sister, indeed, ashamed of your own language. I remember well that by your high-flying notions you drove your own mother--"

"We will drop it," said Mrs. Petulengro; "I do not wish to raise my voice, and to make myself ridiculous. Young gentleman," said she, "pray present my compliments to Miss Isopel Berners, and inform her that I am very sorry that I cannot accept her polite invitation. I am just arrived, and have some slight domestic matters to see to--amongst others, to wash my children's faces; but that in the course of the forenoon, when I have attended to what I have to do, and have dressed myself, I hope to do myself the honour of paying her a regular visit; you will tell her that, with my compliments. With respect to my husband he can answer for himself, as I, not being of a jealous disposition, never interferes with his matters."

"And tell Miss Berners," said Mr. Petulengro, "that I shall be happy to wait upon her in company with my wife as soon as we are regularly settled: at present I have much on my hands, having not only to pitch my own tent, but this here jealous woman's, whose husband is absent on my business."

Thereupon I returned to the dingle, and, without saying anything about Mrs. Chikno's observations, communicated to Isopel the messages of Mr. and Mrs. Petulengro; Isopel made no other reply than by replacing in her coffer two additional cups and saucers, which, in expectation of company, she had placed upon the board. The kettle was by this time boiling. We sat down, and, as we breakfasted, I gave Isopel Berners another lesson in the Armenian language.

The Promised Visit--Roman Fashion--Wizard and Witch--Catching at Words--The Two Females--Dressing of Hair--The New Roads--Belle's Altered Appearance--Herself Again.

About mid-day Mr. and Mrs. Petulengro came to the dingle to pay the promised visit. Belle, at the time of their arrival, was in her tent, but I was at the fire-place, engaged in hammering part of the outer-tire, or defence, which had come off from one of the wheels of my vehicle. On perceiving them I forthwith went to receive them. Mr. Petulengro was dressed in Roman fashion, with a somewhat smartly-cut sporting-coat, the buttons of which were half-crowns--and a waistcoat, scarlet and black, the buttons of which were spaded half-guineas; his breeches were of a stuff half velveteen, half corduroy, the cords exceedingly broad. He had leggings of buff cloth, furred at the bottom; and upon his feet were highlows. Under his left arm was a long black whalebone riding-whip, with a red lash, and an immense silver knob. Upon his head was a hat with a high peak, somewhat of the kind which the Spaniards call _calane_, so much in favour with the bravos of Seville and Madrid. Now, when I have added that Mr. Petulengro had on a very fine white holland shirt, I think I have described his array. Mrs. Petulengro--I beg pardon for not having spoken of her first--was also arrayed very much in the Roman fashion. Her hair, which was exceedingly black and lustrous, fell in braids on either side of her head. In her ears were rings, with long drops of gold. Round her neck was a string of what seemed very much like very large pearls, somewhat tarnished, however, and apparently of considerable antiquity. "Here we are, brother," said Mr. Petulengro; "here we are, come to see you--wizard and witch, witch and wizard:--

"'There's a chovahanee, and a chovahano, The nav se len is Petulengro.'"

"Hold your tongue, sir," said Mrs. Petulengro; "you make me ashamed of you with your vulgar ditties. We are come a visiting now, and everything low should be left behind."

"True," said Mr. Petulengro; "why bring what's low to the dingle, which is low enough already?"

"What, are you a catcher at words?" said I. "I thought that catching at words had been confined to the pothouse farmers and village witty bodies."

"All fools," said Mrs. Petulengro, "catch at words, and very naturally, as by so doing they hope to prevent the possibility of rational conversation. Catching at words confined to pothouse farmers, and village witty bodies! No, not to Jasper Petulengro. Listen for an hour or two to the discourse of a set they call newspaper editors, and if you don't go out and eat grass, as a dog does when he is sick, I am no female woman. The young lord whose hand I refused when I took up with wise Jasper, once brought two of them to my mother's tan, when hankering after my company; they did nothing but carp at each other's words, and a pretty hand they made of it. Ill-favoured dogs they were; and their attempts at what they called wit almost as unfortunate as their countenances."

