The Ballad of Reading Gaol by Oscar Wilde

Prisons

On 25 May 1895 Oscar Wilde was sentenced to two years hard labour for ‘gross indecency’. He was processed at Newgate Prison before being moved on to Pentonville Prison, where he began to experience the ‘hard labour’ he’d been sentenced to, namely many hours of walking a treadmill or separating the fibres in scraps of old navy ropes. A few months later he was moved to Wandsworth Prison where the regime was so harsh that in November he collapsed, banging his ear on the way down, which led to later infections and ailments. After spending two months in the infirmary, he was transferred to his final prison, Reading Gaol.

Freedom

Two years after his conviction, on 19 May 1897, Wilde was taken by train from Reading Gaol to Pentonville preparatory for his release. The next day he was actually set free and sailed the same evening for Dieppe, France. He never returned to England. He was to live on for three miserable, poverty-stricken years in Paris before dying of meningitis on 30 November 1900, aged 46.

A few months after his release, Wilde began writing ‘The Ballad of Reading Gaol’ while staying with his former lover and loyal friend, Robert Ross near Dieppe on the Normandy coast. It was assembled from aspects of his experience of imprisonment but came to focus on one particular character and event, the hanging of one Charles Thomas Wooldridge, a former trooper in the Royal Horse Guards.

Charles Thomas Wooldridge

On 7 July 1896 i.e. a year into Wilde’s imprisonment, Wooldridge was hanged at Reading Gaol. He had been convicted of cutting the throat of his wife, Laura Ellen, earlier that year at Clewer, near Windsor. He was 30 years old. Wooldridge’s case and punishment provide the focus of Wilde’s poem. In Wilde’s hands Wooldridge is transformed from a prisoner into a symbol round which descriptions of prison life, the misery and harshness of incarceration, and the awe and horror at the prospect of judicial murder all crystallise.

The ballad form

Wilde added and added to the poem until eventually it consisted of 109 stanzas. Wilde’s pre-incarceration poems had been written in the style of late-Victorian Romanticism, with lush metaphors and sophisticated literary allusions to Greek mythology etc. By stark contrast, the Ballad is, as the name suggests, written in the simpler ballad form, long associated with folk, peasant and working class culture, and stripped of fancy literary references.

One of the reasons for choosing this form is that Wilde intended it, along with its message of prison reform and moral injustice, to reach as wide an audience as possible. He wrote to a friend suggesting that it be published in Reynolds’ Magazine, ‘because it circulates widely among the criminal classes – to which I now belong. For once I will be read by my peers – a new experience for me.’

The simplest ballads usually consist of four-line stanzas. Probably the most famous ballad in the English language is The Rime of the Ancient Mariner by Samuel Taylor Coleridge, published precisely 100 years before Wilde’s ballad, in 1798. The most famous stanza goes:

Water, water, every where,
And all the boards did shrink;
Water, water, every where,
Nor any drop to drink.

In the technical language of poetry a ‘iamb’ is a metrical foot made up of one unstressed syllable followed by one stressed syllable (ti-tum). In the Ballad Wilde uses the traditional structure of iambic tetrameters (four metrical feet per line) alternating with iambic trimeters (three metrical feet per line) so the effect is:

ti-tum ti-tum ti-tum ti-tum (4 beats)
ti-tum ti-tum ti-tum (3 beats)

So it’s the identical rhythm to the stanza I just quoted from the Rime. Where Wilde is a little unusual is that the 109 stanzas of his Ballad have six lines rather than four.

Yet each man kills the thing he loves,
By each let this be heard,
Some do it with a bitter look,
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword!

The longer, 6-line form has at least two results. One is that each stanza has 50% longer to develop its thought or idea. This gives individual verses, and the poem as a whole, more weight (maybe).

The second consequence is that he could make the rhyme scheme more complicated. The rhyme scheme in the Coleridge is almost as simple as could be, ABAB i.e. where, shrink, where, drink.

Wilde’s rhyme scheme is that bit more complicated, at ABCBDB: first come three freestanding words – loves, heard, look; then a word rhyming with the end of line B (heard); then a freestanding word D (kiss), before another B word (sword). You can see how the D word doesn’t rhyme with anything else. The effect is to break up the seesaw monotony of ABAB with a wild card. It is regular enough to feel song-like but irregular enough not to be boring.

One last point: Wilde also mixes it up by quite regularly including internal rhymes within the same line, as in lines 1 and 5 here:

So with curious eyes and sick surmise
We watched him day by day,
And wondered if each one of us
Would end the self-same way,
For none can tell to what red Hell
His sightless soul may stray.

Sing-song isn’t quite the right word but this excess of rhymes, and especially the internal rhymes in one line, emphasise the ‘popular’ ballad vibe which in turn give the whole thing a kind of thumping obviousness; or maybe a kind of inevitability. Instead of the subtle floating of modernist verse it has a kind of thumping, marching quality, a doom-laden inevitability.

One last point: again, unlike the one-off lines and perceptions of more sophisticated poetry, the ballad revels in repetition. The multitude of rhymes are a sort of repetition on a small scale while certain words and phrases, descriptions (of the condemned man’s plight, of the grave) and indeed entire stanzas (namely the ‘Each man kills the thing he loves’ stanza), are repeated throughout the poem. This quality of wholesale repetition – repetition at the micro and the macro level – also contributes to the oppressive, doom-laden feeling.

Six sections

The ballad is arranged in six parts.

Part 1 (16 stanzas)

Part 1 paints the background: in the prison exercise yard the prisoners are walking in silent circles, looking up at the little patch of blue the prisoners call the sky, when the narrator notices a man with a cricket cap on his head who is looking up at the clouds with a particularly ‘wistful’ expression. One of Wilde’s neighbours whispers that the man is ‘going to swing’ i.e. be hanged. Why? For murdering his wife in her bed. This introduces the central premise of the poem, the rather sweeping generalisation that:

each man kills the thing he loves,
By each let this be heard,
Some do it with a bitter look,
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword!

Some kill their love when they are young,
And some when they are old;
Some strangle with the hands of Lust,
Some with the hands of Gold:
The kindest use a knife, because
The dead so soon grow cold.

And these generalisations move onto the idea that, although most men kill the thing they love, most are never caught or punished or condemned to hang, whereas this man, Wooldridge has been caught, convicted and sentence. Which allows the poem to move onto a vivid series of scenes describing what it’s like to be a man condemned to death, how:

  • he is watched by wardens day and night to make sure he doesn’t kill himself and deprive the system of its justice
  • on the fatal morning he wakes at dawn to see his cell filled by the chaplain, sheriff and governor
  • he hurries to put on his convict uniform while a doctor checks his pulse
  • he feels the hangman tie the leather nooses (three, apparently) round his throat
  • he walks past his own coffin
  • he listens to the Burial Office being read
  • he looks up into the miserable skylight overhead in his last moments

Part 2 (13 stanzas)

Back in the exercise yard the narrator comments on how the man he now knows is condemned to death, oddly, strikingly, doesn’t give way to despair but drinks the air with simple pleasure. The narrator describes the black fate of the tree whose trunk is turned into a gallows. Then reflects how his own life has crossed with the condemned man’s like two ships passing in a storm, how they are both outcasts.

Like two doomed ships that pass in storm
We had crossed each other’s way:
But we made no sign, we said no word,
We had no word to say;
For we did not meet in the holy night,
But in the shameful day.

Part 3 (37 stanzas)

The narrator (again) describes life for the condemned man, the behaviour of the governor, doctor and chaplain who ‘leaves a little tract’. And life for the prisoners with vivid details of the ‘hard labour’ Wilde was condemned to:

We tore the tarry rope to shreds
With blunt and bleeding nails;
We rubbed the doors, and scrubbed the floors,
And cleaned the shining rails:
And, rank by rank, we soaped the plank,
And clattered with the pails.

We sewed the sacks, we broke the stones,
We turned the dusty drill:
We banged the tins, and bawled the hymns,
And sweated on the mill…

But the description is background all the more to foreground the specific horror of Wooldridge’s fate. This description leads up to the prisoners returning from work past an open grave and knowing who it had been dug for.

And Wilde marvels that, while the condemned man slept like a baby, it was the others, his comrades, who were kept awake at night in terror at his fate. He claims the wardens were amazed to find, on their rounds, men praying (for the condemned man or for themselves) in the depths of the night. This seems doubtful a bit doubtful although we accept it as poetic licence and as part of the ballad form’s traditional spooky, supernatural vibe. It also happens to provide a handy example of how effective the poem is when it sticks close to actual description:

The warders with their shoes of felt
Crept by each padlocked door,
And peeped and saw, with eyes of awe,
Grey figures on the floor,
And wondered why men knelt to pray
Who never prayed before.

But just as quickly loses it, that closeness of observation I admire, when Wilde gives way to melodrama:

All through the night we knelt and prayed,
Mad mourners of a corse!
The troubled plumes of midnight were
The plumes upon a hearse:
And bitter wine upon a sponge
Was the savour of Remorse.

I don’t think the prisoners are actually ‘mad’, what does ‘the troubled plumes of midnight’ mean?, the hearse is conventional melodrama because, of course, there is no hearse for this dead man; the bitter wine on the sponge is of course a reference to Christ being offered the same during his crucifixion; and the capitalisation of Remorse takes us back to the heavy-handedness of medievalising allegory.

This histrionic tone continues into some stanzas which go way over the top. Wilde has the prison invaded by ‘crooked shapes of Terror’, by ‘phantoms’, a ‘ghostly rout’, who proceed to dance a grisly masque’ and even sing a phantom song whose lyrics are quoted. This has lifted off from the real to become a visionary fantasia which reminded me not only of the most hallucinatory parts of Coleridge’s poem but also the visionary processions you find in Shelley’s poetry. The ghostly rout’s song goes:

Oho!‘ they cried, ‘the world is wide,
But fettered limbs go lame!
And once, or twice, to throw the dice
Is a gentlemanly game,
But he does not win who plays with Sin
In the Secret House of Shame.

