Transcribed from the 1882 Houghton, Mifflin and Company edition by David Price, ccx074@pglaf.org

THE GYPSIES

BY
CHARLES G. LELAND

author of “THE ENGLISH GYPSIES AND THEIR LANGUAGE,” “ANGLO-ROMANY BALLADS,” “HANS BREITMANN’S BALLADS,” etc.

BOSTON AND NEW YORK
HOUGHTON, MIFFLIN AND COMPANY
The Riverside Press, Cambridge

PREFACE.

The reader will find in this book sketches of experiences among gypsies of different nations by one who speaks their language and is conversant with their ways. These embrace descriptions of the justly famed musical gypsies of St. Petersburg and Moscow, by whom the writer was received literally as a brother; of the Austrian gypsies, especially those composing the first Romany orchestra of that country, selected by Liszt, and who played for their friend as they declared they had never played before for any man; and also of the English, Welsh, Oriental, and American brethren of the dark blood and the tents. I believe that the account of interviews with American gypsies will possess at least the charm of novelty, but little having as yet been written on this extensive and very interesting branch of our nomadic population. To these I have added a characteristic letter in the gypsy language, with translation by a lady, legendary stories, poems, and finally the substance of two papers, one of which I read before the British Philological Society, and the other before

the Oriental Congress at Florence, in 1878. Those who study ethnology will be interested to learn from these papers, subsequently combined in an article in the “Saturday Review,” that I have definitely determined the existence in India of a peculiar tribe of gypsies, who are par eminence the Romanys of the East, and whose language is there what it is in England, the same in vocabulary, and the chief slang of the roads. This I claim as a discovery, having learned it from a Hindoo who had been himself a gypsy in his native land. Many writers have suggested the Jats, Banjars, and others as probable ancestors or type-givers of the race; but the existence of the Rom himself in India, bearing the distinctive name of Rom, has never before been set forth in any book or by any other writer. I have also given what may in reason be regarded as settling the immensely disputed origin of the word “Zingan,” by the gypsies’ own account of its etymology, which was beyond all question brought by them from India.

In addition to this I have given in a chapter certain conversations with men of note, such as Thomas Carlyle, Lord Lytton, Mr. Roebuck, and others, on gypsies; an account of the first and family names and personal characteristics of English and American Romanys, prepared for me by a very famous old gypsy; and finally a chapter on the “Shelta Thari,” or Tinkers’ Language, a very curious jargon or language, never mentioned before by any writer except Shakespeare. What this tongue may be, beyond the

fact that it is purely Celtic, and that it does not seem to be identical with any other Celtic dialect, is unknown to me. I class it with the gypsy, because all who speak it are also acquainted with Romany.

For an attempt to set forth the tone or feeling in which the sketches are conceived, I refer the reader to the Introduction.

When I published my “English Gypsies and their Language,” a reviewer declared that I “had added nothing to our” (that is, his) “knowledge on the subject.” As it is always pleasant to meet with a man of superior information, I said nothing. And as I had carefully read everything ever printed on the Romany, and had given a very respectable collection of what was new to me as well as to all my Romany rye colleagues in Europe, I could only grieve to think that such treasures of learning should thus remain hidden in the brain of one who had never at any time or in any other way manifested the possession of any remarkable knowledge. Nobody can tell in this world what others may know, but I modestly suggest that what I have set forth in this work, on the origin of the gypsies, though it may be known to the reviewer in question, has at least never been set before the public by anybody but myself, and that it deserves further investigation. No account of the tribes of the East mentions the Rom or Trablūs, and yet I have personally met with and thoroughly examined one of them. In like manner, the “Shelta Thari” has remained till the present day entirely

unknown to all writers on either the languages or the nomadic people of Great Britain. If we are so ignorant of the wanderers among us, and at our very doors, it is not remarkable that we should be ignorant of those of India.

INTRODUCTION.

I have frequently been asked, “Why do you take an interest in gypsies?”

And it is not so easy to answer. Why, indeed? In Spain one who has been fascinated by them is called one of the aficion, or affection, or “fancy;” he is an aficionado, or affected unto them, and people there know perfectly what it means, for every Spaniard is at heart a Bohemian. He feels what a charm there is in a wandering life, in camping in lonely places, under old chestnut-trees, near towering cliffs, al pasar del arroyo, by the rivulets among the rocks. He thinks of the wine skin and wheaten cake when one was hungry on the road, of the mules and tinkling bells, the fire by night, and the cigarito, smoked till he fell asleep. Then he remembers the gypsies who came to the camp, and the black-eyed girl who told him his fortune, and all that followed in the rosy dawn and ever onward into starry night.

“Y se alegre el alma llena
De la luz de esos luceros.”

And his heart is filled with rapture
At the light of those lights above.

This man understands it. So, too, does many an Englishman. But I cannot tell you why. Why do I love to wander on the roads to hear the birds; to

see old church towers afar, rising over fringes of forest, a river and a bridge in the foreground, and an ancient castle beyond, with a modern village springing up about it, just as at the foot of the burg there lies the falling trunk of an old tree, around which weeds and flowers are springing up, nourished by its decay? Why love these better than pictures, and with a more than fine-art feeling? Because on the roads, among such scenes, between the hedge-rows and by the river, I find the wanderers who properly inhabit not the houses but the scene, not a part but the whole. These are the gypsies, who live like the birds and hares, not of the house-born or the town-bred, but free and at home only with nature.

I am at some pleasant watering-place, no matter where. Let it be Torquay, or Ilfracombe, or Aberystwith, or Bath, or Bournemouth, or Hastings. I find out what old churches, castles, towns, towers, manors, lakes, forests, fairy-wells, or other charms of England lie within twenty miles. Then I take my staff and sketch-book, and set out on my day’s pilgrimage. In the distance lie the lines of the shining sea, with ships sailing to unknown lands. Those who live in them are the Bohemians of the sea, homing while roaming, sleeping as they go, even as gypsies dwell on wheels. And if you look wistfully at these ships far off and out at sea with the sun upon their sails, and wonder what quaint mysteries of life they hide, verily you are not far from being affected or elected unto the Romany. And if, when you see the wild birds on the wing, wending their way to the South, and wish that you could fly with them,—anywhere, anywhere over the world and into adventure,—then you are not far in spirit from the

kingdom of Bohemia and its seven castles, in the deep windows of which Æolian wind-harps sing forever.

Now, as you wander along, it may be that in the wood and by some grassy nook you will hear voices, and see the gleam of a red garment, and then find a man of the roads, with dusky wife and child. You speak one word, “Sarishan!” and you are introduced. These people are like birds and bees, they belong to out-of-doors and nature. If you can chirp or buzz a little in their language and know their ways, you will find out, as you sit in the forest, why he who loves green bushes and mossy rocks is glad to fly from cities, and likes to be free of the joyous citizenship of the roads, and everywhere at home in such boon company.

When I have been a stranger in a strange town, I have never gone out for a long walk without knowing that the chances were that I should meet within an hour some wanderer with whom I should have in common certain acquaintances. These be indeed humble folk, but with nature and summer walks they make me at home. In merrie England I could nowhere be a stranger if I would, and that with people who cannot read; and the English-born Romany rye, or gentleman speaking gypsy, would in like manner be everywhere at home in America. There was a gypsy family always roaming between Windsor and London, and the first words taught to their youngest child were “Romany rye!” and these it was trained to address to me. The little tot came up to me,—I had never heard her speak before,—a little brown-faced, black-eyed thing, and said, “How-do, Omany ’eye?” and great was the triumph and rejoicing and laughter

of the mother and father and all the little tribe. To be familiar with these wanderers, who live by dale and down, is like having the bees come to you, as they did to the Dacian damsel, whose death they mourned; it is like the attraction of the wild deer to the fair Genevieve; or if you know them to be dangerous outlaws, as some are, it is like the affection of serpents and other wild things for those whom nature has made their friends, and who handle them without fear. They are human, but in their lives they are between man as he lives in houses and the bee and bird and fox, and I cannot help believing that those who have no sympathy with them have none for the forest and road, and cannot be rightly familiar with the witchery of wood and wold. There are many ladies and gentlemen who can well-nigh die of a sunset, and be enraptured with “bits” of color, and captured with scenes, and to whom all out-of-doors is as perfect as though it were painted by Millais, yet to whom the bee and bird and gypsy and red Indian ever remain in their true inner life strangers. And just as strange to them, in one sense, are the scenes in which these creatures dwell; for those who see in them only pictures, though they be by Claude and Turner, can never behold in them the fairy-land of childhood. Only in Ruysdael and Salvator Rosa and the great unconscious artists lurks the spell of the Romany, and this spell is unfelt by Mr. Cimabue Brown. The child and the gypsy have no words in which to express their sense of nature and its charm, but they have this sense, and there are very, very few who, acquiring culture, retain it. And it is gradually disappearing from the world, just as the old delicately sensuous, naïve, picturesque

type of woman’s beauty—the perfection of natural beauty—is rapidly vanishing in every country, and being replaced by the mingled real and unreal attractiveness of “cleverness,” intellect, and fashion. No doubt the newer tend to higher forms of culture, but it is not without pain that he who has been “in the spirit” in the old Sabbath of the soul, and in its quiet, solemn sunset, sees it all vanishing. It will all be gone in a few years. I doubt very much whether it will be possible for the most unaffectedly natural writer to preserve any of its hieroglyphics for future Champollions of sentiment to interpret. In the coming days, when man shall have developed new senses, and when the blessed sun himself shall perhaps have been supplanted by some tremendous electrical light, and the moon be expunged altogether as interfering with the new arrangements for gravity, there will doubtless be a new poetry, and art become to the very last degree self-conscious of its cleverness, artificial and impressional; yet even then weary scholars will sigh from time to time, as they read in our books of the ancient purple seas, and how the sun went down of old into cloud-land, gorgeous land, and then how all dreamed away into night!

Gypsies are the human types of this vanishing, direct love of nature, of this mute sense of rural romance, and of al fresco life, and he who does not recognize it in them, despite their rags and dishonesty, need not pretend to appreciate anything more in Callot’s etchings than the skillful management of the needle and the acids. Truly they are but rags themselves; the last rags of the old romance which connected man with nature. Once romance was a splendid mediæval drama, colored and gemmed

with chivalry, minnesong, bandit-flashes, and waving plumes; now there remain but a few tatters. Yes, we were young and foolish then, but there are perishing with the wretched fragments of the red Indian tribes mythologies as beautiful as those of the Greek or Norseman; and there is also vanishing with the gypsy an unexpressed mythology, which those who are to come after us would gladly recover. Would we not have been pleased if one of the thousand Latin men of letters whose works have been preserved had told us how the old Etruscans, then still living in mountain villages, spoke and habited and customed? But oh that there had ever lived of old one man who, noting how feelings and sentiments changed, tried to so set forth the souls of his time that after-comers might understand what it was which inspired their art!

In the Sanskrit humorous romance of “Baital Pachisi,” or King Vikram and the Vampire, twenty-five different and disconnected trifling stories serve collectively to illustrate in the most pointed manner the highest lesson of wisdom. In this book the gypsies, and the scenes which surround them, are intended to teach the lesson of freedom and nature. Never were such lessons more needed than at present. I do not say that culture is opposed to the perception of nature; I would show with all my power that the higher our culture the more we are really qualified to appreciate beauty and freedom. But gates must be opened for this, and unfortunately the gates as yet are very few, while Philistinism in every form makes it a business of closing every opening to the true fairy-land of delight.

The gypsy is one of many links which connect the

simple feeling of nature with romance. During the Middle Ages thousands of such links and symbols united nature with religion. Thus Conrad von Würtzburg tells in his “Goldene Schmiede” that the parrot which shines in fairest grass-green hue, and yet like common grass is never wet, sets forth the Virgin, who bestowed on man an endless spring, and yet remained unchanged. So the parrot and grass and green and shimmering light all blended in the ideal of the immortal Maid-Mother, and so the bird appears in pictures by Van Eyck and Dürer. To me the gypsy-parrot and green grass in lonely lanes and the rain and sunshine all mingle to set forth the inexpressible purity and sweetness of the virgin parent, Nature. For the gypsy is parrot-like, a quaint pilferer, a rogue in grain as in green; for green was his favorite garb in olden time in England, as it is to-day in Germany, where he who breaks the Romany law may never dare on heath to wear that fatal fairy color.

These words are the key to the following book, in which I shall set forth a few sketches taken during my rambles among the Romany. The day is coming when there will be no more wild parrots nor wild wanderers, no wild nature, and certainly no gypsies. Within a very few years in the city of Philadelphia, the English sparrow, the very cit and cad of birds, has driven from the gardens all the wild, beautiful feathered creatures whom, as a boy, I knew. The fire-flashing scarlet tanager and the humming-bird, the yellow-bird, blue-bird, and golden oriole, are now almost forgotten, or unknown to city children. So the people of self-conscious culture and the mart and factory are banishing the wilder sort, and it

is all right, and so it must be, and therewith basta. But as a London reviewer said when I asserted in a book that the child was perhaps born who would see the last gypsy, “Somehow we feel sorry for that child.”

THE RUSSIAN GYPSIES.

It is, I believe, seldom observed that the world is so far from having quitted the romantic or sentimental for the purely scientific that, even in science itself, whatever is best set forth owes half its charm to something delicately and distantly reflected from the forbidden land of fancy. The greatest reasoners and writers on the driest topics are still “genial,” because no man ever yet had true genius who did not feel the inspiration of poetry, or mystery, or at least of the unusual. We are not rid of the marvelous or curious, and, if we have not yet a science of curiosities, it is apparently because it lies for the present distributed about among the other sciences, just as in small museums illuminated manuscripts are to be found in happy family union with stuffed birds or minerals, and with watches and snuff-boxes, once the property of their late majesties the Georges. Until such a science is formed, the new one of ethnology may appropriately serve for it, since it of all presents most attraction to him who is politely called the general reader, but who should in truth be called the man who reads the most for mere amusement. For Ethnology deals with such delightful material as primeval kumbo-cephalic skulls, and appears to her votaries arrayed, not in silk attire, but in strange fragments

of leather from ancient Irish graves, or in cloth from Lacustrine villages. She glitters with the quaint jewelry of the first Italian race, whose ghosts, if they wail over the “find,” “speak in a language man knows no more.” She charms us with etchings or scratchings of mammoths on mammoth-bone, and invites us to explore mysterious caves, to picnic among megalithic monuments, and speculate on pictured Scottish stones. In short, she engages man to investigate his ancestry, a pursuit which presents charms even to the illiterate, and asks us to find out facts concerning works of art which have interested everybody in every age.