"Well," said I, "madam, we will drop all catchings and carpings for the present. Pray take your seat on this stool, whilst I go and announce to Miss Isopel Berners your arrival."

Thereupon I went to Belle's habitation, and informed her that Mr. and Mrs. Petulengro had paid us a visit of ceremony, and were awaiting her at the fire-place. "Pray go and tell them that I am busy," said Belle, who was engaged with her needle. "I do not feel disposed to take part in any such nonsense." "I shall do no such thing," said I; "and I insist upon your coming forthwith, and showing proper courtesy to your visitors. If you do not, their feelings will be hurt, and you are aware that I cannot bear that people's feelings should be outraged. Come this moment, or--" "Or what?" said Belle, half smiling. "I was about to say something in Armenian," said I. "Well," said Belle, laying down her work, "I will come." "Stay," said I; "your hair is hanging about your ears, and your dress is in disorder; you had better stay a minute or two to prepare yourself to appear before your visitors, who have come in their very best attire." "No," said Belle, "I will make no alteration in my appearance; you told me to come this moment, and you shall be obeyed." So Belle and I advanced towards our guests. As we drew nigh Mr. Petulengro took off his hat, and made a profound obeisance to Belle, whilst Mrs. Petulengro rose from the stool, and made a profound curtsey. Belle, who had flung her hair back over her shoulders, returned their salutations by bending her head, and after slightly glancing at Mr. Petulengro, fixed her large blue eyes full upon his wife. Both these females were very handsome--but how unlike! Belle fair, with blue eyes and flaxen hair; Mrs. Petulengro with olive complexion, eyes black, and hair dark--as dark as could be. Belle, in demeanour calm and proud; the gypsy graceful, but full of movement and agitation. And then how different were those two in stature! The head of the Romany rawnie scarcely ascended to the breast of Isopel Berners. I could see that Mrs. Petulengro gazed on Belle with unmixed admiration; so did her husband. "Well," said the latter, "one thing I will say, which is, that there is only one on earth worthy to stand up in front of this she, and that is the beauty of the world, as far as man flesh is concerned, Tawno Chikno; what a pity he did not come down!"

"Tawno Chikno," said Mrs. Petulengro, flaring up; "a pretty fellow he to stand up in front of this gentlewoman, a pity he didn't come, quotha? not at all, the fellow is a sneak, afraid of his wife. He stand up against this rawnie! why, the look she has given me would knock the fellow down."

"It is easier to knock him down with a look than with a fist," said Mr. Petulengro; "that is, if the look comes from a woman: not that I am disposed to doubt that this female gentlewoman is able to knock him down either one way or the other. I have heard of her often enough, and have seen her once or twice, though not so near as now. Well, ma'am, my wife and I are come to pay our respects to you; we are both glad to find that you have left off keeping company with Flaming Bosville, and have taken up with my pal; he is not very handsome, but a better--"

"I take up with your pal, as you call him! you had better mind what you say," said Isopel Berners, "I take up with nobody."

"I merely mean taking up your quarters with him," said Mr. Petulengro; "and I was only about to say a better fellow-lodger you cannot have, or a more instructive, especially if you have a desire to be inoculated with tongues, as he calls them. I wonder whether you and he have had any tongue-work already."

"Have you and your wife anything particular to say? if you have nothing but this kind of conversation I must leave you, as I am going to make a journey this afternoon, and should be getting ready."

"You must excuse my husband, madam," said Mrs. Petulengro, "he is not overburdened with understanding, and has said but one word of sense since he has been here, which was that we came to pay our respects to you. We have dressed ourselves in our best Roman way, in order to do honour to you; perhaps you do not like it; if so, I am sorry. I have no French clothes, madam; if I had any, madam, I would have come in them, in order to do you more honour."

"I like to see you much better as you are," said Belle; "people should keep to their own fashions, and yours is very pretty."

