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• W4385583886 abstract "ABSTRACTThe present essay examines a sample of satirical prints and broadsides illustrating the main stages of the Queen Caroline affair (QCA). It claims that caricaturists and satirists used the vocabularies of melodrama and farce to transform a divorce scandal into an innovative political and cultural intervention in the public sphere. These popular literary and sub-literary traditions interwove the personal and the political elements of the case and created an innovative political language within a new print culture. This new print culture combined elements of ‘high’ and ‘low’ literature and culture thereby challenging cultural hegemony. Against the backdrop of the political protest that followed the end of the Wars in 1815, the satirical representation of the QCA questioned cultural stratification and gloried exploiting ‘unrespectability’ towards those in power. It was the triumph of laughter. Albeit for a brief period, this type of popular print culture undermined the political and cultural hegemony of the ruling class and became the most innovative attempt to build a more inclusive public sphere in the early nineteenth century.KEYWORDS: Post-Wars print cultureQueen Caroline affairsatiresatirical prints Data availability statementThis work was partly based on the investigation conducted for my PhD thesis entitled Queen Caroline and the Print Culture of Regency Radicalism. Unpublished PhD thesis, 2012. http://hdl.handle.net/1822/19777.List of the satirical prints and broadside illustrations discussedRobert Cruikshank Reflection. To Be or Not To Be??George Cruikshank La Gloire des Honnetes Gens!!Lewis Marks How Beautiful is Virtue!!!George Cruikshank ‘Ah! Sure such a Pair was Never seen so Justly Form’d to Meet by Nature’ – Old SherryCharles Williams Dover Cliff or the Bomb RemovedWilliam McCleary A Scene of the new Farce of the Lady and the DevilJohn Fairburn Coronation Arrngements Awkwardly Interupted, or Injured Innocence Demanding her RightsThomas Dolby Figures in a FogJohn Fairburn Caroline’s Wood-en Broom to sweep the Filthy Committee RoomSamuel Fores St. Stephen’s Bell-ManWilliam Elms K--g Cupid in the Corner – Playing BopeepWilliam Heath Georgy’s Delight, Or More Cunning than Cautious!!!Robert Cruikshank The Cradle HymnJohn Fairburn The Caldroun Or Shakespeare TravestieI. M. Langham (pub) The ‘Green Bag’ Hobby to Frighten the Innocent, Or My Jockey the Order of the Day!!!John Fairburn Boadicea, Queen of Britain, Overthrowing her Enemies, Humbly Dedicated to Caroline Queen of Great Britain and IrelandJohn Fairburn Richard Coeur de Diable!!George Cruikshank (attr) His Most Gracious Majesty Hum IVth & His Ministers Going to Play the Devil with the SatiristsWilliam Benbow The Degraded Honoured & the Honoured Degraded – or the Black Dogs under G-v-t well Dressed and turned outGeorge Humphrey Installation of a Knight of the Bath, or Delicate Recreations on Board a PolacreWilliam Benbow The Stool of Repentance; The Scorn of the WorldGeorge Cruikshank Nobody Going to be Punished! Noboby Going to Be Hung!!! !!!Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 The Queen Caroline affair designates the popular movement that agitated England in 1820–1821 on behalf of Queen Caroline. It was prompted by the attempt of George IV to strip his wife of her title of Queen Consort on his accession to the throne in 1820, after the death of his father. The procedure materialised in a Bill of Pains and Penalties presented by the government to the House of Lords, through which the queen was accused of adultery and which included a divorce clause.2 Henceforth abbreviated as BMC. It refers to Mary D. George’s work Catalogue of Political and Personal Satires Preserved in the Department of Prints and Drawings in the British Museum (London: Printed by Order