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Excerpt from Wild Wales: Its People, Language and Scenery, by George Borrow

INTRODUCTORY

Wales is a country interesting in many respects, and deserving of more
attention than it has hitherto met with. Though not very extensive, it
is one of the most picturesque countries in the world, a country in which
Nature displays herself in her wildest, boldest, and occasionally
loveliest forms. The inhabitants, who speak an ancient and peculiar
language, do not call this region Wales, nor themselves Welsh. They call
themselves Cymry or Cumry, and their country Cymru, or the land of the
Cumry. Wales or Wallia, however, is the true, proper, and without doubt
original name, as it relates not to any particular race, which at present
inhabits it, or may have sojourned in it at any long bygone period, but
to the country itself. Wales signifies a land of mountains, of vales, of
dingles, chasms, and springs. It is connected with the Cumbric bal, a
protuberance, a springing forth; with the Celtic beul or beal, a mouth;
with the old English welle, a fountain; with the original name of Italy,
still called by the Germans Welschland; with Balkan and Vulcan, both of
which signify a casting out, an eruption; with Welint or Wayland, the
name of the Anglo-Saxon god of the forge; with the Chaldee val, a forest,
and the German wald; with the English bluff, and the Sanscrit
palava—startling assertions, no doubt, at least to some; which are,
however, quite true, and which at some future time will be universally
acknowledged so to be.

But it is not for its scenery alone that Wales is deserving of being
visited; scenery soon palls unless it is associated with remarkable
events, and the names of remarkable men. Perhaps there is no country in
the whole world which has been the scene of events more stirring and
remarkable than those recorded in the history of Wales. What other
country has been the scene of a struggle so deadly, so embittered, and
protracted as that between the Cumro and the Saxon?—A struggle which did
not terminate at Caernarvon, when Edward Longshanks foisted his young son
upon the Welsh chieftains as Prince of Wales; but was kept up till the
battle of Bosworth Field, when a prince of Cumric blood won the crown of
fair Britain, verifying the olden word which had cheered the hearts of
the Ancient Britons for at least a thousand years, even in times of the
darkest distress and gloom:—

Explanation ​

Detailed Explanation of the Excerpt from Wild Wales by George Borrow ​

Context of the Source ​

Wild Wales: Its People, Language and Scenery (1862) is a travelogue by George Borrow (1803–1881), an English writer, linguist, and traveler known for his deep interest in languages, folklore, and the cultures of marginalized peoples. Borrow was a Romantic-era figure who admired the "wild" and "primitive" aspects of societies, particularly those resisting assimilation into modern (or, in his view, "Saxon-dominated") Britain. His works often blend travel narrative, philology (the study of language), and historical reflection.

Wild Wales documents Borrow’s journeys through Wales in the 1850s, where he explores its landscapes, people, and the Welsh language (Cymraeg). The Introductory section sets the tone for the book, presenting Wales as a land of natural beauty, linguistic uniqueness, and historical resistance—themes that Borrow develops throughout his work.

Themes in the Excerpt ​

  1. Wales as a Land of Natural Grandeur

    • Borrow opens by declaring Wales "one of the most picturesque countries in the world," emphasizing its wild, bold, and lovely landscapes.
    • He describes it as a place where "Nature displays herself in her wildest" forms—mountains, vales, dingles (wooded valleys), chasms, and springs. This Romantic idealization of untamed nature was common in 19th-century travel writing, contrasting with industrialized England.
    • The sublime (awe-inspiring, sometimes terrifying beauty) is implied in words like "boldest," "chasms," and "eruption," suggesting a land that is both alluring and formidable.

  2. Linguistic and Cultural Identity

    • Borrow highlights the Welsh language as a defining feature of the people, noting that they call themselves Cymry (plural of Cymro) and their land Cymru—not "Wales" or "Welsh," terms imposed by outsiders.
    • He engages in etymological speculation, linking "Wales" to ancient roots (Cumbric, Celtic, Old English, Sanskrit) to argue that the name predates any particular race and instead describes the land’s physical character ("land of mountains, vales, springs").
    • This linguistic focus reflects Borrow’s broader interest in preserving endangered languages and his belief that language encodes a people’s essence.

  3. Historical Struggle and Resistance

    • Borrow frames Wales as a site of epic conflict, particularly the "deadly, embittered, and protracted" struggle between the Cymry (Welsh) and the Saxons (English).
    • He references Edward I’s conquest (1282–1283), when the English king subjugated Welsh princes and named his son Prince of Wales (a title still held by the British heir apparent).
    • Crucially, he argues that the struggle did not end with Edward I but continued until Bosworth Field (1485), where Henry Tudor (Henry VII), a Welsh-descended monarch, claimed the English throne. This fulfills a prophecy ("the olden word") that sustained Welsh hope during centuries of oppression.
    • This narrative aligns with Borrow’s sympathy for oppressed cultures and his view of history as a clash between indigenous peoples and invaders.