"I am glad you are pleased to think it so, madam; it has been admired in the great city; it created what they call a sensation; and some of the great ladies, the court ladies, imitated it, else I should not appear in it so often as I am accustomed; for I am not very fond of what is Roman, having an imagination that what is Roman is ungenteel; in fact, I once heard the wife of a rich citizen say that gypsies were vulgar creatures. I should have taken her saying very much to heart, but for her improper pronunciation; she could not pronounce her words, madam, which we gypsies, as they call us, usually can, so I thought she was no very high purchase. You are very beautiful, madam, though you are not dressed as I could wish to see you, and your hair is hanging down in sad confusion; allow me to assist you in arranging your hair, madam; I will dress it for you in our fashion; I would fain see how your hair would look in our poor gypsy fashion; pray allow me, madam?" and she took Belle by the hand.

"I really can do no such thing," said Belle, withdrawing her hand; "I thank you for coming to see me, but--"

"Do allow me to officiate upon your hair, madam," said Mrs. Petulengro. "I should esteem your allowing me a great mark of condescension. You are very beautiful, madam, and I think you doubly so, because you are so fair; I have a great esteem for persons with fair complexions and hair; I have a less regard for people with dark hair and complexions, madam."

"Then why did you turn off the lord, and take up with me?" said Mr. Petulengro; "that same lord was fair enough all about him."

"People do when they are young and silly what they sometimes repent of when they are of riper years and understandings. I sometimes think that had I not been something of a simpleton, I might at this time be a great court lady. Now, madam," said she, again taking Belle by the hand, "do oblige me by allowing me to plait your hair a little?"

"I have really a good mind to be angry with you," said Belle, giving Mrs. Petulengro a peculiar glance.

"Do allow her to arrange your hair," said I; "she means no harm, and wishes to do you honour; do oblige her and me too, for I should like to see how your hair would look dressed in her fashion."

"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. My sister Ursula would be very willing to oblige him in many things, but he will not ask for anything, except for such a favour as a word, which is a poor favour after all. I don't mean for her word; perhaps he will some day ask you for your word. If so--"

"Why, here you are, after railing at me for catching at words, catching at a word yourself," said Mr. Petulengro.

"Hold your tongue, sir," said Mrs. Petulengro. "Don't interrupt me in my discourse; if I caught at a word now, I am not in the habit of doing so. I am no conceited body; no newspaper Neddy; no pothouse witty person. I was about to say, madam, that if the young rye asks you at any time for your word, you will do as you deem convenient; but I am sure you will oblige him by allowing me to braid your hair."

"I shall not do it to oblige him," said Belle; "the young rye, as you call him, is nothing to me."

"Well, then, to oblige me," said Mrs. Petulengro; "do allow me to become your poor tire-woman."

"It is great nonsense," said Belle, reddening; "however, as you came to see me, and ask the matter as a particular favour to yourself--"

"Thank you, madam," said Mrs. Petulengro, leading Belle to the stool; "please to sit down here. Thank you; your hair is very beautiful, madam," she continued, as she proceeded to braid Belle's hair; "so is your countenance. Should you ever go to the great city, among the grand folks, you would make a sensation, madam. I have made one myself, who am dark; the chi she is kauley, which last word signifies black, which I am not, though rather dark. There is no colour like white, madam; it's so lasting, so genteel. Gentility will carry the day, madam, even with the young rye. He will ask words of the black lass, but beg the word of the fair."

In the meantime Mr. Petulengro and myself entered into conversation. "Any news stirring, Mr. Petulengro?" said I. "Have you heard anything of the great religious movements?"

The novel opens with a precise, almost documentary account of making a linch-pin: the narrator wakes at daybreak, lights a coal fire, and sets to work with bellows, tongs, and hammer in a damp dingle. The sound of his strokes echoes as Belle, a companion, retreats from a spark. This forging scene is not mere color—it establishes the narrator's practical craft and the physical texture of his wandering life. The postillion, meanwhile, sleeps so soundly that the narrator jokes he must be “descended from one of the seven sleepers.” The episode grounds the story in tangible labor and the rhythms of the road, where a broken wheel demands immediate, skilled repair.

