Excerpt

Excerpt from The Bible in Spain, by George Borrow

Who was it said that “Cervantes sneered Spain’s chivalry away?” I know
not; and the author of such a line scarcely deserves to be remembered.
How the rage for scribbling tempts people at the present day to write
about lands and nations of which they know nothing, or worse than
nothing. Vaya! It is not from having seen a bull-fight at Seville or
Madrid, or having spent a handful of ounces at a posada in either of
those places, kept perhaps by a Genoese or a Frenchman, that you are
competent to write about such a people as the Spaniards, and to tell the
world how they think, how they speak, and how they act! Spain’s chivalry
sneered away! Why, there is every probability that the great body of the
Spanish nation speak, think, and live precisely as their forefathers did
six centuries ago.

In the evening the blacksmith, or, as he would be called in Spanish, El
Herrador, made his appearance at the door of Lopez on horseback. “Vamos,
Don Jorge,” he shouted. “Come with me, if your worship is disposed for a
ride. I am going to bathe my horse in the Tagus by the bridge of Azeca.”
I instantly saddled my jaca Cordovesa, and joining him, we rode out of
the village, directing our course across the plain towards the river.
“Did you ever see such a horse as this of mine, Don Jorge?” he demanded.
“Is he not a jewel—an alaja?” And in truth the horse was a noble and
gallant creature, in height at least sixteen hands, broad-chested, but of
clean and elegant limbs. His neck was superbly arched, and his head
towered on high like that of a swan. In colour he was a bright chestnut,
save his flowing mane and tail, which were almost black. I expressed my
admiration, whereupon the herrador, in high spirits, pressed his heels to
the creature’s sides, and flinging the bridle on its neck, speeded over
the plain with prodigious swiftness, shouting the old Spanish cry,
Cierra! I attempted to keep up with him, but had not a chance. “I call
him the flower of Spain,” said the herrador, rejoining me. “Purchase
him, Don Jorge, his price is but three thousand reals. {384} I would not
sell him for double that sum, but the Carlist thieves have their eyes
upon him, and I am apprehensive that they will some day make a dash
across the river and break into Villa Seca, all to get possession of my
horse, ‘The Flower of Spain.’”

It may be as well to observe here, that within a month from this period,
my friend the herrador, not being able to find a regular purchaser for
his steed, entered into negotiations with the aforesaid thieves
respecting him, and finally disposed of the animal to their leader,
receiving not the three thousand reals he demanded, but an entire herd of
horned cattle, probably driven from the plains of La Mancha. For this
transaction, which was neither more nor less than high treason, he was
cast into the prison of Toledo, where, however, he did not continue long;
for during a short visit to Villa Seca, which I made in the spring of the
following year, I found him alcalde of that “republic.”

---

Explanation

Detailed Explanation of the Excerpt from The Bible in Spain by George Borrow

Context of the Source

The Bible in Spain (1843) is a travelogue by George Borrow, an English traveler, writer, and philologist who journeyed through Spain during the turbulent First Carlist War (1833–1840). The book blends adventure, ethnography, and social commentary, offering a vivid (if sometimes romanticized) portrait of Spain’s culture, politics, and people. Borrow was deeply fascinated by Spanish language, folklore, and history, and his work reflects both admiration and frustration with the country’s traditions and contradictions.

This excerpt captures Borrow’s defense of Spanish chivalry and national character while also illustrating the pragmatic, sometimes morally ambiguous survival tactics of rural Spaniards during wartime.

---

Themes in the Excerpt

1. The Persistence of Spanish Chivalry and Tradition

   • Borrow vehemently rejects the idea (attributed to an unnamed writer) that Cervantes "sneered Spain’s chivalry away"—a reference to Don Quixote’s satire of medieval knightly ideals.
   • He argues that Spain’s chivalric spirit remains alive, particularly among the common people, who still embody the values of their ancestors.
   • The blacksmith (Herrador) and his prized horse, "The Flower of Spain," symbolize this enduring pride in nobility, strength, and honor, even in a decaying rural society.

