E. L. Blanchard’s “The Mysteries of London” (1849-50)

My previous post was about Thomas Miller’s continuation of G. W. M. Reynolds’ penny blood The Mysteries of London (Reynolds and Miller’s series were published between 1844 – 1848 and 1848 – 1849 respectively). I managed to track down a copy of it from a second-hand book store. But when I was busy scanning through the images I realised that it also contained Edward L. Blanchard’s The Mysteries of London which was serialised between 1849 and 1850. Two rare books for the price of one is a good bargain.[i]

Blanchard (1820 – 1889) was a journalist and a playwright. He is not particularly distinguished in the annals of Victorian literature, and I had only heard of him in passing before becoming acquainted with his book. The magazines he contributed to include Fun, The Illustrated Times, The Era Almanack and Annual, The Observer, and The Era. He also served as the editor of Chambers’ London Journal (1841) and the New London Magazine (1845). The plays that he wrote include unremarkable pieces such as See Saw Margery Daw, or, Harlequin Holiday and the Island of Ups and Downs (1856). Of the literary works he penned, The Oxford Dictionary of National Biography says that they were mostly ‘unmemorable novels’.[ii]

The ODNB further records that he was pretty inoffensive, and there is nothing to suggest that he shared either Reynolds’ republican sympathies or Miller’s Chartist sentiments. Indeed, the illustrations accompanying Blanchard’s Mysteries are not as violent or as racy as those of Reynolds, and there is certainly no nudity in any of them unlike there was in Reynolds’ first series. In fact, the illustrations seem a lot more ‘domesticated’ than the previous serials. Perhaps the series had been running so long by the time Blanchard was writing that it had ceased to be sensational.

There are actually two books in Blanchard’s version of the Mysteries, and each tells a different story (having only got the books a week ago, I have only skim read the books thus far). The first follows Reynolds and Miller by telling a story of vice and crime in Victorian high and low life. So I’m guessing that The Mysteries of London was like the modern day television show American Horror Story: an anthology series which with different cast and characters in each series, as evident in the introduction:

Again the curtain has descended on the characters that have figured in our former histories, and again we raise it to disclose others that have yet to appear before the eyes of those who watch our onward progress

Curiously, the second book is actually set during the late eighteenth century and the Regency. As you will see from the gallery below, the second set of images depicts men and women in eighteenth-century and Regency style clothing.

Enjoy the images – as far as I can ascertain this version of The Mysteries of London has not yet been digitised by any university library.

This slideshow requires JavaScript.


References

[i] To find out which public and scholarly libraries hold this book, see the listings on the Price One Penny Database: http://www.priceonepenny.info/database/show_title.php?work_id=276.

[ii] Jane W. Stedman, ‘Blanchard, Edward Litt Leman (1820–1889)’ in The Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004; Online Edn. Jan 2011) [http://www.oxforddnb.com/view/article/2602 Accessed 16 Dec 2016]. Other biographical works on Blanchard include Scott Clement and Cecil Howard, The Life and Reminisces of E. L. Blanchard (London: Hutchison, 1891).

‘Robin Hood Should Bring Us John Ball’: The Outlaw in William Morris’ “A Dream of John Ball” (1886)

I am currently working on two projects: my PhD thesis examining post-medieval representations of Robin Hood, and my forthcoming book examining the post-medieval cultural history of Wat Tyler, the leader of the so-called Peasants’ Revolt of 1381. The two projects are admittedly similar – they both deal with primitive medieval rebels. Yet there is no great degree of overlap between the two figures because both men lived ages apart: Robin Hood (supposedly) flourished in the 1190s, while Wat Tyler died in 1381 at the hands of the treacherous William Walworth. But I finally found one text in which I could, albeit briefly, see the stories of Robin Hood and Wat Tyler united: William Morris’ A Dream of John Ball (1886).

220px-william_morris_age_53
William Morris (1834-1896) [Credit – Wikimedia Commons]

According to his entry in The Oxford Dictionary of National Biography, Morris (1834-1896) was ‘a designer, author, and visionary socialist’.[i] From an early age he loved reading tales of medieval times, devouring the works of earlier nineteenth-century writers such as Walter Scott (1771-1832). When he grew up he was involved with the Pre-Raphaelites, a group of painters who were heavily influenced by the medieval period. By the late 1870s and 1880s, Morris was increasingly attracted to the cause of social justice: in 1883 he joined the Democratic Federation (soon to be renamed as The Social Democratic Federation), and began reading Karl Marx’s Das Capital (1867). A number of socialist writings followed. Still retaining his love of the medieval period which had developed in his youth, Morris looked to the medieval period to find prototypical socialist ideas.

1john-ball
Detail from the Kelmscott Edition of A Dream of John Ball (1892) (c) Maryland University

Thus it is with A Dream of John Ball. It was originally serialised in a magazine called The Commonweal, and depicts a time traveller travelling back to the fourteenth century and meeting John Ball. Ball, or Balle, was a radical priest who lived during the fourteenth century and is famous for having the following phrase attributed to him:

Whan Adam dalf, and Eve span, Wo was thanne a gentilman?[ii]

(When Adam delved, and Eve span, who then was the Gentleman?)

That was quite a powerful statement for the medieval period, in which it was taken as a given that the lords were superior to commoners.

Before the time traveller goes to hear Ball speak, however, he is conducted by one of the villagers to a tavern, and tells the men assembled there a story. After he is finished, attention turns to another villager whose friends request to

Hearken [to] a stave of Robin Hood; maybe that shall hasten the coming of one I wot of.[iii]

To the villagers, Robin Hood prefigures John Ball. As a lifelong medievalist, Morris will evidently have been acquainted with the printed collections of Robin Hood ballads such as Joseph Ritson’s Robin Hood: A Collection of All the Ancient Poems, Songs, and Ballads (1795), as well as J. M. Gutch’s A Lytell Geste of Robin Hode (1847), and perhaps the oft-reprinted editions of Robin Hood’s Garland that flourished throughout the nineteenth century.

commonweal
Morris’ A Dream of John Ball was originally serialised in The Commonweal: The Official Journal of the Socialist League (c) William Morris Archive

I think it is the spirit of Joseph Ritson’s radical and republican interpretation that Morris is trying to resurrect here. The song of Robin Hood that the villager sings to the time traveller is a described in the following manner:

My heart rose high as I heard him, for it was concerning the struggle against tyranny for the freedom of life, how that the wildwood and the heath, despite of wind and weather, were better for a free man than the court and the cheaping-town.[iv]

The statement that Robin’s career as an outlaw is a ‘struggle against tyranny’ is reminiscent of Ritson’s sentiments in Robin Hood:

Robin Hood: a man who, in a barbarous age and under a complicated tyranny, displayed a spirit of freedom and independence, which has endeared him to the common people, whose cause he maintained, (for all opposition to tyranny is the cause of the people,) and, in spite of the malicious endeavours of pitiful monks, by whom history was consecrated to the crimes and follies of titled ruffians and sainted idiots, to suppress all record of his patriotic exertions and virtuous acts, will render his name immortal.[v]

Morris was less bombastic than the vehement republican Ritson, but the idea of freedom against tyranny is strong in his depiction of a Robin Hood ballad performance.

After the ballad of Robin Hood has finished, all of the men in the tavern congregate in the centre of the village. John Ball has been rescued and is due to give a sermon on the steps of the Church. The time traveller’s companion, Will, turns to him and says:

Was it not sooth that I said, brother, that Robin Hood should bring us John Ball?[vi]

Robin Hood has prepared the way, both literally (in that the man was singing a song of Robin Hood before he arrived), and figuratively: Robin was one of the first steps in the fight to freedom. After him comes John Ball, preaching egalitarianism and telling people that they need no master. But as the time traveller will later reveal to Ball in conversation, the work is not yet done: powerful Victorian industrialists will rise to take the place of the cruel medieval nobles.

While Robin had been appropriated by radicals on several occasions, he has always been an awkward figure for socialists. One might be tempted to argue that the famous notion of him stealing from the rich to give to the poor is an example of socialist redistribution of wealth and resources, but this is far from the case because Robin has never had any ideology underpinning his actions. Still, Morris’ very brief appropriation of Robin is the heir of Robert Southey, Ritson, Thomas Miller, Pierce Egan, and the anonymous Little John and Will Scarlet (1865), but it also anticipates Geoffrey Trease’s left-wing portrayal of the Robin Hood legend in Bows Against the Barons (1934).


REFERENCES

[i] Fiona MacCarthy, ‘Morris, William (1834–1896)’ in The Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004; Online Edn. 2009) [http://www.oxforddnb.com/view/article/19322 Accessed 4 Dec 2016]. There are a number of biographical and critical works onn Morris available: Fiona McCarthy, William Morris: A Life for Our Time (London: Faber, 2015); Charles Harvey & John Press, William Morris: Design and Enterprise in Victorian Britain (Manchester: Manchester University Press, 1991); Norman Kelvin, ed. William Morris on Art and Socialism (New York: Dover, 1999).

[ii] ‘John Ball’s Sermon Theme (Walsingham, Historia Anglicana)’ in Medieval English Political Writings ed. by James M. Dean (Kalamazoo, MI: Medieval Institute Publications, 1996), p.140.

[iii] William Morris, A Dream of John Ball (London: Kelmscott, 1892; repr. London: W. Jonson [n.d.]), p.15.

[iv] Ibid.

[v] Joseph Ritson, ed. Robin Hood: A Collection of All the Ancient Poems, Songs, and Ballads 2 Vols. (London: T. Egerton, 1795), 1: xi-xii.

[vi] Morris, A Dream of John Ball, p.17.

Society Gets the Criminals it Deserves: The Resurrection Man from G. W. M. Reynolds’ “The Mysteries of London” (1844-45)

[All images unless otherwise stated are my own, scanned from a first edition of Reynolds’ Mysteries that is in my own collection – permission to use is freely granted providing there is a citation or link to this blog]

George William MacArthur Reynolds’ long-running serial novel, The Mysteries of London (1844-45), was the biggest-selling novel of the Victorian era. It was full of sex, featuring characters such as the debauched aristocrat who keeps four beautiful women at his beck and call to service his every need. There is a lot of violence which is often gratuitous, as well as healthy doses of radical political sentiments. Reynolds (1814-1879) was a radical who espoused many political causes, the principal ones being Republicanism and Chartism. The sex, violence, and political radicalism of this novel and of Reynolds’ other novels moved Charles Dickens (1812-1870) to exclaim that Reynolds’ name was

A name with which no lady’s, and no gentleman’s, should be associated.[1]

This post discusses the principal criminal character in The Mysteries of London, the Resurrection Man. While the Resurrection Man, or Anthony Tidkins as he is also known, is a menace to the good and virtuous (if slightly naïve) hero, Richard Markham, Reynolds simultaneously argues that we should not condemn this criminal character outright.