Ad interim, before the science of curiosities is segregated from that of ethnology, I may observe that one of the marvels in the latter is that, among all the subdivisions of the human race, there are only two which have been, apparently from their beginning, set apart, marked and cosmopolite, ever living among others, and yet reserved unto themselves. These are the Jew and the gypsy. From time whereof history hath naught to the contrary, the Jew was, as he himself holds in simple faith, the first man. Red Earth, Adam, was a Jew, and the old claim to be a peculiar people has been curiously confirmed by the extraordinary genius and influence of the race, and by their boundless wanderings. Go where we may, we find the Jew—has any other wandered so far?

Yes, one. For wherever Jew has gone, there, too, we find the gypsy. The Jew may be more ancient, but even the authentic origin of the Romany is lost in ancient Aryan record, and, strictly speaking, his is a prehistoric caste. Among the hundred and fifty wandering

tribes of India and Persia, some of them Turanian, some Aryan, and others mixed, it is of course difficult to identify the exact origin of the European gypsy. One thing we know: that from the tenth to the twelfth century, and probably much later on, India threw out from her northern half a vast multitude of very troublesome indwellers. What with Buddhist, Brahman, and Mohammedan wars,—invaders outlawing invaded,—the number of out-castes became alarmingly great. To these the Jats, who, according to Captain Burton, constituted the main stock of our gypsies, contributed perhaps half their entire nation. Excommunication among the Indian professors of transcendental benevolence meant social death and inconceivable cruelty. Now there are many historical indications that these outcasts, before leaving India, became gypsies, which was the most natural thing in a country where such classes had already existed in very great numbers from early times. And from one of the lowest castes, which still exists in India, and is known as the Dom, [19] the emigrants to the West probably derived their name and several characteristics. The Dom burns the dead, handles corpses, skins beasts, and performs other functions, all of which were appropriated by, and became peculiar to, gypsies in several countries in Europe, notably in Denmark and Holland, for several centuries after their arrival there. The Dom

of the present day also sells baskets, and wanders with a tent; he is altogether gypsy. It is remarkable that he, living in a hot climate, drinks ardent spirits to excess, being by no means a “temperate Hindoo,” and that even in extreme old age his hair seldom turns white, which is a noted peculiarity among our own gypsies of pure blood. I know and have often seen a gypsy woman, nearly a hundred years old, whose curling hair is black, or hardly perceptibly changed. It is extremely probable that the Dom, mentioned as a caste even in the Shastras, gave the name to the Rom. The Dom calls his wife a Domni, and being a Dom is “Domnipana.” In English gypsy, the same words are expressed by Rom, romni, and romnipen. D, be it observed, very often changes to r in its transfer from Hindoo to Romany. Thus doi, “a wooden spoon,” becomes in gypsy roi, a term known to every tinker in London. But, while this was probably the origin of the word Rom, there were subsequent reasons for its continuance. Among the Cophts, who were more abundant in Egypt when the first gypsies went there, the word for man is romi, and after leaving Greece and the Levant, or Rum, it would be natural for the wanderers to be called Rumi. But the Dom was in all probability the parent stock of the gypsy race, though the latter received vast accessions from many other sources. I call attention to this, since it has always been held, and sensibly enough, that the mere fact of the gypsies speaking Hindi-Persian, or the oldest type of Urdu, including many Sanskrit terms, does not prove an Indian or Aryan origin, any more than the English spoken by American negroes proves a Saxon descent. But if the Rom can be identified

with the Dom—and the circumstantial evidence, it must be admitted, is very strong—but little remains to seek, since, according to the Shastras, the Doms are Hindoo.

Among the tribes whose union formed the European gypsy was, in all probability, that of the Nats, consisting of singing and dancing girls and male musicians and acrobats. Of these, we are told that not less than ten thousand lute-players and minstrels, under the name of Luri, were once sent to Persia as a present to a king, whose land was then without music or song. This word Luri is still preserved. The saddle-makers and leather-workers of Persia are called Tsingani; they are, in their way, low caste, and a kind of gypsy, and it is supposed that from them are possibly derived the names Zingan, Zigeuner, Zingaro, etc., by which gypsies are known in so many lands. From Mr. Arnold’s late work on “Persia,” the reader may learn that the Eeli, who constitute the majority of the inhabitants of the southern portion of that country, are Aryan nomads, and apparently gypsies. There are also in India the Banjari, or wandering merchants, and many other tribes, all spoken of as gypsies by those who know them.

As regards the great admixture of Persian with Hindi in good Romany, it is quite unmistakable, though I can recall no writer who has attached sufficient importance to a fact which identifies gypsies with what is almost preeminently the land of gypsies. I once had the pleasure of taking a Nile journey in company with Prince S---, a Persian, and in most cases, when I asked my friend what this or that gypsy word meant, he gave me its correct meaning, after a little thought, and then added, in his imperfect English, “What for you want to know

such word?—that old word—that no more used. Only common people—old peasant-woman—use that word—gentleman no want to know him.” But I did want to know “him” very much. I can remember that one night, when our bon prince had thus held forth, we had dancing girls, or Almeh, on board, and one was very young and pretty. I was told that she was gypsy, but she spoke no Romany. Yet her panther eyes and serpent smile and beauté du diable were not Egyptian, but of the Indian, kalo-ratt,—the dark blood, which, once known, is known forever. I forgot her, however, for a long time, until I went to Moscow, when she was recalled by dancing and smiles, of which I will speak anon.

I was sitting one day by the Thames, in a gypsy tent, when its master, Joshua Cooper, now dead, pointing to a swan, asked me for its name in gypsy. I replied, “Boro pappin.”

“No, rya. Boro pappin is ‘a big goose.’ Sákkú is the real gypsy word. It is very old, and very few Romany know it.”

A few days after, when my Persian friend was dining with me at the Langham Hotel, I asked him if he knew what Sákkú meant. By way of reply, he, not being able to recall the English word, waved his arms in wonderful pantomime, indicating some enormous winged creature; and then, looking into the distance, and pointing as if to some far-vanishing object, as boys do when they declaim Bryant’s address “To a Water-Fowl,” said,—

“Sákkú—one ver’ big bird, like one swen—but he not swen. He like the man who carry too much water up-stairs [22] his head in Constantinople. That

bird all same that man. He sakkia all same wheel that you see get water up-stairs in Egypt.”

This was explanatory, but far from satisfactory. The prince, however, was mindful of me, and the next day I received from the Persian embassy the word elegantly written in Persian, with the translation, “a pelican.” Then it was all clear enough, for the pelican bears water in the bag under its bill. When the gypsies came to Europe they named animals after those which resembled them in Asia. A dog they called juckal, from a jackal, and a swan sákkú, or pelican, because it so greatly resembles it. The Hindoo bandarus, or monkey, they have changed to bombaros, but why Tom Cooper should declare that it is pugasah, or pukkus-asa, I do not know. [23] As little can I conjecture the meaning of the prefix mod, or mode, which I learned on the road near Weymouth from a very ancient tinker, a man so battered, tattered, seamed, riven, and wrinkled that he looked like a petrifaction. He had so bad a barrow, or wheel, that I wondered what he could do with it, and regarded him as the very poorest man I had ever seen in England, until his mate came up, an alter ego, so excellent in antiquity, wrinkles, knobbiness, and rags that he surpassed the vagabond pictures not only of Callot, Doré, and Goya, but even the unknown Spanish maker of a picture which I met with not long since for sale, and which for infinite poverty defied anything I ever saw on canvas. These poor men, who seemed at first amazed that I should speak to them at all, when I spoke Romany at once called me “brother.” When I asked the younger his name,

he sank his voice to a whisper, and, with a furtive air, said,—

“Kámlo,—Lovel, you know.”

“What do you call yourself in the way of business?” I asked. “Katsamengro, I suppose.”

Now Katsamengro means scissors-master.

“That is a very good word. But chivó is deeper.”

“Chivó means a knife-man?”

“Yes. But the deepest of all, master, is Modangaréngro. For you see that the right word for coals isn’t wongur, as Romanys generally say, but Angára.”

Now angára, as Pott and Benfey indicate, is pure Sanskrit for coals, and angaréngro is a worker in coals, but what mod means I know not, and should be glad to be told.

I think it will be found difficult to identify the European gypsy with any one stock of the wandering races of India. Among those who left that country were men of different castes and different color, varying from the pure northern invader to the negro-like southern Indian. In the Danubian principalities there are at the present day three kinds of gypsies: one very dark and barbarous, another light brown and more intelligent, and the third, or élite, of yellow-pine complexion, as American boys characterize the hue of quadroons. Even in England there are straight-haired and curly-haired Romanys, the two indicating not a difference resulting from white admixture, but entirely different original stocks.

It will, I trust, be admitted, even from these remarks, that Romanology, or that subdivision of ethnology which treats of gypsies, is both practical and

curious. It deals with the only race except the Jew, which has penetrated into every village which European civilization has ever touched. He who speaks Romany need be a stranger in few lands, for on every road in Europe and America, in Western Asia, and even in Northern Africa, he will meet those with whom a very few words may at once establish a peculiar understanding. For, of all things believed in by this widely spread brotherhood, the chief is this,—that he who knows the jib, or language, knows the ways, and that no one ever attained these without treading strange paths, and threading mysteries unknown to the Gorgios, or Philistines. And if he who speaks wears a good coat, and appears a gentleman, let him rest assured that he will receive the greeting which all poor relations in all lands extend to those of their kin who have risen in life. Some of them, it is true, manifest the winsome affection which is based on great expectations, a sentiment largely developed among British gypsies; but others are honestly proud that a gentleman is not ashamed of them. Of this latter class were the musical gypsies, whom I met in Russia during the winter of 1876 and 1877, and some of them again in Paris during the Exposition of 1878.

ST. PETERSBURG.

There are gypsies and gypsies in the world, for there are the wanderers on the roads and the secret dwellers in towns; but even among the aficionados, or Romany ryes, by whom I mean those scholars who are fond of studying life and language from the people themselves, very few have dreamed that there exist communities of gentlemanly and lady-like gypsies

of art, like the Bohemians of Murger and George Sand, but differing from them in being real “Bohemians” by race. I confess that it had never occurred to me that there was anywhere in Europe, at the present day, least of all in the heart of great and wealthy cities, a class or caste devoted entirely to art, well-to-do or even rich, refined in manners, living in comfortable homes, the women dressing elegantly; and yet with all this obliged to live by law, as did the Jews once, in Ghettos or in a certain street, and regarded as outcasts and cagôts. I had heard there were gypsies in Russian cities, and expected to find them like the kérengri of England or Germany,—house-dwellers somewhat reformed from vagabondage, but still reckless semi-outlaws, full of tricks and lies; in a word, gypsies, as the world understands the term. And I certainly anticipated in Russia something queer,—the gentleman who speaks Romany seldom fails to achieve at least that, whenever he gets into an unbroken haunt, an unhunted forest, where the Romany rye is unknown,—but nothing like what I really found. A recent writer on Russia [26] speaks with great contempt of these musical Romanys, their girls attired in dresses by Worth, as compared with the free wild outlaws of the steppes, who, with dark, ineffable glances, meaning nothing more than a wild-cat’s, steal poultry, and who, wrapped in dirty sheep-skins, proudly call themselves Mi dvorane Polaivii, Lords of the Waste. The gypsies of Moscow, who appeared to me the most interesting I have ever met, because most remote from the Surrey ideal, seemed to Mr. Johnstone to be a kind of second-rate Romanys

or gypsies, gypsified for exhibition, like Mr. Barnum’s negro minstrel, who, though black as a coal by nature, was requested to put on burnt cork and a wig, that the audience might realize that they were getting a thoroughly good imitation. Mr. Johnstone’s own words are that a gypsy maiden in a long queue, “which perhaps came from Worth,” is “horrible,” “corruptio optimi pessima est;” and he further compares such a damsel to a negro with a cocked hat and spurs. As the only negro thus arrayed who presents himself to my memory was one who lay dead on the battle-field in Tennessee, after one of the bravest resistances in history, and in which he and his men, not having moved, were extended in “stark, serried lines” (“ten cart-loads of dead niggers,” said a man to me who helped to bury them), I may be excused for not seeing the wit of the comparison. As for the gypsies of Moscow, I can only say that, after meeting them in public, and penetrating to their homes, where I was received as one of themselves, even as a Romany, I found that this opinion of them was erroneous, and that they were altogether original in spite of being clean, deeply interesting although honest, and a quite attractive class in most respects, notwithstanding their ability to read and write. Against Mr. Johnstone’s impressions, I may set the straightforward and simple result of the experiences of Mr. W. R. Ralston. “The gypsies of Moscow,” he says, “are justly celebrated for their picturesqueness and for their wonderful capacity for music. All who have heard their women sing are enthusiastic about the weird witchery of the performance.”

When I arrived in St. Petersburg, one of my first

inquiries was for gypsies. To my astonishment, they were hard to find. They are not allowed to live in the city; and I was told that the correct and proper way to see them would be to go at night to certain cafés, half an hour’s sleigh-ride from the town, and listen to their concerts. What I wanted, however, was not a concert, but a conversation; not gypsies on exhibition, but gypsies at home,—and everybody seemed to be of the opinion that those of “Samarcand” and “Dorot” were entirely got up for effect. In fact, I heard the opinion hazarded that, even if they spoke Romany, I might depend upon it they had acquired it simply to deceive. One gentleman, who had, however, been much with them in other days, assured me that they were of pure blood, and had an inherited language of their own. “But,” he added, “I am sure you will not understand it. You may be able to talk with those in England, but not with ours, because there is not a single word in their language which resembles anything in English, German, French, Latin, Greek, or Italian. I can only recall,” he added, “one phrase. I don’t know what it means, and I think it will puzzle you. It is me kamāva tut.”

If I experienced internal laughter at hearing this it was for a good reason, which I can illustrate by an anecdote: “I have often observed, when I lived in China,” said Mr. Hoffman Atkinson, author of “A Vocabulary of the Yokohama Dialect,” “that most young men, particularly the gay and handsome ones, generally asked me, about the third day after their arrival in the country, the meaning of the Pidgin-English phrase, ‘You makee too muchee lov-lov-pidgin.’ Investigation always established the fact that

the inquirer had heard it from ‘a pretty China girl.’ Now lov-pidgin means love, and me kamāva tut is perfectly good gypsy anywhere for ‘I love you;’ and a very soft expression it is, recalling kama-deva, the Indian Cupid, whose bow is strung with bees, and whose name has two strings to it, since it means, both in gypsy and Sanskrit, Love-God, or the god of love. ‘It’s kāma-duvel, you know, rya, if you put it as it ought to be,’ said Old Windsor Froggie to me once; ‘but I think that Kāma-devil would by rights come nearer to it, if Cupid is what you mean.’”