2. Authenticity vs. Superficial Observations of Spain

   • Borrow criticizes armchair travelers and writers who claim expertise on Spain after brief, superficial visits (e.g., watching a bullfight or staying in a foreign-run inn).
   • His scorn for "scribblers" reflects his own self-positioning as a genuine observer—one who speaks Spanish fluently, lives among the people, and understands their customs.
   • This theme ties into Romantic-era debates about cultural authenticity and the dangers of Orientalism (or, in this case, "Hispanicism").

3. War, Survival, and Moral Flexibility

   • The Carlist War (a civil conflict between liberal supporters of Queen Isabella II and conservative Carlists) forms the backdrop.
   • The Herrador’s dilemma—selling his beloved horse to Carlist thieves—highlights the moral compromises rural Spaniards made to survive.
   • His imprisonment for treason (and later reinstatement as alcalde, or mayor) shows the fluidity of loyalty in wartime, where pragmatism often outweighs ideology.

4. The Idealization of the Spanish Horse

   • The horse as a symbol of Spanish pride:
     • Its physical description (tall, elegant, swan-like) evokes aristocratic grace, contrasting with the humble jaca (small Andalusian horse) Borrow rides.
     • The name "The Flower of Spain" suggests national beauty and vitality, yet its sale to enemies underscores decay and corruption.

---

Literary Devices & Stylistic Features

1. Direct Address & Rhetorical Questions

   • "Who was it said that ‘Cervantes sneered Spain’s chivalry away’? I know not; and the author of such a line scarcely deserves to be remembered."
     • Borrow dismisses his unnamed critic with contempt, positioning himself as the true authority on Spain.
   • "Spain’s chivalry sneered away! Why, there is every probability that the great body of the Spanish nation speak, think, and live precisely as their forefathers did six centuries ago."
     • The rhetorical question and exclamatory tone reinforce his passionate defense of Spanish tradition.

2. Vivid Imagery & Sensory Detail

   • The horse’s description is poetic and idealized:
     • "His neck was superbly arched, and his head towered on high like that of a swan."
     • "In colour he was a bright chestnut, save his flowing mane and tail, which were almost black."
     • This romanticized portrayal contrasts with the gritty reality of the Herrador’s later betrayal.

3. Irony & Dramatic Contrast

   • The Herrador’s initial pride in his horse ("Purchase him, Don Jorge, his price is but three thousand reals") is undermined when he later sells it to Carlist thieves for cattle.
   • His imprisonment for treason—followed by his reinstatement as alcalde—is darkly humorous, showing how war distorts justice and loyalty.

4. Spanish Language & Cultural Immersion

   • Borrow peppers the text with Spanish terms ("Vaya!" "Cierra!" "alaja," "jaca Cordovesa") to authenticate his narrative and immerse the reader.
   • The cry "¡Cierra!" (a traditional Spanish hunting call, meaning "Close in!") reinforces the chivalric, almost medieval atmosphere.

5. Foreshadowing & Narrative Irony

   • The Herrador’s warning ("the Carlist thieves have their eyes upon him") foreshadows his eventual sale of the horse.
   • The offhand remark ("It may be as well to observe here...") undercuts the romanticism with a cynical reality check.

---

Significance of the Passage

1. Borrow’s Romantic Nationalism vs. Realism

   • Borrow idealizes Spain’s past (chivalry, tradition) but also acknowledges its decay (corruption, wartime opportunism).
   • This duality reflects Romantic-era tensions between nostalgia for the past and recognition of modern decline.

2. Critique of Foreign Misrepresentations

   • His attack on "scribblers" is a meta-commentary on travel writing itself—Borrow positions himself as the authentic voice, unlike tourists who reduce Spain to stereotypes (bullfights, exoticism).

3. The Horse as a Metaphor for Spain

   • "The Flower of Spain" represents:
     • National pride (beauty, strength, heritage).
     • Vulnerability (sold to enemies, symbolizing Spain’s internal divisions).
     • Corruption (the Herrador’s treason reflects the moral flexibility of wartime survival).

