Wild Wales: Its People, Language and Scenery — Inside the Classic

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In Category - Travel Narratives
Borrow, George, 1803-1881 Project Gutenberg 1996 Not confirmed
Wales -- Description and travel; Borrow, George, 1803-1881 -- Travel -- Wales Readers of public-domain and historical texts
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Edition facts

Words 240,976
Reading time 1048 min
Text sections 114

The source record for Wild Wales: Its People, Language and Scenery — Inside the Classic measures this digital text at 240,976 words, 17 hr 28 min estimated reading time, and 114 detected text sections.

The text analysis averages about 21.2 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 “Wales -- Description and travel,” connecting these edition facts with the source record’s subject description.

George Borrow's 1862 travel narrative combines detailed observations of Welsh landscapes, language, and customs with digressions on poetry, history, and personal encounters, revealing a tension between catalog subjects of travel and the author's idiosyncratic cultural commentary.
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a noble venerable pile, equal upon the whole in external appearance to the cathedrals of Toledo, Burgos and Leon, all of which I have seen. Nothing in architecture can be conceived more beautiful than the principal entrance, which fronts the west, and which, at the time we saw it, was gilded with the rays of the setting sun.

After having strolled about the edifice surveying it until we were weary, we returned to our inn, and after taking an excellent supper retired to rest.

At ten o’clock next morning we left the capital of the meads. With dragon speed, and dragon noise, fire, smoke, and fury, the train dashed along its road through beautiful meadows, garnished here and there with pollard sallows; over pretty streams, whose waters stole along imperceptibly; by venerable old churches, which I vowed I would take the first opportunity of visiting: stopping now and then to recruit its energies at places, whose old Anglo-Saxon names stared me in the eyes from station boards, as specimens of which, let me only dot down Willy Thorpe, Ringsted, and Yrthling Boro. Quite forgetting everything Welsh, I was enthusiastically Saxon the whole way from Medeshamsted to Blissworth, so thoroughly Saxon was the country, with its rich meads, its old churches and its names. After leaving Blissworth, a thoroughly Saxon place by-the-bye, as its name shows, signifying the stronghold or possession of Bligh or Blee, I became less Saxon; the country was rather less Saxon, and I caught occasionally the word “by” on a board, the Danish for a town; which “by” waked in me a considerable portion of Danish enthusiasm, of which I have plenty, and with reason, having translated the glorious Kæmpe Viser over the desk of my ancient master, the gentleman solicitor of East Anglia. At length we drew near the great workshop of England, called by some, Brummagem or Bromwicham, by others Birmingham, and I fell into a philological reverie, wondering which was the right name. Before, however, we came to the station, I decided that both names were right enough, but that Bromwicham was the original name; signifying the home on the broomie moor, which name it lost in polite parlance for Birmingham, or the home of the son of Biarmer, when a certain man of Danish blood, called Biarming, or the son of Biarmer, got possession of it, whether by force, fraud, or marriage—the latter, by-the-bye, is by far the best way of getting possession of an estate—this deponent neither knoweth nor careth. At Birmingham station I became a modern Englishman, enthusiastically proud of modern England’s science and energy; that station alone is enough to make one proud of being a modern Englishman. Oh, what an idea does that station, with its thousand trains dashing off in all directions, or arriving from all quarters, give of modern English science and energy. My modern English pride accompanied me all the way to Tipton; for all along the route there were wonderful evidences of English skill and enterprise; in chimneys high as cathedral spires, vomiting forth smoke, furnaces emitting flame and lava, and in the sound of gigantic hammers, wielded by steam, the Englishman’s slave. After passing Tipton, at which place one leaves the great working district behind; I became for a considerable time a yawning, listless Englishman, without pride, enthusiasm, or feeling of any kind, from which state I was suddenly roused by the sight of ruined edifices on the tops of hills. They were remains of castles built by Norman Barons. Here, perhaps, the reader will expect from me a burst of Norman enthusiasm: if so he will be mistaken; I have no Norman enthusiasm, and hate and abominate the name of Norman, for I have always associated that name with the deflowering of helpless Englishwomen, the plundering of English homesteads, and the tearing out of poor Englishmen’s eyes. The sight of those edifices, now in ruins, but which were once the strongholds of plunder, violence, and lust, made me almost ashamed of being an Englishman, for they brought to my mind the indignities to which poor English blood has been subjected. I sat silent and melancholy, till looking from the window I caught sight of a long line of hills, which I guessed to be the Welsh hills, as indeed they proved, which sight causing me to remember that I was bound for Wales, the land of the bard, made me cast all gloomy thoughts aside and glow with all the Welsh enthusiasm with which I glowed when I first started in the direction of Wales.