To begin, however, let us briefly discuss what a Resurrection Man was. The medical profession during the eighteenth century needed bodies to dissect and study. In London, the profession received a steady supply of bodies from the many criminals hanged at Tyburn. However, at the same time that the medical profession was expanding, juries were becoming more lenient and, to put it bluntly, there were not enough people being hanged. Still, the doctors managed to somehow get enough fresh cadavers to operate upon, often asking no awkward questions of the shady characters they had to do business with. Issues came to a head when it was revealed that Burke and Hare, two notorious Body Snatchers from Edinburgh in the 1820s, had not only been digging up graves but also murdering people to sell on to the surgeons. By the time Reynolds was writing The Mysteries of London the Anatomy Act had been passed which had at least gone some way to regulating the supply of cadavers for the medical profession – Doctors could now legally have access to the bodies of deceased people provided there was no existing relatives. The Resurrection Man does not simply dig up corpses, however: his exploits comprise a wide range of criminal activities: extortion, blackmail, highway robbery, burglary, and murder.

reynolds-2
The Resurrection Man Relates his History to the Cracksman – G W M Reynolds, The Mysteries of London (1844-45) (c) Stephen Basdeo

Yet the blame for the Resurrection Man’s course of life is attributed to Victorian society. Reynolds humanises him by giving his working- and middle-class readers the Resurrectionist’s backstory.

“I was born thirty-eight years ago, near the village of Walmer, in Kent. My father and mother occupied a small cottage – or rather hovel, made of the wreck of a ship, upon the sea-coast. Their ostensible employment was that of fishing: but it would appear that smuggling … formed a portion of my father’s avocations. The rich inhabitants of Walmer and Deal encouraged him in his contraband pursuits … and in consequence of the frequent visits they paid our cottage, they took a sort of liking to me.”[2]

Okay, so his father was a bit dodgy, and he used to supply the local villages with illegal cut-price luxuries. But neither the father nor young Tidkins are wicked to the core. They are generally good people.

But one morning the Resurrection Man’s father is arrested for smuggling, and the local villagers then become confirmed hypocrites:

“The whole neighbourhood expressed their surprise that a man who appeared to be so respectable, should turn out such a villain. The gentlemen who used to buy brandy of him talked loudly of the necessity of making an example of him: the ladies, who were accustomed to purchase gloves, silks, and eau-de-cologne wondered that such a desperate ruffian should have allowed them to sleep safe in their bed; and of course the clergyman and his wife kicked me ignominiously out of door”.[3]

While his father is in prison, the Resurrection Man and his mother are reduced to a state of dire poverty and the villagers, supposed Christian people, refuse to render them any assistance. The young soon-to-be criminal witnesses the local Parson preach charity and philanthropy from the pulpit.

The father is acquitted for want of evidence but the goodwill that Tidkins’ family enjoyed from the other villagers is never revived. Despite the hypocrisy he has witnessed, young Tidkins strives to grow up honest and respectable by finding himself a job. Yet he is met with more callous treatment at the hands of the villagers:

“I was not totally disheartened. I determined to call upon some of those ladies and gentlemen who had been my father’s best customers for his contraband articles. One lady upon hearing my business, seized hold of the poker with one hand and her salts-bottle with the other ;- a second was also nearly fainting, and rang the bell for her maid to bring her some eau-de-cologne – the very eau-decologne which my father had smuggled for her ;- a third begged me with tears in her eyes to retire, or my very suspicious appearance would frighten her lap-dog into fits ;- and a fourth (an old lady, who was my father’s best customer for French brandy), held up her hands to heaven, and implored the Lord to protect her from all sabbath-breakers, profane swearers, and drunkards”.[4]

From this point forward the young Tidkins realises that he can no longer maintain an honest livelihood even if he wanted to. But still he is not wicked. He becomes a Resurrection Man with his father and carries on the dubious trade for some time. Yet still there is the prospect of redemption for Tidkins. In the course of his duties as a Resurrectionist, he becomes acquainted with a certain medical doctor and his daughter. Tidkins and the daughter fall in love, and it looks as if he is ready to try and turn from his dishonest profession. However, further ill luck befalls the now adolescent Tidkins:

“One morning I was roving amidst the fields, when I heard a loud voice exclaim,- ‘I say, you fellow there, open the gate, will you?’ I turned round, and recognised the baronet on horseback. He had a large hunting whip in his hand.- ‘Open the gate!’ said I; ‘and whom for?’ ‘Whom for!’ repeated the baronet; ‘why, for me, to be sure, fellow.-‘ ‘Then open it yourself.’ said I. The baronet was near enough to me to reach me with his whip; and he dealt me a stinging blow across the face. Maddened with pain, and soured with vexation, I leapt over the gate and attacked the baronet with a stout ash stick which I carried in my hand. I dragged him from his horse, and thrashed him without mercy. When I was tired, I walked quietly away, he roaring after me that he would be revenged upon me as sure as I was born”.[5]

reynolds-1
The Resurrection Man Burns Down the Judge’s House – From G W M Reynolds The Mysteries of London (1844-45) (c) Stephen Basdeo

Unlike what the television period dramas of men such as Julian Fellowes would have you believe, the Victorian and Edwardian eras were not peopled with friendly and benevolent aristocrats. A lot of the time they were exploitative, framing laws in their own interests, resisting any demands for political reform, and treated the working poor with utter contempt. Tidkins is committed to gaol for two years and it is here that his heart becomes truly hardened:

“I could not see any advantage in being good … I swore within myself that whenever I did commence a course of crime, I would be an unsparing demon at my work”.[6]

He is eventually released, and after the manner of the time, there is no probationary service and he is simply left to fend for himself without a crust.

That day came. I was turned adrift, as before, without a shilling and without a crust … How could I remain honest, even if I had any longer been inclined to do so, when I could not get work and had no money – no bread – no lodging? The legislature does not think of all this. It fancies that all its duty consists in punishing men for crimes, and never dreams of adopting measures to prevent them from committing crimes at all. But I now no more thought of honesty: I went out of prison a confirmed ruffian. I had no money – no conscience – no fear – no hope – no love – no friendship – no sympathy – no kindly feeling of any sort. My soul had turned to the blackness of hell![7]

He resolves to get revenge upon the Justice who sentenced him to goal. He breaks into the Justice’s house and helps himself to the food in his pantry. He also carries off with him a significant quantity of silver plate. As he is making his way out of the Justice’s estate, he spies a barn and resolves to set it alight:

“A bright column of flame was shooting up to heaven! Oh I how happy did I feel at that moment. Happy! this is not the word! I was mad – intoxicated – delirious with joy. I literally danced as I saw the barn burning”.[8]

Tidkins’ glee is raised to new heights the day after when he reads in the newspaper that the fire in the Barn spilled over into the main house, and the Justice’s daughter is burned alive! He next puts the Baronet’s estate to the flame:

“Not many hours elapsed before I set fire to the largest barn upon the baronet’s estate. I waited in the neighbourhood and glutted myself with a view of the conflagration. The damage was immense.[9]

Although both the Justice and the Baronet suspect Tidkins of setting their property alight, they cannot prove it and although he is re-arrested he is released due to lack of evidence.

“And the upper classes wonder that there are so many incendiary fires: my only surprise is, that there are so few! Ah! the Lucifer-match is a fearful weapon in the hands of the man whom the laws, the aristocracy, and the present state of society have ground down to the very dust”.[10]

reynolds-4
G W M Reynolds – Credit: Wikimedia Commons

Make no mistake: Reynolds does not ask us to sympathise with Tidkins – he is, after all, a wicked man. Rather, we are supposed to understand what led him to commit crimes in the first place.

Society has made him the way he is: the Resurrection Man was from the working classes, and the cards were stacked against him since birth. He had no choice but to turn to crime. This was a feature of what Gertrude Himmelfarb calls Reynolds’ nihilistic political radicalism: he often highlighted the plight of the working classes and the need for their enfranchisement, but as Himmelfarb says, if one examines Reynolds’ Mysteries, the only social message to be drawn from it is that:

Violence and depravity, licentiousness and criminality, were the only forms of existence, and potentially the only means of redemption, available to the poor.[11]

The root cause of criminality, as Reynolds argues, is the social and political oppression of the working poor. As the Resurrection Man says:

Let a rich man accuse a poor man before a justice, a jury, or a judge, and see how quick the poor wretch is condemned! The aristocracy hold the lower classes in horror and abhorrence. The legislature thinks that if it does not make the most grinding laws to keep down the poor, the poor will rise up and commit the most unheard-of atrocities. In fact the rich are prepared to believe any infamy which is imputed to the poor.[12]

Other questions of society are also raised in Reynolds’ novel, such as how to properly treat prisoners. Turning them out into the street with minimal support will only increase recidivism rates and harden them further. Thus, Reynolds’ depiction of the Resurrection Man’s history anticipates Emile Durkeim’s statement that ‘society gets the criminals it deserves’.


References

[1] Charles Dickens, The Pilgrim Edition of the Letters of Charles Dickens ed. by Madeline House and Graham Storey 12 Vols. (Oxford: Clarendon, 1981), 5: 604.

[2] G. W. M. Reynolds, The Mysteries of London 2 Vols. (London: G. Vickers, 1845), 1: 191.

[3] Ibid.

[4] Reynolds, The Mysteries of London, 1: 192.

[5] Reynolds, The Mysteries of London, 1: 195.

[6] Reynolds, The Mysteries of London, 1: 195.

[7] Reynolds, The Mysteries of London, 1: 196.

[8] Ibid.

[9] Ibid.

[10] Ibid.

[11] Gertrude Himmelfarb, The Idea of Poverty (New York: Alfred A. Knopf, 1983) p.450.

[12] Reynolds, The Mysteries of London, 1: 193.

George Emmett’s “Robin Hood and the Archers of Merrie Sherwood” (1868-69)

[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.[1]

robin-titel
Title Page to Emmett’s Robin Hood and the Archers of Merrie Sherwood (1873)

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.[2]

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 indomitable leader of the Saxon archers.[3]

robin-1
Emmett’s Robin Hood and the Archers of Merry Sherwood (London: Hogarth, 1870)

While Ritson, Pierce Egan the Younger, Thomas Miller, and the anonymous author of Little John and Will Scarlet (1865) had cast Robin as a radical and anti-establishment figure in their works, it is in Emmett’s work that Robin truly becomes the loyal servant of the King and nation in Victorian literature.

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.[4] 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’.[5] In addition, Robin is repeatedly called ‘King of the Outlaws’, and Robin draws his men up in military array.[6]

robin-2
Robin Hood and the Wood Demon from Emmett’s Robin Hood and the Archers of Merrie Sherwood (London: Hogarth, 1873)

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.


References

[1] Robert Kirkpatrick, Pennies, Profits and Poverty: A Biographical Directory of Wealth and Want in Bohemian Fleet Street (London: CreateSpace, 2016), pp.417-422.
[2] George Emmett, Robin Hood and the Archers of Merrie Sherwood (London: Hogarth House [n.d.]), p.2.
[3] Emmett, Robin Hood and the Archers of Merrie Sherwood, p.19.
[4] Emmett, Robin Hood and the Archers of Merrie Sherwood, p.2.
[5] Emmett, Robin Hood and the Archers of Merrie Sherwood, p.24.
[6] Emmett, Robin Hood and the Archers of Merrie Sherwood, p.25.