I referred the gypsy difficulty to a Russian gentleman of high position, to whose kindness I had been greatly indebted while in St. Petersburg. He laughed.

“Come with me to-morrow night to the cafés, and see the gypsies; I know them well, and can promise that you shall talk with them as much as you like. Once, in Moscow, I got together all in the town—perhaps a hundred and fifty—to entertain the American minister, Curtin. That was a very hard thing to do,—there was so much professional jealousy among them, and so many quarrels. Would you have believed it?”

I thought of the feuds between sundry sturdy Romanys in England, and felt that I could suppose such a thing, without dangerously stretching my faith, and I began to believe in Russian gypsies.

“Well, then, I shall call for you to-morrow night with a troika; I will come early,—at ten. They never begin to sing before company arrive at eleven, so that you will have half an hour to talk to them.”

It is on record that the day on which the general gave me this kind invitation was the coldest known

in St. Petersburg for thirty years, the thermometer having stood, or rather having lain down and groveled that morning at 40° below zero, Fahr. At the appointed hour the troika, or three-horse sleigh, was before the Hôtel d’Europe. It was, indeed, an arctic night, but, well wrapped in fur-lined shubas, with immense capes which fall to the elbow or rise far above the head, as required, and wearing fur caps and fur-lined gloves, we felt no cold. The beard of our istvostshik, or driver, was a great mass of ice, giving him the appearance of an exceedingly hoary youth, and his small horses, being very shaggy and thoroughly frosted, looked in the darkness like immense polar bears. If the general and myself could only have been considered as gifts of the slightest value to anybody, I should have regarded our turn-out, with the driver in his sheep-skin coat, as coming within a miracle of resemblance to that of Santa Claus, the American Father Christmas.

On, at a tremendous pace, over the snow, which gave out under our runners that crunching, iron sound only heard when the thermometer touches zero. There is a peculiar fascination about the troika, and the sweetest, saddest melody and most plaintive song of Russia belong to it.

THE TROIKA.

Vot y’dit troika udalaiya.

Hear ye the troika-bell a-ringing,
And see the peasant driver there?
Hear ye the mournful song he’s singing,
Like distant tolling through the air?

“O eyes, blue eyes, to me so lonely,
O eyes—alas!—ye give me pain;
O eyes, that once looked at me only,
I ne’er shall see your like again.

“Farewell, my darling, now in heaven,
And still the heaven of my soul;
Farewell, thou father town, O Moscow,
Where I have left my life, my all!”

And ever at the rein still straining,
One backward glance the driver gave;
Sees but once more a green low hillock,
Sees but once more his loved one’s grave.

“Stoi!”—Halt! We stopped at a stylish-looking building, entered a hall, left our skubas, and I heard the general ask, “Are the gypsies here?” An affirmative being given, we entered a large room, and there, sure enough, stood six or eight girls and two men, all very well dressed, and all unmistakably Romany, though smaller and of much slighter or more delicate frame than the powerful gypsy “travelers” of England. In an instant every pair of great, wild eyes was fixed on me. The general was in every way a more striking figure, but I was manifestly a fresh stranger, who knew nothing of the country, and certainly nothing of gypsies or gypsydom. Such a verdant visitor is always most interesting. It was not by any means my first reception of the kind, and, as I reviewed at a glance the whole party, I said within myself:—

“Wait an instant, you black snakes, and I will give you something to make you stare.”

This promise I kept, when a young man, who looked like a handsome light Hindoo, stepped up and addressed me in Russian. I looked long and steadily at him before I spoke, and then said:—

“Latcho divvus prala!” (Good day, brother.)

“What is that?” he exclaimed, startled.

“Tu jines latcho adosta.” (You know very well.) And then, with the expression in his face of a man who has been familiarly addressed by a brazen statue, or asked by a new-born babe, “What o’clock is it?” but with great joy, he cried:—

“Romanichal!”

In an instant they were all around me, marveling greatly, and earnestly expressing their marvel, at what new species of gypsy I might be; being in this quite unlike those of England, who, even when they are astonished “out of their senses” at being addressed in Romany by a gentleman, make the most red-Indian efforts to conceal their amazement. But I speedily found that these Russian gypsies were as unaffected and child-like as they were gentle in manner, and that they compared with our own prize-fighting, sturdy-begging, always-suspecting Romany roughs and rufianas as a delicate greyhound might compare with a very shrewd old bull-dog, trained by an unusually “fly” tramp.

That the girls were first to the fore in questioning me will be doubted by no one. But we had great trouble in effecting a mutual understanding. Their Romany was full of Russian; their pronunciation puzzled me; they “bit off their words,” and used many in a strange or false sense. Yet, notwithstanding this, I contrived to converse pretty readily with the men,—very readily with the captain, a man as dark as Ben Lee, to those who know Benjamin, or as mahogany, to those who know him not. But with the women it was very difficult to converse. There is a theory current that women have a specialty of tact and readiness in understanding a foreigner, or in making themselves understood; it may be so with

cultivated ladies, but it is my experience that, among the uneducated, men have a monopoly of such quick intelligence. In order fully to convince them that we really had a tongue in common, I repeated perhaps a hundred nouns, giving, for instance, the names of various parts of the body, of articles of apparel and objects in the room, and I believe that we did not find a single word which, when pronounced distinctly by itself, was not intelligible to us all. I had left in London a Russo-Romany vocabulary, once published in “The Asiatic Magazine,” and I had met with Böhtlinghk’s article on the dialect, as well as specimens of it in the works of Pott and Miklosich, but had unfortunately learned nothing of it from them. I soon found, however, that I knew a great many more gypsy words than did my new friends, and that our English Romany far excels the Russian in copia verborum.

“But I must sit down.” I observed on this and other occasions that Russian gypsies are very naïf. And as it is in human nature to prefer sitting by a pretty girl, these Slavonian Romanys so arrange it according to the principles of natural selection—or natural politeness—that, when a stranger is in their gates, the two prettiest girls in their possession sit at his right and left, the two less attractive next again, et seriatim. So at once a damsel of comely mien, arrayed in black silk attire, of faultless elegance, cried to me, pointing to a chair by her side, “Bersh tu alay, rya!” (Sit down, sir),—a phrase which would be perfectly intelligible to any Romany in England. I admit that there was another damsel, who is generally regarded by most people as the true gypsy belle of the party, who did not sit by me.

But, as the one who had “voted herself into the chair,” by my side, was more to my liking, being the most intelligent and most gypsy, I had good cause to rejoice.

I was astonished at the sensible curiosity as to gypsy life in other lands which was displayed, and at the questions asked. I really doubt if I ever met with an English gypsy who cared a farthing to know anything about his race as it exists in foreign countries, or whence it came. Once, and once only, I thought I had interested White George, at East Moulsey, in an account of Egypt, and the small number of Romanys there; but his only question was to the effect that, if there were so few gypsies in Egypt, wouldn’t it be a good place for him to go to sell baskets? These of Russia, however, asked all kinds of questions about the manners and customs of their congeners, and were pleased when they recognized familiar traits. And every gypsyism, whether of word or way, was greeted with delighted laughter. In one thing I noted a radical difference between these gypsies and those of the rest of Europe and of America. There was none of that continually assumed mystery and Romany freemasonry, of superior occult knowledge and “deep” information, which is often carried to the depths of absurdity and to the height of humbug. I say this advisedly, since, however much it may give charm to a novel or play, it is a serious impediment to a philologist. Let me give an illustration.

Once, during the evening, these Russian gypsies were anxious to know if there were any books in their language. Now I have no doubt that Dr. Bath Smart, or Prof. E. H. Palmer, or any other of the

initiated, will perfectly understand when I say that by mere force of habit I shivered and evaded the question. When a gentleman who manifests a knowledge of Romany among gypsies in England is suspected of “dixonary” studies, it amounts to lasciate ogni speranza,—give up all hope of learning any more.

“I’m glad to see you here, rya, in my tent,” said the before-mentioned Ben Lee to me one night, in camp near Weybridge, “because I’ve heard, and I know, you didn’t pick up your Romany out of books.”

The silly dread, the hatred, the childish antipathy, real or affected, but always ridiculous, which is felt in England, not only among gypsies, but even by many gentlemen scholars, to having the Romany language published is indescribable. Vambéry was not more averse to show a lead pencil among Tartars than I am to take notes of words among strange English gypsies. I might have spared myself any annoyance from such a source among the Russian Romanys. They had not heard of Mr. George Borrow; nor were there ugly stories current among them to the effect that Dr. Smart and Prof. E. H. Palmer had published works, the direct result of which would be to facilitate their little paths to the jail, the gallows, and the grave.

“Would we hear some singing?” We were ready, and for the first time in my life I listened to the long-anticipated, far-famed magical melody of Russian gypsies. And what was it like? May I preface my reply to the reader with the remark that there are, roughly speaking, two kinds of music in the world,—the wild and the tame,—and the rarest of human

beings is he who can appreciate both. Only one such man ever wrote a book, and his nomen et omen is Engel, like that of the little English slaves who were non Angli, sed angeli. I have in my time been deeply moved by the choruses of Nubian boatmen; I have listened with great pleasure to Chinese and Japanese music,—Ole Bull once told me he had done the same; I have delighted by the hour in Arab songs; and I have felt the charm of our red-Indian music. If this seems absurd to those who characterize all such sound and song as “caterwauling,” let me remind the reader that in all Europe there is not one man fonder of music than an average Arab, a Chinese, or a red Indian; for any of these people, as I have seen and know, will sit twelve or fifteen hours, without the least weariness, listening to what cultivated Europeans all consider as a mere charivari. When London gladly endures fifteen-hour concerts, composed of morceaux by Wagner, Chopin, and Liszt, I will believe that art can charm as much as nature.

The medium point of intelligence in this puzzle may be found in the extraordinary fascination which many find in the monotonous tum-tum of the banjo, and which reappears, somewhat refined, or at least somewhat Frenchified, in the Bamboula and other Creole airs. Thence, in an ascending series, but connected with it, we have old Spanish melodies, then the Arabic, and here we finally cross the threshold into mystery, midnight, and “caterwauling.” I do not know that I can explain the fact why the more “barbarous” music is, the more it is beloved of man; but I think that the principle of the refrain, or repetition in music, which as yet governs all decorative art and which Mr. Whistler and others are endeavoring

desperately to destroy, acts in music as a sort of animal magnetism or abstraction, ending in an extase. As for the fascination which such wild melodies exert, it is beyond description. The most enraptured audience I ever saw in my life was at a Coptic wedding in Cairo, where one hundred and fifty guests listened, from seven p.m. till three a.m., and Heaven knows how much later, to what a European would call absolute jangling, yelping, and howling.

The real medium, however, between what I have, for want of better words, called wild and tame music exists only in that of the Russian gypsies. These artists, with wonderful tact and untaught skill, have succeeded, in all their songs, in combining the mysterious and maddening charm of the true, wild Eastern music with that of regular and simple melody, intelligible to every Western ear. I have never listened to the singing or playing of any distinguished artist—and certainly never of any far-famed amateur—without realizing that neither words nor melody was of the least importance, but that the man’s manner of performance or display was everything. Now, in enjoying gypsy singing, one feels at once as if the vocalists had entirely forgotten self, and were carried away by the bewildering beauty of the air and the charm of the words. There is no self-consciousness, no vanity,—all is real. The listener feels as if he were a performer; the performer is an enraptured listener. There is no soulless “art for the sake of art,” but art for direct pleasure.

“We intend to sing only Romany for you, rya,” said the young lady to my left, “and you will hear our real gypsy airs. The Gaji [Russians] often ask for songs in our language, and don’t get them. But

you are a Romanichal, and when you go home, far over the baro kālo pāni [the broad black water, that is, the ocean], you shall tell the Romany how we can sing. Listen!”

And I listened to the strangest, wildest, and sweetest singing I ever had heard,—the singing of Lurleis, of sirens, of witches. First, one damsel, with an exquisitely clear, firm voice, began to sing a verse of a love-ballad, and as it approached the end the chorus stole in, softly and unperceived, but with exquisite skill, until, in a few seconds, the summer breeze, murmuring melody over a rippling lake, seemed changed to a midnight tempest, roaring over a stormy sea, in which the basso of the kālo shureskro (the black captain) pealed like thunder. Just as it died away a second girl took up the melody, very sweetly, but with a little more excitement,—it was like a gleam of moonlight on the still agitated waters, a strange contralto witch-gleam; and then again the chorus and the storm; and then another solo yet sweeter, sadder, and stranger,—the movement continually increasing, until all was fast, and wild, and mad,—a locomotive quickstep, and then a sudden silence—sunlight—the storm had blown away.

Nothing on earth is so like magic and elfin-work as when women burst forth into improvised melody. The bird only “sings as his bill grew,” or what he learned from the elders; yet when you hear birds singing in woodland green, throwing out to God or the fairies irrepressible floods of what seems like audible sunshine, so well does it match with summer’s light, you think it is wonderful. It is mostly when you forget the long training of the prima donna, in her ease and apparent naturalness, that her song is

sweetest. But there is a charm, which was well known of old, though we know it not to-day, which was practiced by the bards and believed in by their historians. It was the feeling that the song was born of the moment; that it came with the air, gushing and fresh from the soul. In reading the strange stories of the professional bards and scalds and minstrels of the early Middle Age, one is constantly bewildered at the feats of off-hand composition which were exacted of the poets among Celts or Norsemen. And it is evident enough that in some mysterious way these singers knew how to put strange pressure on the Muse, and squeeze strains out of her in a manner which would have been impossible at present.

Yet it lingers here and there on earth among wild, strange people,—this art of making melody at will. I first heard it among Nubian boatmen on the Nile. It was as manifest that it was composed during the making as that the singers were unconscious of their power. One sung at first what may have been a well-known verse. While singing, another voice stole in, and yet another, softly as shadows steal into twilight; and ere I knew it all were in a great chorus, which fell away as mysteriously, to become duos, trios,—changing in melody in strange, sweet, fitful wise, as the faces seen in the golden cloud in the visioned aureole of God blend, separate, burn, and fade away ever into fresher glory and tints incarnadined.

Miss C. F. Gordon Cumming, after informing us that “it is utterly impossible to give you the faintest shadow of an idea of the fascination of Tahitian himénes,” proceeds, as men in general and women in particular invariably do, to give what the writer

really believes is a very good description indeed. ’T is ever thus, and thus ’t will ever be, and the description of these songs is so good that any person gifted with imagination or poetry cannot fail to smile at the preceding disavowal of her ability to give an idea.