  4. Myth, Prophecy, and National Destiny

    • The mention of the "olden word" (likely referring to Welsh prophecies like those of Merlin or Taliesin) suggests a messianic belief in a Welsh savior who would reclaim Britain.
    • Borrow presents this as a cultural touchstone—a story that kept Welsh identity alive even in "the darkest distress."
    • This ties into the Romantic nationalist idea that folklore and prophecy are vital to a people’s survival.

Literary Devices & Stylistic Features ​

  1. Etymological Digressions

    • Borrow’s linguistic explorations (e.g., linking Wales to bal, beul, welle, Vulcan, Wald) are not just scholarly but rhetorical—they serve to elevate Wales’ ancientness and uniqueness.
    • His claim that these connections "will be universally acknowledged" is prophetic and assertive, positioning him as an authority.

  2. Contrast & Juxtaposition

    • "Wildest, boldest, and occasionally loveliest" – The contrast between harshness and beauty captures the sublime quality of Wales.
    • "Scenery soon palls unless associated with remarkable events" – Borrow dismisses pure aesthetic tourism, arguing that history and struggle give meaning to landscapes.

  3. Historical Allusion & Dramatic Narrative

    • The references to Edward I, Bosworth Field, and Henry VII are selective but powerful, framing Welsh history as a triumph of persistence.
    • The phrase "foisted his young son upon the Welsh chieftains" is loaded with disdain, portraying English rule as illegitimate imposition.

  4. Apocalyptic & Prophetic Tone

    • The "olden word" that cheered the Welsh for "a thousand years" gives the passage a mythic, almost biblical weight.
    • Borrow’s style here is elevated and declarative, reinforcing the epic scale of Welsh history.

  5. Nationalist Undercurrent

    • While Borrow was English, his sympathy for the Welsh reflects Romantic-era admiration for "primitive" cultures resisting modernization.
    • His rejection of the term "Welsh" in favor of Cymry is a political statement, aligning with cultural preservationist views.

Significance of the Passage ​

  1. Romantic Travel Writing & the "Discovery" of Wales

    • Borrow’s work contributes to the 19th-century "invention" of Wales as a land of mystery and resistance, a counterpoint to industrial England.
    • His focus on language, folklore, and landscape influenced later Celtic Revival movements.

  2. Postcolonial & Anti-Imperialist Readings

    • Though Borrow was not a postcolonial theorist, his sympathy for the oppressed Cymry and his critique of Saxon (English) domination can be read as an early anti-colonial perspective.
    • His linguistic nationalism (valuing Welsh over imposed names) prefigures modern decolonization discourses.

  3. Historical & Cultural Legacy

    • The passage mythologizes Welsh history, particularly the struggle against England, which became a key narrative in Welsh nationalism.
    • Borrow’s etymological claims (some debated) reflect a Romantic-era fascination with deep history and the origins of nations.

  4. Literary Influence

    • Borrow’s blend of travelogue, philology, and history influenced later writers like Robert Louis Stevenson and Lafcadio Hearn.
    • His defense of marginalized languages foreshadows 20th-century linguistic revival movements (e.g., in Wales, Ireland, Brittany).

Close Reading of Key Lines ​

  1. "Wales signifies a land of mountains, of vales, of dingles, chasms, and springs."

    • The accumulation of natural features creates a vivid, almost overwhelming image of Wales as a land of extremes.
    • "Dingles" (a rare, poetic word for small valleys) adds to the archaic, mystical tone.

  2. "It is connected with the Cumbric bal, a protuberance, a springing forth..."

    • Borrow’s etymological chain is speculative but evocative, suggesting that the very name "Wales" encodes the land’s violent, eruptive geography.
    • The link to Vulcan (Roman god of fire) and Wayland (Saxon smith-god) implies a mythic, forge-like quality—Wales as a land shaped by fire and struggle.

  3. "A struggle which did not terminate at Caernarvon... but was kept up till the battle of Bosworth Field..."

    • This historical arc frames Welsh resistance as unbroken, culminating in Henry VII’s victory—a redemptive moment in Borrow’s narrative.
    • The prophecy’s fulfillment gives the passage a providential (divinely ordained) feel.

  4. "Even in times of the darkest distress and gloom."

    • The alliteration ("darkest distress") and gothic imagery ("gloom") reinforce the epic, almost tragic tone of Welsh history.

Conclusion: Why This Passage Matters ​

Borrow’s Introductory is not just a prelude to a travel book—it is a manifestation of Romantic nationalism, a defense of linguistic identity, and a reclamation of history. By presenting Wales as a land of wild beauty, ancient language, and unyielding resistance, he elevates it to mythic status, countering centuries of English marginalization.

His blend of philology, history, and poetic description makes the passage richly layered, appealing to:

  • Readers of travel literature (for its vivid landscapes),
  • Historians (for its interpretation of Welsh-English conflict),
  • Linguists (for its etymological theories),
  • Postcolonial scholars (for its themes of cultural survival).

Ultimately, Borrow’s Wales is not just a place, but a symbol—of nature’s power, language’s resilience, and a people’s refusal to be erased.