Article #415-2 | Gutenberg Articles

Excerpt

Excerpt from The Bible in Spain, by George Borrow

It is very seldom that the preface of a work is read; indeed, of late
years, most books have been sent into the world without any. I deem it,
however, advisable to write a preface, and to this I humbly call the
attention of the courteous reader, as its perusal will not a little tend
to the proper understanding and appreciation of these volumes.

The work now offered to the public, and which is styled The Bible in
Spain, consists of a narrative of what occurred to me during a residence
in that country, to which I was sent by the Bible Society, as its agent
for the purpose of printing and circulating the Scriptures. It
comprehends, however, certain journeys and adventures in Portugal, and
leaves me at last in “the land of the Corahai,” to which region, after
having undergone considerable buffeting in Spain, I found it expedient to
retire for a season.

It is very probable that had I visited Spain from mere curiosity, or with
a view of passing a year or two agreeably, I should never have attempted
to give any detailed account of my proceedings, or of what I heard and
saw. I am no tourist, no writer of books of travels; but I went there on
a somewhat remarkable errand, which necessarily led me into strange
situations and positions, involved me in difficulties and perplexities,
and brought me into contact with people of all descriptions and grades;
so that, upon the whole, I flatter myself that a narrative of such a
pilgrimage may not be wholly uninteresting to the public, more especially
as the subject is not trite; for though various books have been published
about Spain, I believe that the present is the only one in existence
which treats of missionary labour in that country.

Explanation

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

1. Context of the Work

George Borrow’s The Bible in Spain (1843) is a travelogue and memoir recounting his experiences as an agent of the British and Foreign Bible Society in early 19th-century Spain (1835–1840). His mission was to distribute Protestant Bibles in a predominantly Catholic country, where such activities were often met with hostility. The book blends adventure, cultural observation, religious conflict, and personal reflection, making it a unique work in 19th-century travel literature.

Borrow was an unconventional figure—a linguist, writer, and fervent Protestant who often clashed with authorities and locals. His narrative is not a typical tourist account but rather a firsthand record of a dangerous and ideologically charged mission.

2. Breakdown of the Excerpt

A. The Prefatory Justification (First Paragraph)

"It is very seldom that the preface of a work is read; indeed, of late years, most books have been sent into the world without any. I deem it, however, advisable to write a preface, and to this I humbly call the attention of the courteous reader, as its perusal will not a little tend to the proper understanding and appreciation of these volumes."

Purpose of the Preface: Borrow acknowledges that prefaces are often skipped but insists on writing one because his book is not a conventional travelogue. He wants to frame his narrative before the reader begins, ensuring they understand its unusual nature.
- Tone: Humble yet assertive—he does not demand attention but "humbly" requests it, suggesting both modesty and confidence in his work’s value.
- Literary Device: Direct address ("courteous reader") creates intimacy, as if speaking personally to the audience.
Why This Matters: Borrow is defending his book’s existence before it is even read. He anticipates skepticism—perhaps because his mission was controversial (Protestantism in Catholic Spain) or because his adventures were so extraordinary that they might seem unbelievable.

B. The Nature of the Work (Second Paragraph)

"The work now offered to the public, and which is styled The Bible in Spain, consists of a narrative of what occurred to me during a residence in that country, to which I was sent by the Bible Society, as its agent for the purpose of printing and circulating the Scriptures. It comprehends, however, certain journeys and adventures in Portugal, and leaves me at last in 'the land of the Corahai,' to which region, after having undergone considerable buffeting in Spain, I found it expedient to retire for a season."

Mission Statement: Borrow clarifies that this is not fiction but a true account of his experiences as a Bible Society agent. His role was politically and religiously charged—distributing Protestant Bibles in a country where the Inquisition had only recently been abolished (1834).
- "Buffeting in Spain": Suggests persecution, struggle, and conflict—both physical and ideological.
- "Land of the Corahai": Likely a reference to the Gypsies (Romani people), whom Borrow admired and later wrote about in The Zincali (1841). His retreat to their company implies alienation from mainstream Spanish society.
Geographical Scope: While the title focuses on Spain, Borrow includes Portugal and his eventual exile among the Romani, broadening the narrative’s range.
Literary Device:
- Foreshadowing: The mention of "buffeting" and retreat hints at future conflicts in the narrative.
- Exoticism: The reference to the "Corahai" adds mystery, positioning Borrow as an outsider even among outsiders.

C. The Unconventional Traveler (Third Paragraph)

"It is very probable that had I visited Spain from mere curiosity, or with a view of passing a year or two agreeably, I should never have attempted to give any detailed account of my proceedings, or of what I heard and saw. I am no tourist, no writer of books of travels; but I went there on a somewhat remarkable errand, which necessarily led me into strange situations and positions, involved me in difficulties and perplexities, and brought me into contact with people of all descriptions and grades..."