These himénes are not—and here such of my too expectant young lady-readers as are careless in spelling will be sadly disappointed—in any way connected with weddings. They are simply the natural music of Tahiti, or strange and beautiful part-songs. “Nothing you have ever heard in any other country,” says our writer, “bears the slightest resemblance to these wild, exquisite glees, faultless in time and harmony, though apparently each singer introduces any variations which may occur to him or to her. Very often there is no leader, and apparently all sing according to their own sweet will. One voice commences; it may be that of an old native, with genuine native words (the meaning of which we had better not inquire), or it may be with a Scriptural story, versified and sung to an air originally from Europe, but so completely Tahitianized that no mortal could recognize it, which is all in its favor, for the wild melodies of this isle are beyond measure fascinating.

“After one clause of solo, another strikes in—here, there, everywhere—in harmonious chorus. It seems as if one section devoted themselves to pouring forth a rippling torrent of ‘Ra, ra, ra—ra—ra!’ while others burst into a flood of ‘La, la—la—la—la!’ Some confine their care to sound a deep, booming bass in a long-continued drone, somewhat suggestive (to my appreciative Highland ear) of our own bagpipes. Here and there high falsetto notes

strike in, varied from verse to verse, and then the choruses of La and Ra come bubbling in liquid melody, while the voices of the principal singers now join in unison, now diverge as widely as it is possible for them to do, but all combine to produce the quaintest, most melodious, rippling glee that ever was heard.”

This is the himéne; such the singing which I heard in Egypt in a more regular form; but it was exactly as the writer so admirably sets it forth (and your description, my lady traveler, is, despite your disavowal, quite perfect and a himéne of itself) that I heard the gypsy girls of St. Petersburg and of Moscow sing. For, after a time, becoming jolly as flies, first one voice began with “La, la, la—la—la!” to an unnamed, unnamable, charming melody, into which went and came other voices, some bringing one verse or no verse, in unison or alone, the least expected doing what was most awaited, which was to surprise us and call forth gay peals of happy laughter, while the “La, la, la—la—la!” was kept up continuously, like an accompaniment. And still the voices, basso, soprano, tenor, baritone, contralto, rose and fell, the moment’s inspiration telling how, till at last all blended in a locomotive-paced La, and in a final roar of laughter it ended.

I could not realize at the time how much this exquisite part-singing was extemporized. The sound of it rung in my head—I assure you, reader, it rings there yet when I think of it—like a magic bell. Another day, however, when I begged for a repetition of it, the girls could recall nothing of it. They could start it again on any air to the unending strain of “La—la—la;” but the “La—la—la” of the

previous evening was avec les neiges d’antan, with the smoke of yesterday’s fire, with the perfume and bird-songs. “La, la, la—la—la!”

In Arab singing, such effects are applied simply to set forth erotomania; in negro minstrelsy, they are degraded to the lowest humor; in higher European music, when employed, they simply illustrate the skill of composer and musician. The spirit of gypsy singing recalled by its method and sweetness that of the Nubian boatmen, but in its general effect I could think only of those strange fits of excitement which thrill the red Indian and make him burst into song. The Abbé Domenech [42] has observed that the American savage pays attention to every sound that strikes upon his ear when the leaves, softly shaken by the evening breeze, seem to sigh through the air, or when the tempest, bursting forth with fury, shakes the gigantic trees that crack like reeds. “The chirping of the birds, the cry of the wild beasts, in a word, all those sweet, grave, or imposing voices that animate the wilderness, are so many musical lessons, which he easily remembers.” In illustration of this, the missionary describes the singing of a Chippewa chief, and its wild inspiration, in a manner which vividly illustrates all music of the class of which I write.

“It was,” he says, “during one of those long winter nights, so monotonous and so wearisome in the woods. We were in a wigwam, which afforded us but miserable shelter from the inclemency of the season. The storm raged without; the tempest roared in the open country; the wind blew with violence, and whistled through the fissures of the cabin; the rain fell in torrents, and prevented us from continuing

our route. Our host was an Indian, with sparkling and intelligent eyes, clad with a certain elegance, and wrapped majestically in a large fur cloak. Seated close to the fire, which cast a reddish gleam through the interior of his wigwam, he felt himself all at once seized with an irresistible desire to imitate the convulsions of nature, and to sing his impressions. So, taking hold of a drum which hung near his bed, he beat a slight rolling, resembling the distant sounds of an approaching storm; then, raising his voice to a shrill treble, which he knew how to soften when he pleased, he imitated the whistling of the air, the creaking of the branches dashing against one another, and the particular noise produced by dead leaves when accumulated in compact masses on the ground. By degrees the rollings of the drum became more frequent and louder, the chants more sonorous and shrill, and at last our Indian shrieked, howled, and roared in a most frightful manner; he struggled and struck his instrument with extraordinary rapidity. It was a real tempest, to which nothing was wanting, not even the distant howling of the dogs, nor the bellowing of the affrighted buffaloes.”

I have observed the same musical inspiration of a storm upon Arabs, who, during their singing, also accompanied themselves on a drum. I once spent two weeks in a Mediterranean steamboat, on board of which were more than two hundred pilgrims, for the greater part wild Bedouins, going to Mecca. They had a minstrel who sang and played on the darabuka, or earthenware drum, and he was aided by another with a simple nai, or reed-whistle; the same orchestra, in fact, which is in universal use among all red Indians. To these performers the pilgrims listened

with indescribable pleasure; and I soon found that they regarded me favorably because I did the same, being, of course, the only Frank on board who paid any attention to the singing—or any money for it. But it was at night and during storms that the spirit of music always seemed to be strongest on the Arabs, and then, amid roaring of wild waters and thundering, and in dense darkness, the rolling of the drum and the strange, bewildering ballads never ceased. It was the very counterpart, in all respects, of the Chippewa storm song.

After the first gypsy lyric there came another, to which the captain especially directed my attention as being what Sam Petulengro calls “reg’lar Romany.” It was I rakli adro o lolo gad (The girl in the red chemise), as well as I can recall his words,—a very sweet song, with a simple but spirited chorus; and as the sympathetic electricity of excitement seized the performers we were all in a minute “going down the rapids in a spring freshet.”

“Bagan tu rya, bagan!” (Sing, sir,—sing) cried my handsome neighbor, with her black gypsy eyes sparkling fire. “Jines hi bagan eto—eto latcho Romanes.” (You can sing that,—it’s real Romany.) It was evident that she and all were singing with thorough enjoyment, and with a full and realizing consciousness of gypsyism, being greatly stimulated by my presence and sympathy. I felt that the gypsies were taking unusual pains to please the Romany rye from the dur’ tem, or far country, and they had attained the acme of success by being thoroughly delighted with themselves, which is all that can be hoped for in art, where the aim is pleasure and not criticism.

There was a pause in the performance, but none in the chattering of the young ladies, and during this a curious little incident occurred. Wishing to know if my pretty friend could understand an English gypsy lyric, I sang in an undertone a ballad, taken from George Borrow’s “Lavengro,” and which begins with these words:—

“Pende Eomani chai ke laki dye;
‘Miri diri dye, mi shom kāmeli.’”

I never knew whether this was really an old gypsy poem or one written by Mr. Borrow. Once, when I repeated it to old Henry James, as he sat making baskets, I was silenced by being told, “That ain’t no real gypsy gilli. That’s one of the kind made up by gentlemen and ladies.” However, as soon as I repeated it, the Russian gypsy girl cried eagerly, “I know that song!” and actually sang me a ballad which was essentially the same, in which a damsel describes her fall, owing to a Gajo (Gorgio, a Gentile,—not gypsy) lover, and her final expulsion from the tent. It was adapted to a very pretty melody, and as soon as she had sung it, sotto voce, my pretty friend exclaimed to another girl, “Only think, the rye from America knows that song!” Now, as many centuries must have passed since the English and Russian gypsies parted from the parent stock, the preservation of this song is very remarkable, and its antiquity must be very great. I did not take it down, but any resident in St. Petersburg can, if so inclined, do so among the gypsies at Dorat, and verify my statement.

Then there was a pretty dance, of a modified Oriental character, by one of the damsels. For this, as for the singing, the only musical instrument used was

a guitar, which had seven strings, tuned in Spanish fashion, and was rather weak in tone. I wished it had been a powerful Panormo, which would have exactly suited the timbre of these voices. The gypsies were honestly interested in all I could tell them about their kind in other lands; while the girls were professionally desirous to hear more Anglo-Romany songs, and were particularly pleased with one beginning with the words:—

“‘Me shom akonyo,’ gildas yoi,
Men būti ruzhior,
Te sār i chiriclia adoi
Pen mengy gilior.’”

Though we “got on” after a manner in our Romany talk, I was often obliged to have recourse to my friend the general to translate long sentences into Russian, especially when some sand-bar of a verb or some log of a noun impeded the current of our conversation. Finally, a formal request was made by the captain that I would, as one deep beyond all their experience in Romany matters, kindly tell them what kind of people they really were, and whence they came. With this demand I cheerfully complied, every word being listened to with breathless interest. So I told them what I knew or had conjectured relative to their Indian origin: how their fathers had wandered forth through Persia; how their travels could be traced by the Persian, Greek, or Roumanian words in the language; how in 1417 a band of them appeared in Europe, led by a few men of great diplomatic skill, who, by crafty dealing, obtained from the Pope, the Emperor of Germany, and all the kings of Europe, except that of England, permission to wander for fifty years as pilgrims, declaring that they

had been Christians, but, having become renegades, the King of Hungary had imposed a penance on them of half a century’s exile. Then I informed them that precisely the same story had been told by them to the rulers in Syria and Egypt, only that in the Mohammedan countries they pretended to be good followers of Islam. I said there was reason to believe that some of their people had been in Poland and the other Slavonic countries ever since the eleventh century, but that those of England must have gone directly from Eastern Europe to Great Britain; for, although they had many Slavic words, such as krallis (king) and shuba, there were no French terms, and very few traces of German or Italian, in the English dialect. I observed that the men all understood the geographical allusions which I made, knowing apparently where India, Persia, and Egypt were situated—a remarkable contrast to our own English “travelers,” one of whom once informed me that he would like to go “on the road” in America, “because you know, sir, as America lays along into France, we could get our French baskets cheaper there.”

I found, on inquiry, that the Russian gypsies profess Christianity; but, as the religion of the Greek church, as I saw it, appears to be practically something very little better than fetich-worship, I cannot exalt them as models of evangelical piety. They are, however, according to a popular proverb, not far from godliness in being very clean in their persons; and not only did they appear so to me, but I was assured by several Russians that, as regarded these singing gypsies, it was invariably the case. As for morality in gypsy girls, their principles are very peculiar.

Not a whisper of scandal attaches to these Russian Romany women as regards transient amours. But if a wealthy Russian gentleman falls in love with one, and will have and hold her permanently, or for a durable connection, he may take her to his home if she likes him, but must pay monthly a sum into the gypsy treasury; for these people apparently form an artel, or society-union, like all other classes of Russians. It may be suggested, as an explanation of this apparent incongruity, that gypsies all the world over regard steady cohabitation, or agreement, as marriage, binding themselves, as it were, by Gand-harbavivaha, as the saint married Vasantasena, which is an old Sanskrit way of wedding. And let me remark that if one tenth of what I heard in Russia about “morals” in the highest or lowest or any other class be true, the gypsies of that country are shining lights and brilliant exemplars of morality to all by whom they are surrounded. Let me also add that never on any occasion did I hear or see among them anything in the slightest degree improper or unrefined. I knew very well that I could, if I chose, talk to such naïve people about subjects which would shock an English lady, and, as the reader may remember, I did quote Mr. Borrow’s song, which he has not translated. But a European girl who would have endured allusions to tabooed subjects would have at all times shown vulgarity or coarseness, while these Russian Romany girls were invariably lady-like. It is true that the St. Petersburg party had a dissipated air; three or four of them looked like second-class French or Italian theatrical artistes, and I should not be astonished to learn that very late hours and champagne were familiar to them as cigarettes, or that

their flirtations among their own people were neither faint, nor few, nor far between. But their conduct in my presence was irreproachable. Those of Moscow, in fact, had not even the apparent defects of their St. Petersburg sisters and brothers, and when among them it always seemed to me as if I were simply with nice gentle creoles or Cubans, the gypsy manner being tamed down to the Spanish level, their great black eyes and their guitars increasing the resemblance.

The indescribably wild and thrilling character of gypsy music is thoroughly appreciated by the Russians, who pay very high prices for Romany performances. From five to eight or ten pounds sterling is usually given to a dozen gypsies for singing an hour or two to a special party, and this is sometimes repeated twice or thrice of an evening. “A Russian gentleman, when he is in funds,” said the clerk of the Slavansky Bazaar in Moscow to me, “will make nothing of giving the Zigani a hundred-ruble note,” the ruble rating at half a crown. The result is that good singers among these lucky Romanys are well to do, and lead soft lives, for Russia.

MOSCOW.

I had no friends in Moscow to direct me where to find gypsies en famille, and the inquiries which I made of chance acquaintances simply convinced me that the world at large was as ignorant of their ways as it was prejudiced against them. At last the good-natured old porter of our hotel told me, in his rough Baltic German, how to meet these mysterious minstrels to advantage. “You must take a sleigh,” he said, “and go out to Petrovka. That is a place in

the country, where there are grand cafés at considerable distances one from the other. Pay the driver three rubles for four hours. Enter a café, call for something to drink, listen to the gypsies singing, and when they pass round a plate put some money in it. That’s all.” This was explicit, and at ten o’clock in the evening I hired a sleigh and went.

If the cold which I had experienced in the general’s troika in St. Petersburg might be compared to a moderate rheumatism, that which I encountered in the sleigh outside the walls of Moscow, on Christmas Eve, 1876, was like a fierce gout. The ride was in all conscience Russian enough to have its ending among gypsies, Tartars, or Cossacks. To go at a headlong pace over the creaking snow behind an istvostshik, named Vassili, the round, cold moon overhead, church-spires tipped with great inverted golden turnips in the distance, and this on a night when the frost seemed almost to scream in its intensity, is as much of a sensation in the suburbs of Moscow as it could be out on the steppes. A few wolves, more or less, make no difference,—and even they come sometimes within three hours’ walk of the Kremlin. Et ego inter lupos,—I too have been among wolves in my time by night, in Kansas, and thought nothing of such rides compared to the one I had when I went gypsying from Moscow.