Pernicious Trash? “The Prince of Archers, or, The Boyhood Days of Robin Hood”(1883)

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.[1]

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.

boys-england-1
Illustration from The Prince of Archers, or, The Boyhood Days of Robin Hood (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.[2] 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.[3] 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.[4]

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).

boys-england-2
Illustration from The Prince of Archers, or, The Boyhood Days of Robin Hood (1883)

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.[5]

There is also an attempted rape upon the sweetheart of Allen-a-Dale.[6] 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.[7]

While the Victorians in general loved violent entertainment,[8] 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.[9]

victorian-children-in-trouble-with-the-law-source-1
One of the many Victorian Juvenile Criminals who passed through the Courts. This one was named Joseph Lewis, and was indicted for stealing 28lb of iron in 1873. Sentenced to 12 months hard labour. (c) National Archives 5348 (PCOM 2/291)

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.[10] 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.[11]

Reading The Boys of England, along with other penny dreadful tales, made youths delinquent because it corrupted their morals, according to moralists in the Victorian press. For example, a headmaster in 1874 wrote that:

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.[12]

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?


References

[1] 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.
[2] ‘The Prince of Archers, or, The Boyhood Days of Robin Hood’ The Boys of England 9 March 1883, p.25.
[3] ‘The Prince of Archers, or, The Boyhood Days of Robin Hood’ The Boys of England 13 April 1883, p.105.
[4] ‘The Prince of Archers, or, The Boyhood Days of Robin Hood’ The Boys of England 11 May 1883, p.171.
[5] ‘The Prince of Archers, or, The Boyhood Days of Robin Hood’ The Boys of England 20 April 1883, p.122.
[6] ‘The Prince of Archers, or, The Boyhood Days of Robin Hood’ The Boys of England 8 June 1883, p.233.
[7] ‘The Prince of Archers, or, The Boyhood Days of Robin Hood’ The Boys of England 23 March 1883, p.57.
[8] Rosalind Crone, Violent Victorians: Popular Entertainment in Nineteenth-Century London (Manchester: Manchester University Press, 2012).
[9] John Springhall, ‘Pernicious Reading? The Penny Dreadful as Scapegoat for Late-Victorian Juvenile Crime’ Victorian Periodicals Review 27: 4 (1994), pp.326-349.
[10] 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.
[11] Kirkpatrick, Wild Boys in the Dock, p.9.
[12] Kirkpatrick, Wild Boys in the Dock, p.25.

Radical Robin Hood: “Little John and Will Scarlet” (1865)

Introduction

With the exception of Pierce Egan the Younger’s Robin Hood and Little John, or, The Merry Men of Sherwood Forest (1838-40), Robin Hood penny dreadfuls have generated very little critical attention. Usually they are not even read but merely cited. I have shown in a previous post, and in an essay for Leeds Working Papers in Victorian Studies (2016), (1) how Egan’s text should be read as a radical text. That particular essay has been adapted into an article which has recently been accepted by the journal English. But here I would like to draw attention to a less prominent, though no less radical Robin Hood story entitled Little John and Will Scarlet (1865). The novel was not merely an insignificant piece of trashy literature, but rather a thought-provoking story that was intended as a commentary upon nineteenth-century British society. In this post I shall show how the novel made direct references to contemporary debates regarding the extension of the vote to working-class men, and similarly highlight how the anonymous author employs radical discourse in the novel.

ljws-title
Cover of the First Two Issues of Little John and Will Scarlet (1865)

Radicalism in the Mid-Nineteenth Century

By the mid-Victorian period the great radical movements of the early nineteenth century had all but disappeared. Chartism had effectively failed in 1848, and while a few attempts were made to revive the movement after this date, it is clear that many previous radicals lent their support to reform movements which advocated a series of more gradual reforms in British politics:

The campaign for ‘the Charter and something more’ ended with the sacrifice of the [Chartists’ demands and] abandoned in favour of ‘respectable’ and rational gradualism, moderation, and expediency.(2)

Yet demands for working-class suffrage did not disappear after the failure of Chartism. Two factors contributed to the emergence of a national debate about the extension of the vote to working-class males. Firstly, the Prime Minister Lord Palmerston died in 1865. Palmerston had previously blocked any attempt at political reform. Secondly, the American Civil War made some of the elites in this country fearful that Britain would witness the resurgence of a popular radical movement.(3) Debate about the subject of working-class votes was a hot topic in the press during the mid-1860s, and it is in such a political landscape that Little John and Will Scarlet began its publication.

ljws-image2
Little John and Will Scarlet (1865)

Old Corruption

“Old Corruption” was a term used by radicals during the eighteenth and early nineteenth centuries to draw attention to corruption endemic in the British political system. At its most basic, it highlighted how the propertied elites abused the law to oppress the rights and trample upon the sovereignty of the people. Yet it had practically disappeared from political discourse by the 1860s, as W. D. Rubinstein argues.(4)

Yet Little John and Will Scarlet is unusual in that it still uses the discourse of Old Corruption in its description of both twelfth- and, indirectly, nineteenth-century British society. The aristocracy are:

Legalised banditti.(5)

England in the medieval period is ‘falsely called merrie’ according to the author for ‘miserable and wretched was man’s condition’.(6) This is because the people were ruled by a corrupt aristocracy:

The aristocracy was uniformly composed of marauders, tyrants, and sycophants – the usual characteristics of aristocrats – whose occupation was pillage, murder, and the ravishment of maidens.(7)

Moreover, these members of the aristocratic classes, or the legalised banditti use every device of cruelty and wickedness to oppress the good people of England. The result is that

Under these circumstances the people of England suffered deeply for the present, and had yet more dreadful cause for fear for the future. They always in the end bore the burden, and have from time immemorial to the present day.(8)

Both the twelfth- and the nineteenth-century aristocracy are to blame for the dire poverty that the common people of England face.

ljws-image3
Little John and Will Scarlet (1865)

The Solution

It was not enough simply to whinge about the present, however, for if one wishes to effect radical change then one must also present a vision of a better society. For society to change for the better, then society must become democratic. This is why Sherwood Forest’s outlaw society is presented as one which elects its leaders: Robin must be elected by his fellow men.(9) The result of this democratic and egalitarian arrangement is that society becomes harmonious and a place in which food is plentiful. This is in stark contrast to the undemocratic system perpetuated by the Norman/nineteenth-century aristocracy. But the anonymous author goes further: he hints at a republican solution to the problems facing nineteenth-century society:

Once when Oliver Cromwell released them from despotism, they had an opportunity, but they threw it away.(10)

Clearly, a republic would be a better set up for society than the prevailing system. This is quite significant as it represents the first time that a Robin Hood author since Joseph Ritson (1752-1803) connected republicanism with Robin Hood. Not even Pierce Egan the Younger or Thomas Miller the Chartist desired a republic.

Conclusion

This seemingly innocuous Robin Hood penny dreadful is suffused with radical thought. The public debate surrounding the extension of the vote to working-class males raged on until 1867 when the administration of the Tory Prime Minister Benjamin Disraeli passed the Representation of the People Act. Little John and Will Scarlet effectively marks the end of radical portrayals of Robin Hood. Between 1880 and 1914 a number of children’s books appeared which presented a wholly conservative depiction of the famous outlaw. Attempts would be made during the 1930s to reclaim Robin Hood for radicals, notably with G. Trease’s Bows Against the Barons (1934) which is a very communist portrayal of the legend in which the outlaws call each other ‘comrade’.


References

(1)Stephen Basdeo, ‘Radical Medievalism: Pierce Egan the Younger’s Robin Hood, Wat Tyler, and Adam Bell’ in Leeds Working Papers in Victorian Studies, Volume 15: Imagining the Victorians ed. by Stephen Basdeo & Lauren Padgett (Leeds: LCVS, 2016), pp.48-64.
(2) John Belchem, Popular Radicalism in Nineteenth-Century Britain (Basingstoke: MacMillan, 1996), p.101.
(3) Brent E. Kinser, The American Civil War in the Shaping of British Democracy (Ashgate, 2011).
(4) W. D. Rubinstein, ‘The End of Old Corruption in Britain, 1780-1860’ Past and Present, No. 101 (1983), pp.55-86.
(5) Little John and Will Scarlet (London: H. Vickers [n.d.]), p.182.
(6) Little John and Will Scarlet, p.3.
(7) Ibid.
(8) Little John and Will Scarlet, p.183.
(9) Little John and Will Scarlet, pp.46-47.
(10) Little John and Will Scarlet, p.183.

Last Dying Speeches, Trials, and Executions: The Changing Format and Function of Crime Broadsides, c.1800 – c.1840

A paper delivered at Pernicious Trash? Victorian Popular Fiction, c.1830-c.1880, Leeds Trinity University 12 September 2016.


Abstract: Crime broadsides are usually assumed to be unchanging and static. Yet this paper argues that subtle changes appeared in their format and content over time which reflect changing public attitudes to crime and criminality.


The morning dawned […] the clock had just struck eight, when the voice of a man in the street fell upon his ear. He heard the following announcement: –

“Here is a full account of the horrible assassination committed by the miscreant William Bolter upon the person of his wife […] only one penny! The fullest and most perfect account – only one penny!”

G. W. M. Reynolds, The Mysteries of London (1844-45).[1]

Introduction

As G. W. M. Reynolds’ statement implies, crime broadsides were a regular feature of Victorian street life. Henry Mayhew in London Labour and the London Poor (1851) remarked how a ‘very extensive […] portion of the reading of the poor is supplied by “Sorrowful Lamentations” and “Last Dying Speech, Confession, and Execution” of criminals’.[2] The association of crime broadsides with the poor persisted into twentieth-century historical criticism, even though they addressed readers of all classes.[3] Indeed, crime broadsides were once denounced by F. W. Chandler as

Catering to the vulgar instincts of the vulgar many’ and falling ‘below the dignified historian’s line.[4]

Thankfully, academics such as Vic Gatrell, Andrea McKenzie, and Phillipe Chassaigne now recognise the value of these sources and what they can tell historians about constructions of criminality in the past.[5] Yet even by modern scholars broadsides are usually written about as though they were unchanging, static pieces of literature. The digitisation of broadsides by Harvard Library School of Law and the National Library of Scotland, however, has been especially useful for the research presented in this paper which examines change over time in the content of broadsides;[6] no longer are broadsides

So widely scattered as to be reassembled for the purposes of study only at a cost of pains and patience out of all proportion to their apparent merit.[7]

This paper analyses broadsides relating to property theft between c.1800 and .1840. It is best to focus upon one type of crime because others provoked different responses in the press: murder was a sin against God, whilst forgery was viewed essentially an act of treason. The argument of this paper is that subtle changes occurred in the format and content of crime broadsides reflected changing public attitudes to criminality, thus building upon an undeveloped statement by Peter Linebaugh in The London Hanged (1991) where he stated that ‘there has hitherto been a tendency to overlook the changing nature of broadsides’.[8] This paper will show how late eighteenth and early nineteenth-century broadsides reflect the Georgian attitude to criminality, in which a degree of sympathy is extended to the condemned felon. This paper then shows how the content gradually evolved and manifested a typically Victorian view of criminality, where empathy with the accused gradually disappeared in favour of emphasising the offender’s guilt and just punishment through an increased focus upon the victim and the trial.[9] Hence ‘Last Dying Speeches’ gradually became the ‘Trial and Execution’ of a felon.