4. Political & Social Commentary

   • The Carlist War was a struggle between traditionalism (Carlists) and liberalism (Isabellines).
   • The Herrador’s actions—selling to the enemy, then becoming mayor—show how local power structures shifted with the war’s chaos.
   • Borrow does not judge harshly; instead, he presents the complexity of human behavior in conflict.

---

Conclusion: A Microcosm of Borrow’s Spain

This excerpt encapsulates Borrow’s love-hate relationship with Spain:

• Admiration for its chivalric past, linguistic richness, and rural nobility.
• Frustration with its political instability, moral ambiguities, and foreign misrepresentations.

The Herrador’s story—from proud horseman to treasonous dealer to reinstated mayor—embodies the contradictions Borrow sees in Spain: a land of enduring tradition, yet constantly betrayed by its own people in times of crisis.

Ultimately, Borrow’s defense of Spanish chivalry is not just about knights and horses—it’s a defense of cultural identity against simplification, a theme that resonates in post-colonial and travel literature to this day.

---

Questions

Question 1

The narrator’s dismissal of the claim that “Cervantes sneered Spain’s chivalry away” primarily serves to:

A. Undermine the literary legacy of Cervantes as a satirist of Spanish culture.
B. Assert that the Spanish people have consciously rejected the values of their ancestors.
C. Suggest that chivalry in Spain has evolved into a more modern, pragmatic form.
D. Highlight the narrator’s own expertise as a more reliable interpreter of Spanish character.
E. Argue that the essence of Spanish chivalry persists despite external misrepresentations.

Question 2

The Herrador’s eventual sale of “The Flower of Spain” to the Carlist thieves can be most plausibly interpreted as an example of:

A. The inevitable triumph of materialism over idealism in times of war.
B. The pragmatic adaptation of traditional values to the exigencies of survival.
C. A deliberate rejection of Spanish chivalric ideals in favor of political expediency.
D. The narrator’s implicit critique of the Spanish people’s inherent dishonesty.
E. The futility of preserving cultural symbols in a society dominated by corruption.

Question 3

The narrator’s use of Spanish phrases such as “Vaya!” and “¡Cierra!” primarily functions to:

A. Emphasize the linguistic barriers that separate the narrator from the Spanish people.
B. Demonstrate the narrator’s fluency in Spanish as a means of asserting cultural authority.
C. Create an immersive atmosphere that reinforces the authenticity of the narrative.
D. Highlight the contrast between the narrator’s educated perspective and the rustic speech of the Herrador.
E. Undermine the seriousness of the narrative by introducing colloquial, informal language.

Question 4

The Herrador’s reinstatement as alcalde of Villa Seca after his imprisonment for treason most strongly suggests that:

A. The Spanish legal system is fundamentally corrupt and easily manipulated.
B. The narrator’s account of the Herrador’s actions is unreliable and exaggerated.
C. The Carlist War has rendered traditional notions of justice irrelevant.
D. Local communities prioritize practical leadership over strict moral integrity.
E. The Herrador’s initial sale of the horse was a calculated move to gain political power.

Question 5

The description of “The Flower of Spain” as a horse with “his neck superbly arched, and his head towered on high like that of a swan” is most effectively read as:

A. A literal depiction of the horse’s physical attributes, intended to convey its market value.
B. An ironic contrast to the Herrador’s later betrayal, emphasizing the gap between ideal and reality.
C. A symbolic representation of the enduring, if fragile, nobility of Spanish tradition.
D. A critique of the Spanish obsession with outward appearances over substantive virtues.
E. An example of the narrator’s tendency to romanticize Spanish culture at the expense of accuracy.

Solutions and Explanations

1) Correct answer: E

Why E is most correct: The narrator’s rejection of the claim that “Cervantes sneered Spain’s chivalry away” is rooted in his argument that Spanish chivalry persists in the present day, despite external misrepresentations (such as those by superficial travelers or writers). The passage emphasizes that the Spanish people continue to “speak, think, and live precisely as their forefathers did six centuries ago,” suggesting that the essence of chivalry remains intact beneath surface-level changes or critiques. This aligns with E’s focus on persistence despite misrepresentations.