of the Trustees, 1952), vol. x: xx, xxvi.3 A number of items from George IV’s print collection, whose provenance is often difficult to trace, remain in the Print Room at Windsor Castle, but most of the royal collection of satirical prints, designated as George IV Collection was acquired in 1920–21 by the Library of Congress, Washington. Despite the lack of a published catalogue, microfilms of about 8,000 of those prints (of a total of 9,900) are available in the British Museum. For a general view of the location of collections of British satirical prints, see Simon Turner, ‘Collections of British Satirical Prints in England and America’, Journal of The History of Collections, 16.2 (2004), pp. 255–65.4 The Cato Street Conspirators (BMC 13707), a satirical print by George Cruikshank, published by G. Humphrey on 9 March 1820, is an example, but others are listed in the BMC on this subject.5 The Republican (London: Jane Carlile), vol. iii, no. 13: 433. books.google.pt/books?id=vMs9AQAAMAAJ&pg=PA256&lpg=PA256&dq=if+the+Queen+had+actually+bestowed+her+affections+on+any+other+man&source=bl&ots=BJJfWdJ8iz&sig=ACfU3U1WLhQeVNBpy2AKT0QyWoslaPkeOA&hl=ptPT&sa=X&ved=2ahUKEwiymu6DzbjxAhWl0eAKHfOJD1wQ6AEwA3oECAQQAw#v=onepage&q=if%20the%20Queen%20had%20actually%20bestowed%20her%20affections%20on%20any%20other%20man&f=false. (July 21, 1820, accessed April 20, 2021).6 Ian McCalman, Radical Underworld: Prophets, Revolutionaries and Pornographers in London 1795–1840 (Cambridge: CUP, 1988), p. 122.7 Vic Gatrell, City of Laughter: Sex and Satire in Eighteenth-Century London (New York: Walker & Company, 2006), pp. 501–8.8 Joshua Kass, ‘A Royal Disappointment: The Private Scandals of George IV, 1785–1820’. PhD Thesis (2007), 4–5.9 Kyle Grimes, ‘Verbal Jujitsu: William Hone and the Tactics of Satirical Conflict’, in Steven Jones (ed.), The Satiric Eye: Forms of Satire in the Romantic Period (New York: Palgrave, 2003), p. 174.10 David Francis Taylor, The Politics of Parody: A Literary History of Caricature, 1760–1830 (Yale University Press, 2018), p. 12.11 Vic Gatrell, ib., 495.12 William Hone, The Right Divine of Kings to Govern Wrong. Dedicated to the Holy Alliance. Third edition. (Printed for William Hone, 1821), p. 16. https://play.google.com/books/reader?id=zkk0trtGys0C&pg=GBS.PP6&hl=pt_PT13 Vic Gatrell, ib., 537.14 Richard Godfrey, English Caricature 1620 to the Present. Caricaturists and Satirists, Their Art, their Purpose and Influence (London: Victoria and Albert Museum, 1984), p. 20. Attempts at suppression of unpleasant prints were not new. Draper Hill notes that in 1804 the Prince of Wales bought a print by James Gillray L’Assemblée National or-Grand Co-operative Meeting at St. Anne’s Hill, for a large sum of money to remove it from public view. See Draper Hill, Mr Gillray The Caricaturist (London: The Phaidon Press, 1965), pp. 119–23. George IV was also a collector of prints. Information about this activity can be found in Mark Evans ed., Princes as Patrons: The Art Collections of the Princes of Wales from the Renaissance to the Present Day (London: Merrell Holberton in Association with National Museums & Galleries of Wales and the Royal Collection, 1998).15 As a mixed literary genre, the genealogy of melodrama encompasses French, German and English roots; the latter include the English ballad opera, most notably John Gay’s The Beggar’s Opera, of 1728. See Carolyn Williams, ‘Melodrama’, in Kate Flint (ed.), The Cambridge History of Victorian Literature Part iii, Chapter 9 (Cambridge University Press, 2012).16 Anne Clark, ‘Queen Caroline and the Sexual Politics of Popular Culture in London 1820’, Representations 31 (1990), p. 52.17 Thomas Laqueur, ‘The Queen Caroline Affair: Politics as Art in the Reign of George IV’, The Journal of Modern History, 54.3 (1982), pp. 417–66.18 Marcus Wood, Radical Satire and Print Culture 1790–1822 (Oxford: Clarendon Press, 1994), pp. 270–1.19 British Museum image: https://www.britishmuseum.org/collection/object/P_1862-1217-298.20 British Museum image: https://www.britishmuseum.org/collection/object/P_1893-0612-216.21 British Museum image: https://www.britishmuseum.org/collection/object/P_1868-0808-8427.22 Bartholomew Bergami was a former Italian servant of the Princess of Wales, with whom she allegedly had had an intimate relationship.23 British Museum image: https://www.britishmuseum.org/collection/object/P_1859-0316-160. The title of this print is a song from The Duenna, a comic opera with a libretto by Richard Sheridan (1751–1816). This song had been used in two prints by George Cruikshank, one of 1815 entitled The Pig Faced Lady of Manchester Square The Spanish Mule of Madrid (BMC 12508), and the other of 1818 whose title is the song itself, Sure Such a Pair were Never Seen So Justly Form’d to Meet by Nature!!! (BMC 13131).24 The ‘Green Bag’ was actually two green barristers’ brief bags – one for the House of Lords and the other for the House of Commons. See Kenneth Baker, George IV: A Life in Caricature (London: Thames & Hudson, 2005), p. 160. It contained the alleged evidence against the queen gathered by the Milan Commission. This government-appointed commission had been sent to Milan in 1818 to gather testimony on the Princess of Wales’s conduct.25 The Black Dwarf, A London Weekly Publication by T. J. Wooler (London, 1820), vol. iv: 801.26 The Republican (London: Jane Carlile, 1820), vol. iii: 259. books.google.pt/books?id=vMs9AQAAMAAJ&pg=PA256&lpg=PA256&dq=if+the+Queen+had+actually+bestowed+her+affections+on+any+other+man&source=bl&ots=BJJfWdJ8iz&sig=ACfU3U1WLhQeVNBpy2AKT0QyWoslaPkeOA&hl=pt-PT&sa=X&ved=2ahUKEwiymu6DzbjxAhWl0eAKHfOJD1wQ6AEwA3oECAQQAw#v=onepage&q=if%20the%20Queen%20had%20actually%20bestowed%20her%20affections%20on%20any%20other%20man&f=false27 British Museum image: https://www.britishmuseum.org/collection/object/P_1868-0808-12847.28 British Museum image: https://www.britishmuseum.org/collection/object/P_1948-0214-809. The National Archives Collection holds the English original, published by W. Benbow. Reference catalogue TS 11/115: http://www.flickr.com/photos/nationalarchives/3311206029/. The British Museum image is probably a pirated copy, published by William McCleary, an Irish publisher.29 Arhtur Aspinall ed., The Letters of King George IV, 1812–1830, Published by Authority of His Late Majesty King George V, vol. ii (1815–1822) (Cambridge: CUP, 1938), p. 336.30 British Museum image: https://www.britishmuseum.org/collection/object/P_1983-0305-29.31 Georgina Abreu, ‘The Queen Caroline Affair in Radical Periodicals’, Open Cultural Studies, 6.1 (2022): 88–99. https://doi.org/10.1515/culture-2022-0145.32 Marcus Wood, ib., 14.33 British Museum image: https://www.britishmuseum.org/collection/object/P_1990-1109-42.34 British Museum image: https://www.britishmuseum.org/collection/object/P_1983-0305-30.35 The Republican (London: Mary Ann Carlile, 1820), vol. iv, n°. 7: 225. books.google.pt/books?id=7Ms9AQAAMAAJ&pg=PA217&lpg=PA217&dq=the+republican,+vol.+iv,+1820,+london,+printed+and+published+by+jane+carlile.&source=bl&ots=8Qh0LRE0A4&sig=ACfU3U1gi4SzQYsO44LziHZiZomASaTCNw&hl=ptPT&sa=X&ved=2ahUKEwiIie7ybjxAhUtA2MBHRFJD1wQ6AEwEHoECBUQAw#v=onepage&q=the%20republican%2C%20vol.%20iv%2C%201820%2C%20london%2C%20printed%20and%20published%20by%20jane%20carlile.