Context: Shifting Perceptions of Criminality during the Eighteenth and Nineteenth Centuries

During the eighteenth century, criminals could come from a wide variety of social backgrounds. Criminal biographies such as Alexander Smith’s A Complete History of the Lives and Robberies of the Most Notorious Highwaymen (1719) usually highlighted the fact that most criminals such as the highwayman Ned Bonnet were ‘born of very good and reputable parents’.[10] This was in order that, as Henry Fielding mused in a revised edition of Jonathan Wild (1743), the offenders ancestors ‘might serve as a foil to himself’.[11] Yet a criminal’s family could be ‘good and reputable’ whether they were rich or poor. Social status had no bearing upon criminality because ‘all men [were] equally tainted by original sin’, hence ‘criminals [were] not different in kind from other people, only in degree. Anyone might become a criminal.’[12] Like Captain Macheath in The Beggar’s Opera (1728), whose love of women and good living eventually brings him to the gallows, criminals were simply people with a tragic fatal flaw in their character, who had succumbed to their sinful inclinations.[13] It is this idea that criminals could be ‘everyman’ which accounts for the sympathy extended to some felons in eighteenth-century criminal accounts.

The situation changed as the nineteenth century progressed, when the poor migrated to cities as a result of industrialisation and urbanisation. One effect of having so many people living in dire poverty in close proximity is that the areas where they do live become a natural breeding ground for crime. The early socialist writer Frederich Engels in The Condition of the Working Class in England stated that ‘the incidence of crime has increased with the growth of the working-class population and there is more crime in Britain than in any other country in the world’.[14] In the early Victorian press, then, references to ‘professional criminals’ and ‘criminal classes’ began to appear. This type of offender is represented, for example, by men such as Bill Sikes and Fagin in Dickens’ Oliver Twist (1838), who inhabit an ‘underworld’ peopled by other ominous creatures. Thus the Victorian elites began to believe that there was a “criminal class”, drawn from its poorest ranks, who was responsible for the majority of crime. In other words, there was now a sociological explanation for criminality. Criminals were no longer dashing highwaymen such as James Maclean or Claude DuVall. Instead they were largely portrayed as desperate and wicked fellows.

Broadside Images

The public execution of criminals by hanging was a common occurrence in Britain. For example, a Londoner born in 1780 would have had the opportunity to witness four hundred hangings by 1840.[15] Early broadsides usually contained a crude woodcut of a man being hanged, or the moment that they were ‘launched into eternity’. These woodcuts did not depict the actual felon from the text, however, because they were stock images that were often reused on several occasions. The same woodcut, for instance, is used by the Leicestershire-based publisher, Martin, to depict the hanging of both Thomas Wilcox at Nottingham in 1820,[16] and of William Oldfield at Bradford also in 1820.[17]

comparison
Courtesy Harvard Library School of Law HOLLIS IDs: 009799979 & 009799658

To a modern reader these images appear macabre. Precisely what individuals during the nineteenth century felt upon seeing such images may never be known. Gatrell does speculate, however, upon what contemporaries may have thought, arguing that they were

Totemic artefacts […] symbolic substitutes for the experiences watched […] mementoes of events whose psychic significance was somehow worth reifying.[18]

epsom
Courtesy of Harvard Library School of Law HOLLIS ID: 007076646

Gatrell further hints that the images may have allayed readers’ fears regarding their own mortality, making them inwardly thankful that they were not upon the scaffold themselves.[19] The further emotion that may have been elicited by the crude and macabre woodcuts is sympathy. Sympathy can be extended to a man depicted in the moment of dying upon the gallows, a point raised recently by Rachel Hall in her research on American outlaws in visual culture.[20] But by the 1820s broadside images began to become more detailed, and many were including images of the crime being perpetrated. For example, the only image included upon the broadside detailing the Epsom Murder and Highway Robbery in 1834 committed by Charles Cottrell is literally of the victim’s brains being blown out.[21] Sympathy can easily be extended to a man about to die, but it is harder to empathise with a person who is depicted as committing a brutal criminal act.[22]

dormand
Courtest of The National Library of Scotland Shelfmark: 6.314(31)

Headline and Text

Broadside images alone are not sufficient to illustrate the argument of this paper because some obscure publishers were reusing eighteenth-century woodcuts as late as the 1860s,[23] thus it is better to concentrate upon changes in the textual content of broadsides. Headlines usually followed a similar formula of words. For example, there is The Last Speech, Confession, and Dying Words of James Dormand in 1793.[24] Similarly, nine years later there was The Last Dying Speech and Confession of Ferdinando Davis, Who was Executed at Nottingham on Wednesday 31st March 1802 (1802).[25] Broadsides recounted what their respective titles advertised: an account of the life of the criminal, their dying speech and last moments. A great deal of continuity is apparent in these late eighteenth-century and early nineteenth-century broadsides with the way that earlier criminal biographies presented their accounts of criminals’ early lives. For example, James Dormand was born to ‘honest and respectable parents’.[26] The same goes for the highway robber Thomas Hopkinson who was executed at Derby in 1819. Born of ‘respectable’ parentage but:

He formed an intercourse with abandoned companions, and commenced that profligate career which brought him to his untimely end […] his whole time was spent in the perpetration of almost every species of vice. The petty pilferings in which he first engaged, gradually, led him on to bolder offences: his mind became so familiarized with guilt, that he seemed scarcely sensible of its depravity; and thus, in the natural progress of iniquity, he was led on till he was “driven away with his wickedness”.[27]

That account is reminiscent of a 1724 account of the life of Jack Sheppard (1702-1724) who was said to have first turned to crime after having associated with the prostitute Edgeworth Bess, thereafter committing a string of robberies.[28] As already stated, in the eighteenth century all people were assumed to be capable of crime because everybody was guilty of original sin, and therefore anyone might become a criminal. A person usually became a criminal when they began committing small sins, such as the pilfering of farthings and marbles, and this gradually led them on to bolder offences.[29]

broadside-1802
Courtesy of Harvard Library School of Law HOLLIS: 009799953

Yet by the 1820s broadsides began to include a mention of the trial in both the headline and the body of the text. They began to carry titles such as Trial and Sentence,[30] or, as in the case of the burglar William Harley in 1836, The Life, Trial, and Awful Execution of William Harley for the Chipstead Burglary.[31]

broadside-1836
Courtesy of Harvard Library School of Law HOLLIS ID: 007053667

These later broadsides contained a very brief account of the life of the criminal. Indeed, all that is said of Charles Cottrell, the perpetrator of the Epsom robbery cited above, is that he was ‘known to be a desperate fellow’, thus associating him with the poor and dispossessed, or the criminal or dangerous classes.[32] The depiction of the trial in the main body of the text would have left readers in no doubt as to the felon’s guilt. James Mitchell and John Sharp in 1825, for example, are depicted as being unequivocally guilty because

After a few minutes’ absence, [the jury] returned a viva voce verdict, finding the pannels [sic] guilty.[33]

That is a very simplistic representation of the particulars of the case: Mitchell and Sharp committed a heinous crime, had been found guilty by a jury of their peers, and sentenced to death. Justice had been served. The inclusion of the trial served an important function when many people’s exposure to the workings of the judicial process would have been rare. It included people into the judicial sphere, and with the gradual focus upon the victim in the text, the trial allowed ‘the whole community to unite against the criminal’.[34]

Michel Foucault states that public executions during the eighteenth century, and their representation in print, effectively shamed both the executioner (the state) and the condemned. But when publicity shifts to the trial, and to the sentence, the execution of a criminal becomes something that justice is ashamed of but deems necessary to impose upon the condemned criminal for breaking the social contract.[35] Changing sensibilities and the rise of respectability during the nineteenth century meant that by the 1820s and 1830s the highwaymen depicted on broadsides were not the semi-glamorised and heroic individuals that they had been in the eighteenth century (unless they were historic, of course, as in William Harrison Ainsworth’s novels). Instead they were simply felons who were deserving of their fate. While Charles Dickens (1812-1870) may have criticised public executions for their effect upon the morality of the spectators, he never argued that these men should not be executed, and in the latter part of his life he declared that ‘I should be glad to abolish both [public executions and capital punishment] if I knew what to do with the Savages of civilization. As I do not, I would rid Society of them.’[36]

One aspect of broadsides which appears to have remained constant was the moment that the criminal was ‘launched into eternity’, which was a common phrase to appear on broadsides. Other such phrases include burglars such as Thomas Boggington and Thomas Francis who in 1813 ‘met their awful fate’.[37] Being ‘launched into eternity’ through hanging was a painful, degrading experience: the hanged felon would feel cervical pain along with an acute headache as a result of the rope closing off the veins of the neck; sensory signals from the skin above the noose and from the trigeminal nerve would continue to reach the brain until hypoxia blocked them; male sufferers would have an erection after hanging due to the pooling of blood in the legs and lower body, and might also ejaculate while dangling on the rope.[38] These euphemisms, however, sanitised the state-sanctioned violence of the death sentence:[39] it seems that ‘it [was] ugly to be punishable, but there [was] no glory in punishing’.[40] The execution really was something that the state was ashamed to have to impose.

Conclusion

The digitisation of crime broadsides in recent years has facilitated an examination of their changing format and content. This paper has shown that while their general format and appearance changed little over the course of this period, there were subtle differences that can be discerned from studying their content over time. The earliest broadsides represented continuity with an eighteenth-century view of criminality which held that all people were capable of committing crime because of original sin, and which consequently accounts for the sympathetic view of criminals in them. Broadsides from the 1820s and 1830s, however, told a different story. The inclusion of the trial inculcated a respect for the law, with death being presented as something that the justice system was ashamed to impose upon its offenders who were, if broadside accounts are to be believed, deserving of their fate.