In half an hour Vassili brought me to a house, which I entered. A “proud porter,” a vast creature, in uniform suggestive of embassies and kings’ palaces, relieved me of my shuba, and I found my way into a very large and high hall, brilliantly lighted as if for a thousand guests, while the only occupants were four couples, “spooning” sans gêne, one in each corner

and a small party of men and girls drinking in the middle. I called a waiter; he spoke nothing but Russian, and Russian is of all languages the most useless to him who only talks it “a little.” A little Arabic, or even a little Chippewa, I have found of great service, but a fair vocabulary and weeks of study of the grammar are of no avail in a country where even men of gentlemanly appearance turn away with childish ennui the instant they detect the foreigner, resolving apparently that they cannot and will not understand him. In matters like this the ordinary Russian is more impatient and less intelligent than any Oriental or even red Indian. The result of my interview with the waiter was that we were soon involved in the completest misunderstanding on the subject of gypsies. The question was settled by reference to a fat and fair damsel, one of the “spoons” already referred to, who spoke German. She explained to me that as it was Christmas Eve no gypsies would be there, or at any other café. This was disappointing. I called Vassili, and he drove on to another “garden,” deeply buried in snow.

When I entered the rooms at this place, I perceived at a glance that matters had mended. There was the hum of many voices, and a perfume like that of tea and many papiross, or cigarettes, with a prompt sense of society and of enjoyment. I was dazzled at first by the glare of the lights, and could distinguish nothing, unless it was that the numerous company regarded me with utter amazement; for it was an “off night,” when no business was expected,—few were there save “professionals” and their friends,—and I was manifestly an unexpected intruder on Bohemia.

As luck would have it, that which I believed was the one worst night in the year to find the gypsy minstrels proved to be the exceptional occasion when they were all assembled, and I had hit upon it. Of course this struck me pleasantly enough as I looked around, for I knew that at a touch the spell would be broken, and with one word I should have the warmest welcome from all. I had literally not a single speaking acquaintance within a thousand miles, and yet here was a room crowded with gay and festive strangers, whom the slightest utterance would convert into friends.

I was not disappointed. Seeking for an opportunity, I saw a young man of gentlemanly appearance, well dressed, and with a mild and amiable air. Speaking to him in German, I asked the very needless question if there were any gypsies present.

“You wish to hear them sing?” he inquired.

“I do not. I only want to talk with one,—with any one.”

He appeared to be astonished, but, pointing to a handsome, slender young lady, a very dark brunette, elegantly attired in black silk, said,—

“There is one.”

I stepped across to the girl, who rose to meet me. I said nothing for a few seconds, but looked at her intently, and then asked,—

“Rakessa tu Romanes, miri pen?” (Do you talk Romany, my sister?)

She gave one deep, long glance of utter astonishment, drew one long breath, and, with a cry of delight and wonder, said,—

“Romanichal!”

That word awoke the entire company, and with it

they found out who the intruder was. “Then might you hear them cry aloud, ‘The Moringer is here!’” for I began to feel like the long-lost lord returned, so warm was my welcome. They flocked around me; they cried aloud in Romany, and one good-natured, smiling man, who looked like a German gypsy, mounting a chair, waved a guitar by its neck high in the air as a signal of discovery of a great prize to those at a distance, repeating rapidly,—

“Av’akai, ava’kai, Romanichal!” (Come here; here’s a gypsy!)

And they came, dark and light, great and small, and got round me, and shook hands, and held to my arms, and asked where I came from, and how I did, and if it wasn’t jolly, and what would I take to drink, and said how glad they were to see me; and when conversation flagged for an instant, somebody said to his next neighbor, with an air of wisdom, “American Romany,” and everybody repeated it with delight. Then it occurred to the guitarist and the young lady that we had better sit down. So my first acquaintance and discoverer, whose name was Liubasha, was placed, in right of preëmption, at my right hand, the belle des belles, Miss Sarsha, at my left, a number of damsels all around these, and then three or four circles of gypsies, of different ages and tints, standing up, surrounded us all. In the outer ring were several fast-looking and pretty Russian or German blonde girls, whose mission it is, I believe, to dance—and flirt—with visitors, and a few gentlemanly-looking Russians, vieuz garçons, evidently of the kind who are at home behind the scenes, and who knew where to come to enjoy themselves. Altogether there must have been about fifty

present, and I soon observed that every word I uttered was promptly repeated, while every eye was fixed on me.

I could converse in Romany with the guitarist, and without much difficulty; but with the charming, heedless young ladies I had as much trouble to talk as with their sisters in St. Petersburg. The young gentleman already referred to, to whom in my fancy I promptly gave the Offenbachian name of Prince Paul, translated whenever there was a misunderstanding, and in a few minutes we were all intimate. Miss Sarsha, who had a slight cast in one of her wild black eyes, which added something to the gypsiness and roguery of her smiles, and who wore in a ring a large diamond, which seemed as if it might be the right eye in the wrong place, was what is called an earnest young lady, with plenty to say and great energy wherewith to say it. What with her eyes, her diamond, her smiles, and her tongue, she constituted altogether a fine specimen of irrepressible fireworks, and Prince Paul had enough to do in facilitating conversation. There was no end to his politeness, but it was an impossible task for him now and then promptly to carry over a long sentence from German to Russian, and he would give it up like an invincible conundrum, with the patient smile and head-wag and hand-wave of an amiable Dundreary. Yet I began to surmise a mystery even in him. More than once he inadvertently betrayed a knowledge of Romany, though he invariably spoke of his friends around in a patronizing manner as “these gypsies.” This was very odd, for in appearance he was a Gorgio of the Gorgios, and did not seem, despite any talent for languages which he might

possess, likely to trouble himself to acquire Romany while Russian would answer every purpose of conversation. All of this was, however, explained to me afterward.

Prince Paul again asked me if I had come out to hear a concert. I said, “No; that I had simply come out to see my brothers and sisters and talk with them, just as I hoped they would come to see me if I were in my own country.” This speech produced a most favorable impression, and there was, in a quiet way, a little private conversation among the leaders, after which Prince Paul said to me, in a very pleasant manner, that “these gypsies,” being delighted at the visit from the gentleman from a distant country, would like to offer me a song in token of welcome. To this I answered, with many thanks, that such kindness was more than I had expected, for I was well aware of the great value of such a compliment from singers whose fame had reached me even in America. It was evident that my grain of a reply did not fall upon stony ground, for I never was among people who seemed to be so quickly impressed by any act of politeness, however trifling. A bow, a grasp of the hand, a smile, or a glance would gratify them, and this gratification their lively black eyes expressed in the most unmistakable manner.

So we had the song, wild and wonderful like all of its kind, given with that delightful abandon which attains perfection only among gypsies. I had enjoyed the singing in St. Petersburg, but there was a laisser aller, a completely gay spirit, in this Christmas-Eve gypsy party in Moscow which was much more “whirling away.” For at Dorot the gypsies had been on exhibition; here at Petrovka they were frolicking en

famille with a favored guest,—a Romany rye from a far land to astonish and delight,—and he took good care to let them feel that they were achieving a splendid success, for I declared many times that it was būtsi shūkár, or very beautiful. Then I called for tea and lemon, and after that the gypsies sang for their own amusement, Miss Sarsha, as the incarnation of fun and jollity, taking the lead, and making me join in. Then the crowd made way, and in the space appeared a very pretty little girl, in the graceful old gypsy Oriental dress. This child danced charmingly indeed, in a style strikingly like that of the Almeh of Egypt, but without any of the erotic expressions which abound in Eastern pantomime. This little Romany girl was to me enchanting, being altogether unaffected and graceful. It was evident that her dancing, like the singing of her elder sisters, was not an art which had been drilled in by instruction. They had come into it in infancy, and perfected themselves by such continual practice that what they did was as natural as walking or talking. When the dancing was over, I begged that the little girl would come to me, and, kissing her tiny gypsy hand, I said, “Spassibo tute kamli, eto hi būtsi shūkár” (Thank you, dear; that is very pretty), with which the rest were evidently pleased. I had observed among the singers, at a little distance, a very remarkable and rather handsome old woman,—a good study for an artist,—and she, as I also noticed, had sung with a powerful and clear voice. “She is our grandmother,” said one of the girls. Now, as every student of gypsies knows, the first thing to do in England or Germany, on entering a tent-gypsy encampment, is to be polite to “the old woman.” Unless you can win

her good opinion you had better be gone. The Russian city Roms have apparently no such fancies. On the road, however, life is patriarchal, and the grandmother is a power to be feared. As a fortune-teller she is a witch, ever at warfare with the police world; she has a bitter tongue, and is quick to wrath. This was not the style or fashion of the old gypsy singer; but, as soon as I saw the puri babali dye, I requested that she would shake hand with me, and by the impression which this created I saw that the Romany of the city had not lost all the feelings of the road.

I spoke of Waramoff’s beautiful song of the “Krasneya Sarafan,” which Sarsha began at once to warble. The characteristic of Russian gypsy-girl voices is a peculiarly delicate metallic tone,—like that of the two silver bells of the Tower of Ivan Velikoi when heard from afar,—yet always marked with fineness and strength. This is sometimes startling in the wilder effects, but it is always agreeable. These Moscow gypsy girls have a great name in their art, and it was round the shoulders of one of them—for aught I know it may have been Sarsha’s great-grandmother—that Catalani threw the cashmere shawl which had been given to her by the Pope as “to the best singer in the world.” “It is not mine by right,” said the generous Italian; “it belongs to the gypsy.”

The gypsies were desirous of learning something about the songs of their kindred in distant lands, and, though no singer, I did my best to please them, the guitarist easily improvising accompaniments, while the girls joined in. As all were in a gay mood faults were easily excused, and the airs were much liked,—one lyric, set by Virginia Gabriel, being even

more admired in Moscow than in St. Petersburg, apropos of which I may mention that, when I afterward visited the gypsy family in their own home, the first request from Sarsha was, “Eto gilyo, rya!” (That song, sir), referring to “Romany,” which has been heard at several concerts in London. And so, after much discussion of the affairs of Egypt, I took my leave amid a chorus of kind farewells. Then Vassili, loudly called for, reappeared from some nook with his elegantly frosted horse, and in a few minutes we were dashing homeward. Cold! It was as severe as in Western New York or Minnesota, where the thermometer for many days every winter sinks lower than in St. Petersburg, but where there are no such incredible precautions taken as in the land of double windows cemented down, and fur-lined shubas. It is remarkable that the gypsies, although of Oriental origin, are said to surpass the Russians in enduring cold; and there is a marvelous story told about a Romany who, for a wager, undertook to sleep naked against a clothed Muscovite on the ice of a river during an unusually cold night. In the morning the Russian was found frozen stiff, while the gypsy was snoring away unharmed. As we returned, I saw in the town something which recalled this story in more than one moujik, who, well wrapped up, lay sleeping in the open air, under the lee of a house. Passing through silent Moscow on the early Christmas morn, under the stars, as I gazed at the marvelous city, which yields neither to Edinburgh, Cairo, nor Prague in picturesqueness, and thought over the strange evening I had spent among the gypsies, I felt as if I were in a melodrama with striking scenery. The pleasing finale was the utter amazement and almost

speechless gratitude of Vassili at getting an extra half-ruble as an early Christmas gift.

As I had received a pressing invitation from the gypsies to come again, I resolved to pay them a visit on Christmas afternoon in their own house, if I could find it. Having ascertained that the gypsy street was in a distant quarter, called the Grouszini, I engaged a sleigh, standing before the door of the Slavanski-Bazaar Hotel, and the usual close bargain with the driver was effected with the aid of a Russian gentleman, a stranger passing by, who reduced the ruble (one hundred kopecks) at first demanded to seventy kopecks. After a very long drive we found ourselves in the gypsy street, and the istvostshik asked me, “To what house?”

“I don’t know,” I replied. “Gypsies live here, don’t they?”

“Gypsies, and no others.”

“Well, I want to find a gypsy.”

The driver laughed, and just at that instant I saw, as if awaiting me on the sidewalk, Sarsha, Liubasha, and another young lady, with a good-looking youth, their brother.

“This will do,” I said to the driver, who appeared utterly amazed at seeing me greeted like an old friend by the Zigani, but who grinned with delight, as all Russians of the lower class invariably do at anything like sociability and fraternity. The damsels were faultlessly attired in Russian style, with full fur-lined, glossy black-satin cloaks and fine Orenberg scarfs, which are, I believe, the finest woolen fabrics in the world. The party were particularly anxious to know if I had come specially to visit them, for I have passed over the fact that I had also made the

acquaintance of another very large family of gypsies, who sang at a rival café, and who had also treated me very kindly. I was at once conducted to a house, which we entered in a rather gypsy way, not in front, but through a court, a back door, and up a staircase, very much in the style of certain dwellings in the Potteries in London. But, having entered, I was led through one or two neat rooms, where I saw lying sound asleep on beds, but dressed, one or two very dark Romanys, whose faces I remembered. Then we passed into a sitting-room, which was very well furnished. I observed hanging up over the chimney-piece a good collection of photographs, nearly all of gypsies, and indicating that close resemblance to Hindoos which comes out so strongly in such pictures, being, in fact, more apparent in the pictures than in the faces; just as the photographs of the old Ulfilas manuscript revealed alterations not visible in the original. In the centre of the group was a cabinet-size portrait of Sarsha, and by it another of an Englishman of very high rank. I thought this odd, but asked no questions.

My hosts were very kind, offering me promptly a rich kind of Russian cake, begging to know what else I would like to eat or drink, and apparently deeply concerned that I could really partake of nothing, as I had just come from luncheon. They were all light-hearted and gay, so that the music began at once, as wild and as bewitching as ever. And here I observed, even more than before, how thoroughly sincere these gypsies were in their art, and to what a degree they enjoyed and were excited by their own singing. Here in their own home, warbling like birds and frolicking like children, their performance was even more delightful

than it had been in the concert-room. There was evidently a great source of excitement in the fact that I must enjoy it far more than an ordinary stranger, because I understood Romany, and sympathized with gypsy ways, and regarded them not as the Gaji or Gentiles do, but as brothers and sisters. I confess that I was indeed moved by the simple kindness with which I was treated, and I knew that, with the wonderfully keen perception of character in which gypsies excel, they perfectly understood my liking for them. It is this ready intuition of feelings which, when it is raised from an instinct to an art by practice, enables shrewd old women to tell fortunes with so much skill.