(Does this refer to Wilde himself? We know that between his trials his boyfriend Lord Alfred Douglas persuaded him to go abroad to, of all places, Monte Carlo, where he lost large sums gambling (a vice which never appealed to Wilde). Is he comparing the way Douglas rolled the dice but escaped conviction partly because he was a gentleman, whereas he, Wilde, was convicted because he indulged a bigger game, ‘playing with Sin’? Does ‘the Secret House of Shame’ refer to the entire lifestyle of gay orgies and rent boys which he indulged in and created in the years leading up to his arrest?)

The visionary dance scene ends as a more realistic dawn arrives. The prisoners are woken at 6am to clean their cells and by 7 are standing to. The narrator describes the horrible hopelessness the men felt at the absolute inflexibility of human justice which, for once, justifies the capital letter:

For Man’s grim Justice goes its way,
And will not swerve aside:
It slays the weak, it slays the strong,
It has a deadly stride…

And at 8am prompt a great wail goes up from the cells because every one of the prisoners knew that was the hour when Wooldridge was hanged. Again I’d contrast overdoing it (the madman on a drum):

We had no other thing to do,
Save to wait for the sign to come:
So, like things of stone in a valley lone,
Quiet we sat and dumb:
But each man’s heart beat thick and quick,
Like a madman on a drum!

With description which is more realistic and therefore more impactful:

With sudden shock the prison-clock
Smote on the shivering air,
And from all the gaol rose up a wail
Of impotent despair…

OK, I don’t like the archaic phraseology (‘smote’) or the schoolboy angst (‘despair’) but I can well imagine a kind of collective groan did go up all round the prison at the hour of Wooldridge’s execution, and that is a haunting image.

Part 4 (23 stanzas)

No chapel service is held on the day they hang a man; the chaplain feels too sick. The prisoners were finally released from their cells at noon to take exercise in the yard. And so the men traipse round and round in the usual silent circles in their shabby prison outfits with the ‘crooked arrows’ on them. The wardens mind them in the usual way but the prisoners note the traces of lime on their boots and the newly filled-in grave by the prison walls. And Wilde is haunted by the image of the freshly dead man’s corpse wrapped in a shroud of quicklime designed to eat into his body like acid.

And all the while the burning lime
Eats flesh and bone away,
It eats the brittle bone by night,
And the soft flesh by day…

The authorities don’t sow anything on a hanged man’s plot of earth for fear the product will be tainted, but Wilde suggests the opposite: that God’s earth is kindlier than men know, that beautiful roses would blossom out of the curse man’s soil.

Wilde bitterly criticises the shabby underhand way Wooldridge was killed, a passage all the more effective for the relatively restrained diction, no capitalised allegories, no Despair etc, just the facts:

They hanged him as a beast is hanged:
They did not even toll
A requiem that might have brought
Rest to his startled soul,
But hurriedly they took him out,
And hid him in a hole.

They stripped him of his canvas clothes,
And gave him to the flies:
They mocked the swollen purple throat,
And the stark and staring eyes:

The chaplain didn’t kneel to pray at the grave and yet Wilde insists it was precisely for sinners that Christ died, that God’s Son died for all men.

Part 5 (17 stanzas)

Only now does Wilde get round to telling us what it is like to be in prison. Having told us about this one condemned man, part 5 now widens the perspective out to consider prison and prisoners in the wider perspective of society and contains Wilde’s bitter criticism of the prison system: all it does is breed more vice and crime.

The vilest deeds like poison weeds,
Bloom well in prison-air;
It is only what is good in Man
That wastes and withers there…

Although he spoils this stanza, as so much else, with what I regard as heavy-handed use of capitalised allegorical abstract nouns:

Pale Anguish keeps the heavy gate,
And the Warder is Despair.

‘Despair’ is a word I associate with immature poems by fifth formers in the school magazine. It’s such a lazy word, so easy to throw around in any situation, it lacks specificity and precision. It’s also so over-used simply because it is such a handy rhyme word – air, there, care, loads of rhyme words can set it up, it’s too easy, too available. In many ways Wilde’s diction, here and in all his poems, is an object lesson in how not to write a poem.

It was only around now that I realised there’s a recurring pattern in Wilde’s stanzas. Remember my comments on the 6-line stanza, how the extra 2 lines allow the thought to be extended? Well, I realised there’s a tendency for the first four lines to be good, sticking close to description of actual sights or events, but for Wilde to repeatedly spoil the effect by using those final two lines for over-the-top, allegorising histrionics. So:

At six o’clock we cleaned our cells,
At seven all was still,
But the sough and swing of a mighty wing
The prison seemed to fill,
For the Lord of Death with icy breath
Had entered in to kill.

Or:

The brackish water that we drink
Creeps with a loathsome slime,
And the bitter bread they weigh in scales
Is full of chalk and lime,
And Sleep will not lie down, but walks
Wild-eyed, and cries to Time.

To paraphrase George Orwell in Animal Farm, four lines good, six lines bad.

And yet, despite his style, the horror of prison life comes over well enough, the enforced silence and the loneliness. The first of these stanzas is a bit rank but the second one really conveys it:

With midnight always in one’s heart,
And twilight in one’s cell,
We turn the crank, or tear the rope,
Each in his separate Hell,
And the silence is more awful far
Than the sound of a brazen bell.

And never a human voice comes near
To speak a gentle word:
And the eye that watches through the door
Is pitiless and hard:
And by all forgot, we rot and rot,
With soul and body marred.

But precise and upsetting, or over-the-top and Gothic, all these descriptions are designed to lead the poem up to its heart which is a vision of Christian redemption. For it is the very intensity of their suffering which, in Wilde’s view, leads men’s hearts to break but not into hopeless despair – instead, in the optimistic climax of the poem, this breaking allows Christ’s love to enter in and redeem them. I’ll quote the three relevant stanzas in full to give a sense of the flow of the argument:

And thus we rust Life’s iron chain
Degraded and alone:
And some men curse, and some men weep,
And some men make no moan:
But God’s eternal Laws are kind
And break the heart of stone.

And every human heart that breaks,
In prison-cell or yard,
Is as that broken box that gave
Its treasure to the Lord,
And filled the unclean leper’s house
With the scent of costliest nard.

Ah! happy they whose hearts can break
And peace of pardon win!
How else may man make straight his plan
And cleanse his soul from Sin?
How else but through a broken heart
May Lord Christ enter in?

This immediately reminds you of the passages in De Profundis where Wilde repeats that the only way to stay sane in prison was through acceptance – accepting his fate, accepting his destiny, accepting that it couldn’t have happened any other way, accepting every step that led to the miserable depths of wretchedness, and then accepting his condition in its entirety. Repining and objecting – if only I’d done this and if only I hadn’t done that – can only drive you mad with regret. The wretchedness of the conditions cause many a man’s heart to break but this is good. Only by breaking hardened hearts can the sweetness of God’s forgiveness be experienced.

Wilde is giving a straightforwardly, unironically Christian message of salvation. Jesus Christ moved among sinners, moneylenders and prostitutes, not among the upstanding rule-abiding members of the community, precisely because it is the sinners who need saving (and who, incidentally, in their own way, often embodied the true Christian virtues of charity and forgiveness, as demonstrated in his fairy stories). And so it’s in this spirit of Christian redemption that the poem rises to its pious climax:

Ah! happy they whose hearts can break
And peace of pardon win!
How else may man make straight his plan
And cleanse his soul from Sin?
How else but through a broken heart
May Lord Christ enter in?

And he of the swollen purple throat,
And the stark and staring eyes,
Waits for the holy hands that took
The Thief to Paradise;
And a broken and a contrite heart
The Lord will not despise.

It’s a moving climax within the rhythm of this very rhythmic poem but also because of what we know about Wilde’s biography: it is moving that the lifelong cynic, dandy and provocateur has been so broken down, so stripped of poses and smart one-liners, that his Christian conversion appears utterly genuine.

Part 6 (3 stanzas)

Having reached the climax of this Christian vision the poem tastefully, tactfully, ends with three short stanzas which recap and summarise the entire work with the laconic simplicity of the true ballad:

In Reading gaol by Reading town
There is a pit of shame,
And in it lies a wretched man
Eaten by teeth of flame,
In a burning winding-sheet he lies,
And his grave has got no name.

To be honest, Wilde could have ended there and done his job. I think he weakens the effect by going on and making the final stanza a repetition of the idea which dominated the opening, the notion that ‘each man kills the thing he loves’, repeating word for word the related verse in Part 1.

And all men kill the thing they love,
By all let this be heard,
Some do it with a bitter look,
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword!

It has a purely rhetorical, incantatory effectiveness but I don’t like it as an ending because I just don’t believe it.

Sales

The finished poem was published by Leonard Smithers on 13 February 1898 with the author’s name given as C.3.3. This number was how Wilde was referred to in prison, standing for cell block C, landing 3, cell 3. The aim was to avoid having Wilde’s name – by then notorious – appear on the poem’s front cover.

The poem was a surprising success, with Smithers reprinting it in February, a signed edition and a fourth mass edition in March, a fifth edition later the same month and a sixth edition in May. The seventh edition, in June 1899, finally revealed the author’s identity, putting the name Oscar Wilde in square brackets below the C.3.3.

The Ballad brought Wilde a small income for the rest of his life but it wasn’t enough to live on. The Ballad was the last thing he wrote.

Thoughts

You can see the effort that’s gone into the poem. You can appreciate the careful structuring of the material which delays a description of prison life till part 5 so that all the horror and negativity of prison life doesn’t sit hopeless and heavy but leads directly into the message of Christian redemption at what I take to be the climax of the poem. It is well and cleverly done. But still, in my view, it is marred by all kinds of faults.