The Dingle as Workshop and Stage

The dingle—a wooded hollow—functions as both a forge and a theatrical space. The narrator descends into it with a model linch-pin, and the scene is lit by fire, punctuated by hammer blows. Belle sits near the forge, smiling, until a spark drives her back. This interplay of work and observation recurs: the narrator is absorbed in his task, yet aware of her presence. The setting is not static; it shifts from the dank morning dingle to the field above, where the broken chaise waits. The cloud-stone, now cold and split, hints at a previous night's drama. Borrow uses the dingle as a contained arena where the narrator's skill and the social dynamics of the road are displayed.

Disguise and Unmasking in the Inn

A long inset narrative, told by a friend, pivots on a Quaker who produces a suspicious banknote. The Quaker's speech is “plausible,” his appearance “perfectly respectable,” yet the landlord and surgeon grow uneasy. The unmasking comes when a struggle knocks off the Quaker's wig, making him “lose some twenty years of his age.” His accomplice, a boy with a distinctive eye blemish, cries “Knock the fellow down, father.” The scene is a miniature drama of detection: a forged note, a disguised forger, and a sudden revelation. Borrow layers the episode with legal consequences—trial, condemnation, commutation to transportation—but the core is the theatrical unmasking, a motif that echoes the narrator's own encounters with identity and deception.

Movement Between Scenes: From Forge to Courtroom

The narrative shifts abruptly from the dingle's intimate labor to a crowded inn, then to a magistrate's hearing. The linch-pin episode is immediate, sensory, and solitary; the counterfeit story is retrospective, told by another voice, and crowded with characters—landlord, surgeon, Quaker, boy, guests. This structural contrast highlights Borrow's method: the narrator's first-person present gives way to embedded tales that expand the social world. The movement is not linear but associative, as one encounter leads to a story about a similar deception. The reader, like the narrator, must navigate between the concrete details of the road and the layered narratives that explain how he arrived there.

Recurring Images: Fire, Metal, and the Sleeping Body

Fire appears in multiple forms: the forge coals, the spark that lands on Belle's knee, the “cloud-stone” now cold. Metal is shaped, polished, and tested—the linch-pin is filed and oiled until it fits. The postillion's profound sleep, likened to the “seven sleepers,” contrasts with the narrator's early rising and active labor. These images recur with variations: later, a forged note is “pocketed” and examined, its falsity hidden like the Quaker's wig. Borrow ties physical forging to social forgery, and deep sleep to watchfulness. The reader is invited to notice how objects and bodies are transformed—iron into a pin, a wig into a disguise, a sleeper into a witness.

Readers attentive to Borrow's craft will find that the novel's structure—alternating between present action and embedded narrative—mirrors the itinerant life it depicts. The dingle, the inn, and the road are not just settings but stages for encounters that test identity and skill. Approach the text as a series of linked episodes, each with its own tempo and cast, and watch for the small, telling details—a spark, a wig, a linch-pin—that tie the whole together.

What stays with me from The Romany Rye is the liminal feel of travel—the road itself as a kind of suspended place, where identity loosens. Holding that, I found myself drifting toward A Voyage in a Balloon (1852) — Reading Companion, where the same suspended quality rises, though the ground is far below. It felt less like a new story than a continuation of that same quiet, unmoored pause.

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    Karen Holland - 1 month ago
    I struggled to finish this book. The plot is virtually nonexistent, and the constant rambling about languages and philosophers is tedious. The characters are flat, and the dialogue feels forced. Borrow's prose is needlessly complicated. It seems more like a self-indulgent journal than a novel. I can't recommend it to anyone who isn't a hardcore fan of Victorian literature.

  • ...
    Wendy John Bass - 2 weeks ago
    'The Romany Rye' is a splendid continuation of Borrow's travels. It's a rich tapestry of gypsy lore, language, and adventures. The author's unique voice and observations provide a fascinating glimpse into 19th-century England. The philosophical digressions might not be for everyone, but they add depth. If you enjoyed 'Lavengro', this is a must-read. It's an underrated gem that showcases Borrow's literary talent.

  • ...
    Andrew Williams - 2 weeks ago
    A sequel that delivers more of Borrow's distinctive mix of autobiography and fiction. The gypsy culture is interesting, but the narrative meanders and can be confusing. The pace is uneven, with some sections dragging. Still, if you're invested in the author's life, it's worth reading.


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