I was here introduced to the mother of the girls. She was a neat, pleasant-looking woman, of perhaps forty years, in appearance and manners irresistibly reminding me of some respectable Cuban lady. Like the others, she displayed an intelligent curiosity as to my knowledge of Romany, and I was pleased at finding that she knew much more of the language than her children did. Then there entered a young Russian gentleman, but not “Prince Paul.” He was, however, a very agreeable person, as all Russians can be when so minded; and they are always so minded when they gather, from information or conjecture, the fact that the stranger whom they meet is one of education or position. This young gentleman spoke French, and undertook the part of occasional translator.

I asked Liubasha if any of them understood fortune-telling.

“No; we have quite lost the art of dorriki. [61] None

of us know anything about it. But we hear that you Romanichals over the Black Water understand it. Oh, rya,” she cried, eagerly, “you know so much,—you’re such a deep Romany,—can’t you tell fortunes?”

“I should indeed know very little about Romany ways,” I replied, gravely, “if I could not pen dorriki. But I tell you beforehand, terni pen, ‘dorrikipen hi hokanipen,’ little sister, fortune-telling is deceiving. Yet what the lines say I can read.”

In an instant six as pretty little gypsy hands as I ever beheld were thrust before me, and I heard as many cries of delight. “Tell my fortune, rya! tell mine! and mine!” exclaimed the damsels, and I complied. It was all very well to tell them there was nothing in it; they knew a trick worth two of that. I perceived at once that the faith which endures beyond its own knowledge was placed in all I said. In England the gypsy woman, who at home ridicules her own fortune-telling and her dupes, still puts faith in a gusveri mush, or some “wise man,” who with crystal or magical apparatus professes occult knowledge; for she thinks that her own false art is an imitation of a true one. It is really amusing to see the reverence with which an old gypsy will look at the awful hieroglyphics in Cornelius Agrippa’s “Occult Philosophy,” or, better still, “Trithemius,” and, as a gift, any ordinary fortune-telling book is esteemed by them beyond rubies. It is true that they cannot read it, but the precious volume is treasured like a fetich, and the owner is happy in the thought of at least possessing darksome and forbidden lore, though it be of no earthly use to her. After all the kindness they had shown me, I could not find

it in my heart to refuse to tell these gentle Zingari their little fortunes. It is not, I admit, exactly in the order of things that the chicken should dress the cook, or the Gorgio tell fortunes to gypsies; but he who wanders in strange lands meets with strange adventures. So, with a full knowledge of the legal penalties attached in England to palmistry and other conjuration, and with the then pending Slade case knocking heavily on my conscience, I proceeded to examine and predict. When I afterward narrated this incident to the late G. H. Lewes, he expressed himself to the effect that to tell fortunes to gypsies struck him as the very ne plus ultra of cheek,—which shows how extremes meet; for verily it was with great modesty and proper diffidence that I ventured to foretell the lives of these little ladies, having an antipathy to the practice of chiromancing as to other romancing.

I have observed that as among men of great and varied culture, and of extensive experience, there are more complex and delicate shades and half-shades of light in the face, so in the palm the lines are correspondingly varied and broken. Take a man of intellect and a peasant, of equal excellence of figure according to the literal rules of art or of anatomy, and this subtile multiplicity of variety shows itself in the whole body in favor of the “gentleman,” so that it would almost seem as if every book we read is republished in the person. The first thing that struck me in these gypsy hands was the fewness of the lines, their clearly defined sweep, and their simplicity. In every one the line of life was unbroken, and, in fine, one might think from a drawing of the hand, and without knowing who its owner might be, that he or

she was of a type of character unknown in most great European cities,—a being gifted with special culture, and in a certain simple sense refined, but not endowed with experience in a thousand confused phases of life. The hands of a true genius, who has passed through life earnestly devoted to a single art, however, are on the whole like these of the gypsies. Such, for example, are the hands of Fanny Janauschek, the lines of which agree to perfection with the laws of chiromancy. The art reminds one of Cervantes’s ape, who told the past and present, but not the future. And here “tell me what thou hast been, and I will tell what thou wilt be” gives a fine opportunity to the soothsayer.

To avoid mistakes I told the fortunes in French, which was translated into Russian. I need not say that every word was listened to with earnest attention, or that the group of dark but young and comely faces, as they gathered around and bent over, would have made a good subject for a picture. After the girls, the mother must needs hear her dorriki also, and last of all the young Russian gentleman, who seemed to take as earnest an interest in his future as even the gypsies. As he alone understood French, and as he appeared to be un peu gaillard, and, finally, as the lines of his hand said nothing to the contrary, I predicted for him in detail a fortune in which bonnes fortunes were not at all wanting. I think he was pleased, but when I asked him if he would translate what I had said of his future into Russian, he replied with a slight wink and a scarcely perceptible negative. I suppose he had his reasons for declining.

Then we had singing again, and Christopher, the brother, a wild and gay young gypsy, became so excited

that while playing the guitar he also danced and caroled, and the sweet voices of the girls rose in chorus, and I was again importuned for the Romany song, and we had altogether a very Bohemian frolic. I was sorry when the early twilight faded into night, and I was obliged, notwithstanding many entreaties to the contrary, to take my leave. These gypsies had been very friendly and kind to me in a strange city, where I had not an acquaintance, and where I had expected none. They had given me of their very best; for they gave me songs which I can never forget, and which were better to me than all the opera could bestow. The young Russian, polite to the last, went bareheaded with me into the street, and, hailing a sleigh-driver, began to bargain for me. In Moscow, as in other places, it makes a great difference in the fare whether one takes a public conveyance from before the first hotel or from a house in the gypsy quarter. I had paid seventy kopecks to come, and I at once found that my new friend and the driver were engaged in wild and fierce dispute whether I should pay twenty or thirty to return.

“Oh, give him thirty!” I exclaimed. “It’s little enough.”

“Non,” replied the Russian, with the air of a man of principles. “Il ne faut pas gâter ces gens-la.” But I gave the driver thirty, all the same, when we got home, and thereby earned the usual shower of blessings.

A few days afterward, while going from Moscow to St. Petersburg, I made the acquaintance of a young Russian noble and diplomat, who was well informed on all current gossip, and learned from him some curious facts. The first young gentleman whom I

had seen among the Romanys of Moscow was the son of a Russian prince by a gypsy mother, and the very noble Englishman whose photograph I had seen in Sarsha’s collection had not long ago (as rumor averred) paid desperate attentions to the belle of the Romanys without obtaining the least success. My informant did not know her name. Putting this and that together, I think it highly probable that Sarsha was the young lady, and that the latcho bar, or diamond, which sparkled on her finger had been paid for with British gold, while the donor had gained the same “unluck” which befell one of his type in the Spanish gypsy song as given by George Borrow:—

“Loud sang the Spanish cavalier,
And thus his ditty ran:
‘God send the gypsy maiden here,
But not the gypsy man.’

“On high arose the moon so bright,
The gypsy ’gan to sing,
‘I gee a Spaniard coming here,
I must be on the wing.’”

AUSTRIAN GYPSIES.

I.

In June, 1878, I went to Paris, during the great Exhibition. I had been invited by Monsieur Edmond About to attend as a delegate the Congrès Internationale Littéraire, which was about to be held in the great city. How we assembled, how M. About distinguished himself as one of the most practical and common-sensible of men of genius, and how we were all finally harangued by M. Victor Hugo with the most extraordinary display of oratorical sky-rockets, Catherine-wheels, blue-lights, fire-crackers, and pin-wheels by which it was ever my luck to be amused, is matter of history. But this chapter is only autobiographical, and we will pass over the history. As an Anglo-American delegate, I was introduced to several great men gratis; to the greatest of all I introduced myself at the expense of half a franc. This was to the Chinese giant, Chang, who was on exhibition at a small café garden near the Trocadero. There were no other visitors in his pavilion when I entered. He received me with politeness, and we began to converse in fourth-story English, but gradually went down-stairs into Pidgin, until we found ourselves fairly in the kitchen of that humble but entertaining dialect. It is a remarkable sensation to sit alone with

a mild monster, and feel like a little boy. I do not distinctly remember whether Chang is eight, or ten or twelve feet high; I only know that, though I am, as he said, “one velly big piecee man,” I sat and lifted my eyes from time to time at the usual level, forgetfully expecting to meet his eyes, and beheld instead the buttons on his breast. Then I looked up—like Daruma to Buddha—and up, and saw far above me his “lights of the soul” gleaming down on me as it were from the top of a lofty beacon.

I soon found that Chang, regarding all things from a giant’s point of view, esteemed mankind by their size and looks. Therefore, as he had complimented me according to his lights, I replied that he was a “numpa one too muchee glanti handsome man, first chop big.”

Then he added, “You belongy Inklis man?”

“No. My one piecee fa-ke-kwok; my Melican, galaw. You dlinkee ale some-tim?”

The giant replied that pay-wine, which is Pidgin for beer, was not ungrateful to his palate or foreign to his habits. So we had a quart of Alsopp between us, and drank to better acquaintance. I found that the giant had exhibited himself in many lands, and taken great pains to learn the language of each, so that he spoke German, Italian, and Spanish well enough. He had been at a mission-school when he used to “stop China-side,” or was in his native land. I assured him that I had perceived it from the first, because he evidently “talked ink,” as his countrymen say of words which are uttered by a scholar, and I greatly gratified him by citing some of my own “beautiful verses,” which are reversed from a Chinese original:—

“One man who never leadee [69a]
Like one dly [69b] inkstan be:
You turn he up-side downy,
No ink lun [69c] outside he.”

So we parted with mutual esteem. This was the second man by the name of Chang whom I had known, and singularly enough they were both exhibited as curiosities. The other made a living as a Siamese twin, and his brother was named Eng. They wrote their autographs for me, and put them wisely at the very top of the page, lest I should write a promise to pay an immense sum of money, or forge a free pass to come into the exhibition gratis over their signatures.

Having seen Chang, I returned to the Hôtel de Louvre, dined, and then went forth with friends to the Orangerie. This immense garden, devoted to concerts, beer, and cigars, is said to be capable of containing three thousand people; before I left it it held about five thousand. I knew not why this unwonted crowd had assembled; when I found the cause I was astonished, with reason. At the gate was a bill, on which I read “Les Bohemiennes de Moscow.”

“Some small musical comedy, I suppose,” I said to myself. “But let us see it.” We pressed on.

“Look there!” said my companion. “Those are certainly gypsies.”

Sure enough, a procession of men and women, strangely dressed in gayly colored Oriental garments, was entering the gates. But I replied, “Impossible. Not here in Paris. Probably they are performers.”

“But see. They notice you. That girl certainly

knows you. She’s turning her head. There,—I heard her say O Romany rye!”

I was bewildered. The crowd was dense, but as the procession passed me at a second turn I saw they were indeed gypsies, and I was grasped by the hand by more than one. They were my old friends from Moscow. This explained the immense multitude. There was during the Exhibition a great furor as regarded les zigains. The gypsy orchestra which performed in the Hungarian café was so beset by visitors that a comic paper represented them as covering the roofs of the adjacent houses so as to hear something. This evening the Russian gypsies were to make their début in the Orangerie, and they were frightened at their own success. They sang, but their voices were inaudible to two thirds of the audience, and those who could not hear roared, “Louder!” Then they adjourned to the open air, where the voices were lost altogether on a crowd calling, “Garçon—vite—une tasse café!” or applauding. In the intervals scores of young Russian gentlemen, golden swells, who had known the girls of old, gathered round the fair ones like moths around tapers. The singing was not the same as it had been; the voices were the same, but the sweet wild charm of the Romany caroling, bird-like, for pleasure was gone.

But I found by themselves and unnoticed two of the troupe, whom I shall not soon forget. They were two very handsome youths,—one of sixteen years, the other twenty. And with the first words in Romany they fairly jumped for joy; and the artist who could have caught their picture then would have made a brave one. They were clad in blouses of colored silk, which, with their fine dark complexions

and great black eyes, gave them a very picturesque air. These had not seen me in Russia, nor had they heard of me; they were probably from Novogorod. Like the girls they were children, but in a greater degree, for they had not been flattered, and kind words delighted them so that they clapped their hands. They began to hum gypsy songs, and had I not prevented it they would have run at once and brought a guitar, and improvised a small concert for me al fresco. I objected to this, not wishing to take part any longer in such a very public exhibition. For the gobe-mouches and starers, noticing a stranger talking with ces zigains, had begun to gather in a dense crowd around us, and the two ladies and the gentleman who were with us were seriously inconvenienced. We endeavored to step aside, but the multitude stepped aside also, and would not let us alone. They were French, but they might have been polite. As it was, they broke our merry conference up effectively, and put us to flight.

“Do let us come and see you, rya,” said the younger boy. “We will sing, for I can really sing beautifully, and we like you so much. Where do you live?”

I could not invite them, for I was about to leave Paris, as I then supposed. I have never seen them since, and there was no adventure and no strange scenery beyond the thousands of lights and guests and trees and voices speaking French. Yet to this day the gay boyishness, the merry laughter, and the child-like naïveté of the promptly-formed liking of those gypsy youths remains impressed on my mind with all the color and warmth of an adventure or a living poem. Can you recall no child by any wayside

of life to whom you have given a chance smile or a kind word, and been repaid with artless sudden attraction? For to all of us,—yes, to the coldest and worst,—there are such memories of young people, of children, and I pity him who, remembering them, does not feel the touch of a vanished hand and hear a chord which is still. There are adventures which we can tell to others as stories, but the best have no story; they may be only the memory of a strange dog which followed us, and I have one such of a cat who, without any introduction, leaped wildly towards me, “and would not thence away.” It is a good life which has many such memories.

I was walking a day or two after with an English friend, who was also a delegate to the International Literary Congress, in the Exhibition, when we approached the side gate, or rear entrance of the Hungarian café. Six or seven dark and strange-looking men stood about, dressed in the uniform of a military band. I caught their glances, and saw that they were Romany.

“Now you shall see something queer,” I said to my friend.

So advancing to the first dark man I greeted him in gypsy.

“I do not understand you,” he promptly replied—or lied.

I turned to a second.

“You have more sense, and you do understand. Adro miro tem penena mande o baro rai.” (In my country the gypsies call me the great gentleman.)

This phrase may be translated to mean either the “tall gentleman” or the “great lord.” It was apparently taken in the latter sense, for at once all the

party bowed very low, raising their hands to their foreheads, in Oriental fashion.

“Hallo!” exclaimed my English friend, who had not understood what I had said. “What game is this you are playing on these fellows?”

Up to the front came a superior, the leader of the band.

“Great God!” he exclaimed, “what is this I hear? This is wonderful. To think that there should be anybody here to talk with! I can only talk Magyar and Romanes.”

“And what do you talk?” I inquired of the first violin.