References

[1] G. W. M. Reynolds, The Mysteries of London (2 Vols. London: J. Dicks, 1845; repr. London: Printed for the Booksellers [n.d.]), p.42.
[2] Henry Mayhew, London Labour and the London Poor (3 Vols. London: George Woodfall & Sons, 1851; repr. Oxford: Oxford University Press, 2010), p.93.
[3] Last Farewell to the World of John Cashman, for Burglary, who is Ordered for Execution on Wednesday next, Opposite Mr. Beckwith’s House, on Snow Hill; Andrew Barton and James Frampton, for Highway Robbery, who will be Executed on Friday in the Old Bailey ([London]: Pigott, Printer, Old Street, London [1817]). Harvard Library School of Law HOLLIS: 008108832; for example, ‘Good people all a warning take’ appears in this broadside and many others, implying that broadside publishers at least anticipated a wider readership for their wares.
[4] F. W. Chandler, The Literature of Roguery 2 Vols. (Cambridge: The Riverside Press, 1907), 1: 181
[5] V. A. C. Gatrell, The Hanging Tree: Execution and the English People, 1770-1868 (Oxford: Oxford University Press, 1994); Andrea McKenzie, Tyburn’s Martyrs: Execution in England, 1675-1775 (London: Continuum, 2007); Phillip Chassaigne, ‘Popular Representations of Crime: The Crime Broadside – A Subculture of Violence in Victorian Britain?’ Crime, Histoire & Sociétés / Crime, History & Societies 8: 2 (1999), 23-55.
[6] Harvard Library School of Law Dying Speeches and Bloody Murders: Crime Broadsides [Internet << http://broadsides.law.harvard.edu/faq.php Accessed 11 September 2016] & National Library of Scotland Word on the Street [Internet <http://digital.nls.uk/broadsides/&gt; Accessed 11 September 2016].
[7] Chandler, The Literature of Roguery, 1: 181.
[8] Peter Linebaugh, The London Hanged: Crime and Civil Society in Eighteenth-Century England (London: Penguin, 1991), p.89.
[9] Lincoln B. Faller, Turned to Account: The Forms and Functions of Criminal Biography in Late Seventeenth- and Early Eighteenth-Century England (Cambridge: Cambridge University Press, 1987), p.54.
[10] Alexander Smith, A Complete History of the Lives and Robberies of the Most Notorious Highwaymen ed. by Arthur Heyward (3 Vols. London: J. Morphew, 1719; repr. London: Routledge, 1933), p.56.
[11] Henry Fielding ‘Jonathan Wild’ in The Works of Henry Fielding 12 Vols. (London, 1743; repr. London: J. Bell, 1775), 5: 4.
[12] Faller, Turned to Account, p.54.
[13] John Brewer, The Pleasures of the Imagination: English Culture in the Eighteenth Century 2nd Edn. (London: Routledge, 2013), p.351.
[14] Frederich Engels, The Condition of the Working Class in England (1848 repr. London: Penguin, 2009).
[15] Gatrell, The Hanging Tree, p.32.
[16] Account of the Life, Character and Behaviour of T. Wilcocks, Who was Executed this Day, March 29th, 1820, on Nottingham Gallows, for Highway Robbery ([Leicester]: Re-printed by Martin, Leicester [1820]). Harvard Library School of Law HOLLIS: 009799979.
[17] The Full Confession and Execution of William Oldfield, Innkeeper, of Bradford, Yorkshire, Who Suffered on Thursday Last, July 27, 1820, at York for the Murder of his Wife Mary Oldfield ([Leicester]: Re-printed by Martin, Leicester [1820]). Harvard Library School of Law HOLLIS: 009799658.
[18] Gatrell, The Hanging Tree, p.175.
[19] Gatrell, The Hanging Tree, p.243.
[20] Rachel Hall, Wanted: The Outlaw in American Visual Culture (Charlottesville, VA: University of Virginia Press, 2009), p.37.
[21] The Latest Particulars: The Epsom Murder and Highway Robbery: Committed, as Supposed to be, by Two Ruffians, on Mr. John Richardson, Farmer of Bletchingly, Who was Robbed, and Barbarously and Inhumanly Murdered about Half-Past Six O’Clock in the Evening of Wednesday the 26th of February 1834, on his Return Home from Epsom Market ([n.p.] [n.pub.], 1834). Harvard Library School of Law HOLLIS: 007076646.
[22] Rosalind Crone, Violent Victorians: Popular Entertainment in Nineteenth-Century London (Manchester: Manchester University Press, 2012), p.107; the representation of such violent acts, naturally, was also a part of the increasing demand on the part of nineteenth-century audiences for violent entertainment.
[23] Life, Trial, Sentence, and Execution of Catherine Wilson, for the Murder of Mrs. Soames ([London]: Taylor, Printer, 93, Brick Lane Spitalfields, [ca. 1862]). Harvard Library School of Law HOLLIS: 008120856.
[24] The Last Speech, Confession, and Dying Words of James Dormand, Who was Execute [sic’] at Perth, on Friday 31st May 1793 for Highway Robbery ([n.p.] [n.pub], 1793). National Library of Scotland, Shelfmark 6.314(31).
[25] The Last Dying Speech and Confession of Ferdinando Davis, Who was Executed at Nottingham on Wednesday 31st March 1802 ([Leicester]: Throsby, Printer, Leicester, [1802]). Harvard Library School of Law HOLLIS: 009799953.
[26] The Last Speech, Confession, and Dying Words of James Dormand.
[27] The Life and Execution of Thomas Hopkinson, Jun.: Who Suffered this Day on the New Drop, in Front of the County Gaol, Derby, for Highway Robbery ([Derby]: G. Wilkins, Printer, Queen Street, Derby [1819]). Harvard Library School of Law HOLLIS: 005949713.
[28] Anon. ‘The History of the Remarkable Life of John Sheppard’ in Defoe on Sheppard and Wild ed. by Richard Holmes (London: Harper, 2004), pp.5-6.
[29] McKenzie, Tyburn’s Martyrs, p.59.
[30] Trial and Sentence: A Full and Particular Account of the Trial and Sentence of James Mitchell and John Sharp ([n.p.] [n.pub.], 1825). National Library of Scotland. F.3.A.13(99)
[31] Life, Trial, and Awful Execution of William Harley, for the Chipstead Burglary at Horsemonger Lane Gaol, Old Montague Street, Whitechapel (London: Carpue, Printer [1836]). Harvard Library School of Law HOLLIS: 007053667.
[32] The Latest Particulars: The Epsom Murder and Highway Robbery.
[33] Trial and Sentence: A Full and Particular Account of the Trial and Sentence of James Mitchell and John Sharp.
[34] Chassaigne, Popular Representations of Crime, p.40.
[35] Michel Foucault, Discipline and Punish: The Birth of the Prison System Trans. by A. Sheridan 2nd Edn. (London: Penguin, 1977), p.9.
[36] Charles Dickens cited in Michael Fraser, Charles Dickens: A Life Defined by Writing (New Haven: Yale University Press, 2009), p.249.
[37] The Trial and Execution, of Thos. Boggington, Sen., Thomas Francis, Thomas Norman, William Hasledon, alias Samuel Moss, for Burglaries; and Luke Marin, for Coining, who Suffered Death, this Morning, at the Surrey County Gaol, Horsemonger-Lane ([London]: Printed by Jennings, 13, Water-Lane, Fleet-Street, London. [1813]). Harvard Library School of Law HOLLIS: 003184872.
[38] Capital Punishment UK, ‘Hanged by the neck until dead! The processes and physiology of judicial hanging’ [Internet] http://www.capitalpunishmentuk.org/hanging2.html#pain [Accessed 12/08/2014].
[39] Crone, Violent Victorians, p.103
[40] Foucault, Discipline and Punish, p.10.

Pierce Egan the Younger (1814-1880): Biography of a Penny Dreadful Author

Pierce Egan the Younger (1814-1880) was one of the most popular penny dreadful authors in the Victorian period, perhaps second only to G. W. M. Reynolds. Egan’s immense popularity is summed up by the words of the following reviewer from MacMillan’s Magazine in 1866:

There is a mighty potentate in England whose name is Pierce Egan […] Many among us fancy that they have a good general idea of what is English literature. They think of Tennyson and Dickens as the most popular of our living authors. It is a fond delusion, from which they should be aroused. The works of Mr. Pierce Egan are sold by the half million. What living author can compare with him? [1]

The details of his life are very scant, and although listed in The Oxford Dictionary of National Biography, he has thus far warranted but a short entry. It is the intention of this particular post to develop people’s knowledge of Egan’s life from my own research into newspapers, periodicals, and Census records.

2
Title Page: Pierce Egan’s Edward, The Black Prince (c.1850).

Egan was born in 1814, the son of the famous Regency writer Pierce Egan (1772-1849). Very little is known about his childhood, although his mother sadly died when he was ten years old. [2] The records, to my knowledge, are very quiet until 1838 when he provides the illustrations for his father’s work The Pilgrims of the Thames in Search of the National, after which Egan turned his attention to writing and published his first novel Quintin Matsys, or the Blacksmith of Antwerp, an historical romance set in early modern Antwerp, which was serialised between 1838 and 1839. Encouraged by the success of his first novel, he went on to write Robin Hood and Little John, which was serialised between 1838 and 1840, and Wat Tyler, or the Rebellion of 1381 serialised between 1839 and 1840. Having been praised by reviewers for animating the lives of well-known thieves and rebels, he authored the serial Captain Macheath in 1841, a tale of an eighteenth-century highwayman which was based upon John Gay’s The Beggar’s Opera (1727). [3] He returned to the medieval period afterwards, however, authoring Adam Bell, Clim of the Clough, and William of Cloudeslie (1842) and Fair Rosamund (1844).

Debtors Prison
Interior of a Victorian Debtors’ Prison (Source: Wikipedia)

Egan is listed in the Census for 1841 as living at 2a Grove Terrace with his sisters, Elizabeth Egan and Rosina Egan (their surnames are spelled as on the Census as ‘Egans’). [4] Sometime after this he began cohabiting with his future wife, Charlotte Martha Jones, at this address. When Egan married her on 10 August 1844, for instance, they give both of their addresses as 2a Grove Terrace. [5] Perhaps more scandalous in the Victorian period than cohabiting together was the fact that she was already pregnant with their child when they married: their son, who they named Pierce after his father and grandfather, was born just a little over three months after they were married on 2 November 1844. [6] His second son John Milton Egan was born on 1846. Perhaps Egan’s growing family accounts for the fact that he appears to have been relatively inactive in the second half of the 1840s, contributing only a few illustrations to The Illustrated London News. It is perhaps this fall in income that contributed to him having been remanded in a Debtors’ Prison on 25 February 1847, where he was listed as being ‘out of business’. [7] The London Gazette does not reveal to whom Egan owed money, however, although he was quickly discharged from the prison on 26 March 1847. [8]

33 Huntingdon Street London Egan Residence
33 Huntingdon Street, London – Egan’s Residence during the 1860s

By the 1850s his literary career picked up again. Between 1849 and 1851 be became the editor of Home Circle. The year 1850 also marked the birth of his third child, a daughter named Violet Catherine Egan. [9] By 1851 the family had also moved to 148 Stamford Brook Cottages, Hammersmith where Egan is listed as living with his wife Charlotte, his sons Pierce Egan and John Milton, his mother-in-law Hannah Jones, his daughter Violet C. Egan, and one servant named Eliza Lancaster. [10] The family moved around a lot: by the time that the Census for 1861 was collected he is listed as living at 33 Huntingdon Street, London with his wife Charlotte, his sons John M. Egan and Pierce Egan, and his sister Elizabeth Egan. [11] The tone of his literary work also appears to have changed as his family grew, with his fiction becoming more ‘domesticated’, apart from the novel Clifton Grey (1854) which is a tale set in the Crimean War. When he became the editor of The London Journal in 1860, a title that he was to hold until his death in 1880, he wrote numerous short stories for the magazine: The Wonder of Kingswood Chace (1860-61), Imogine (1861-62), The Scarlet Flower (1862), The Poor Girl (1862-63), Such is Life (1863-64), Fair Lilias (1865), The Light of Love (1866-67), Eve; or The Angel of Innocence (1867), The Blue-Eyed Witch; or not a Friend in the World (1868), My Love Kate (1869), The Poor Boy (1870), Mark Jarrett’s Daisy, the Wild Flower of Hazelbrook (1872), Ever my Queen (1873), Her First Love (1874), False and Frail (1875), The Pride of Birth (1875-76), Two Young Hearts (1876-77). Egan’s immense contributions to The London Journal, and the penny publishing industry overall would see him honoured at a special dinner held for him by G. W. M. Reynolds in 1857. [12]

Throughout his time as the editor of both Home Circle and The London Journal Egan faced a couple of legal headaches. On 6 March 1850, he was sued in Westminster County Court by the publisher W. S. Johnson because, as editor of the Home Circle, Johnson alleged that Egan has not been paying him the correct amount for Johnson’s contributions to the magazine. Johnson’s case was subsequently thrown out, [13] but the two men appear to have made friends afterwards. They had to, of course: Johnson was the publisher of The London Journal. Johnson would even publish further editions of Robin Hood, Wat Tyler, and Edward the Black Prince in 1851. On 18 August 1871 Egan then came to Johnson’s aid in a court case, appearing as a witness for Johnson in the case of Johnson v. Lister at the Sheriff’s court. William Henry Lister, the proprietor of Conservative Standard, had plagiarised one of the novels in Johnson’s The London Journal. Egan said that, as the editor of The London Journal, the plagiarism had directly affected sales of Johnson’s magazine, and that in his opinion Johnson should be entitled to damages. Egan’s testimony resulted in Johnson being awarded damages of £125. [14]

Pierce Egan Older
Pierce Egan in 1863 – Illustration from The London Journal 17 October 1863, p.248.