Melodrama

The leading one is the sometimes ridiculous melodrama, the Victorian Gothic exaggeration. Coleridge’s poem is intended to be a high Gothic melodrama and works partly because it brings a sort of realistic description to an over-wrought subject. Wilde’s poem is not as good because it brings a consistent tone of overwrought melodrama to a subject which, arguably, would have been better treated with understatement. Thus in the opening stanzas one of the other prisoners tells him Wooldridge is going to swing and rather than accept the news as one more horrible thing about prison life, Wilde goes bananas:

Dear Christ! the very prison walls
Suddenly seemed to reel,
And the sky above my head became
Like a casque of scorching steel…

Similarly, describing Wooldridge’s manner he writes:

He did not wring his hands, as do
Those witless men who dare
To try to rear the changeling Hope
In the cave of black Despair…

This kind of melodrama is too simplistic; it’s a child’s version of psychology. The Cave of Despair reminds me of the widespread allegorisation in the Elizabethan poet Edmund Spenser’s huge allegorical epic,  the Faerie Queene.

I take the point that the ballad, as a form, is often melodramatic and involves elements of the supernatural (loads of gruesome murders and midnight ghosts). But Wilde’s penchant for capitalised abstract nouns (Justie, Despair) felt to me like a giving-in to late-Romantic clichés and that these clichés do what all clichés do, which is close off the possibility of genuine observation, of subtle psychology and insight, in favour of cheap special effects.

Late-Romantic diction

Secondly, Wilde’s style brings together all the faults of late-Romanticism, its archaic vocabulary and lush tone, without a hint of the new, stripped-down modernism which was going to appear in English poetry in just ten years’ time. It is the last gasp of a dying tradition. So (in my opinion) the first four lines of this stanza are good(ish):

I never saw a man who looked
With such a wistful eye
Upon that little tent of blue
Which prisoners call the sky…

But are marred by the ‘poeticism’ of silver in the final couplet:

…And at every drifting cloud that went
With sails of silver by.

Wilde is more successful when he avoids big words like Despair and poeticisms about silver and ivory, and instead describes the observable facts, as he does in this grim stanza about what a hanging actually looks like:

It is sweet to dance to violins
When Love and Life are fair:
To dance to flutes, to dance to lutes
Is delicate and rare:
But it is not sweet with nimble feet
To dance upon the air!

OK the exclamation mark is childish but the image of the feet of the hanged man ‘dancing’ in a spastic frenzy for a few last seconds is vivid, realistic and horrible.

The central premise

I just couldn’t relate to the central theme or premise, the phrase Wilde repeats again and again and chooses to end the entire poem with – the notion that ‘each man kills the thing he loves’.

Yet each man kills the thing he loves,
By each let this be heard,
Some do it with a bitter look,
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword!

I think the emotional impact he intended depends on the reader buying into this sentiment but I didn’t really understand it – I don’t think it makes sense. Most men very much do not kill the thing they love. Surely most men love the thing they love, don’t they? The following simply isn’t true:

Some kill their love when they are young,
And some when they are old;
Some strangle with the hands of Lust,
Some with the hands of Gold:
The kindest use a knife, because
The dead so soon grow cold.

Wilde 1) tries to give the phrase the ominous weight of impending Greek tragedy, to make it some central plank of human nature, 2) then places it as the central refrain of the whole poem, 3) assigning it the final concluding position in the entire work.

And yet, reading it in the summer daylight, it seemed non-sense, the opposite of the truth; it evaporated in my hands and so, insofar as the poem relies on it, the Ballad, as an overall argument or proposition, for me, fails.

Christian redemption

What did work for me (this time round) was the sequence about the human heart breaking in order to allow Christ’s love in to save. On this particular morning, on this particular reading, I found this very moving.

The power of details

But if I don’t buy into the ‘all men kill’ premise, many of the incidental details do stick and haunt the imagination: the little patch of blue overhead, the cricket cap Wooldridge wears, the wailing that goes up from all the inmates at the hour of the hanging, and the corpse’s swollen purple throat. Despite all its flaws of diction and logic, ‘The Ballad of Reading Gaol’ remains a powerful work and indictment.

Femicide

It’s possible to read the entire poem, along with modern introductions to it, references in the letters, articles about it, and never once be reminded of the central fact that Wooldridge isn’t the innocent victim of a barbaric system, but that Wooldridge murdered his wife.

Do you remember the name of his wife (which I mentioned at the start)? No, most people don’t. She was Laura Ellen. Their fractious relationship led him to beat her up and Army rules led to them living apart. Suspecting her of having an affair he travelled to her lodgings in Clewer, they had an argument indoors which spilled out into the street where he cut her throat with a cut-throat razor and she bled to death.

You don’t have to be a feminist to find the way that Wilde lionises Wooldridge and makes him the central figure in his longest and most famous poem somewhat distasteful. It’s not hard to see the entire production as another example of the assault and abuse of a woman, and then her brutal murder, being elided and glossed over so that men can feel sorry for themselves.

The real victim here is Laura. Wooldridge, like Wilde, got his just deserts under the existing law of the time. Both of them would be imprisoned now, in 2024 (Wilde for procuring sex with under-age boys). Just like Wilde, Wooldridge was totally guilty of the offences he was charged with. But in Wilde’s concern for moral or poetic or spiritual exoneration, the real victim of the story is elided, occluded, forgotten, turned into the vague pretext for the refrain ‘Each man kills the thing he loves’.

You don’t have to be a feminist to find this a typical example of a male writer writing from a male perspective for male readers, distorting the truth, inverting the system of values (it was the woman who was the victim, not Wooldridge), making the wife-beating murderer into the central symbolic figure of the long poem, and over-writing, occluding, burying the real victim.

There’s a handy Wikipedia article about Wooldridge, which gives a lot more background to his case (and corrects Wilde’s erroneous belief that Wooldridge murdered Laura in their bed). But as if to prove the point, there’s no Wikipedia article for Laura. She only ‘exists’ in the discourse in her relation to the man who abused and murdered her. You don’t have to be a feminist to think this is typical.


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Pen, Pencil, And Poison: A study in Green by Oscar Wilde (1891)

Pen, Pencil and Poison is an essay by Oscar Wilde, a witty and provocative summary of the life and career of the notorious Thomas Griffiths Wainewright, who was a painter, essayist, aesthete, literary critic and famous serial killer from the first part of the nineteenth century.

A first version of the essay was published by Frank Harris in the January 1889 edition of The Fortnightly Review. Wilde then revised it for inclusion in the volume of four essays titled Intentions which he intended to use to position himself as a major critic of late Victorian art, literature and theatre, and which was published in May 1891.

(The same year saw the publication of his collection of short stories, Lord Arthur Savile’s Crime and the expanded, book-length version of The Picture of Dorian Gray. The following year the first of his social comedies was produced. Critic. Short story writer. Novelist. Playwright. Within two years Wilde very impressively proved himself the master of all these genres and manoeuvred himself into the centre of London’s literary and intellectual life.)

Thomas Griffiths Wainewright

The story of Thomas Griffiths Wainewright (1794 to 1847) was well known by Wilde’s time and had been written about by a number of authors. The Essays and Criticisms of Wainewright had been published in 1880 and the history of his crimes was used by Charles Dickens as the basis for his story ‘Hunted Down’ and by Edward Bulwer-Lytton for his novel Lucretia. Indeed Wilde’s essay features quotes and memoirs of people who knew or met or read Wainewright, such as Hazlitt, de Quincey, Charles Lamb, with anecdotes about William Blake et al. Even the title isn’t original having been borrowed from Swinburne.

What obviously attracted Wilde was the close connection between art and crime. Wainewright’s letters, writings and memoirs reveal a man of high artistic sensibility and great psychological sensitivity. Yet the same man set about poisoning to death a number of those nearest and dearest to him.

His delicately strung organisation, however indifferent it might have been to inflicting pain on others, was itself most keenly sensitive to pain.

Biography

According to Wilde, Wainewright was born in 1794 in Chiswick. His mother died in childbirth. She was just 21 and followed soon after by the death of his father, so the baby was raised by its grandfather and then uncle.

Right from the start the essay displays the deliberately, comically casual juxtaposition of conventional biography with Wainwright’s activities as a poisoner i.e. the bland phrases of standard biography are interspersed with very casual mention of his murders.

His father did not long survive his young wife, and the little child seems to have been brought up by his grandfather, and, on the death of the latter in 1803, by his uncle George Edward Griffiths, whom he subsequently poisoned.

A similar flippancy underlies Lord Arthur Savile’s Crime and The Canterville Ghost, whose achievements in scaring various Canterville relatives to death or terrifying visitors out of their minds are listed as subjects of great amusement. It is the bluntness of the juxtaposition which achieves the effect.

Wainewright joined the army, buying a commission in 1814, but was too sensitive for the rough vulgarity of barrack life, had a nervous breakdown, was cashiered out, went back to stay with his uncle in a fine house in Turnham Green, and became ever more interested in literature. His maternal grandfather was editor of the Monthly Review and Wainewright had been raised in a bookish intellectual milieu. In 1819 he embarked on a literary career. He wrote essays. He had them published, most often in the London Magazine. Literary figures of the day began to take notice.

Wilde is particularly pleased that Wainewright wrote essays for literary journals under a number of pseudonyms. This plays right into Wilde’s fondness for masks and artificiality.

Janus Weathercock, Egomet Bonmot, and Van Vinkvooms, were some of the grotesque masks under which he choose to hide his seriousness or to reveal his levity. A mask tells us more than a face. These disguises intensified his personality.