Why the distractors are less supported:

• A: The narrator does not undermine Cervantes’ legacy; he disputes a specific interpretation of Cervantes’ impact on Spanish chivalry.
• B: The passage argues the opposite—that the Spanish people have not rejected their ancestors’ values.
• C: There is no suggestion that chivalry has evolved into a “modern, pragmatic form”; the narrator insists it remains largely unchanged.
• D: While the narrator does assert his own expertise, this is not the primary purpose of the dismissal; it is a secondary effect of his broader argument about chivalry’s persistence.

2) Correct answer: B

Why B is most correct: The Herrador’s sale of his prized horse to the Carlist thieves is framed as a pragmatic act of survival rather than an ideological rejection of chivalry. The passage notes that he was “apprehensive” the thieves would steal the horse, implying his sale was a preemptive measure to protect his interests while navigating the chaos of war. His later reinstatement as alcalde further suggests that traditional values (like leadership) adapt to circumstances rather than being abandoned. This aligns with B’s emphasis on pragmatic adaptation.

Why the distractors are less supported:

• A: While materialism plays a role, the passage does not frame this as a “triumph” of materialism over idealism; the Herrador still values the horse’s symbolic importance.
• C: There is no evidence the Herrador rejects chivalric ideals; his actions are situational, not ideological.
• D: The narrator does not critique the Spanish people’s dishonesty; he presents the Herrador’s actions as a complex response to war, not a moral failing.
• E: The passage does not suggest the sale renders cultural symbols futile; the horse’s symbolic value persists even after the transaction.

3) Correct answer: C

Why C is most correct: The narrator’s use of Spanish phrases like “Vaya!” and “¡Cierra!” serves to immerse the reader in the cultural and linguistic environment of Spain. These phrases are not merely decorative; they reinforce the authenticity of the narrative by grounding it in the actual speech and customs of the people described. This aligns with C’s focus on creating an authentic atmosphere.

Why the distractors are less supported:

• A: The phrases do not emphasize linguistic barriers; the narrator is clearly fluent and integrated.
• B: While fluency is demonstrated, the primary purpose is not to assert authority but to enhance verisimilitude.
• D: There is no contrast drawn between the narrator’s speech and the Herrador’s; both use Spanish naturally.
• E: The phrases do not undermine the narrative’s seriousness; they contribute to its cultural richness.

4) Correct answer: D

Why D is most correct: The Herrador’s reinstatement as alcalde after imprisonment for treason suggests that local communities value practical leadership over rigid moral standards, especially in wartime. The passage does not condemn this; instead, it presents it as a realistic adaptation to the chaos of the Carlist War. This aligns with D’s focus on prioritizing practical leadership.

Why the distractors are less supported:

• A: While corruption may exist, the passage does not frame this as a systemic failure of justice; it is a local, pragmatic decision.
• B: There is no indication the narrator’s account is unreliable; the reinstatement is presented as factual.
• C: The passage does not suggest traditional justice is irrelevant; rather, it shows how traditions adapt to extraordinary circumstances.
• E: The sale is not framed as a calculated political move; it is a reactive measure to protect the horse and himself.

5) Correct answer: C

Why C is most correct: The description of “The Flower of Spain” as a horse with swan-like elegance is highly symbolic, representing the enduring nobility of Spanish tradition. However, the horse’s eventual sale to the Carlist thieves introduces a fragility to this nobility, suggesting that while the ideal persists, it is vulnerable to the realities of war and survival. This aligns with C’s interpretation of the horse as a symbol of enduring yet fragile tradition.

Why the distractors are less supported:

• A: The description is not merely literal; its poetic quality elevates the horse to a symbolic status.
• B: While the contrast between ideal and reality exists, the primary function of the description is symbolic representation, not irony.
• D: The passage does not critique Spanish obsession with appearances; the horse’s beauty is celebrated, not condemned.
• E: The narrator does not romanticize at the expense of accuracy; the later sale of the horse grounds the idealism in reality.