Despite early financial setbacks such as his brief stint in the Debtors’ Prison, he appears to have been relatively affluent after the 1850s. By the time of the 1871 Census, he had moved 60 St. John’s Park, Islington with his wife Charlotte, his son Pierce Egan, his sister Elizabeth Egan, and two servants: Elizabeth Truscott and Henry Kerkeek. [15] Furthermore, he left the not inconsiderable sum of £2,000 upon his death at Ravensbourne, Kent in 1880. [16]

Although virtually no evidence exists in the form of letters and diaries which might give a clue as to the type of man that Egan was, a few things can be deduced. He was a Freemason. [17] And he appears to have been an amiable man, ever willing to use his contacts to help his friends advance their own literary careers. [18] He was also a member of several philanthropic organisations, such as the Newsvendors Benevolent and Provident Institution, and he donated to several worthy causes to help employees who had lost their jobs. [19] He also appears to have been a radical in politics: my own research has studied the strains of radical thought in his early novels, [20] and he was also a member of radical political groups such as the Repeal Association. [21]

Egan was a central figure in Victorian popular fiction, but he is an author who has thus far been eclipsed by two men: his father, Pierce Egan the Elder, and his friend and fellow radical G. W. M. Reynolds. But it is time that academic scholarship was developed upon Egan’s life and works. After all, in the words of the MacMillan’s Magazine reviewer, ‘an author who can command half a million ought not to be overlooked’.


References

[1] Anon. ‘Penny Novels’ MacMillan’s Magazine June 1866, 96-105 (p.96).
[2] Anon. ‘Births, Deaths, Marriages and Obituaries’ The York Herald, and General Advertiser 7 January 1826, p.3
[3] Anon. ‘Captain Macheath by Pierce Egan’ The Era 15 August 1841, p.6
[4] Census Returns of England and Wales, 1861. Kew, Surrey, England: The National Archives of the UK (TNA): Public Record Office (PRO), 1841. Class: HO107; Piece: 684; Book: 7; Civil Parish: St Pancras; County: Middlesex; Enumeration District: 8; Folio: 23; Page: 43; Line: 1; GSU roll: 438800.
[5] London Metropolitan Archives, Saint John The Evangelist, Paddington, Register of marriages, P87/JNE1, Item 008.
[6] London Metropolitan Archives, Paddington St James, Register of Baptism, p87/js, Item 008.
[7] Anon. The London Gazette 26 February 1847, p.869.
[8] Anon. The London Gazette 26 March 1847, p.1209.
[9] General Register Office. England and Wales Civil Registration Indexes. London, England: General Register Office, Vol. 3, p.223.
[10] Census Returns of England and Wales, 1861. Kew, Surrey, England: The National Archives of the UK (TNA): Public Record Office (PRO), 1851. Class: HO107; Piece: 1469; Folio: 545; Page: 38; GSU roll: 87792.
[11] Census Returns of England and Wales, 1861. Kew, Surrey, England: The National Archives of the UK (TNA): Public Record Office (PRO), 1861. Class: RG 9; Piece: 129; Folio: 74; Page: 24; GSU Roll: 542578.
[12] Anon. ‘Annual Dinner of Mr. Reynold’s Establishment’ Reynold’s Newspaper 12 July 1857, p.5.
[13] Anon. ‘Court of the Exchequer’ The Times 19 April 1850, p.7.
[14] Anon. ‘Sheriff’s Court’ The Times 18 August 1871, p.9.
[15] Census Returns of England and Wales, 1861. Kew, Surrey, England: The National Archives of the UK (TNA): Public Record Office (PRO), 1871. Class: RG10; Piece: 276; Folio: 13; Page: 19; GSU roll: 824919.
[16] See Anon. ‘Obituaries’ The Times 8 July 1880, p.10 & England & Wales National Probate Calendar (Index of Wills and Administrations), 1858-1966, p.327.
[17] Anon. The Era 8 November 1857, p.15.
[18] Pierce Egan to Benjamin Webster, 27 August 1867, Corbett Autograph Collection Vol. 1 Part 3, Cadbury Research Library, Special Collections MS21/3/1/41.
[19] Anon. ‘The Newsvendors Benevolent and Provident Institution’ The Morning Post 10 December 1869, p.3 & Anon. ‘Total Destruction of the Surrey Theatre by Fire’ The Era 5 February 1865, p.5.
[20] Stephen Basdeo ‘Radical Medievalism: Pierce Egan the Younger’s Robin Hood, Wat Tyler, and Adam Bell’ in Leeds Working Papers in Victorian Studies, Vol. 15: Imagining the Victorians (Leeds: LCVS, 2016), pp.48-64.
[21] Anon. ‘Advertisements & Notices’ Freeman’s Journal and Daily Commercial Advertiser 27 September 1847, p.1.

The Chartist Robin Hood: Thomas Miller’s “Royston Gower, or, The Days of King John” (1838)

The early nineteenth century witnessed two phenomenally successful Robin Hood novels: Walter Scott’s Ivanhoe (1819) and Thomas Love Peacock’s Maid Marian (1822). After those two novels, authors took a break from casting Robin Hood in any of their historical romances. That was until the appearance of Thomas Miller’s Royston Gower, or, The Days of King John (1838).

Thomas Miller (1807-1874) was born in Gainsborough in Lincolnshire. His father died when he was very young as a result of having participated in the Burdett Riots in 1810, thus leaving Miller and his mother in desperate poverty. Despite the dire straits that the family were reduced to, however, Miller’s mother ensured that he received an education. From an early age he loved to read, and went on to become a poet and novelist. As far as his novels go, he appears to have been a ‘Jack of all trades’: capable of writing pastoral poetry, historical romance, and crime fiction. He even continued G. W. M. Reynolds’ penny dreadful The Mysteries of London (1844-45) after Reynolds fell out with the publisher.[1]

The Robin Hood who appears in Royston Gower can justifiably be called the Chartist Robin Hood. Chartism was a political reform movement composed of middle-class radicals and working-class men that really began to pick up momentum in 1838, the year that Miller was writing. Indeed one of Miller’s life-long friends was the Chartist activist Thomas Cooper (1805-1892). The Chartists had six demands:

  1. A vote for every man twenty-one years of age, of sound mind, and not undergoing punishment for a crime.
  2. A secret ballot.
  3. No Property Qualification for Members of Parliament.
  4. Payment of Members, enabling ordinary people to serve a constituency when taken from his business to attend to the interests of the country.
  5. Equal Constituencies, securing the same amount of representation for the same number of electors, instead of allowing small constituencies to swamp the votes of large ones.
  6. Annual Parliamentary elections.

Although the movement ultimately failed, gradually the British Parliament have actually implemented all-but-one of the reforms – that of annual elections.

Medieval heroes were often appropriated by Chartist activists. For example, the Chartists had a ‘Wat Tyler Brigade’, named after the leader of the Peasants’ Revolt in 1381. And figures such as Wat Tyler and Robin Hood have been easily appropriated by radicals of all shades during the eighteenth and nineteenth centuries. For example, Robert Southey authored his dramatic poem Wat Tyler in 1794 which is highly supportive of the French Revolution. Thus although in its historicisation of Robin Hood Miller’s novel owes much to Walter Scott, and was meticulously researched from documents that Miller says he studied in the British Museum, in its political sentiments it is more alike to Joseph Ritson’s Robin Hood: A Collection of all the Ancient Poems, Songs and Ballads (1795). Miller’s Robin Hood defiantly fights against the forces of King John, proudly declaring that ‘we own no tyrant’.[2] Miller presents Robin as a political reformer saying in his preface that his:

Earliest recollections of the brave freebooter are from “Robin Hood’s Garland,” which, embellished with rude woodcuts, represented this EARLY REFORMER as shooting deer, fighting rangers.[3]

In fact, advocating political reform is equated with patriotism in Miller’s novel, as he says that the outlaws in his novel are true patriots.[4] Miller’s novel was published in three volumes and retailed at a price of thirty-one shillings: the message for his affluent readers is that England’s great national hero Robin Hood would have been a Chartist/Reformer if he was alive in the nineteenth century, and readers should patriotically lend their support to the cause of political reform as well.

Significantly, while the growing trend in eighteenth- and nineteenth-century Robin Hood literature had been to cast Robin as a nobleman, Miller gives him humbler social origins. In keeping with fifteenth-century Robin Hood poems, Robin is a yeoman. By the nineteenth century, the term ‘yeoman’ was understood to mean a small-scale land owner, as opposed to a person who was merely a tenant farmer. Thus Robin is definitely of the class that we might term the ‘labour aristocracy’. He is not a Lord standing up for the people, but is actually one of the people fighting for his rights and liberties.

Walter Scott’s idea that the Anglo-Saxons and the Normans are opposed to each other is present in the novel, but in Miller’s novel the problem is not one of race but one of class. Miller highlights the fact that in the medieval period there were many good Normans living in poverty, and many good wealthy Normans.[5] What is needed in medieval England (and of course Victorian England), Miller argues, is complete reform of the political system. The problem back in the days of King John is a problem that would have been familiar to nineteenth-century readers: Old Corruption.

Old Corruption was a term employed by middle-class radicals and the labour aristocracy in late eighteenth and nineteenth-century England to describe a political system in which the elites shored up their own interests at the expense of the people.[6] The callous and self-interested thirteenth-century elite are embodied in the character of the Norman nobleman De Marchmont, the principal villain of the tale, who Miller compares to nineteenth-century politicians:

The Baron gazed for a moment on the King, then cast his eyes towards the floor, as he feared his thoughts might be discovered; for he could not avoid comparing in his own mind the policy and hypocrisy of King John, with that which the monarch attributed to the Church of Rome. But De Marchmont was too much of a courtier to allow these thoughts to escape him, and too much of a tyrant himself, to murmur at the King’s conduct, and with a tact which politicians in our own day occasionally copy, he shaped his reply to suit his interests.[7]

Miller’s use of dating is also significant in this respect: by setting his novel after King Richard dies, and having Robin fight against King John, Robin is not required to side with a corrupt political establishment composed of Kings and noblemen, as he does in Ivanhoe.

