Joseph Boruwlaski

FEW men have a quicker conception than he has; or more readily lay hold of the prominent parts, or represent them with greater humour or greater power of mimicry. His talents for music are of the most agreeable kind: he composes, and plays on the violin and guitar, the most beautiful, little lively airs, with an elegance and facility, that are both rare and astonishing. He dances with all the lightness and ease of an opera performer, and hardly ever tires.* His temper is the most agreeable and placid; his feelings lively and correct, and his principles are those of honour, integrity, and gratitude.* He never forgets a kindness, nor ever remembers an injury. His head and his heart are equally estimable; and, in short, I cannot name a man for whose amiable amenity and estimable qualities I have a greater regard.

abridged

From ‘Memoirs of Count Boruwlaski, containing a sketch of his travels, with an account of his reception at the different courts of Europe’ (1820), by Joseph Boruwlaski (1739-1837).

* See A Debt to a Hero, in which Boruwlaski relates a touching act of kindness.

* Burdon wrote this in May 1818, when Boruwlaski was a few months shy of seventy-nine, so we gather that he kept up his tireless dancing rather longer than he once had feared likely. “I have but a weak constitution,” Boruwlaski had written back in 1788, “the weight of years grows every day more pressing.” His anxiety proved unfounded, for he died in 1837, a few weeks short of his ninety-eighth birthday; but the anxiety was never for himself. “Should I be snatched away from my family, what will become of them? whose assistance can they claim? ... These are the pains and inquietudes which assail my heart, and dash with bitterness the moments of joy that I derive from my family.” Those moments were all too few: his wife Isalina was a poor traveller and Joseph’s life on the road was no place for his two children.

Précis
Even at eighty, Burdon went on, Boruwlaski was still an amusing mimic, a tireless dancer, and a gifted musician, able to look back on a successful career playing the violin and the guitar. But he was also kind and honourable, so much so that Burdon could say that there was no man alive for whom he had greater respect.
Questions for Critics

1. What is the author aiming to achieve in writing this?

2. Note any words, devices or turns of phrase that strike you. How do they help the author communicate his ideas more effectively?

3. What impression does this passage make on you? How might you put that impression into words?

Based on The English Critic (1939) by NL Clay, drawing on The New Criticism: A Lecture Delivered at Columbia University, March 9, 1910, by J. E. Spingarn, Professor of Comparative Literature in Columbia University, USA.

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