William Holman Hunt’s The Awakening Conscience (1853) is one of my favourite Pre-Raphaelite paintings.
Holman Hunt was a religious man and this was a companion piece to another painting of Jesus Christ entitled The Light of the World (1853).
Hunt had moral principles that were in line with most of his Victorian contemporaries. Through his art he wished to make a moral point about a story which was all-too-familiar to many Victorians: that of the adulterous married man who had a ‘kept woman’ or ‘mistress’. Often a very rich aristocratic or upper middle-class man would seduce a woman and pay for her to live in a fashionable apartment where he could have sex with her without arousing the suspicion of his wife. In G. W. M. Reynolds’s novel The Mysteries of London and The Mysteries of the Court of London (1844–56), for example, there are several aristocratic characters, and even the Prince Regent himself, who keep a woman maintained in an apartment at their beck-and-call.
And the woman in question here is being ‘well-kept’; she lacks a wedding ring yet she is frolicking around with another man—this would have been immediately obvious to the Victorians. Such women were usually from the poorer classes everything in the apartment is brand new, seen from the bright gleam of the varnish on the furnishings.
The clock is likewise an expensive item; it is gold when most people’s clocks in all but the grandest homes would have been relatively modest wooden constructions—this is certainly not what we would expect to see when we enter a relatively small Victorian apartment.
The man has essentially ‘trapped’ her in this lifestyle; she had nothing and he had everything. The idea that she is trapped comes from the cat under the table, who has caught a bird.
And when the man visits, he has one thing on his mind: sex. This is why Holman Hunt has depicted the man’s face as full of lust.
Usually the pair are used to probably having some fun and games beforehand, and on the grand piano which he has bought, the man is playing a tune: Thomas Moore’s Oft in the Stilly Night:
Oft, in the stilly night,
Ere slumber’s chain has bound me,
Fond memory brings the light
Of other days around me;
The smiles, the tears,
Of boyhood’s years,
The words of love then spoken;
The eyes that shone,
Now dimm’d and gone,
The cheerful hearts now broken!
Thus, in the stilly night,
Ere slumber’s chain hath bound me,
Sad memory brings the light
Of other days around me.
When I remember all
The friends, so link’d together,
I’ve seen around me fall,
Like leaves in wintry weather;
I feel like one
Who treads alone
Some banquet-hall deserted,
Whose lights are fled,
Whose garlands dead,
And all but he departed!
Thus, in the stilly night,
Ere slumber’s chain has bound me,
Sad memory brings the light
Of other days around me.
To the man, this is just some silly old tune written by a long-dead poet and is of little consequence. It is background music to the main event. But it is the playing of this tune which kick-starts the woman’s ‘awakening conscience’. She can remember the tune from her childhood and this reminds her of her ‘lost innocence’.
So suddenly she starts to repent of her life and does not want to have any more “fun” with the man who has entrapped her in this lifestyle. Finally, Holman Hunt makes clear that there is only one way out of this lifestyle for her: we see from the mirror at the back that she is looking out of an open window, signifying that for her to be truly free and regain lost innocence she must leave this apartment and, by extension, her lifestyle.
And if she does not take this opportunity to escape this lifestyle, Holman Hunt reminds us, through the discarded glove on the floor, what often happens to many mistresses: the man gets bored and abandons them.
Leslie Parris (ed.), The Pre-Raphaelites, exhibition catalogue, Tate Gallery, London 1984, reprinted 1994, pp.120-21
Marcia R. Pointon (ed.), Pre-Raphaelites Re-viewed (Manchester: Manchester University Press, 1989)
[All images taken from books in my personal collection – feel free to use]
Further to my recent postings on Robin Hood in Victorian penny dreadfuls, this post sheds light upon another Robin Hood serial written by George Emmett entitled Robin Hood and the Archers of Merrie Sherwood which was serialised between 1868 and 1869. The Emmett brothers owned a busy but financially insecure publishing business. Constantly in financial difficulty, Emmett perhaps mistook his true vocation for none of his novels sold well enough. Emmett’s tale is a very defective historical romance which, had it been undertaken by a more talented writer, might have passed for a good novel.
