Autobiography of Matthew Scott, Jumbo's Keeper; Also Jumbo's Biography, by the same Author — Key Ideas to Explore

A Keeper's Self-Portrait

Scott introduces himself not through grand achievements but through his association with Jumbo. He writes that he has 'very little to boast of with regard to this world’s goods,' yet he claims a unique authority: 'the knowledge and experience I possess, I have learned while living with wild beasts.' This self-deprecating yet proud stance recurs throughout. He dedicates the book to the people of the United States and Great Britain, thanking them for kindness received during his travels. The dedication's phrasing—'If “Jumbo” could but speak, I know he would endorse what I say here'—reveals Scott's tendency to speak for his charge, a rhetorical move that shapes the entire work.

Jumbo's Musical Discernment

Scott attributes to Jumbo a refined sensitivity to music. He recounts that at the Zoölogical Gardens in London, Jumbo could distinguish the 'Horse Guards' band from a substitute, even when he could not see the musicians. Scott marvels that 'many boys now of only the age that Jumbo was at that time, who would not be able to distinguish the difference.' The anecdote serves dual purposes: it showcases Jumbo's intelligence and reinforces Scott's role as the one who notices and interprets such behavior. Scott's language here is affectionate but not sentimental; he presents the elephant's preference as a matter of fact, supported by his own observation.

The Voyage and Barnum's Role

Scott recounts the decision to bring Jumbo to America, emphasizing the skepticism he faced. 'It was held—and a good deal of pressure was brought to bear upon me—that I should never be able to make the voyage across the Atlantic in safety.' He names P. T. Barnum as 'The Greatest Showman on Earth' and describes his own consent 'after considerable persuasion.' The tone is matter-of-fact, but Scott injects a note of pride when he reflects on the 'tens of thousands of miles Jumbo and I have travelled.' He frames the journey as a shared adventure, and his curiosity about 'what kind of reception would be accorded Jumbo' underscores his role as both caretaker and showman.

Babyish Habits and Human Parallels

Scott does not shy from describing Jumbo's less majestic traits. He confesses that Jumbo has 'some habits that are rather babyish,' such as whining and crying when Scott is overdue, 'just the same as a child crying after its mother.' Scott directly addresses his 'young readers,' asking for forgiveness: 'As you remember you have done the same thing yourselves.' This passage reveals Scott's didactic impulse—he uses Jumbo's behavior to teach charity and forgiveness. The anthropomorphism is deliberate and unapologetic, and it reinforces the intimate, domestic quality of their relationship. Scott's voice here is that of a fond but honest caretaker.

Scott's narrative is best approached as a dual portrait: the keeper and the kept. His prose is unpolished but earnest, and his observations—whether about Jumbo's musical ear or his separation anxiety—are grounded in daily proximity. Readers interested in the human-animal bond, 19th-century showmanship, or the voice of a working-class autobiographer will find this a singular document. Scott's humility and pride are equally present, and his story is inseparable from the elephant he raised.

Reading Scott’s account, I felt his quiet pride in raising Jumbo from a sickly calf — that tender, stubborn loyalty between a man and a beast. It reminded me of flipping through an old Beginners' zoology — Story, Setting & Ideas as a child, where animals were still mysteries, not exhibits. That same wondering gaze, I think, stayed with him, too.