Dandy

And Wainewright was a dandy:

Like Disraeli, he determined to startle the town as a dandy, and his beautiful rings, his antique cameo breast-pin, and his pale lemon-coloured kid gloves, were well known, and indeed were regarded by Hazlitt as being the signs of a new manner in literature: while his rich curly hair, fine eyes, and exquisite white hands gave him the dangerous and delightful distinction of being different from others.

Wilde obviously sees him as a precursor to himself:

It is only the Philistine who seeks to estimate a personality by the vulgar test of production. This young dandy sought to be somebody, rather than to do something. He recognised that Life itself is in art, and has its modes of style no less than the arts that seek to express it.

Wilde likes Wainewright because in his writings he cultivated a cult of his own personality, liberally telling his readers not only his views on art, but where he dined and who he met and what they talked about and what he was wearing, very much a precursor to Oscar himself.

Wainewright’s collection

Wilde goes on at length about Wainewright’s collections of beautiful objects from a wide variety of sources, and his writings not only about art in the narrow sense, but about all beautiful things from the past, statues and jewels, rare books and cameos and engravings, he delighted in letting his soul wander among masterpieces in a way Wilde thoroughly approves. The truly beautiful fly free from a particular age and congregate in a timeless imaginarium.

All beautiful things belong to the same age.

Wainewright the artist

Wainewright also painted and sketched to a very high standard. He was trained by John Linnell and Thomas Phillips, he produced a portrait of Lord Byron, made illustrations for the poems of William Chamberlayne, and from 1821 to 1825 exhibited narratives based on literature and music at the Royal Academy. So he had a practitioner’s inside knowledge of the craft when he came to write about art, and Wilde quotes passages which talk in technical terms about colours, design and glazes.

The critic seeks the thing in itself

He approves Wainewright’s aesthetic writings and above all the idea that the critic shouldn’t apply standardised rules to a work, but instead be flexible and respond to the thing as it is.

‘I hold that no work of art can be tried otherwise than by laws deduced from itself: whether or not it be consistent with itself is the question.’

Wainewright’s prose poem responses to art

That said, Wilde admires the way Wainewright responds to art with long prose poems which seek to mimic or replicate their effect in words.

The conception of making a prose poem out of paint is excellent. Much of the best modern literature springs from the same aim. In a very ugly and sensible age, the arts borrow, not from life, but from each other.

Wilde’s approval of Wainewright’s technique of ‘criticising’ a work of art by writing a long florid prose poem based on it explains why so much Victorian writing about art is unpleasantly vague and gaseous. In my opinion it also explains why English taste in art remained so conservative and retarded until well into the twentieth century.

Van Gogh and Gauguin while Wilde was still alive, and then the Fauves, the German Expressionists and the Cubists within a few years of his death, completely tore up the nineteenth century rulebook of art to create all kinds of marvellous new images and sensations which Wilde’s style of limp-wristed prose vaporings were completely inadequate to understanding or explaining.

Wilde sits at the end of a fagged-out tradition. His aestheticism was new in the 1870s but tired by the 1890s. His love of the classical world was merely the exquisite climax of a tradition which had dominated the British education system for a century. Wilde comes at the end of both these traditions, before the turn of the twentieth century ushered in entirely new ways of seeing and thinking. For all his brave talk about The New, praising new sensations in art and life, Wilde revered the past and hadn’t a clue about the revolutionary turn all the arts were about to take. His approach, his whole aesthetic, was a glorious dead end and that’s why he was a back number even before he died.

Wainewright the poisoner

Half-way through the essay which had, up to this point, been a charming stroll through Wainewright’s art criticism, aesthetic stance, prose poetry and delightful collection of rare and precious objects – Wilde turns with a flourish and an ironic smile to the fact that this gorgeous proto-aesthete was also a murderer. In doing so he uses a very characteristic phrase which is worth dwelling on:

However, we must not forget that the cultivated young man who penned these lines, and who was so susceptible to Wordsworthian influences, was also, as I said at the beginning of this memoir, one of the most subtle and secret poisoners of this or any age. How he first became fascinated by this strange sin he does not tell us, and the diary in which he carefully noted the results of his terrible experiments and the methods that he adopted, has unfortunately been lost to us.

The words ‘strange’ and ‘sin’ are very characteristically Wildean. He uses ‘strange’ a lot throughout the essays in Intentions as a buzzword, a key word, a key adjective which indicates the mood of weird, fin-de-siecle mystery Wilde likes to shed around his own personality, the great works of art he reverences and so on. When Wainewright returns to England in 1837, it is very characteristic of Wilde to say he did so because of ‘some strange mad fascination’.

However, on closer examination, there’s often nothing at all ‘strange’ in what he’s describing. Thus there is nothing ‘strange’ about being a murderer.

Something similar with ‘sin’, Wilde enjoys saying that this or that personality or work of art hints at ‘sin’. If you stop and think about it he is stealing a Catholic Christian term and dressing it in the vague, heavy velvet of the Decadence and then attributing it – like his other favourite words ‘strange’, ‘curious’, ‘dangerous’ – to people or actions which, on closer examination, do not merit it. He uses it in a spirit of high symbolist melodrama to conjure an overripe atmosphere but empty of precise meaning.

It is tempting to go along with Wilde’s prose and be carried away into the purple and gold world of luxury objects illuminated by flickering candlelight which phrases like ‘strange sin’ suggest. Except Wainewright was a murderer, pure and simple. Nobody would write about the ‘strange sin’ of Harold Shipman or Fred West. There was nothing either strange or sin-nish about either multiple murderer.

Wainewright’s victims

(This section borrows freely from the Wikipedia article as Wilde’s account is factually incorrect. To give the most obvious example Wilde has Wainewright dying in 1852, whereas it was 1847.)

The key fact to grasp is that, although Wainewright had inherited £5,250 from his grandfather, it was invested at the Bank of England, he was unable to touch the capital and receiving only the dividends of £200 a year. This combined with the income from his journalism was nowhere near enough to maintain the extravagant lifestyle, with the collection of fancy art works Wilde delights in describing, not to mention a wife he’d married in 1817 (when he was 23).

On two occasions he forged the signatures of powers of attorney in order to withdraw the capital from the Bank, the second time leaving his account empty. Now he was in desperate financial straits and it is this which explains the series of murders he now embarked on.

By 1828 the Wainewrights were in severe financial trouble again and forced to move in with the elderly George Griffiths, still living at the Wainewright estate in Chiswick. He died in agony shortly afterwards. and it is suspected Wainewright poisoned him to inherit the property.

Eliza’s mother married again, becoming a Mrs Abercromby, and had two further daughters, Helen and Madalina, before being widowed again. They too moved into the estate, and Mrs Abercromby settled her will in favour of Eliza. She died shortly afterwards. It is strongly suspected he murdered her.

In 1830, he and Eliza insured the life of his sister-in-law Helen with various companies for a sum of £16,000. She died in December of the same year after showing signs of strychnine poisoning. The insurance companies refused to pay and Wainewright fled to Calais in order to escape legal action and his increasingly clamorous debtors. Victorian authors speculate that he also killed his mother-in-law and a Norfolk friend.

In 1837 Wainewright returned to England, was arrested for bank fraud, convicted and deported to Hobart, Van Diemen’s Land, where he spent the last ten years of his life, dying in 1847.

Wilde’s account contains detailed descriptions of further murders, such as the father of a lady friend with whom he was staying in Boulogne and who he is said to have murdered purely to spite the insurance companies.

Wilde’s calculated heartlessness

The tone Wilde describes all this in is deliberately flippant and superficial. He doesn’t take the murders seriously and instead is tempted into characteristic raptures about art and beauty. Thus Helen, his wife’s sister:

was about twenty years of age, a tall graceful girl with fair hair. A very charming red-chalk drawing of her by her brother-in-law is still in existence, and shows how much his style as an artist was influenced by Sir Thomas Lawrence, a painter for whose work he had always entertained a great admiration. De Quincey says that Mrs. Wainewright was not really privy to the murder. Let us hope that she was not. Sin should be solitary, and have no accomplices.

A lot is going on in this passage but the obvious points to me are the way Wilde goes out of his way to be more interested in the painting of Helen done by the murderer than the fact that he murdered her. Making fine art critical comments about the painting are more important than the fact of murder. Wilde’s position is not immoral, as such, but it is a very calculated promotion of Wilde’s ideas that art comes first, art is paramount, that art triumphs over the sordor and messiness of life, that art soars above facts, that art isn’t limited by bourgeois morality and petty notions of right or wrong.

The second obvious point is his use of ‘sin’. As stated above, Wainewright’s acts weren’t really ‘sins’, were they? They were crimes. Accepting the word ‘sin’ is to enter Wilde’s fin-de-siecle world of decadence and ‘strange’ practices. He intends the word ‘sin’ to shimmer with scarlet associations and strange cries in velvet-lined rooms, and yet it comes over as naughty schoolboy. Poisoning someone for the insurance money isn’t a ‘sin’. It’s a crime.

Wilde thought of his encounters with quite a few rent boys as ‘strange’ ‘sins’ and yet they weren’t. He was paying for sex. He was using sex workers. Some of them were under age so nowadays he would be convicted of paedophilia and put on a Sex Offenders Register.

Wilde set himself up to try and redefine how people talked about these things. It was a battle of discourses or lexicons. He tried to persuade his time of the value of ‘strange sin’. The law courts of his time saw a man who practiced and promoted sex crimes.

The provocative heartlessness of Wilde’s stance is crystallised when he quotes Wainewright. When he was in Newgate prison awaiting transportation, his cell became ‘for some time a kind of fashionable lounge’ (doesn’t sound very likely, does it?), one gentleman visitor asked him why he murdered his innocent young sister-in-law:

He shrugged his shoulders and said, ‘Yes; it was a dreadful thing to do, but she had very thick ankles.’