Following Walter Scott’s Ivanhoe (1819), the novel is framed as an antiquary’s research into the old ballads of Robin Hood. But unlike the antiquarian research of Joseph Ritson (1752-1803) or Thomas Percy (1729-1811), the study of old ballads that Emmett undertakes (or says that he has done, at least) has a tint of nationalism to it. He says that the old Robin Hood ballads were
Rude in composition […but] suited our sturdy Saxon ancestors […] expressing all that was manly and brave […] appealed to the hearts of the freeborn youth of England, and taught them to aid the oppressed.
Although the idea of Social Darwinism had yet to emerge, one can detect the first seeds of the sense that Robin, a Saxon, is racially superior to the Normans. And Robin’s Saxon heritage is constantly played up in the novel. In one of many instances, Emmett writes that Robin was
The novel begins promisingly by setting the story of Robin Hood, not during the times of King Richard and Prince John, but during the rebellion of Simon de Montfort, or ‘The Second Barons War’ (1264-67). This had been done before in G. P. R. James’ novel Forest Days (1843). But Emmett was not as talented as James and lacks the talent for weaving together a complicated tale of exciting battles and political intrigue. In fact, both in its text and images, the novel is barely historicised. Robin is always dressed more as a seventeenth-century highwayman than a medieval outlaw.
As is usual in the later Victorian penny dreadfuls, Robin is the Earl of Huntingdon. In other places, Emmett also calls Robin a yeoman, which is quite puzzling. There is unlikely to be a ‘deep’ explanation for this inconsistency of the account of Robin’s birth, in all likelihood it was probably the case that, in a novel which was written on a weekly basis, Emmett simply forgot that he had made Robin an Earl. But he is not the type of outlaw that a person would want to meet. By that, I do not mean that he is a cruel and murderous outlaw as he is in eighteenth-century criminal biography. Rather it is to say that he treats his fellow outlaws, especially Little John, with a harshness that borders upon contempt. In all fairness, Little John is portrayed as an annoying fellow, and somewhat dim and constantly utters the annoying phrase ‘Body o’me’ when he’s astounded by something. Thus Little John, the sturdy giant of earlier tales is degraded in Emmett’s novel into a buffoon.
Furthermore, the Forest Society of Sherwood lacks the free-spirited and democratic ideals of Egan’s novel and Ritson’s ballad anthology. There is the sense that Robin, the Earl, is very much the undisputed leader of the outlaw band. And it is very hierarchical. Robin calls Will Scarlet his lieutenant’. In addition, Robin is repeatedly called ‘King of the Outlaws’, and Robin draws his men up in military array.
The one interesting insertion into the narrative is that of the Forest Demon. When Robin and his men are outlawed for joining Simon De Montfort in his rebellion, they make their home in Sherwood Forest. It is here that Robin meets the strange woodland creature. Forest spirits would make their way into further Robin Hood adaptations such as Paul Creswick’s Robin Hood and his Adventures (1917) and in the television series Robin of Sherwood (1984-86). The association between Robin Hood and woodland spirits comes from a now-discredited theory from 1830s (which was never taken seriously at the time anyway) that supposed Robin to be the manifestation of the Teutonic Spirit Hodekin, and which subsequently made it into The Oxford Dictionary of National Biography when Sir Sidney Lee was editing it during the nineteenth century.
What is clear from Emmett’s tale is that the quality of Robin Hood novels has begun to decline by the 1870s. Further evidence of the poor quality is The Prince of Archers (1883) which appeared in The Boys of England. They are very much for a juvenile audience and cease to be targeted in any way towards adults. Still, just like the late-Victorian children’s books, they were undoubtedly popular with the young lads who read them avidly.
 Robert Kirkpatrick, Pennies, Profits and Poverty: A Biographical Directory of Wealth and Want in Bohemian Fleet Street (London: CreateSpace, 2016), pp.417-422.
 George Emmett, Robin Hood and the Archers of Merrie Sherwood (London: Hogarth House [n.d.]), p.2.
 Emmett, Robin Hood and the Archers of Merrie Sherwood, p.19.
 Emmett, Robin Hood and the Archers of Merrie Sherwood, p.2.