Miller’s depiction of the outlaws’ society offers an alternative model for the creation of an egalitarian society. In Sherwood all men are equal: for instance, all of the outlaws including Robin Hood must undertake equal duties. This is so that there is no cause for murmuring or complaining from any of them, and to convey the message that all men are equal.[8]

While Miller sought to convey a political message to his readers, he also had to entertain them first and foremost. The Victorians loved violent entertainment. Millers novel is therefore filled with many violent scenes. Robin ‘dreams all night of cutting barons’ throats’.[9] When Robin kills a Norman soldier, we are told vividly how:

The blood gushed from his mouth.[10]

Thus Miller draws upon the early Victorians’ love for violent entertainment,[11] and presents us with a Robin Hood who is unafraid to resort to violence to achieve his political objectives.

In conclusion, what Miller’s Royston Gower shows us is that there was a resurgence of a radical image of Robin Hood in the late 1830s – a time of great political excitement due to the rise of Chartism, after having been made respectable in 1819 and 1822 by Scott and Peacock respectively. In the same year also, Pierce Egan the Younger would author the penny dreadful Robin Hood and Little John (1838-40) which similarly rails against Old Corruption and advocates for democratic reform. While Clare A. Simmons has argued that nineteenth-century medievalism became conservative and the preserve of the elites after c.1830, Miller’s novel, as well as Pierce Egan’s simultaneously published serial, means that we must rethink our understanding of Victorian medievalism as being conservative. A text which supports Chartism can hardly be considered ‘conservative’. At the very least, Miller’s novel deserves much greater attention from Chartist scholars than it has yet received.


References

[1] Louis James, ‘Miller, Thomas (1807–1874)’ in The Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004) [Internet <http://www.oxforddnb.com/view/article/18738&gt; Accessed 4 Aug 2016]
[2] Thomas Miller, Royston Gower, or, The Days of King John (London: J. Nichols [n.d.]), p.171.
[3] Miller, Royston Gower, p.7.
[4] Miller, Royston Gower, p.333.
[5] Miller, Royston Gower, p.26.
[6] Philip Harling, ‘Rethinking “Old Corruption”’ Past and Present No. 147 (1995), pp.127-158.
[7] Miller, Royston Gower, p.107.
[8] Miller, Royston Gower, p.36.
[9] Miller, Royston Gower, p.309.
[10] Miller, Royston Gower, p.268.
[11] Rosalind Crone, Violent Victorians: Popular Entertainment in Nineteenth-Century London (Manchester: Manchester University Press, 2012).
[12] See Clare A. Simmons, Popular Medievalism in Romantic-Era Britain (New York: Palgrave, 2011), pp.191-194.

Header Image: Wikimedia Commons – Chartist Rally on Kennington Common.

The ‘Public School’ Robin Hood: Imperial Ideology in Late-Victorian and Edwardian Children’s Books

A paper delivered at a conference entitled: ‘Packaging the Past for Children, c.1750-1914’ at the Senate House, Durham University, 6 – 7 July 2016


Abstract

During the late-Victorian and Edwardian period many children’s books telling the story of Robin Hood were published, such as John B. Marsh’s Robin Hood (1865), Howard Pyle’s The Merry Adventures of Robin Hood (1883), Henry Gilbert’s Robin Hood and the Men of the Greenwood (1912), and Paul Creswick’s Robin Hood and his Adventures (1917). Stephanie Barczewski argues that Robin Hood in late Victorian children’s books is an anti-imperialist figure, and she bases this assertion largely upon the fact that Robin Hood children’s books are critical of Richard I’s foreign adventures. Yet the situation was more nuanced than that: many of the late Victorian Robin Hood children’s works that were published in the period projected Robin Hood and his fellow outlaws as men who lived up to the Public School Ethos, cultivating the virtues of athleticism, fair play, chivalry, and devotion to duty. Indeed, Edward Gilliatt’s novel In Lincoln Green (1898) is even set in a very ‘Victorianised’ medieval public school. Thus these works represented the ideal qualities that young men would need if they were to serve the country, and thus, as the proposed paper argues, were subtly imperialist.


McSpaddenRH
J. Walker McSpadden’s Robin Hood (1930 edition)

Introduction

In the late nineteenth and early twentieth centuries, a horde of Robin Hood’s children’s books were published. Imperialism is not often associated with retellings of the Robin Hood legend in the nineteenth century, much less in any era. In fact, Stephanie Barczewski argues that Robin Hood in the nineteenth century, especially in children’s books, was an anti-imperial figure. [1] As this paper will show, however, the relationship of Robin Hood to imperial ideology in the nineteenth century is more nuanced than that: these authors certainly do critique some of the domestic problems caused by the expansion of empire, but no author of Robin Hood children’s books can be seen arguing that Britain should not participate in imperial adventures abroad. Furthermore, these works represented the qualities that young men would need if they were to serve the country. Robin Hood is seen to display the values of the Public School Ethos: displaying sportsmanship, manliness and devotion to duty. These values sought to prepare boys for a life of imperial service. [2] The end result of this ethos was intended to be:

A Christian gentleman […] who played by the rules, and whose highest aim was to serve others. [3]

Given the fact that these books are so generic to the extent that to read one is to read them all, this paper takes a thematic approach to discussing these texts, discussing the texts according to the constituent values of the ethos referred to previously. Thus the argument of this paper is that, far from propagating an anti-imperial message, these books were subtly imperialist because they represented the qualities that young men would need if they were to serve the country.

Robin Hood in Early Nineteenth-Century Literature

B. A. Brockman condescendingly wrote in 1983 that:

Robin Hood […] remains the property of children and a few (perhaps childlike) academics. [4]

Thankfully academic scholarship has now moved on from this position, and indeed before the period which I am mostly concerned with, Robin Hood was definitely not the sole preserve of children’s literature. Before 1840, literature featuring Robin Hood was expensive and mostly for adults: Joseph Ritson’s Robin Hood: A Collection of all the Ancient Poems, Songs, and Ballads (1795) was a scholarly two volume work , lavishly illustrated by the Bewick firm, costing 12 shillings. Sir Walter Scott’s Ivanhoe (1819) was a three volume work, costing 31 shillings, and dealt with adult themes such as national unity. [5] Even Pierce Egan’s penny serial Robin Hood and Little John (1840) was not written solely for children but an adult audience: themes of democracy and egalitarianism are packed into half a million words printed in minute double-columned typeface. 6] And reviewers were not happy with the way Robin was portrayed in any of these works: the Robin Hood of Ivanhoe was denounced as one of ‘the lower orders’ who has taken to the road because he ‘disdained the regular pursuits of industry’. [7] In 1820, Henry Crabb Robinson wrote that

Scott has failed […] in rendering Robin Hood acceptable – the delightful hero of the old popular ballad is degraded in the modern romance into a sturdy vagrant. [8]

Egan faced the biggest criticism in having portrayed Robin as:

A thorough-bred cockney of the year of grace 1839 […] in the region of undying glory occupied by Tom and Jerry, Black Sall, and Dusty Bob. [9]

‘Tom and Jerry’ is a reference to Egan the Elder’s Life in London (1823), while Dusty Bob was a colloquial term for a parish dustman. [10] The same reviewer, however, still gives Egan credit for making Robin Hood ‘far above Jack Sheppard’, [11] which, given the contemporary furore surrounding William Harrison Ainsworth’s eponymous novel published in 1839, is at least a grudging compliment. [12] It would therefore take time for Robin Hood to be rendered acceptable to the middle-class reading public, and it is only really in the later books of which I shall now speak that Robin became a respectable hero. It seems that the only way people could portray Robin Hood as non-subversive was to infantilise him, which is what authors did in the late-Victorian children’s books which are now the subject of the discussion going forward.

Muscular Christianity and Athleticism

If one of the aims of the public school ethos was to build ‘a Christian gentleman’, then it was easy for late-Victorian authors to superimpose earlier ideas about Robin’s piety on to the new public school ethos. In Henry Gilbert’s Robin Hood and the Men of the Greenwood (1912) Robin is insistent that his men should hear mass daily:

‘And now, lads,’ went on Robin, ‘though we be outlaws, and beyond men’s laws, we are still within God’s mercy. Therefore I would have you go with me to hear mass. We will go to Campsall, and there the mass-priest shall hear our confessions, and preach from God’s book to us. [13]

Gilbert RH
Henry Gilbert’s Robin Hood and the Men of the Greenwood (1912)

Hand-in-hand with the development of muscular Christianity in the late-Victorian period was an increasing emphasis upon physical fitness. As Nick Watson, Stuart Weir, and Stephen Friend argue:

The basic premise of Victorian muscular Christianity was that participation in sport could contribute to the development of Christian morality, physical fitness, and “manly” character. [14]

The late-Victorian period was the era of the strong-man, when body builders such as Eugene Sandow went topless on stage, displaying what was considered to be the perfect male physique. [15] In late-Victorian Robin Hood’s books and children’s books in general, then, there is an emphasis upon Robin’s physique that is absent from earlier popular works such as Walter Scott’s Ivanhoe and Thomas Love Peacock’s Maid Marian (1822). In J. Walker McSpadden’s Robin Hood, in his youth Robin is

A comely, well-knit stripling, and as soon as his right arm received thew and sinew he learned how to draw a bow. [16]

Robin is not merely skilled in the use of the bow, however, but is also an excellent wrestler, and the outlaws, when not robbing people upon the highway, are said to regularly ‘amuse themselves in athletic exercises’. [17] Gilliat in his novel In Lincoln Green: A Story of Robin Hood (1897), tells the reader how Robin has

Well-made arms and massive shoulders [18]

(Gilliat’s novel is even set in a quasi-Victorian medieval public school). In McSpadden’s novel, as Robin competes in the archery contest,

He felt his muscles tightening into bands of steel, tense and true. [19]

These prime physical attributes were not simply restricted to Robin Hood in these books, for of Will Scarlet is said that

He was not a bad build for all his prettiness […] those calves are well-rounded and straight. The arms hang stoutly from the shoulders. [20]

Cultivating physical prowess would enable boys – the future servants of the empire – to survive and endure in the often inhospitable environments in the colonies. In Henty’s With Clive in India (1888), for example, the hero of the novel, the young Charlie Maryatt, from an early age always participated in sports at home, and it is because of his athletic abilities that he is chosen for a dangerous mission requiring the surmounting of dangerous rivers, mountains and passes for its completion. [21] While a lot of medieval Robin Hood texts celebrate the summer time and give no consideration to how a body of outlaws living in the forest might survive in a harsh winter, some of these children’s books do recognise the fact that life for an outlaw might at times be difficult. H. E. Marshall in Stories of Robin Hood Told to the Children (c.1906) reveals a little about Robin’s life in the cold winter months:

In winter the roads were so bad, and the weather so cold and wet, that most people stayed at home. So it was rather a quiet time for Robin and his men. They lived in caves during the winter, and spent their time making stores of bows and arrows, and mending their boots and clothes. [22]

Living outdoors makes the outlaws even tougher: McSpadden tells how

The wind blew the ruddy colour into his cheeks. [23]

The outlaws in Gilbert’s Robin Hood, additionally, undergo very rigorous training drills on a daily basis to keep themselves sharp and ready for battle. [24]