It is very funny in its deliberately heartless way. Wilde moves briskly on, to get back to ‘sin’. He tells us that Wainewright loathed the sea journey to Australia, and tells us why.

Crime in England is rarely the result of sin. It is nearly always the result of starvation. There was probably no one on board in whom he would have found a sympathetic listener, or even a psychologically interesting nature.

This suggests that Wilde is interested not in the sordid ‘crime’ committed by the wretched poor all the time. What interests him about Wainewright is the combination of fantastically refined sensibility with murder. It is Wainewright’s refined sensibility which converts what would be mere ‘crime’ in you and me into ‘sin’. ‘Sin’ is what the refined do; the rest of us merely break the law.

Crime and art

Wilde concludes his essay by speculating about the effect of his crimes on his art. Wainewright was allowed to sketch and paint in the prison colony, completing more than 100 portraits on paper using coloured wash, pencil and ink, and many survive to this day. Wilde says the effect of his crimes (er, ‘sins’) on his art is ‘subtle and suggestive’.

One can fancy an intense personality being created out of sin.

This is obviously the central theme of The Picture of Dorian Gray, the notion that ‘sin’ adds depth and interest to one’s style. Obviously one has to have a refined sensibility and be an artist and critic and writer in order to have a style in the first place and to benefit from these ‘sins’.

He ends with a barrage of opinions against conventional morality, variations on the theme of the superiority of the artist to social norms and standards:

The fact of a man being a poisoner is nothing against his prose. The domestic virtues are not the true basis of art, though they may serve as an excellent advertisement for second-rate artists.

There is no essential incongruity between crime and culture. We cannot rewrite the whole of history for the purpose of gratifying our moral sense of what should be.

This latter is an implicit rebuke to the trend of modern progressive ideology in the humanities which is to pull down statues, ban books and films and plays and art by anyone judged to have transgressed the strict morality of our times. Wilde believes the contrary:

I know that there are many historians, or at least writers on historical subjects, who still think it necessary to apply moral judgments to history, and who distribute their praise or blame with the solemn complacency of a successful schoolmaster. This, however, is a foolish habit, and merely shows that the moral instinct can be brought to such a pitch of perfection that it will make its appearance wherever it is not required. Nobody with the true historical sense ever dreams of blaming Nero, or scolding Tiberius, or censuring Caesar Borgia. These personages have become like the puppets of a play. They may fill us with terror, or horror, or wonder, but they do not harm us. They are not in immediate relation to us. We have nothing to fear from them. They have passed into the sphere of art and science, and neither art nor science knows anything of moral approval or disapproval.

Not in our modern world, in 2024, where moral disapproval is the central occupation of so many critics and commentators, poring over the art and writing of the past in an endless quest for transgressions to call out and cancel, to scold, chastise, disapprove of and, ideally, ban. Wilde would have been horrified.


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The Fatal Shore: A History of The Transportation of Convicts to Australia, 1787 to 1868 by Robert Hughes (1987)

Warra, warra
(First recorded words of the first indigenous people met by the captain of the first convict fleet to Australia in 1788. They mean: ‘Go away’)

Prime fact: The First Fleet of 11 ships transporting convicts from Britain to Australia landed at Botany Bay on 20 January 1788.

If you’re my age you might remember watching the Australian journalist and art critic Robert Hughes (1938 to 2012) presenting his ground-breaking TV series about modern art, ‘The Shock of the New’, back in 1980. He looked like a boxer and expressed feisty, sometimes controversial, opinions in a muscular, punchy prose style.

Seven years later Hughes published his epic study of the British penal colonies and early European settlement of Australia, ‘The Fatal Shore’ (1987). It became an international best-seller because there were few if any histories of Australia which presented the facts of the country’s early history with such a combination of solid research and journalistic brio.

‘The Founding of Australia by Captain Arthur Phillip RN, Sydney Cove, 26 January 1788’ by Algernon Talmage (1937) [The British flag was not officially planted until 7 February 1788, when possession was formally proclaimed]

The text is laid out in a pleasingly clear structure, proceeding logically topic by topic and exploring each of them thoroughly and convincingly.

The narrative starts dramatically with the arrival of the first shipload of convicts at Botany Bay on 20 January 1788. What was the land like that they had arrived at? Hughes gives us several pages description of the astonishingly weird and unique fauna of Australia (pages 3 to 7) and his narrative will go on to be peppered with periodic descriptions of the arid, sunburned, eucalyptus-riddled terrain.

Indigenous Australia

What were the people like that they met? He gives us a ten-page summary of what was then known (1980) about Aboriginal or indigenous culture (pages 7 to 18).

What comes over in his description is the really primitive nature of Aboriginal culture: the Aborigines hadn’t invented the bow and arrow, they had no buildings, they hadn’t even invented the tent (unlike American Indians) because they never stayed long in one place. Some made temporary lean-tos out of bark which the settlers quickly nicknamed ‘humpies’ but their entire way of life was based on firing the bush to catch wildlife, then moving on.

It’s now thought that Australia had been inhabited for over 60,000 years when the Brits arrived. Its  inhabitants had developed a patchwork of tribes and peoples and nations, each inhabiting large tracts of land (Australia is only fractionally smaller than the landmass of continental United States, 2,969,907 square miles to America’s 3,119,884 square miles). To this day scholars debate the precise number, but at least 300 languages and language families existed.

The AIATSIS map of Indigenous Australia attempts to represent the language, social or nation groups of indigenous Australia

The people who inhabited the area of south-east Australia where the Brits landed were called the Iora. They had no concept of private property so the Brits couldn’t barter with them. They didn’t wash, in fact they covered their bodies with fish guts as a prophylactic against disease and so stank to high heaven. They treated their women appallingly. Unwanted children were aborted by ingesting herbal medicines or simply thumping the pregnant woman’s stomach. Deformed babies were killed at birth. There was no room for the weak in the Indigenous people’s nomadic economy.

Hughes’s description of the Aborigines sets the tone of the entire book. It is going to be deliberately anti-Romantic, debunking myths, puncturing legends, showing that the reality is always more squalid and sordid than the rose-tinted stories he and his generation were told at school or prim progressives tell each other today about the noble savage. In this story, nobody is noble.

According to the estimates available to Hughes, when the Brits arrived in 1788 there were an estimated 300,000 Indigenous Australians across a continent the size of America. No wonder it felt almost ’empty’ to the Europeans: no towns, no villages, no buildings of any kind, no agriculture, nothing that registered with them as civilisation or culture.

(I wouldn’t be surprised if someone contacts me to say this description is unduly negative. Hughes makes every effort to be fair to the Indigenous Australians, and to depict their heart-breaking plight, but he was writing nearly 40 years ago, so I wouldn’t be surprised if some of his account is wrong and/or nowadays considered offensive. I apologise in advance if it is and am happy to be corrected.)

Georgian crime

Why was the transportation policy created by the British? Hughes gives a fascinating review of the growth of criminality in Georgian Britain (the long century from 1714 to 1830), which powerfully conveys the stink, poverty and abject misery endured by most of the population (pages 19 to 42).

The Georgians refused to set up a police service, as many nations on the continent had, because of an obstinate belief that it would infringe on the ‘liberty of the subject’ which they fetishised. (Plus the French had a form of police who had the right to enter and search private dwellings, so if the French had one, it must be bad.) But at the same time, the second half of the 18th century witnessed a population explosion which resulted in a surplus of young men who migrated from the country to the city, discovered there were no jobs for them, and so took to crime.

In the absence of a police force the Georgian authorities resorted to passing ever more draconian laws, an astonishing number of them carrying the ultimate sanction i.e. the death penalty. Eventually, there were some 200 statutes carrying the death penalty on the books and you could be hanged for burning a house or hut, a rick of corn, for poaching a rabbit, for damaging a fishpond, for cutting down an ornamental shrub of appearing on a high road with a sooty face (p.29). These were in fact provisions of a particular law, the Waltham Black Act of 1723, designed to stop agrarian unrest in Hampshire (the lawbreakers moved at night with blacked-up faces, hence the oddly specific provision). But most crime was urban and the result of poverty and starvation. As you read on you come across plenty of examples of people transported for life for stealing a loaf of bread, some butter, some bacon etc.

Middle-class people could be transported too. An architect was sentenced to death for forging a contract, commuted to transportation for 14 years (p.297). A satirical poet, Michael Massey Robinson, tried to blackmail an ironmonger by threatening to publish a scurrilous poem about him and was transported for life (p.300).

Hughes describes the rituals of hanging day and the long trek of the victims’ cart from Newgate prison to Tyburn ‘tree’, the sturdy wooden frame situated where Marble Arch is now, the route lined with cheering Londoners, the actual hangings witnessed by crowds of up to 30,000, drinking heavily, pullulating with pickpockets and whores, the whole thing, paradoxically, a festival of criminality, something which outraged moralists deplored in Boswell’s day (1760s and 70s) and Dickens was still complaining about in the 1850s (pages 31 to 36).

‘The Idle Prentice Executed at Tyburn’ by William Hogarth (1747)

In fact Hughes returns to the question of class and crime repeatedly throughout the book. I suppose it’s obvious but I hadn’t thought about the way the policy of transportation was merely one aspect of British penal policy. In other words, it was entirely dependent upon and reflected 80 years of British social and economic history. What was happening in Britain entirely dictated who was sent to Australia, and when and why and in what numbers.

In other words, the book is as much a social history of Britain during this period as it is of Australia. Thus there’s a lot more detail than you’d expect about, especially early on, about, for example, the geography, slums and criminal classes of Georgian London.

The hulks

Britain had no nationwide prison system, in fact at least half of the prisons were privately owned and run (p.37). There was no belief in rehabilitation, prisons were just regarded as dumping sites for toxic males to stew in their own juice.