 Emmett, Robin Hood and the Archers of Merrie Sherwood, p.24.
 Emmett, Robin Hood and the Archers of Merrie Sherwood, p.25.
There is now before us such a veritable mountain of pernicious trash, mostly in paper covers, and “Price One Penny”; so-called novelettes, tales, stories of adventure, mystery and crime; pictures of school life hideously unlike reality; exploits of robbers, cut-throats, prostitutes, and rogues, that, but for its actual presence, it would seem incredible.
The citation above denouncing penny dreadfuls as pernicious trash brilliantly encapsulates mid-to-late Victorian moralists’ views of popular reading matter. As previous posts on this website have shown, Robin Hood stories formed a staple of the penny dreadful publishing industry. Much like graphic novels today, penny dreadfuls were popular with both younger and more mature readers. Criminals such as Jack Sheppard (1702-1724) and Dick Turpin (1705-1739) usually featured as their heroes. Sometimes they were issued as standalone periodicals, but more often than not a few chapters per week were featured in magazines such as The Boys of England. It was in The Boys of England that a long-running serial entitled The Prince of Archers, or, The Boyhood Days of Robin Hood first appeared in 1883.
As the title suggests it is the story of Robin’s youth. But the influence of Walter Scott’s Ivanhoe (1819) can be seen from the start. Robin and his father live on the Huntingdon estate, but the political rival of the Lord of Huntingdon is the Lord of Torilstone who lives not far from the Huntingdons. Readers familiar with Scott’s work will immediately recognise the not-so-subtle reference to Torquilstone in Ivanhoe. One of the key villains is Sir Front de Boeuf. There is also the usual Anglo-Saxon versus Norman theme that is usual in Victorian Robin Hood narratives.
The actual story is relatively unremarkable and lacks the democratic political sentiments found in Pierce Egan’s Robin Hood and Little John, or, The Merry Men of Sherwood Forest(1838-40) and the anonymous Little John and Will Scarlet(1865). After Robin’s estates are confiscated by Prince John, Robin and Little John are forced to seek shelter in Sherwood Forest. They come across some outlaws and, upon learning that he is of noble birth they ask him to become their leader. Instead of being elected as leader of the outlaws in Egan’s novel, Robin is
Appointed King of Sherwood.
Robin does steal from the rich and give to the poor, but this is done by the outlaws more out of a sense of Christian charity, rather than a desire to improve the lot of the commoners of England through political activism, as he does in Thomas Miller’s Royston Gower, or, the Days of King John (1838).
But before we assume that this story was considered as respectable reading for youths, it should be noted that the narrative is filled with graphic descriptions and illustrations of violence. Here is an example of the cruelty of one of the Norman Barons to their own soldiers:
“Base Slave!” thundered the Baron; and then with all the force of his muscular arm, he brought down the heavy drinking cup upon the skull of the soldier who stood uncovered before him. The wretched man fell to the ground and lay senseless, bleeding from a terrible scalp wound; the tankard was crushed and bent out of shape by the force of the blow.
There is also an attempted rape upon the sweetheart of Allen-a-Dale. The outrages of the Normans are met with an equally violent response by the outlaws. Robin and his men do not hesitate to resort to violence. This is the description of Robin shooting one of Baron Torilstone’s retainers through the eye:
The missile flew true to its mark, its steel point entering the man’s eye, pierced his brain, and he fell headlong to the ground.
While the Victorians in general loved violent entertainment, it was the violence contained in The Boys of England that led to it being widely condemned in the press as an example of the pernicious reading that was used as a scapegoat for juvenile crime.
Individual stories from The Boys of England were rarely picked up on, but there were many instances in court when the magazine appeared in the dock. For example, in 1872 thirteen-year-old Samuel Hoy was indicted for poisoning his stepmother with arsenic. At his trial it was said that amongst his possessions were copies of The Boys of England. And the press usually made sure to point out whether a particular juvenile offender had on his person at the time of his arrest a copy of a penny dreadful. When thirteen-year-old Alfred Saunders was arrested for stealing £7 from his father, The Times reported that:
His pockets were crammed with copies of The Pirates League, or The Seagull, the Young Briton, Sons of Britannia and The Boys of England.