Sportsmanship and Fair Play

Despite having to keep themselves ever-ready for battle, the outlaws are not presented as brutes. The ideals of sportsmanship and fair play were easily superimposed onto Robin-Hood-meets-his-match scenarios by late-Victorian writers (the Robin-Hood-meets-his-match scenarios are those tales of Robin losing a fight to somebody in the forest and then making friends with them afterwards). According to John Finnemore in The Story of Robin Hood (1909), these types of situations display

The old English love of fair play and straight dealing. [25]

Fairfight
Edwardian illustration of Robin Hood meeting Little John

In Marshall’s Stories of Robin Hood, when Robin meets Little John and a fight with quarterstaffs ensues, in which Robin is beaten, afterwards he says to Little John that

It was a fair fight and you have won the battle. [26]

And a similar scene is acted out in Charles Herbert’s Robin Hood as, after having fought Little John, Robin exclaims:

You’ve proved yourself the best man. I own I’m beaten, and the fight’s at an end. [27]

Similarly in McSpadden’s work, when Little John and Will Scarlet first meet and have a fight with quarterstaffs, they laugh about the fight afterwards and make friends. [28] In Gilliatt’s In Lincoln Green, Robin’s son Walter, at the public school he attends, is taught to play

By all the fair rules of fighting. [29]

The fact that these mini-skirmishes in the greenwood had to be conducted according to the rules of fair play meant that real fighting was often portrayed as game in these texts. In Herbert’s text, when Robin asks Little John to join his band, he says:

There is plenty of fighting: a hard life, and fine sport. Wilt throw in thy lot with us, John Little?’ [30]

When the outlaws are faced with real danger – that is, when they face the forces of the Sheriff – this is described as nothing more than a ‘sport’. [31] Gilliat similarly refers to:

The great sport of war. [32]

The portrayal of fighting as a sport reflects how warfare was often seen by prominent imperialists in the late-Victorian and Edwardian eras. Sir Henry Newbolt in his poem Vitae Lampada (1897), for example, authored the following lines which equated warfare with the games played on public school playing fields as his poem exhorts young men to

Play up! play up! and play the game! [33]

Expressing similar sentiments to Newbolt’s poem is the memorial in the main cloister of Charterhouse College which lists the alumni who have fallen in various campaigns. The deceased, according to the writing on the wall:

Played up, played up, and played the game. [34]

The sad truth is that war, in fact, was not a game in the Victorian era, no matter how ‘brave’, ‘gallant’, or ‘sporting’ war was made out to be by imperialist writers.

Duty and Patriotism

Above everything, in these novels Robin is portrayed as being unwaveringly loyal to the King and his country. In Newbolt’s The Book of the Happy Warrior (1917) which tells various stories of heroic figures from English history, including Robin Hood, the reader is told how they might best benefit from reading these tales of heroic deeds:

You will not get the best out of these stories of great men unless you keep in mind, while you read, the rules and feelings that were in their minds while they fought [… the] main ideas that were in the minds of all these great fighters of the past were these: First, service, in peace and war. [35]

loytalty
Edwardian illustration of Robin Hood meeting King Richard

Gilliatt’s In Lincoln Green sees Robin’s son Walter participating in an archery contest ‘for the honour of your house and country’, [36] and at another point in the novel Robin emphasises his own commitment to ‘duty’ by exclaiming:

I am never tired when honour and duty call me. [37]

Similarly, in Marshall’s story, when the outlaws are made to recite their chivalrous oaths, they are loyal to the King first, and vow to protect the weak and needy second. [38] Towards the end of Marshall’s tale, Robin proudly exclaims:

God Bless the King […] God bless all those who love him. Cursed be all those who hate him and rebel against him. [39]

Serving the King and the nation is presented in late-Victorian and Edwardian texts as a means by which a boy might advance in the world. In Paul Creswick’s Robin Hood and his Adventures (1917) young Robin is taken to his uncle Gamwell’s estate. Upon surveying his uncle’s vast land holdings, he enquires how his uncle Gamwell became so rich, and he is informed that he was given lands as a reward for serving in the King’s army. Robin then exclaims that he hopes that he will be similarly rewarded by the King when he grows up and serves in the army. This is a message that is seen repeated in the works of Henty as well, as in With Clive in India where a young parochial boy rises through the ranks of the British army and returns home rich. Service to one’s country could be the making of a man: morally, physically, and financially.

The emphasis upon Robin’s loyalty to the King, and his duty to the nation is to be found in every late Victorian text. From a twenty-first century standpoint, it seems odd that authors adapted Robin Hood – a radical and anti-establishment figure in previous incarnations – to represent the middle-class ethos of duty to the nation and empire. But the appropriation (or misappropriation depending upon one’s point of view), of medieval heroes to this end was not only applied to Robin Hood. In Henty’s laughable A March on London: Being a Story of Wat Tyler’s Insurrection (1898), for instance, Tyler and the peasants revolted, not simply because of the Poll Tax, but because they wanted to fight in the wars of their country but were not allowed to due to feudal laws. [40] For the record, the historic Wat Tyler and his fellow men were not fighting for the right to be able to fight in Richard II’s wars.

There was a class dimension to these ideas of loyalty and duty. Robin is always the Earl of Huntingdon in these books. They lack the democratic political sentiments that are present in Egan’s earlier and superior work. Robin does not have to be elected as he is in Egan’s Robin Hood and Little John, and there is a clear sense that he is the leader of his ‘lower class’ counterparts who knows what is best. In McSpadden’s tale, Robin is the leader of the outlaw band because he possesses ‘birth, breeding, and skill’. [41] It is almost as though Robin is the head boy of a public school house.

Conclusion

As we have seen, the story of Robin Hood was adapted by conservative authors who sought to adapt the outlaw’s story to project the ideals of the Public School Ethos. It was hard for authors to set Robin Hood in an actual overseas imperial setting, given that his story has historically always been associated with Sherwood Forest. These books should be viewed, then, as though the greenwood is the training ground for the imperial adventures that will come after Robin and his men have been pardoned. Such a view is borne out by the fact that in Gilliat’s book, for example, where having been pardoned by the King, most of the outlaws join Richard I on his Crusade in the Holy Land. [42] Thus far from being anti-imperial, these books promoted an imperial message and stressed the qualities that would prepare young boys for a life of imperial service.


References

[1] Stephanie Barczewski, Myth and National Identity in Nineteenth-Century Britain: The Legends of King Arthur and Robin Hood (Oxford: OUP, 2000), p.224.

[2] G. R. Searle, A New England? (Oxford: Oxford University Press, 2000), p.65.

[3] Lawrence James, The Rise and Fall of the British Empire (London: Abacus, 1994), p.207.

[4] B. A. Brockman, ‘Children and the Audiences of Robin Hood’ South Atlantic Review 48: 2 (1983), 67-83 (p.68).

[5] For information on production and pricing of Ivanhoe see Jane Millgate, ‘Making It New: Scott, Constable, Ballantyne, and the Publication of Ivanhoe’ Studies in English Literature, 1500-1900 34: 4 (1994), 795-811.

[6] Stephen Basdeo, ‘Radical Medievalism: Pierce Egan the Younger’s Robin Hood, Wat Tyler, and Adam Bell’ in Leeds Working Papers in Victorian Studies Vol. 15: Imagining the Victorians Eds. Stephen Basdeo & Lauren Padgett (Leeds: LCVS, 2016), 48-65.

[7] Anon. The Monthly Review Jan 1820, 71-89 (p.82)

[8]Henry Crabb Robinson, ’Diary Entry by Henry Crabb Robinson, 21 Jan. 1820’ in Henry Crabb Robinson on Books and their Writers Ed. E. J. Morley, 3 Vols. (London: Dent, 1938), 1: 238.

[9] Ibid.

[10] See Brian Maidment, Dusty Bob: A Cultural History of Dustmen, 1780-1870 (Manchester: Manchester University Press, 2007).

[11] Anon, ‘Modern Perversions’, p.425.

[12] See Lauren Gillingham, ‘Ainsworth’s “Jack Sheppard” and the Crimes of History’ SEL Studies in English Literature, 1500-1900 49: 4 (2009), 879-906.

[13] Henry Gilbert, Robin Hood and the Men of the Greenwood (London: T. C. & A. C. Jack, 1912), p.51.

[14] Nick J. Watson, Stuart Weir & Stephen Friend, ‘The Development of Muscular Christianity in Victorian Britain and Beyond’ Journal of Religion and Society Vol. 7 (2005), 1-21 (p.1); for another discussion on athleticism and Christianity see J. A. Mangam & Colm Hickey, ‘Missing Middle-Class Dimensions: Elementary Schools, Athleticism, and Imperialism’ European Sports History Review Vol. 4 (2002), 73-90.

[15] See David Waller, The Perfect Man: The Muscular Life and Times of Eugene Sandow, Victorian Strongman (London: Victorian Secrets, 2011).

[16] J. W. McSpadden & Charles Wilson, Robin Hood (London: Associated Newspaper Books [n.d.]), p.12.

[17] Stephen Percy, Tales of Robin Hood ([n.p. n.d.]) p.8.

[18] Edward Gilliat, In Lincoln Green: A Story of Robin Hood (London: Seeley & Co. 1897), p.45.

[19] McSpadden & Wilson, Robin Hood, p.23.

[20] McSpadden & Wilson, Robin Hood, p.80.

[21] G. A. Henty, ‘With Clive in India’ in British Empire Adventure Stories (London: Carlton Books, 2005), 465-774 (p.570).

[22] H. E. Marshall, Stories of Robin Hood Told to the Children (London: T. C. & E. C. Jack, [n.d.]), p.11.

[23] McSpadden & Wilson, Robin Hood, p.33.

[24] Gilbert, Robin Hood and the Men of the Greenwood, p.48.

[25] John Finnemore, The Story of Robin Hood (1909 repr. London: A. & C. Black, 1935), p.x.

[26] Marshall, Stories of Robin Hood, p.16.

[27] Charles Herbert, Robin Hood (London: John F. Shaw [n.d.]), p.18.

[28] McSpadden & Wilson, Robin Hood, pp.37-41.

[29] Gilliat, In Lincoln Green, p.116.

[30] Herbert, Robin Hoood, p.19.

[31] McSpadden & Wilson, Robin Hood, p.152.

[32] Gilliat, In Lincoln Green, p.362.

[33] Henry Newbolt, ‘Vitae Lampada (1897-98)’ The Norton Anthology of English Literature: Representing the Great War: Texts and Contexts [Internet <https://www.wwnorton.com/college/english/nael/20century/topic_1_05/hnewbolt.htm&gt; Accessed 21 June 2016].

[34] Niall Ferguson, Empire: How Britain Made the Modern World (London: Penguin, 2004), p.262.

[35] Henry Newbolt, The Book of the Happy Warrior (London: Longman, 1917), p.vi.

[36] Gilliat, In Lincoln Green, p.45.

[37] Gilliat, In Lincoln Green, p.180.

[38] Marshall, Stories of Robin Hood, p.8.

[39] Marshall, Stories of Robin Hood, p.101.

[40] G. A. Henty, ‘A March on London: Being a Story of Wat Tyler’s Insurrection (London, 1898)’ The Literature Network [Internet <http://www.online-literature.com/ga-henty/march-on-london/1/&gt; Accessed 21 June 2016].

[41] McSpadden & Wilson, Robin Hood, p.30.

[42] Gilliat, In Lincoln Green, p.365.