By the 1770s the prisons had become so overcrowded that the authorities had the bright idea of sending the ever-increasing population of convicts to prison ships or ‘hulks’, the rotting shells of decommissioned navy ships moored in harbours like Portsmouth and Plymouth. In 1776 Parliament passed the ‘Hulks Act’ (16 Geo III, c.43) (p.41). These hulk-bound prisoners were used as labourers in the naval dockyards and, in the picture below, can be seen being taken by boat from a hulk to their work on the mainland.

Prison hulk at Deptford, London, after a painting by Samuel Prout (about 1826)

The American precedent

One of the little known facts about the period which I found fascinating is that the practice of transportation was already well established, but it was transportation to the American colonies. The Transportation Act of 1717 had begun the process of sending indentured servants to Britain’s colonies in the Americas 53 years before Australia was even discovered. Between 1717 and 1777 as many as 40,000 convicts were sent to America for seven or 14-year periods. They were sold to shipping contractors who then sold them on in America to plantation owners in the Caribbean or mainland in what Hughes describes as a ‘thinly-disguised form of slavery’ (pages 40 to 41).

But when they declared independence in 1776 the Americans refused to accept any more British criminals. Anyway, as Hughes points out, they didn’t need them. By the year of independence more African slaves were arriving in America every year (about 47,000) than white convicts had done in the previous 60 years put together (40,000) (p.41).

At first the British authorities thought the Americans would give up their fight for independence. It took until 1783 for the government to finally accept American independence and another few years for the full implications to be worked out for Britain’s overflowing prisons. By the early 1780s even the hulks were overflowing and William Pitt’s government was receiving angry demands from MPs for Plymouth and Portsmouth to do something about them. There began to be riots aboard the hulks, convicts rebelling against the disgusting conditions. In one riot aboard a prison hulk, in 1786, eight convicts were killed and 36 wounded (p.65).

It’s fascinating to read Hughes’s account of the way the mounting complaints of MPs with hulks in their constituencies became a real political problem for Pitt and drove him to appoint a commission to look into ways of disposing of the convicts which filled them – surprising that the problem of what to do with Britain’s surplus convict population became such a leading political issue. It crossed my mind it was a little like the refugee crisis of our own day: successive governments keep promising to do something decisive about it and keep dismally failing. And both involve boats and the problem of what to do with unwanted people…

The other side of the world

Fascinating to learn that, as a result, the British authorities were open to all suggestions, and that a number of entrepreneurs came up with bold and crazy schemes. One was to transport the convicts to the island of Lemane 400 miles up the River Gambia and set up an African penal colony there (p.64). Or how about a penal colony somewhere off the coast of South America?

Zeroing in on the continent which was eventually chose, Hughes gives us a potted history of European theories and encounters with the legendary southern continent before Captain Cook did his first definitive exploration of Australia’s eastern coast (pages 43 to 48). He describes the voyages of Magellan and various intrepid Dutchmen, mentions the Englishman, William Dampier, who touched on the north-west coast of Australia in 1688.

Captain Cook

Then, of course, Captain Cook. Hughes gives a typically factual, forthright and gripping account of Cook’s expeditions, devoting some space to the long-running problem for all seafarers of scurvy, and how Cook, a modern innovator in this as so many other things, lost not a single man from scurvy by the savvy use of anti-scorbutics. As Hughes puts it, with typical pith and wryness:

Malt-juice and pickled cabbage put Europeans in Australia, as microchip circuitry would put Americans on the moon. (p.49)

Hughes gives a characteristically thorough and vivid description of Cook’s voyage in the Endeavour (‘a converted Whitby trawler, small and brawny’, p.51). He devotes a fascinating few pages to the technical inventions which had just recently made such map-making voyages more precise and useful, namely John Harrison’s invention of the marine chronometer, a device for solving the problem of calculating longitude while at sea (pages 50 to 57).

The convict problem

Prisons overflowing with unreformable criminals? A newly discovered continent on the other side of the world? The British authorities put two and two together and realised that this was an opportunity to redirect the now-defunct American transportation policy, and on a far larger scale. Fascinating to learn that the policy was accompanied or swayed by a number of other considerations. For example, Admiralty strategists suggested that establishing a colony in Australia would aid in the ongoing conflict with France to establish naval supremacy in the Indian Ocean. Others pointed out the need to have a base in the Far East to compete with the well-established Dutch colonies out there.

Practically minded boosters claimed that the tall pine trees and flax plants Cook had noted on what he named Norfolk Island, 1,000 miles off the Australian coast, could quickly become a commercial business, capable of supplying Royal Navy ships with masts and sails. In the event, none of these pipe dreams were to work out. Sydney is, quite obviously, on the wrong side of the continent to be of use in patrolling the Indian Ocean and the ‘pine’ and ‘flax’ on Norfolk Island turned out to be commercially worthless.

The First Fleet

And so, after a great deal of prevaricating, and parliamentary committees, and bickering about the number of ships and who should captain them and how it should be paid for – typical British bumbling – the first convict convoy was dispatched to Australia in May 1787 and arrived in the place Cook had named Botany Bay, on the southeast coast of Australia, on 20 January 1788. It was commanded by Captain Arthur Phillip who was to become first governor of the new penal colony.

Hughes gives a characteristically thorough profile of this modest man (a ‘middle-aged nonentity’) who had had a patchy naval career and was in retirement when contacted by the Admiralty to carry out the policy which had finally been agreed by the government of William Pitt (pages 67 to 71). What comes over is Phillip’s professionalism. Hughes shows that he thought the equipping and provision for a fleet setting out to colonise an entire continent from scratch was hopelessly inadequate and bombarded ministers and Admiralty for more (p.71).

Of the 736 convicts sent at least 431 were guilty of ‘minor theft’ and Hughes gives examples of how pitifully trivial these might be (p.72). The oldest was Dorothy Handland, aged 83, a dealer in rags convicted for 7 years for perjury. The youngest was John Hudson, a chimney sweep aged 9 (p.73).

Hughes gives a characteristically thorough description of the challenges of the 8-month-long voyage (252 days) across 15,000 miles of ocean. Forty-right people died on the journey while 28 were born. All were to be confronted by the immense disappointment of Botany Bay when they finally arrived. Within days Phillips and his lieutenants had realised it was wholly impractical as a settlement, not least due to the thin sandy soil cluttered with eucalypt detritus. The bay was open and unprotected, the water was too shallow to allow the ships to anchor close to the shore, fresh water was scarce, and the soil was poor.

So they sailed up the coast to Port Jackson, the name given to the bay area where Phillip established a settlement he called Sydney, after the current Home Secretary ,Thomas Townshend, 1st Viscount Sydney (p.87).

The starvation years

Agricultural opportunities turned out to be very poor. Supplies were meagre and Phillip had to introduce rationing which got steadily tighter (p.96). Crops failed or wouldn’t take. The convicts became too tired and listless to work. The first couple of years were dire and some wondered if the entire colony would die of starvation, before the final arrival of the Second Fleet in June 1790.

The Second Fleet was notorious for the poor conditions aboard the vessels, and for cruelty and mistreatment of its convicts. A quarter of the 1,006 convicts transported aboard the fleet died during the voyage and around 40 per cent were dead within six months of arrival in Australia. Hughes describes in stomach-churning detail the disgusting conditions aboard the early convict ships. Not all ships in the fleets had the same standards. Those in which people suffered worse, were worse treated and with the highest death rates came to be called the ‘hell ships’.

First failed attempt to colonise Norfolk Island

Norfolk Island is about 1,000 miles east of the Australian coast. It turned out to be extremely inhospitable, the pine trees weren’t true pines, the flax couldn’t be woven, it was immensely difficult to clear the land for agriculture. A ship bringing supplies and more convicts sank, losing the supplies but adding hundreds of mouths to feed, making 959 in total. All that saved the first settlers from starvation was easy availability of tame mutton birds, Pterodroma melanopus which they slaughtered in their hundreds of thousands. By 1830 the settlers had driven the mutton bird to extinction (p.100).

Van Diemen’s Land and the genocide

He devotes a section to the settlement of Van Diemen’s Land off the south coast of Australia under the command of David Collins (pages 120 to 128). The island had named in honour of Anthony van Diemen, Governor-General of the Dutch East Indies who had sent the Dutch explorer Abel Tasman on his voyage of discovery in the 1640s. In 1642 Tasman became the first known European to land on the shores of Tasmania but the Dutch never followed through on the discovery. Now, 150 years later, the British claimed it. The capital, Hobart, was named after the Secretary of State for the Colonies who was the patron of Collins’s expedition.

The island was initially perceived to be less fertile than the land around Sydney and early attempts at farming failed, so the colonists faced starvation. What saved them was the humble kangaroo which was far more common than around Sydney. Every able-bodied man was issued a gun to hunt and kill kangaroo for himself and dependents (wife or children).

As Hughes pithily puts it this reliance on hunting triggered social results, all of them bad. It installed the gun rather than the plough as the totem of survival on the island. It incentivised settlers to ignore long-term planning required for farming and live by day-to-day hunting. And as nearby roos were wiped out and the heavily white settlers ranged further afield it brought them into conflict with the native populations who, more often than not, they shot.

It soon created a fringe class of armed, uncontrollable bushmen, most of whom regarded Aborigines as vermin. (p.126)

With their guns and hinting dogs these men became completely independent of the authorities. They were the first bushrangers. And so were laid the foundations of what would be the only real genocide of the British Empire, the deliberate extermination of the entire native population of Tasmania.

Impact on Indigenous Australians

As to the natives, the government had explicitly ordered friendly treatment, enjoining Phillip to ‘conciliate their affections…[and] live in amity and kindness to them.’ At first this held, but what nobody knew was the white ships had brought white infectious diseases, endemic in Britain and entirely unknown in Australia, flu, cholera, smallpox, typhus, which quickly spread. it was a common sight for the early settlers to come across indigenous corpses huddled in the bush where they’d crawled to die. The British incomers were, literally, a plague.