The hero in these periodicals, read openly in the streets, devoured, I should say, by the thousands of errand and work boys, is he who defies his governors, teachers, spiritual pastors and masters, and is the leader of the most outrageous acts.
It is doubtful whether those who complained about penny dreadfuls ever actually took the time to read them, The genre as a whole was often condemned in blanket statements such as those seen above, while picking on one or two titles in particular.
It is not the intention here to discuss whether these magazines actually drove youths to crime or not. The supposed links between violent entertainment and criminal acts have raged since Victorian times. But I think the study of penny dreadfuls highlights some of the problems associated with Robin Hood scholars’ ideas of ‘gentrification’. A gentrified Robin Hood text is any text in which Robin is the Earl of Huntingdon. Scholars tend to assume, as in the case of Anthony Munday’s sixteenth-century plays, that if Robin is a lord then he is also a highly moral character. Yet surely this idea of gentrification is complicated if the vehicle in which these stories appeared was widely condemned in the press? Contemporaries did not view these tales as gentrified, and denounced them as ‘pernicious trash’. In light of this, are such tales really gentrified?
 Anon cited in Juvenile Literature and British Society: The Age of Adolescence, 1850-1950 ed. by Charles Ferrall & Anna Jackson (London: Routledge, 2010), p. 12.
 ‘The Prince of Archers, or, The Boyhood Days of Robin Hood’ The Boys of England 9 March 1883, p.25.
 ‘The Prince of Archers, or, The Boyhood Days of Robin Hood’ The Boys of England 13 April 1883, p.105.
 ‘The Prince of Archers, or, The Boyhood Days of Robin Hood’ The Boys of England 11 May 1883, p.171.
 ‘The Prince of Archers, or, The Boyhood Days of Robin Hood’ The Boys of England 20 April 1883, p.122.
 ‘The Prince of Archers, or, The Boyhood Days of Robin Hood’ The Boys of England 8 June 1883, p.233.
 ‘The Prince of Archers, or, The Boyhood Days of Robin Hood’ The Boys of England 23 March 1883, p.57.
 Rosalind Crone, Violent Victorians: Popular Entertainment in Nineteenth-Century London (Manchester: Manchester University Press, 2012).
 John Springhall, ‘Pernicious Reading? The Penny Dreadful as Scapegoat for Late-Victorian Juvenile Crime’ Victorian Periodicals Review 27: 4 (1994), pp.326-349.
 Robert J. Kirkpatrick, Children’s Books History Society, Occasional Paper XI: Wild Boys in the Dock – Victorian Juvenile Literature and Juvenile Crime (London: Children’s Books History Society, 2013), p.17.
 Kirkpatrick, Wild Boys in the Dock, p.9.
 Kirkpatrick, Wild Boys in the Dock, p.25.
The eighteenth century was the period in which criminal biography flourished, when men such as Charles Johnson were publishing books such as Lives of the Highwaymen (1734) alongside serialised publications such as The Newgate Calendarand The Proceedings of the Old Bailey.
The genre did not die at the end of the eighteenth century, however, for during the nineteenth century two lawyers, Andrew Knapp and William Baldwin, published a new five volume edition of The Newgate Calendar in 1824 and a revised version 1826. A cheaper penny dreadful version entitled The New Newgate Calendar was published in 1863. Charles Macfarlane also authored The Lives and Exploits of Banditti and Robbers in All Parts of the World (1833) while in the following year Charles Whitehead published Lives and exploits of English Highwaymen, Pirates, and Robbers (1834).
Crime was perceived as a problem during the eighteenth century, but it is only in the nineteenth century that the government actually decided to do anything about it. The creation of a professionalised police force in 1829 replaced the haphazard system of law enforcement involving thief takers and part time constables that had existed until that point. Gaols, which had previously been nothing more than holding centres until an offender’s trial, became large institutions where people stayed for a long time. The persistence of criminal biography as a genre is therefore a reflection of the ongoing public debate that was occurring in parliament and the popular press over reforms to the criminal justice system.