George Borrow's Wild Wales opens with an introductory etymology that immediately signals his preoccupation with language and origins: he argues that 'Wales' derives from a root meaning 'a land of mountains, of vales, of dingles, chasms, and springs,' linking it to words as varied as 'Balkan' and 'Vulcan.' This philological bent, rather than straightforward travelogue, shapes the narrative. The catalog subjects list 'Wales -- Description and travel' and 'Borrow -- Travel -- Wales,' but the excerpts show Borrow frequently interrupting his itinerary to recite Welsh poetry, debate innkeepers about ale, or moralize on social customs—as when he dismisses the old hospitality of great houses as encouraging 'vassalage, fawning and idleness.'

A Traveler Who Prefers Digression to Description

The excerpts reveal that Borrow's account is less a systematic description of Wales than a record of his own associative mind. At Chirk Castle, for instance, he quotes a stanza by Huw Morris about rivers of beer and mountains of bread, then launches into a critique of feudal dependency. The landscape itself often serves as a springboard for literary or historical commentary. When John Jones points out a 'Llun Cawr' (giant's figure), Borrow presses for details but receives none; the episode becomes a meditation on mortality after Jones remarks that the tall oaks 'would make fine chests for the dead.' The travel framework is present—he crosses bridges, walks hills, visits parks—but the narrative weight falls on his reactions and reflections.

The Role of Language and Local Knowledge

Borrow frequently highlights the Welsh language, both as a subject of study and as a marker of cultural identity. He notes that the inhabitants call themselves 'Cymry' and their country 'Cymru,' yet insists that 'Wales' is the 'true, proper, and without doubt original name.' His encounters with locals, like John Jones, are peppered with Welsh phrases and translations. Jones's remark about the oaks—'They would make fine chests for the dead, sir'—is delivered in English but carries a Welsh proverbial weight. Borrow's own linguistic competence allows him to quote poetry in the original, but the excerpts do not show him engaging in sustained conversation in Welsh; rather, he uses language as a lens for his own observations.

Moralizing and the Texture of Everyday Life

Borrow's narrative is punctuated by blunt judgments on the quality of ale, the behavior of the gentry, and the state of modern manners. At the inn, he declares the ale 'poorish' and wishes for 'an Act of Parliament to force people to brew good ale!' This impatience with mediocrity extends to social customs: he prefers to 'pay for one's dinner proudly and independently at one's inn' rather than 'cringe for it at a great man's table.' Such opinions give the text a personal, sometimes curmudgeonly tone. Yet these moments are balanced by lyrical descriptions—the deer with 'white antlers, like the barked top boughs of old pollards'—and by sudden shifts into melancholy, as when the thought of death intrudes on a sunny walk.

Readers approaching Wild Wales as a straightforward travel guide will find instead a deeply personal narrative in which the author's voice—learned, opinionated, and prone to digression—dominates the scenery. The catalog subjects accurately describe the book's content, but the excerpts suggest that Borrow's real interest lies in the interplay of language, history, and moral observation. Pay attention to the moments when he stops describing what he sees and begins arguing with what he encounters; those are the passages that define this work.

Reading Borrow’s Wild Wales, I kept noticing how he listened—really listened—to the people he met, letting their talk shape his wandering path. It reminded me of another journey, quieter and farther east, where a traveler does the same. Unbeaten Tracks in Japan — Themes and Context holds that same patient hush, a sense of place arriving through voices rather than vistas.

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