As settlement spread out from Sydney, the Aborigines took to fighting back, raiding farms, killing livestock, singling out for assassination white farmers of community leaders who’d acquired reputations for killing them. Which triggered massacres of unarmed Aborigines by vigilante gangs, for example the Myall Creek massacre when at least 28 unarmed Indigenous Australians were executed by 12 armed colonists on 10 June 1838. Which triggered further revenge raids, and so on, in a deadly spiral downwards into a sustained ‘frontier war’ (pages 272 to 281).

The System

Year by year the shipments came to be called ‘the System’, the process of sending shiploads of convicts to Australia, who had to build their own prisons and barracks for the soldiers who guarded them and pleasant houses for the civil authorities who supervised the whole thing.

Between 1787 and 1868 around 162,000 convicts were sent to Australia and Hughes goes on to give a fascinating and vivid description of every stage of the development of the System.

Hughes is at pains to dispel the stereotype of life under the convict system which he and his generation inherited, which is that it was a living hell on remote ‘secondary’ or punishment settlements on Van Diemen’s Island. On the contrary, most convicts served out their time, then were released to become citizens in the fast-growing new colony.

Only a fraction of the men and women transported to Australia spent any time in these ‘secondary’ settlements, which were as a rule reserved for prisoners who had committed second crimes while in the colony. Most served a few years of their sentences in assignment to a free settler or in government labour, never worse chains, got their tickets-of-leave and in due course were absorbed into colonial society as free citizens. (Introduction, page xiii)

He makes one simple but devastating riposte to the endless cheap jokes about Australia being a land of convicts:

Whatever other conclusions one might draw from our weird national origins, the post-colonial history of Australia utterly exploded the theory of genetic criminal inheritance. Here was a community of people, handpicked over decades for their ‘criminal propensities’ and for no other reason, whose offspring turned out to form one of the most law-abiding societies in the world.

Hell ships

Conditions on the first ten years or so of ships was so appalling they acquired the nickname of ‘hell ships’. Conditions of unbelievable squalor which people who’d sailed on both thought were worse than slave ships. And the condition of the survivors was no better. A propos slavery, an anonymous convict ballad from 1825 runs:

The very day we landed upon the Fatal Shore,
The planters stood around us, full twenty score or more;
They ranked us up like horses and sold us out of hand,
They chained us up to pull the plough, upon Van Dieman’s Land.

Conditions were dire. In the early years the entire colony nearly starved. But as the settlement at Sydney became established so did its reputation for appalling brutality. The descriptions of lashings and floggings which litter the book are quite nauseating, with prisoners’ backs being reduced to raw meat, bystanders being flecked with lumps of raw flesh.

Hughes devoted a passage to proving that conditions for the convicts were not literally slavery, not as practiced in the Caribbean or American South; convicts had legal rights and could take the masters they were assigned to to court (pages 282 to 287), if arrested they could invoke habeas corpus (p.346), something African slaves couldn’t do. But conditions were consistently atrocious and exploitative nonetheless. It’s difficult to imagine the primitiveness of the conditions.

Governor Macquarie’s Australia was more backward than Cromwell’s England. There was as yet no steam power; draft animals were few; and there were no streams near Sydney reliable enough to turn watermills. So every hole was dug, every log sawn, every rock quarried and every ton of rubble moved by that least efficient of engines, the human body toiling in gangs. (p.298)

Futile escapes

Obviously convicts tried to escape continually. The most shocking story is of a group of convicts that escaped in Van Diemen’s land (Tasmania) and ended up eating each other. There was a persistent folk belief that if you travelled north far enough you would get to China. In fact most escapees either perished in the Outback from starvation and thirst, were murdered by Aborigines, or stumbled back into government settlements more dead than alive. Hughes devotes a chapter to the more colourful escape attempts, notably that of Mary Bryant (pages 203 to 226).

New South Wales Corps

The New South Wales Corps were formed in 1789. Indisciplined and corrupt it quickly gained a reputation for lawlessness and corruption. In particular it acquired a monopoly of the importation and sale of rum to convicts and freemen alike, so much that it was nicknamed the Rum Corps. It repeatedly clashed with the civil governor, most flagrantly in the 1808 Rum Rebellion against governor Bligh who tried to assert civil power over them, see below.

Governors of New South Wales

1. Arthur Phillip 1788 to 1793

Commander of the epic First Fleet and settlement at Sydney, which he named. After guiding the colonists through the early starvation years as they struggled to establish agriculture and had to repeatedly reduce rations of the limited supplies they’d brought from Britain, Phillip was allowed to return home.

Lieutenant-Governorship of Francis Grose 1793 to 1795

For the next two years the military were in complete control of the fledgling colony under Lieutenant-General Francis Grose. The European population of New South Wales when Grose took over was 4,221, of whom 3,099 were convicts. Grose established military rule, abolished civil courts, and made generous land-grants to his officers. Grose unmercifully exploited the convicts and during his lieutenant-governorship a great traffic in alcoholic spirits (mostly rum) developed, managed and run by officers of the New South Wales Corps. This clique gained control of the courts and management of the lands, public stores, and convict labour, all led by John Macarthur, ‘British Army officer, racketeer, entrepreneur, grazier, usurper and politician’.

2. John Hunter 1795 to 1800

Hunter had been second in command on the First Fleet. He was appointed governor and tasked with combating the abuses of power built up by the New South Wales Corps, represented by their commander, John MacArthur, but was too mild and fair-minded to succeed. In fact the militarily cleverly sent letters back to the British ministers accusing Hunter of the very crime and peculation he was trying to stamp out, with the result that he was recalled in 1799 to defend himself.

3. Philip Gidley King 1800 to 1806

King helped develop livestock farming, whaling and mining, built many schools and launched the colony’s first newspaper but was forced to resign after conflicts with the military. He appointed Major Joseph Foveaux as Lieutenant-Governor of Norfolk Island where Foveaux ruled with extreme brutality and sadism.

4. William Bligh, 1806 to 1808

Chosen as the job because a strict disciplinarian who was tasked with taking on the military and their control of the hugely profitable rum trade. However his confrontational style led to the so-called Rum Rebellion of 1808, a coup d’état in which the New South Wales Corps arrested Bligh, keeping him first in confinement in Sydney, then aboard a ship off Hobart, Van Diemen’s Land, for the next two years.

Lieutenant-Governorship of Major George Johnston, 1808 to 1810

Johnston led the troops that deposed Governor William Bligh, assumed the title of lieutenant-governor, and illegally suspended the judge-advocate and other officials. The administration of justice became farcical, and there were signs of strong discontent among the settlers. He sailed back to Britain in 1809 where he was court-martialled but let off with the lenient sentence of being cashiered.

5. Lachlan Macquarie 1810 to 1821

Had a crucial influence on the transition of New South Wales from a penal colony to a free settlement and therefore to have played a major role in the shaping of Australian society in the early nineteenth century

The Irish

Like every subject he touches, Hughes gives the background to the arrival of the first Irish convicts with brisk authority. He gives a whistlestop review of the colonisation of Ireland by England, which had started back in the twelfth century, and led to the creation of a society divided between Protestant rulers who deprived the native Catholic majority of land and rights for centuries (pages 181 to 195).

The reason this is needed is because in 1798 a great rebellion broke out in Ireland which terrified the English ruling class because a) it united both Protestant and Catholic rebels and b) the rebel leaders allied with England’s traditional enemy, France, leaguing with a French force to land in the west of Ireland and combine with them against the British occupiers. Unfortunately, the plans were discovered and most of the rebel leaders arrested before the planned rising and invasion could take place.

Most of the rebel leadership was killed and estimates of the total death toll of the subsequent fighting have been put in the tens of thousands. Hundreds of the rebels were briskly tried and transported to Australia. Here they presented the authorities with a severe security problem. The English convicts, surly and disobedient and quick to escape, nonetheless were the same nationality as the authorities. The Irish, on the contrary, refused to accept the authority of any part of the System and took every opportunity to buck it. With the result that governors and leaders of the New South Wales Corps were doubly severe and brutal with them.

The Irish were ‘doubly’ convicts. At the slightest suspicion of ‘mutiny’ they were liable to severe punishment, for example when five suspected leaders were each given 500 lashes (p.187). The brutality of their treatment triggered the very mutiny the British authorities feared in the form of the Castle Hill revolt in 1804. On 4 March 1804 233 convicts, led by Philip Cunningham (a veteran of the rebellion of 1798, as well as a mutineer on the convict transport ship Anne), escaped from a prison farm intent on capturing ships to sail to Ireland. The authorities quickly declared martial law and despatched troops who surrounded the rebels on a hillock nicknamed Vinegar Hill on 5 March. While negotiating under a flag of truce Cunningham was arrested then the troops opened fire and decimated the rebels. Nine of the rebel leaders were executed and hundreds were punished with severe floggings.

This was the largest convict mutiny in Australian history but there were further small revolts and a continual atmosphere of sullen anger among the Irish and paranoia among the English. From 1815 to 1840 the Irish countryside was in a state of more or less continual civil war and, in total, some 30,000 Irish men and 9,000 Irish women were transported from Ireland to Australia. This was never forgotten in Irish communities who nursed the grievance of their persecution.

Hughes attributes a strong Irish flavour of bolshie independence to the Australian national character, especially to its working class culture. The long, bitter memories of the Irish community gave a permanent legacy of sectarianism to Australian politics.