“Ich spreche nur Deutsch!” he exclaimed, with a strong Vienna accent and a roar of laughter. “I only talk German.”

This worthy man, I found, was as much delighted with my German as the leader with my gypsy; and in all my experience I never met two beings so charmed at being able to converse. That I should have met with them was of itself wonderful. Only there was this difference: that the Viennese burst into a laugh every time he spoke, while the gypsy grew more sternly solemn and awfully impressive. There are people to whom mere talking is a pleasure,—never mind the ideas,—and here I had struck two at once. I once knew a gentleman named Stewart. He was the mayor, first physician, and postmaster of St. Paul, Minnesota. While camping out, en route, and in a tent with him, it chanced that among the other gentlemen who had tented with us there were two terrible snorers. Now Mr. Stewart had heard that you may stop a man’s snoring by whistling. And here was a wonderful opportunity.

“So I waited,” he said, “until one man was coming down with his snore, diminuendo, while the other was rising, crescendo, and at the exact point of intersection, moderato, I blew my car-whistle, and so got both birds at one shot. I stopped them both.” Even as Mayor Stewart had winged his two birds with one ball had I hit my two peregrines.

“We are now going to perform,” said the gypsy captain. “Will you not take seats on the platform, and hear us play?”

I did not know it at the time, but I heard afterwards that this was a great compliment, and one rarely bestowed. The platform was small, and we were very near our new friends. Scarcely had the performance begun ere I perceived that, just as the gypsies in Russia had sung their best in my honor, these artists were exerting themselves to the utmost, and, all unheeding the audience, playing directly at me and into me. When any tour was deftly made the dark master nodded to me with gleaming eyes, as if saying, “What do you think of that, now?” The Viennese laughed for joy every time his glance met mine, and as I looked at the various Lajoshes and Joshkas of the band, they blew, beat, or scraped with redoubled fury, or sank into thrilling tenderness. Hurrah! here was somebody to play to who knew gypsy and all the games thereof; for a very little, even a word, reveals a great deal, and I must be a virtuoso, at least by Romany, if not by art. It was with all the joy of success that the first piece ended amid thunders of applause.

“That was not the racoczy,” I said. “Yet it sounded like it.”

“No,” said the captain. “But now you shall hear

the racoczy and the czardas as you never heard them before. For we can play that better than any orchestra in Vienna. Truly, you will never forget us after hearing it.”

And then they played the racoczy, the national Hungarian favorite, of gypsy composition, with heart and soul. As these men played for me, inspired with their own music, feeling and enjoying it far more than the audience, and all because they had got a gypsy gentleman to play to, I appreciated what a life that was to them, and what it should be; not cold-blooded skill, aiming only at excellence or preëxcellence and at setting up the artist, but a fire and a joy, a self-forgetfulness which whirls the soul away as the soul of the Mœnad went with the stream adown the mountains,—Evoë Bacchus! This feeling is deep in the heart of the Hungarian gypsy; he plays it, he feels it in every air, he knows the rush of the stream as it bounds onwards,—knows that it expresses his deepest desire; and so he has given it words in a song which, to him who has the key, is one of the most touching ever written:—

“Dyal o pañi repedishis,
M’ro pirano hegedishis;

“Dyal o pañi tale vatra,
M’ro pirano klanetaha.

“Dyal o pañi pe kishai
M’ro pirano tsino rai.”

“The stream runs on with rushing din
As I hear my true love’s violin;

“And the river rolls o’er rock and stone
As he plays the flute so sweet alone.

“Runs o’er the sand as it began,
Then my true love lives a gentleman.”

Yes, music whirling the soul away as on a rushing river, the violin notes falling like ripples, the flute tones all aflow among the rocks; and when it sweeps adagio on the sandy bed, then the gypsy player is at heart equal to a lord, then he feels a gentleman. The only true republic is art. There all earthly distinctions pass away; there he is best who lives and feels best, and makes others feel, not that he is cleverer than they, but that he can awaken sympathy and joy.

The intense reality of musical art as a comforter to these gypsies of Eastern Europe is wonderful. Among certain inedited songs of the Transylvanian gypsies, in the Kolosvárer dialect, I find the following:—

“Na janav ko dad m’ro as,
Niko māllen mange as,
Miro gule dai merdyas
Pirani me pregelyas.
Uva tu o hegedive
Tu sal mindīk pash mange.”

“I’ve known no father since my birth,
I have no friend alive on earth;
My mother’s dead this many day,
The girl I loved has gone her way;
Thou violin with music free
Alone art ever true to me.”

It is very wonderful that the charm of the Russian gypsy girls’ singing was destroyed by the atmosphere or applause of a Paris concert-room, while the Hungarian Romanys conquered it as it were by sheer force, and by conquering gave their music the charm of intensity. I do not deny that in this music, be it of voice or instruments, there is much which is perhaps imagined, which depends on association, which is plain to John but not to Jack; but you have only

to advance or retreat a few steps to find the same in the highest art. This, at least, we know: that no performer at any concert in London can awake the feeling of intense enjoyment which these wild minstrels excite in themselves and in others by sympathy. Now it is a question in many forms as to whether art for enjoyment is to die, and art for the sake of art alone survive. Is joyous and healthy nature to vanish step by step from the heart of man, and morbid, egoistic pessimism to take its place? Are over-culture, excessive sentiment, constant self-criticism, and all the brood of nervous curses to monopolize and inspire art? A fine alliance this they are making, the ascetic monk and the atheistic pessimist, to kill Nature! They will never effect it. It may die in many forms. It may lose its charm, as the singing of Sarsha and of Liubasha was lost among the rustling and noise of thousands of Parisian badauds in the Orangerie. But there will be stronger forms of art, which will make themselves heard, as the Hungarian Romanys heeded no din, and bore all away with their music.

“Latcho dívvus miri pralia!—miduvel atch pa tumende!” (Good-day, my brothers. God rest on you) I said, and they rose and bowed, and I went forth into the Exhibition. It was a brave show, that of all the fine things from all parts of the world which man can make, but to me the most interesting of all were the men themselves. Will not the managers of the next world show give us a living ethnological department?

Of these Hungarian gypsies who played in Paris during the Exhibition much was said in the newspapers, and from the following, which appeared in an

American journal, written by some one to me unknown, the reader may learn that there were many others to whom their music was deeply thrilling or wildly exciting:—

“The Hungarian Tziganes (Zigeuner) are the rage just now at Paris. The story is that Liszt picked out the individuals composing the band one by one from among the gypsy performers in Hungary and Bohemia. Half-civilized in appearance, dressed in an unbecoming half-military costume, they are nothing while playing Strauss’ waltzes or their own; but when they play the Radetsky Defile, the Racoksky March, or their marvelous czardas, one sees and hears the battle, and it is easy to understand the influence of their music in fomenting Hungarian revolutions; why for so long it was made treasonable to play or listen to these czardas; and why, as they heard them, men rose to their feet, gathered together, and with tears rolling down their faces, and throats swelling with emotion, departed to do or die.”

And when I remember that they played for me as they said they had played for no other man in Paris, “into the ear,”—and when I think of the gleam in their eyes, I verily believe they told the truth,—I feel glad that I chanced that morning on those dark men and spoke to them in Romany.

* * * * *

Since the above was written I have met in an entertaining work called “Unknown Hungary,” by Victor Tissot, with certain remarks on the Hungarian gypsy musicians which are so appropriate that I cite them in full:—

“The gypsy artists in Hungary play by inspiration, with inimitable verve and spirit, without even knowing their notes, and nothing whatever of the rhymes and rules of the masters. Liszt, who has closely studied them, says, The art of music being for them a sublime language, a song, mystic in itself, though dear to the initiated, they use it according to the wants of the moment which they wish to express. They have invented their music for their own use, to sing about themselves to themselves, to express themselves in the most heartfelt and touching monologues.

“Their music is as free as their lives; no intermediate modulation, no chords, no transition, it goes from one key to another. From ethereal heights they precipitate you into the howling depths of hell; from the plaint, barely heard, they pass brusquely to the warrior’s song, which bursts loudly forth, passionate and tender, at once burning and calm. Their melodies plunge you into a melancholy reverie, or carry you away into a stormy whirlwind; they are a faithful expression of the Hungarian character, sometimes quick, brilliant, and lively, sometimes sad and apathetic.

“The gypsies, when they arrived in Hungary, had no music of their own; they appropriated the Magyar music, and made from it an original art which now belongs to them.”

I here break in upon Messieurs Tissot and Liszt to remark that, while it is very probable that the Roms reformed Hungarian music, it is rather boldly assumed that they had no music of their own. It was, among other callings, as dancers and musicians that they left India and entered Europe, and among them were doubtless many descendants of the ten thousand Indo-Persian Luris or Nuris. But to resume quotation:—

“They made from it an art full of life, passion, laughter, and tears. The instrument which the gypsies prefer is the violin, which they call bas’ alja, ‘the king of instruments.’ They also play the viola, the cymbal, and the clarionet.

“There was a pause. The gypsies, who had perceived at a table a comfortable-looking man, evidently wealthy, and on a pleasure excursion in the town, came down from their platform, and ranged themselves round him to give him a serenade all to himself, as is their custom. They call this ‘playing into the ear.’

“They first asked the gentleman his favorite air, and then played it with such spirit and enthusiasm and overflowing richness of variation and ornament, and with so much emotion, that it drew forth the applause of the whole company. After this they executed a czardas, one of the wildest, most feverish, harshest, and, one may say, tormenting, as if to pour intoxication into the soul of their listener. They watched his countenance to note the impression produced by the passionate rhythm of their instruments; then, breaking off suddenly, they played a hushed, soft, caressing measure; and again, almost breaking the trembling cords of their bows, they produced such an intensity of effect that the listener was almost beside himself with delight and astonishment. He sat as if bewitched; he shut his eyes, hung his head in melancholy, or raised it with a start, as the music varied; then jumped up and struck the back of his head with his hands. He positively laughed and cried at once; then, drawing a roll of bank-notes from his pocket-book, he threw it to the gypsies, and fell back in his chair, as if exhausted with so much enjoyment. And in this lies the triumph of the gypsy music; it is like that of Orpheus, which moved the rocks and trees. The soul of the Hungarian plunges, with a refinement of sensation that we can understand, but cannot follow, into this music, which, like the unrestrained indulgence of the imagination in fantasy and caprice, gives to the initiated all the intoxicating sensations experienced by opium smokers.”

The Austrian gypsies have many songs which perfectly reflect their character. Most of them are only single verses of a few lines, such as are sung everywhere in Spain; others, which are longer, seem to have grown from the connection of these verses. The following translation from the Roumanian Romany (Vassile Alexandri) gives an idea of their style and spirit:—

GYPSY SONG.

The wind whistles over the heath,
The moonlight flits over the flood;
And the gypsy lights up his fire,
In the darkness of the wood.
Hurrah!
In the darkness of the wood.

Free is the bird in the air,
And the fish where the river flows;
Free is the deer in the forest,
And the gypsy wherever he goes.
Hurrah!
And the gypsy wherever he goes.

a gorgio gentleman speaks.

Girl, wilt thou live in my home?
I will give thee a sable gown,
And golden coins for a necklace,
If thou wilt be my own.

gypsy girl.

No wild horse will leave the prairie
For a harness with silver stars;
Nor an eagle the crags of the mountain,
For a cage with golden bars;

Nor the gypsy girl the forest,
Or the meadow, though gray and cold,
For garments made of sable,
Or necklaces of gold.

the gorgio.

Girl, wilt thou live in my dwelling,
For pearls and diamonds true? [82]
I will give thee a bed of scarlet,
And a royal palace, too.

gypsy girl.

My white teeth are my pearlins,
My diamonds my own black eyes;
My bed is the soft green meadow,
My palace the world as it lies.

Free is the bird in the air,
And the fish where the river flows;
Free is the deer in the forest,
And the gypsy wherever he goes.
Hurrah!
And the gypsy wherever he goes.

There is a deep, strange element in the gypsy character, which finds no sympathy or knowledge in the German, and very little in other Europeans, but which is so much in accord with the Slavonian and Hungarian that he who truly feels it with love is often disposed to mingle them together. It is a dreamy mysticism; an indefinite semi-supernaturalism, often passing into gloom; a feeling as of Buddhism which has glided into Northern snows, and taken a new and darker life in winter-lands. It is strong in the Czech or Bohemian, whose nature is the worst understood in the civilized world. That he should hate the German

with all his heart and soul is in the order of things. We talk about the mystical Germans, but German self-conscious mysticism is like a problem of Euclid beside the natural, unexpressed dreaminess of the Czech. The German mystic goes to work at once to expound his “system” in categories, dressing it up in a technology which in the end proves to be the only mystery in it. The Bohemian and gypsy, each in their degrees of culture, form no system and make no technology, but they feel all the more. Now the difference between true and imitative mysticism is that the former takes no form; it is even narrowed by religious creeds, and wing-clipt by pious “illumination.” Nature, and nature alone, is its real life. It was from the Southern Slavonian lands that all real mysticism, and all that higher illumination which means freedom, came into Germany and Europe; and after all, Germany’s first and best mystic, Jacob Böhme, was Bohemian by name, as he was by nature. When the world shall have discovered who the as yet unknown Slavonian German was who wrote all the best part of “Consuelo,” and who helped himself in so doing from “Der letzte Taborit,” by Herlossohn, we shall find one of the few men who understood the Bohemian.

Once in a while, as in Fanny Janauschek, the Czech bursts out into art, and achieves a great triumph. I have seen Rachel and Ristori many a time, but their best acting was shallow compared to Janauschek’s, as I have seen it in by-gone years, when she played Iphigenia and Medea in German. No one save a Bohemian could ever so intuit the gloomy profundity and unearthly fire of the Colchian sorceress. These are the things required to perfect every

artist,—above all, the tragic artist,—that the tree of his or her genius shall not only soar to heaven among the angels, but also have roots in the depths of darkness and fire; and that he or she shall play not only to the audience, and in sympathy with them, but also unto one’s self and down to one’s deepest dreams.

No one will accuse me of wide discussion or padding who understands my drift in this chapter. I am speaking of the gypsy, and I cannot explain him more clearly than by showing his affinities with the Slavonian and Magyar, and how, through music and probably in many other ways, he has influenced them. As the Spaniard perfectly understands the objective vagabond side of the Gitano, so the Southeastern European understands the musical and wild-forest yearnings of the Tsigane. Both to gypsy and Slavonian there is that which makes them dream so that even debauchery has for them at times an unearthly inspiration; and as smoking was inexpressibly sacred to the red Indians of old, so that when the Guatemalan Christ harried hell, the demons offered him cigars; in like manner tipsiness is often to the gypsy and Servian, or Czech, or Croat, something so serious and impressive that it is a thing not to be lightly thought of, but to be undertaken with intense deliberation and under due appreciation of its benefits.