Most of these collections detailing the lives of criminals were very London-centric, with little attention paid to criminals from outside the capital. In light of this, William Knipe authored Criminal Chronology of York Castle (1867). Knipes work gave a brief biography of almost every criminal executed at York between the fourteenth century and the mid-nineteenth century.
Like Johnson before him, Knipe intended his work to be read as a piece of moralist literature:
The numerous and melancholy examples which our pages record of persons hurrying on from one crime to another, till the awful hand of justice has required their lives, will, we trust, alarm and deter the young and inexperienced from an indulgence in those pursuits or company which tend to weaken their ideas of justice and morality, the sure and certain prognostic of future ruin.
Despite the moral purpose behind his work, Knipe avoids the sensational style of writing that was characteristic of the work of Johnson. Knipe was an antiquary and wanted his discussion to appear more sober and detailed. While Johnson often just made things up (Johnson even gives us an account of the life of that notorious robber, Sir John Falstaff), Knipe’s work was ‘carefully compiled from prison documents, ancient papers, and other authentic sources’ according to the title page.
The gallows in York was first erected on 1 March 1379 in order to execute all those who had been capitally convicted in the County of Yorkshire, and the first criminal to have the ‘honour’ of being executed at the ‘York Tyburn’ (so called after the more famous London Tyburn) was a man called Edward Hewison:
At the Spring Assizes of 1379, Edward Hewison, aged 20, a native of Stockton, near York, and a private soldier in the Earl of Northumberland’s Light Horse, was tried and capitally convicted for committing a rape upon Louisa Bentley, 22 years of age […] when Hewison saw her alone in the field on the footpath, he got off his horse and tied it to a tree. He then went into the field, threw the young woman down, and ravished her.
While Knipe’s work is primarily a compendium of the lives of criminals, one thing which distinguishes his work from earlier works by Johnson et al is the fact that he includes political rebels. The three leaders of the ‘Pilgrimage of Grace’ during the reign of Henry VIII: Sir Robert Aske, Lord Hussey, and William Wode are all presented in his work. Aske got off lightly compared to the latter two, for he was merely ‘hanged in chains’ and his body left to hang in a gibbet. Hussey and Wode, however, were hanged, drawn and quartered, and:
[Their] mutilated remains put into a coffin and given to their friends for internment.
Whereas Johnson’s accounts of each individual criminal are quite lengthy, most of Knipe’s accounts of criminals who existed before the Victorian era are relatively short. This is all he says, for example, of two criminals from Leeds named John de Viner and Harris Rosenberg who were executed at the York gallows in 1603:
Saturday, March 30th, A.D. 1603. – Harris Roseberg, aged 56, a native of Florence; and John de Viner, aged 32, servant to the above, a native of Paris, were executed at the Tyburn without Micklegate Bar, for the atrocious murder of Mr. Millington, an innkeeper at Leeds, on the night of the 8th day of November last. These unfortunate men suffered death in the presence of a large concourse of spectators. Their bodies on being taken down from the scaffold were given to the surgeons for dissection, in accordance with the sentence passed upon them.
The criminal who receives the lengthiest account in Knipe’s work is the famous highwayman Dick Turpin (1705-1739). For his account of Turpin, Knipe appears to have abridged an earlier account of Turpin’s life entitled The Genuine History of the Life of Richard Turpin (1739).
For criminals who existed prior to his own day Knipe avoids making any moral judgements upon their course of life. As he moves into his own era, the Victorian era, however, he begins to moralise more and more. While criminality in earlier periods can be explained by the fact that Englishmen’s manners and morals were not as refined as they were in his own day, the fact that criminals existed and were still being hanged in the Victorian period baffles Knipe. Take his account of a murder committed in Hunslet, Leeds in 1849:
Thomas Malkin. Saturday, January 6th, A.D. 1849. – Thomas Malkin was hanged on the new drop, in front of St. George’s Field, for the murder of Esther Inman, near Leeds. It is again our painful duty to record one of those brutalizing spectacles, of which England, that land of Bibles and privileges, can boast so many, viz., the public strangling of a fellow creature.
This is a double-edged critique of Knipe’s own society – with Bibles and ‘privileges’ being plentiful in the Victorian era (Knipe does not say what these ‘privileges’ are), in theory there should be no criminals and no hangings.