Rejection of the "Tourist" Label: Borrow distances himself from typical travel writers (e.g., romanticized accounts of Spain by Lord Byron or Washington Irving). His journey was not for pleasure but for a religious and ideological mission.
- "Somewhat remarkable errand": Understatement (litotes)—his mission was dangerous and controversial.
- "Strange situations... difficulties and perplexities": Suggests adventure, conflict, and cultural clashes.
Social Breadth of the Narrative: He claims to have interacted with "people of all descriptions and grades", implying his account will offer a comprehensive, unfiltered view of Spanish society—from peasants to clergy to bandits.
Literary Device:
- Contrast: Borrow juxtaposes himself with "tourists" to emphasize his unique, gritty perspective.
- Hyperbole (exaggeration for effect): "All descriptions and grades" suggests an encyclopedic social observation, though in reality, his interactions were shaped by his missionary role.

D. The Book’s Unique Value (Final Sentence)

"...so that, upon the whole, I flatter myself that a narrative of such a pilgrimage may not be wholly uninteresting to the public, more especially as the subject is not trite; for though various books have been published about Spain, I believe that the present is the only one in existence which treats of missionary labour in that country."

Appeal to Originality: Borrow argues that his book fills a gap in literature—no other work documents Protestant missionary efforts in Spain. This was true; most British writings on Spain at the time were romantic travelogues or political analyses, not firsthand missionary accounts.
- "Pilgrimage": A loaded term—traditionally religious, but here it carries irony, as Borrow’s "holy" mission was met with hostility.
- "Not trite": His experiences were unprecedented, making his book novel and valuable.
Self-Deprecating Confidence:
- "I flatter myself": A modest way of saying he believes his work has merit.
- The claim of uniqueness is both a selling point and a challenge—he invites readers to judge for themselves.

3. Key Themes in the Excerpt

Religious Conflict & Missionary Zeal
- Borrow’s mission was radical for its time—attempting to spread Protestantism in a devoutly Catholic nation recently emerging from the Inquisition.
- His tone suggests pride in his defiance but also awareness of the risks.
The Outsider’s Perspective
- Borrow presents himself as neither a tourist nor a typical travel writer but a pilgrim in a hostile land.
- His eventual retreat to the Romani reinforces his marginalized status.
Adventure & Peril
- The excerpt hints at danger ("buffeting," "difficulties") without detailing it, creating suspense for the reader.
Cultural & Social Observation
- Unlike armchair travelers, Borrow claims direct, unfiltered access to Spanish life across all classes.
Literary Originality
- He positions his book as unique, distinct from the "trite" travelogues of his contemporaries.

4. Literary Devices & Style

Device	Example	Effect
Direct Address	"courteous reader"	Creates intimacy, as if Borrow is speaking personally to each reader.
Litotes (Understatement)	"somewhat remarkable errand"	Downplays the danger, making his mission seem both modest and extraordinary.
Foreshadowing	"considerable buffeting"	Hints at future conflicts without revealing them.
Contrast	"no tourist... remarkable errand"	Emphasizes his unconventional role compared to typical travelers.
Hyperbole	"people of all descriptions and grades"	Suggests a comprehensive (if exaggerated) social portrait.
Irony	"pilgrimage" (a holy journey, but one met with hostility)	Highlights the paradox of his mission.

5. Significance of the Excerpt

Historical Value: The book is a primary source on 19th-century Spain, offering insights into religious tensions, social structures, and the remnants of the Inquisition’s influence.
Literary Innovation: Borrow blends memoir, adventure, and ethnography, influencing later travel writers like Robert Louis Stevenson and Ernest Hemingway.
Cultural Clash: His narrative exposes the hostility between Protestantism and Catholicism in post-Inquisition Spain, as well as British perceptions of "exotic" Europe.
Autobiographical Defiance: Borrow’s unapologetic tone reflects his rebellious personality—he was a man who thrived in conflict, and his writing mirrors that spirit.

Conclusion: Why This Excerpt Matters

This preface is not just an introduction—it’s a manifestation of Borrow’s defiant, individualistic voice. He:

Challenges literary conventions by rejecting the "tourist" label.
Justifies his book’s existence by emphasizing its uniqueness.
Sets up expectations of adventure, conflict, and cultural depth.
Positions himself as an outsider, both in Spain and in the literary world.