Many years ago, when I had begun to feel this strange element I gave it expression in a poem which I called “The Bohemian,” as expressive of both gypsy and Slavonian nature:—

THE BOHEMIAN.

Chces li tajnou vec aneb pravdu vyzvédéti
Blazen, dité opily človék o tom umeji povodeti.

Wouldst thou know a truth or mystery,
A drunkard, fool, or child may tell it thee

Bohemian Proverb.

And now I’ll wrap my blanket o’er me,
And on the tavern floor I’ll lie,
A double spirit-flask before me,
And watch my pipe clouds, melting, die.

They melt and die, but ever darken
As night comes on and hides the day,
Till all is black; then, brothers, hearken,
And if ye can write down my lay.

In yon long loaf my knife is gleaming,
Like one black sail above the boat;
As once at Pesth I saw it beaming,
Half through a dark Croatian throat.

Now faster, faster, whirls the ceiling,
And wilder, wilder, turns my brain;
And still I’ll drink, till, past all feeling,
My soul leaps forth to light again.

Whence come these white girls wreathing round me?
Barushka!—long I thought thee dead;
Katchenka!—when these arms last bound thee
Thou laid’st by Rajrad, cold as lead.

And faster, faster, whirls the ceiling,
And wilder, wilder, turns my brain;
And from afar a star comes stealing
Straight at me o’er the death-black plain.

Alas! I sink. My spirits miss me.
I swim, I shoot from shore to shore!
Klara! thou golden sister—kiss me!
I rise—I’m safe—I’m strong once more.

And faster, faster, whirls the ceiling,
And wilder, wilder, whirls my brain;
The star!—it strikes my soul, revealing
All life and light to me again.

* * * * *

Against the waves fresh waves are dashing,
Above the breeze fresh breezes blow;
Through seas of light new light is flashing,
And with them all I float and flow.

Yet round me rings of fire are gleaning,—
Pale rings of fire, wild eyes of death!
Why haunt me thus, awake or dreaming?
Methought I left ye with my breath!

Ay, glare and stare, with life increasing,
And leech-like eyebrows, arching in;
Be, if ye must, my fate unceasing,
But never hope a fear to win.

He who knows all may haunt the haunter,
He who fears naught hath conquered fate;
Who bears in silence quells the daunter,
And makes his spoiler desolate.

O wondrous eyes, of star-like lustre,
How have ye changed to guardian love!
Alas! where stars in myriads cluster,
Ye vanish in the heaven above.

* * * * *

I hear two bells so softly ringing;
How sweet their silver voices roll!
The one on distant hills is ringing,
The other peals within my soul.

I hear two maidens gently talking,
Bohemian maids, and fair to see:
The one on distant hills is walking,
The other maiden,—where is she?

Where is she? When the moonlight glistens
O’er silent lake or murmuring stream,
I hear her call my soul, which listens,
“Oh, wake no more! Come, love, and dream!”

She came to earth, earth’s loveliest creature;
She died, and then was born once more;
Changed was her race, and changed each feature,
But yet I loved her as before.

We live, but still, when night has bound me
In golden dreams too sweet to last,
A wondrous light-blue world around me,
She comes,—the loved one of the past.

I know not which I love the dearest,
For both the loves are still the same:
The living to my life is nearest,
The dead one feeds the living flame.

And when the sun, its rose-wine quaffing,
Which flows across the Eastern deep,
Awakes us, Klara chides me, laughing,
And says we love too well in sleep.

And though no more a Voivode’s daughter,
As when she lived on earth before,
The love is still the same which sought her,
And I am true, and ask no more.

* * * * *

Bright moonbeams on the sea are playing,
And starlight shines upon the hill,
And I should wake, but still delaying
In our old life I linger still.

For as the wind clouds flit above me,
And as the stars above them shine,
My higher life’s in those who love me,
And higher still, our life’s divine.

And thus I raise my soul by drinking,
As on the tavern floor I lie;
It heeds not whence begins our thinking
If to the end its flight is high.

E’en outcasts may have heart and feeling,
The blackest wild Tsigan be true,
And love, like light in dungeons stealing,
Though bars be there, will still burst through.

It is the reëcho of more than one song of those strange lands, of more than one voice, and of many a melody; and those who have heard them, though not more distinctly than François Villon when he spoke of flinging the question back by silent lake and streamlet lone, will understand me, and say it is true to nature.

In a late work on Magyarland, by a lady Fellow of the Carpathian Society, I find more on Hungarian gypsy music, which is so well written that I quote fully from it, being of the opinion that one ought, when setting forth any subject, to give quite as good an opportunity to others who are in our business as to ourselves. And truly this lady has felt the charm of the Tsigan music and describes it so well that one wishes she were a Romany in language and by adoption, like unto a dozen dames and damsels whom I know.

“The Magyars have a perfect passion for this gypsy music, and there is nothing that appeals so powerfully to their emotions, whether of joy or sorrow. These singular musicians are, as a rule, well taught, and can play almost any music, greatly preferring, however, their own compositions. Their music, consequently, is highly characteristic. It is the language of their lives and strange surroundings, a wild, weird banshee music: now all joy and sparkle, like sunshine on the plains; now sullen, sad, and pathetic by turns, like the wail of a crushed and oppressed people,—an echo, it is said, of the minstrelsy of the hegedösök or Hungarian bards, but sounding to our ears like the more distant echo of that exceeding bitter cry, uttered long centuries ago by their forefathers under Egyptian bondage, and borne over the time-waves of thousands of years, breaking forth in their music of to-day.”

Here I interrupt the lady—with all due courtesy—to remark that I cannot agree with her, nor with her probable authority, Walter Simson, in believing that the gypsies are the descendants of the mixed races who followed Moses out of Egypt. The Rom in Egypt is a Hindoo stranger now, as he ever was. But that the echo of centuries of outlawry and wretchedness and wildness rises and falls, like the ineffable discord in a wind-harp, in Romany airs is true enough, whatever its origin may have been. But I beg pardon, madam,—I interrupted you.

“The soul-stirring, madly exciting, and martial strains of the Racoczys—one of the Revolutionary airs—has just died upon the ear. A brief interval of rest has passed. Now listen with bated breath to that recitative in the minor key,—that passionate wail, that touching story, the gypsies’ own music, which rises and falls on the air. Knives and forks are set down, hands and arms hang listless, all the seeming necessities of the moment being either suspended or forgotten,—merged in the memories which those vibrations, so akin to human language, reawaken in each heart. Eyes involuntarily fill with tears, as those pathetic strains echo back and make present some sorrow of long ago, or rouse from slumber that of recent time. . . .

“And now, the recitative being ended, and the last chord struck, the melody begins, of which the former was the prelude. Watch the movements of the supple figure of the first violin, standing in the centre of the other musicians, who accompany him softly. How every nerve is en rapport with his instrument, and how his very soul is speaking through it! See how gently he draws the bow across the trembling strings, and how lovingly he lays his cheek upon it, as if listening to some responsive echo of his heart’s inmost feeling, for it is his mystic language! How the instrument lives and answers to his every touch, sending forth in turn utterances tender, sad, wild, and joyous! The audience once more hold their breath to catch the dying tones, as the melody, so rich, so beautiful, so full of pathos, is drawing to a close. The tension is absolutely painful as the gypsy dwells on the last lingering note, and it is a relief when, with a loud and general burst of sound, every performer starts into life and motion. Then what crude and wild dissonances are made to resolve themselves into delicious harmony! What rapturous and fervid phrases, and what energy and impetuosity, are there in every motion of the gypsies’ figures, as their dark eyes glisten and emit flashes in unison with the tones!”

The writer is gifted in giving words to gypsy music. One cannot say, as the inexhaustible Cad writes of Niagara ten times on a page in the Visitors’ Book, that it is indescribable. I think that if language means anything this music has been very well described by the writers whom I have cited. When I am told that the gypsies’ impetuous and passionate natures make them enter into musical action with heart and soul, I feel not only the strains played long ago, but also hear therein the horns of Elfland blowing,—which he who has not heard, of summer days, in the drone of the bee, by reedy rustling stream, will never know on earth in any wise. But once heard it comes ever, as I, though in the city, heard it last night in the winter wind, with Romany words mingled in wild refrain:—

“Kamava tute, miri chelladi!”

II. AUSTRIAN GYPSIES IN PHILADELPHIA.

It was a sunny Sunday afternoon, and I was walking down Chestnut Street, Philadelphia, when I met with three very dark men.

Dark men are not rarities in my native city. There is, for instance, Eugene, who has the invaluable faculty of being able to turn his hand to an infinite helpfulness in the small arts. These men were darker than Eugene, but they differed from him in this, that while he is a man of color, they were not. For in America the man of Aryan blood, however dark he may be, is always “off” color, while the lightest-hued quadroon is always on it. Which is not the only paradox connected with the descendants of Africans of which I have heard.

I saw at a glance that these dark men were much nearer to the old Aryan stock than are even my purely white readers. For they were more recently from India, and they could speak a language abounding in Hindi, in pure old Sanskrit, and in Persian. Yet they would make no display of it; on the contrary, I knew that they would be very likely at first to deny all knowledge thereof, as well as their race and blood. For they were gypsies; it was very apparent in their eyes, which had the Gitano gleam as one seldom sees it in England. I confess that I experienced a thrill as I exchanged glances with

them. It was a long time since I had seen a Romany, and, as usual, I knew that I was going to astonish them. They were singularly attired, having very good clothes of a quite theatrical foreign fashion, bearing silver buttons as large as and of the shape of hen’s eggs. Their hair hung in black ringlets down their shoulders, and I saw that they had come from the Austrian Slavonian land.

I addressed the eldest in Italian. He answered fluently and politely. I changed to Ilirski or Illyrian and to Serb, of which I have a few phrases in stock. They spoke all these languages fluently, for one was a born Illyrian and one a Serb. They also spoke Nemetz, or German; in fact, everything except English.

“Have you got through all your languages?” I at last inquired.

“Tutte, signore,—all of them.”

“Isn’t there one left behind, which you have forgotten? Think a minute.”

“No, signore. None.”

“What, not one! You know so many that perhaps a language more or less makes no difference to you.”

“By the Lord, signore, you have seen every egg in the basket.”

I looked him fixedly in the eyes, and said, in a low tone,—

“Ne rakesa tu Romanes miro prala?”

There was a startled glance from one to the other, and a silence. I had asked him if he could not talk Romany. And I added,—

“Won’t you talk a word with a gypsy brother?”

That moved them. They all shook my hands with

great feeling, expressing intense joy and amazement at meeting with one who knew them.

“Mishto hom me dikava tute.” (I am glad to see you.) So they told me how they were getting on, and where they were camped, and how they sold horses, and so on, and we might have got on much farther had it not been for a very annoying interruption. As I was talking to the gypsies, a great number of men, attracted by the sound of a foreign language, stopped, and fairly pushed themselves up to us, endeavoring to make it all out. When there were at least fifty, they crowded in between me and the foreigners, so that I could hardly talk to them. The crowd did not consist of ordinary people, or snobs. They were well dressed,—young clerks, at least,—who would have fiercely resented being told that they were impertinent.

“Eye-talians, ain’t they?” inquired one man, who was evidently zealous in pursuit of knowledge.

“Why don’t you tell us what they are sayin’?”

“What kind of fellers air they, any way?”

I was desirous of going with the Hungarian Roms. But to walk along Chestnut Street with an augmenting procession of fifty curious Sunday promenaders was not on my card. In fact, I had some difficulty in tearing myself from the inquisitive, questioning, well-dressed people. The gypsies bore the pressure with the serene equanimity of cosmopolite superiority, smiling at provincial rawness. Even so in China and Africa the traveler is mobbed by the many, who, there as here, think that “I want to know” is full excuse for all intrusiveness. Q’est tout comme chez nous. I confess that I was vexed, and, considering that it was in my native city, mortified.

A few days after I went out to the tan where these Roms had camped. But the birds had flown, and a little pile of ashes and the usual débris of a gypsy camp were all that remained. The police told me that they had some very fine horses, and had gone to the Northwest; and that is all I ever saw of them.

I have heard of a philanthropist who was turned into a misanthrope by attempting to sketch in public and in galleries. Respectable strangers, even clergymen, would stop and coolly look over his shoulder, and ask questions, and give him advice, until he could work no longer. Why is it that people who would not speak to you for life without an introduction should think that their small curiosity to see your sketches authorizes them to act as aquaintances? Or why is the pursuit of knowledge assumed among the half-bred to be an excuse for so much intrusion? “I want to know.” Well, and what if you do? The man who thinks that his desire for knowledge is an excuse for impertinence—and there are too many who act on this in all sincerity—is of the kind who knocks the fingers off statues, because “he wants them” for his collection; who chips away tombstones, and hews down historic trees, and not infrequently steals outright, and thinks that his pretense of culture is full excuse for all his mean deeds. Of this tribe is the man who cuts his name on all walls and smears it on the pyramids, to proclaim himself a fool to the world; the difference being that, instead of wanting to know anything, he wants everybody to know that His Littleness was once in a great place.

I knew a distinguished artist, who, while in the East, only secured his best sketch of a landscape by employing fifty men to keep off the multitude. I

have seen a strange fellow take a lady’s sketch out of her hand, excusing himself with the remark that he was so fond of pictures. Of course my readers do not act thus. When they are passing through the Louvre or British Museum they never pause and overlook artists, despite the notices requesting them not to do so. Of course not. Yet I once knew a charming young American lady, who scouted the idea as nonsense that she should not watch artists at work. “Why, we used to make up parties for the purpose of looking at them!” she said. “It was half the fun of going there. I’m sure the artists were delighted to get a chance to talk to us.” Doubtless. And yet there are really very few artists who do not work more at their ease when not watched, and I have known some to whom such watching was misery. They are not, O intruder, painting for your amusement!

This is not such a far cry from my Romanys as it may seem. When I think of what I have lost in this life by impertinence coming between me and gypsies, I feel that it could not be avoided. The proportion of men, even of gentlemen, or of those who dress decently, who cannot see another well-dressed man talking with a very poor one in public, without at once surmising a mystery, and endeavoring to solve it, is amazing. And they do not stop at a trifle, either.

It is a marked characteristic of all gypsies that they are quite free from any such mean intrusiveness. Whether it is because they themselves are continually treated as curiosities, or because great knowledge of life in a small way has made them philosophers, I will not say, but it is a fact that in

The Gypsies