Knipe’s accounts of criminals from before the Victorian era rarely carry any information about their trial. Likely this was down to lack of primary sources, but accounts of Victorian criminals are conspicuous in Knipe’s work with the inclusion of trial proceedings.
Knipe gives a lengthy account of the trial of Alfred Waddington from Sheffield who was executed on 15 January 1853 for the murder of his illegitimate child. While most of Knipe’s accounts of pre-Victorian criminals concentrate upon the birth and upbringing of the offender, in the accounts of criminals from the mid-Victorian period sometimes all that Knipe gives the reader is details of the trial. This is the case in Knipe’s account of William Dove from Leeds, who was executed for murdering his wife Harriet on 9 August 1856.
[When] publicity has shifted to the trial, and to the sentence, the execution itself is like an additional shame that justice is ashamed to impose on the condemned man.
The criminal had failed society, and their guilt had been determined through being found guilty by a jury of their peers. They had been justly punished.
Knipe’s work does not appear to have been extremely popular, and only went through one edition. In contrast, Johnson’s Lives of the Highwaymen and The Newgate Calendar went through several editions during the Victorian era and are still being reprinted even today (the most recent edition of The Newgate Calendar was published by The Folio Society in 1993). The reason why Knipe’s work was not as successful, it might be speculated, is probably because it was too serious. It lacked Johnson’s acerbic wit and humour. Nevertheless, Knipe’s work is probably one of the most comprehensive accounts of crime in Yorkshire that has ever been published.
 William Knipe, Criminal Chronology of York Castle; with a Register of the Criminals Capitally Convicted and Executed at the County Assizes, Commencing March 1st 1379, to the Present Time (York: C. L. Burdekin, 1867), p.vii.
 Knipe, Criminal Chronology, p.i.
 Knipe, Criminal Chronology, p.1.
 Knipe, Criminal Chronology, pp.1-2.
 Knipe, Criminal Chronology, p.4.
 Knipe, Criminal Chronology, pp.4-5.
 Knipe Criminal Chronology, p.15.
 Knipe, Criminal Chronology, p.230.
 Knipe, Criminal Chronology, pp.240-244.
 Knipe, Criminal Chronology, pp.248-253.
 Michel Foucault, Discipline and Punish: The Birth of the Prison System (London: Penguin, 1975), p.9
UNLESS OTHERWISE STATED, ALL ILLUSTRATIONS ARE SCANNED IMAGES TAKEN FROM COPIES OF BOOKS IN MY OWN COLLECTION.
As an avid ebayer, I managed to pick up the following second hand book from 1865 entitled: The Life and Exploits of Robin Hood: And Robin Hood’s Garland (1859). It is, despite its relatively small size, a lengthy work at 447 pages (longer than the 1823 edition of Ritson’s anthology), and as far as I can ascertain contains more examples of Robin Hood ballads than either Percy, Ritson, or indeed Child. It even has examples of early eighteenth century satirical ballads such as the (it seems hitherto untapped by Robin Hood Scholars) one entitled ‘Robin Hood and the Duke of Lancaster’. There is also a scholarly critique of the existing theories surrounding Robin Hood’s birth, exploits, noble descent, etc., as well as the script for one of the fifteenth century May Games. It is, despite its small appearance, one of the most comprehensive collection of materials pertaining to Robin Hood, containing 45 ballads, poems or songs about the outlaw.
I have yet to fully explore some of the (hitherto unknown to me) treasures contained in this little book, but I was surprised when I did not find this work referenced in the works of modern historians and literary critics such as Dobson and Taylor’s Rymes of Robin Hood, Stephen Knight’s Robin Hood: A Mythic Biography, J. C. Holt’s Robin Hood, or Stephanie Barcziewski’s Myth and National Identity. Although, given the fact that some cheap nineteenth-century chapbooks such as the one i am speaking ofabove were sometimes published under different titles, it is entirely possible that this work has been scrutinised before by historians. At the very least, however, at my next PhD supervision meeting with Prof. Hardwick and Dr. Mitchell I’ll have an interesting talking point!