The excerpt prepares the reader for a narrative that is part missionary log, part survival story, and part cultural critique—a work that defies easy categorization, much like Borrow himself. His writing is bold, opinionated, and unfiltered, making The Bible in Spain a fascinating blend of history, theology, and personal mythmaking.

Questions

Question 1

The preface’s opening sentence—"It is very seldom that the preface of a work is read; indeed, of late years, most books have been sent into the world without any"—primarily serves which of the following rhetorical functions?

A. To establish a paradoxical tension between the author’s acknowledgment of reader disinterest and his insistence on the preface’s necessity, thereby compelling engagement through inverse psychology.
B. To align the author with contemporary publishing trends by downplaying the importance of prefaces, thus positioning his own as an exception to a dying convention.
C. To critique the declining literary standards of his era, implying that modern books lack the depth or complexity that once warranted prefaces.
D. To signal the author’s modesty by conceding that his preface, like most, will likely be ignored, thereby softening the reader’s resistance to his subsequent assertions.
E. To create a meta-literary commentary on the act of reading itself, suggesting that the preface’s neglect mirrors the broader public’s indifference to substantive content.

Question 2

When Borrow states, "I am no tourist, no writer of books of travels; but I went there on a somewhat remarkable errand," the phrase "somewhat remarkable" is best understood as an example of which literary device, and to what effect?

A. Meiosis, to exaggerate the danger of his mission by presenting it as mundane, thereby heightening the irony of his understatement.
B. Litotes, to downplay the extraordinary nature of his mission while simultaneously drawing attention to its singularity through deliberate understatement.
C. Antiphrasis, to invert the expected meaning of "remarkable" and suggest that his errand was, in fact, entirely ordinary within the context of missionary work.
D. Synecdoche, to use a part ("somewhat remarkable") to represent the whole of his experiences, thereby encapsulating the mission’s complexity in a single phrase.
E. Zeugma, to yoke together the ideas of tourism and missionary work under a shared adjective, thereby emphasizing their fundamental incompatibility.

Question 3

The assertion that Borrow’s narrative "may not be wholly uninteresting to the public" is most accurately interpreted as an example of:

A. False modesty, wherein the author disingenuously deprecates his work to elicit reader sympathy and lower critical expectations.
B. Strategic self-deprecation, whereby the author employs litotes to imply confidence in his work’s value while ostensibly hedging his claim.
C. Rhetorical capitulation, in which the author preemptively concedes to potential detractors to neutralize their objections before they arise.
D. Epistemic humility, reflecting the author’s genuine uncertainty about the public’s reception due to the unconventional nature of his subject matter.
E. Satirical inversion, where the author mimics the language of modest disclaimers to subtly mock the conventions of travel writing he claims to reject.

Question 4

Which of the following best describes the relationship between Borrow’s claim that his book treats "missionary labour in that country" and his broader argument about the work’s originality?

A. The claim functions as a non sequitur, abruptly introducing a thematic element that disrupts the logical flow of his appeal to the reader’s interest.
B. It serves as a red herring, diverting attention from the adventurous aspects of his narrative to a more controversial religious focus.
C. The statement is an appeal to authority, implying that the Bible Society’s endorsement lends his work a credibility lacking in secular travelogues.
D. It acts as the linchpin of his argument for originality, positioning his work as uniquely filling a gap in the existing literature on Spain.
E. The phrase is an example of special pleading, wherein Borrow arbitrarily elevates the significance of his missionary status to justify his narrative’s idiosyncrasies.

Question 5

The passage’s closing sentence—"for though various books have been published about Spain, I believe that the present is the only one in existence which treats of missionary labour in that country"—primarily relies on which of the following persuasive strategies?

A. An appeal to scarcity, suggesting that the rarity of such works inherently enhances the value of his own.
B. An implicit challenge to the reader’s prior knowledge, assuming most will be unaware of the absence of similar texts and thus positioning his work as revelatory.
C. A false dilemma, framing the choice for readers as either accepting his unique account or rejecting all prior literature on Spain.
D. An ad hominem against unnamed competitors, dismissing other travel writers as inadequate by virtue of their secular focus.
E. A post hoc justification, retroactively ascribing significance to his mission based on the accidental absence of prior documentation rather than its intrinsic merit.

Solutions and Explanations

1) Correct answer: A

Why A is most correct: The opening sentence creates a paradoxical tension by acknowledging that prefaces are ignored ("very seldom read") while simultaneously insisting on its necessity ("I deem it advisable"). This inverse psychology—highlighting the very disinterest he seeks to overcome—serves as a rhetorical hook, compelling the reader to engage precisely because it has been framed as something they might skip. The self-aware irony ("courteous reader") further reinforces this dynamic, making A the most defensible interpretation of the passage’s strategic ambiguity.