&f=false. (October 13, 1820, accessed July 15, 2021).36 British Museum image: https://www.britishmuseum.org/collection/object/P_1990-1109-61.37 Half a crown was the queen’s emblem and a popular political pun with many applications (BMC, vol x: 87).38 Trinity’s Access to Research Archive image: http://www.tara.tcd.ie/bitstream/handle/2262/10007/ROB1016.JPG?sequence=1&isAllowed=y.39 British Museum image: https://www.nationaltrustcollections.org.uk/object/1397788.40 British museum image: https://www.britishmuseum.org/collection/object/P_1868-0612-1273.41 The Republican, vol. iv: 5.42 Herman Northrop Frye, Anatomy of Criticism: Four Essays (Princeton University Press, 2020 [1957]), p. 22343 David Taylor, ib., 16–17.44 British Museum image: https://www.britishmuseum.org/collection/object/P_1948-0214-817.45 As the Duke of York died before George IV, in 1827, the succession passed on to William IV, the third son of George III.46 British Museum number 1935,0522.11.170; BMC description 13985.47 Teodoro Majocchi was an Italian witness against the queen, who became notorious for his repeated answer ‘non mi ricordo’ during cross-examination on 21 August. At the end, Majocchi had been discredited as a witness. ‘Non mi ricordo’ became a catch phrase for perjury, being glossed in different satirical forms, from mock-trials such as William Hone’s satire Non Mi Ricordo to songs as The Non Mi Ricordo Song Book. See Marcus Wood, ib., 151.48 British Museum image: https://www.britishmuseum.org/collection/object/P_1983-0305-38.49 108 yeas to 99 nays.50 John H. Adolphus ed., A Correct, Full, and Impartial Report, of the Trial of Her Majesty, Caroline, Queen Con sort of Great Britain, before the House of Peers; On the Bill of Pains and Penalties; with Authentic Particulars, Embracing Every Circumstance Connected with, and Illustrative of, the Subject of this Momentous Event Interspersed with Original Letters, and other Curious and Interesting Documents, not generally known, and never before Published, Including, at Large, Her Majesty’s Defence (London: Jones and Co., 1820), p. 458.51 Arthur Aspinall ed., The Diary of Henry Hobhouse (1820–1827) (London: Home and Van Thal, 1947), p. 40.52 British Museum image: https://www.britishmuseum.org/collection/object/P_1993-1107-21.53 This print is attributed to George Cruikshank and it was published by Thomas Dolby in 1820. A copy is held by the Henry E. Huntington Library and Art Gallery, San Marino, California, USA.54 British Museum image: https://www.britishmuseum.org/collection/object/P_1985-0119-331.55 Louis Jennings ed., The Correspondence and Diaries of the Late Rt. Hon. John Wilson Croker (London: John Murray, 1885), vol. i: 180.56 Original title: The Loyalist and Anti-Radical. They were The Radical Ladder (BMC 13895), The Funeral Pile (BMC 13902), and The Mother Red Cap Public House, in Opposition to the King’s Head (BMC 13975). The ‘Mother Red Cap’ was a well-known tavern in Tottenham Court Road (BMC, vol. x: 130).57 British Museum image: https://www.britishmuseum.org/collection/object/P_1975-0621-14.58 BMC, vol. x: xxviii.59 British museum image: https://www.britishmuseum.org/collection/object/P_1991-0720-97.60 British Museum image: https://www.britishmuseum.org/collection/object/P_2010-7054-4.61 The coroner’s inquest on the deaths of the two men resulted in verdicts of manslaughter and wilful murder, against an unknown guardsman, which meant that crimes were committed but no one was found guilty of them.62 This print was acquired by the British Museum in 2010. Two other prints on this subject, also published by Fairburn in September 1821, figure in the BMC. They are The Horse-Councellor – Obtaining a Verdict! Or, Killing No Murder!! (BMC 14249) by G. Cruikshank, and The Man-Slaughter-Men! Or a Horse Laugh at the Law of the Land (BMC 14250), possibly also by G. Cruikshank. According to Mary D. George (BMC, vol. ix: 487), the representation of ‘Nobody’ dates at least from 1600. For descriptions of prints depicting ‘Nobody’ in the BMC see vol. ix: 486–88 (nos. 12438–51)." @default.
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• W4385583886 title "‘Here she comes by God! ram away Doctor if one Bolus won’t do put in three’ – the Queen Caroline affair in satirical prints" @default.
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