Rebels and revolts

Transportation would deal with representatives of every British protest movement, rebellion, upheaval and agrarian revolt for the first half of the 19th century so Hughes’s account has the effect of shedding light on a whole series of political rebellions back in Britain. It’s like reading two histories side by side, that of Britain and that of Australia. British protest movements included:

  • the Scottish Martyrs – the first political agitators transported in the life of the System were convicted in Edinburgh in 1793 and were known as the Scottish Martyrs (pages 176 to 181)
  • the Irish rebellion 1798 – In 1798, an underground republican group known as the Society of United Irishmen instigated a major uprising against British rule in Ireland
  • English Jacobins i.e. sympathisers with the French Revolution, whose activities were increasingly persecuted after Britain and France went to war in 1793
  • frame-breaking Luddites 1812-13
  • food rioters from East Anglia 1816
  • members of the Pentridge Rising 1817
  • members of the Cato Street Conspiracy to which planned to assassinate the entire cabinet, 1820
  • radical weavers from Scotland, 1821
  • Bristol rioters 1831
  • Captain Swing – fictional author to whom threatening letters were attributed during the rural Swing Riots of 1830, when labourers rioted over the introduction of new threshing machines and the loss of their livelihoods (pages 198 to 200)
  • the Tolpuddle Martys, 1834
  • more than 100 Chartists, political activists associated with political campaigns surrounding the Great Charter, a set of demands to extend the franchise to the working class, which was inaugurated in 1839, then flared up periodically through to 1848
  • the Canadian Rebellions of 1837 and 1838 led to the execution of the ringleaders and the transportation to Australia of at least 100 convicts (p.261)

The colourful adventures of the first fleets and the starvation and the antics of the New South Wales Corps grab the reader’s attention, but the heyday of transportation was actually during the 1830s, which saw unparalleled poverty and suffering throughout rural Britain, an epidemic of disorder and crime, and so the peak numbers of transported convicts (p.197). So, throughout the book, the history of transportation is also a detailed history of English social and economic misfortunes.

Bushrangers

Though most attempts to escape were futile failures, plenty of convicts ran off into the wild and became known as ‘bolters’. As the colony expanded, agricultural land was created along with flocks of sheep so there was more for convicts living in the wild to steal. By the 1810s society was stratified enough between large landowners, often senior officials in the administration, judges and the like, and more ordinary smallholders, for convicts living in the wild to make a living stealing sheep or goods from rich landowners and secretly selling it onto the poor. These were the first whites to range through the uncultivated parts of the territory which the settlers had taken to calling ‘the Bush’ – hence ‘bushrangers’ (also known as ‘bolters’). With typically neat turn of phrase, Hughes says:

By taking to the bush, the convict left England and entered Australia. (p.243)

Hughes is as cynical and unillusioned about the bushwhackers as about everyone else in this sorry story. They gave rise to a legend which help inform Australian’s image of themselves as rebels and non-conformists and freedom fighters, who ran away rather than submit to injustice, as Robin Hoods stealing from the rich to give to the poor. The reality was, of course, both more complex and less idealised than that.

Colonial life

Population

The first formal census of New South Wales was made in 1828. It showed that for the first time the free population eclipsed the number of convicts, 20,870 free and 15,728 convicts = total of 36,598. Sydney had a population of 10,815 i.e. less than a third.

Contented convicts

In fact the peak of transportation due to English rural unrest leads to a counter-intuitive result; which is that, as Hughes showed, many of the convicts transported in the 1830s loved their new lives. He quotes many letters back to loved ones reassuring them that convict life was not at all the hell everybody believed it to be. Why? Because there was work, pay and food. These were the very basic elements of life the rural poor were rioting for during the 1830s and they were to be had in abundance in a now settled and well-organised colony.

The man assigned to a decent master in the country districts in the 1830s was, as Eyre pointed out, ‘in a better position than half the honest labourers of England’. (p.314)

And:

Convicts who found benevolent masters far preferred their assigned life to the miseries they had known in England. (p.316)

Class and snobbery

Hughes shows that, contrary to stereotypes of matey modern Australia, the early colony developed into a society obsessed with class. In particular the newly rich and free emigrants were desperate to distance themselves from ‘the stain’ of convictry. Names developed to describe the new colonial classes and the number of names for the same thing indicates the intensity with which people indicated their (or others’) origins:

  • Convict: British prisoner, generally sentenced to death back in Britain, who has their sentence remitted to either a 7-year or 14-year transportation
  • Government man: a convict
  • A ticket-of-leave man: a ticket of leave was a parole document issued to convicts who had shown they could be trusted with some limited freedoms
  • Emancipists: convicts who had completed their terms of imprisonment and were now free settlers
  • Exclusives: members of the sociopolitical faction of free settlers, officials, and military officers of the convict colony, who tried to copy English fashions and recreate a hierarchical class system
  • the Currency: ‘currency lads and lasses’ (collectively known as Currency or The Currency) were the first generations of native-born white Australians, the children of the British settlers and convicts; currency as in money, coins or notes that were ‘only good in the colony’ (p.354)
  • the Sterling: by contrast with the Currency, the Sterling was another name for free-born emigrants (p.355)
  • Merino: an early immigrant to Australia with no convict origins; a member of a leading family in Australian society; a person of fine breeding or good character
  • Specials: educated convicts, a relative rarity (probably fewer than a third of transported convicts could sign their own names, p.349)
  • Old hands: old former convicts who lived on into the era after transportation ended (p.594)

Sheep or seals

Hughes devotes a passage to describing the first sheep farms in Australia and profiling the men who imported and cross-bred the delicate merino strain with hardier breeds (pages 318 to 322, and 326 to 331). He explains how the isolation of shepherds sent off into the Outback to guard their master’s flocks, sometimes in pairs, helped develop the particularly strong Australian concept of ‘mateship’, i.e. sticking with your mate through thick and thin.

So it comes as a surprise to learn that for the first 50 years of its existence, the colony’s major trade was whale and seal catching (pages 331 to 336).

The end of transportation

Overall, the transportation System lasted from 1788 to 1868, during which period some 162,000 convicts were transported. By the 1830s Sydney was settled enough and large enough, with an increasingly free-born residents and settlers, that they lobbied the British government to end transportation. At the same time there was another force at work which is fascinating to learn about. I knew about the long-running opposition among British liberals and religious groups to slavery which became the abolitionist movement and which achieved its goal of having slavery made illegal within the British Empire in 1807. I didn’t realise the same group of people opposed transportation just as vehemently, and gained growing support in the 1800s as reports percolated back to Britain of the atrocities carried out against convicts in hellholes like Norfolk Island. Just as there was a movement to abolish slavery, so there was a movement to abolish transportation.

Thus with pressure from liberal Establishment figures in Britain combined with lobbying from the increasingly free and genteel population of New South Wales and led the government to cease transportation to New South Wales in 1840 (p.484). Transportation to Van Diemen’s land ceased in 1853 (p.402) 50 years to the day after the first settlement was founded at Risdon Cove (p.572).

Was the System a success or failure?

Over the life of the system the British government used about five reasons to justify the policy:

Strategic To protect against French influence in the Indian Ocean and Far East. In the event the French never tried to claim any part of Australia, the Dutch Empire was engaged by other means. No port in early Australia became an important naval station.

Regarding specifically crime, the System aimed to do four things: separate, deter, reform and colonise.

1. Separate

Separate the criminal classes from the general population on the analogy of amputating a diseased limb. This failed because it was based on the false premise that criminality is an inherited genetic attribute whereas, in almost all cases, it is the result of bad education, poor upbringing, childhood abuse and, in the great majority of transported convicts, the result of lack of work, lack of opportunity, poverty and starving.

2. Deterrence

This is always difficult to assess because it’s impossible to measure the number of crimes which weren’t committed. But the arguments against are a) contrary to the claims of its proponents, the crime rate in England did not drop after the policy of transportation was introduced (because its roots lay in gross inequality, crushing poverty and lack of opportunity) and b) for a lot of the English working classes, especially from the hunger years after the end of the Napoleonic Wars, Australia sounded like a land of opportunity. Hence the instructions given to governors like Brisbane, Darling and Arthur to apply relentless suffering to the convicts; hence the appalling brutality of the chain gangs and the barbaric cruelty of Macquarie Harbour, Norfolk Island and Moreton Bay. But it didn’t work. Increasing number of emigrants left for Australia of their own free will. The gold rush of 1851 crystallised the image of Australia as a place the poor and downtrodden of Britain could go to to make a fortune.

3. Reform

Hughes thinks chances are the system did actually ‘reform’ a lot of convicts, in the sense that they came out the other end as law-abiding citizens and, if so, this was down to the assignment system. Many masters were poor, brutal, some were sadistic; but the system did assign men to meaningful labour, which gave them some sort of self respect. It had many flaws but assignment did get many men back into society as self-sustaining workers.

4. Colonisation

Here the system was an undoubted success. Australia would never have been colonised without the forced labour of over 100,000 transported convicts. No sane free man would have emigrated there in 1788 or 1808. Although most of the first buildings they erected have been demolished and built over, convict labour created from nothing the settlements which now have populations of millions.

Hughes’ style

When he wants to be, Hughes can be a formidably vivid writer:

The sight of the hulks at Portsmouth, Deptford or Woolwich was deservedly famous. They lay anchored in files on the grey, heaving water, bow to stern, a rookery of sea-isolated crime. As the longboat bearing its prisoners drew near, the bulbous oak walls of these pensioned-off warships rose sheer out of the sea, patched and queered with excrescences, deckhouses, platforms, lean-tos sticking at all angles from the original hull. They had the look of slum tenements, with lines of bedding strung out to air between the stumps of the masts, and the gunports barred with iron lattices. They wallowed to the slap of the waves, and dark fleeces of weed streamed in the current from the rotting waterlines. (p.138)

The kind of purple descriptions a scholar, a professional historian, would never attempt. But his narrative is continually punctuated with dazzling displays of prose virtuosity.

Some convicts who tried to cross [the Blue Hills], thinking China lay beyond, died of hunger in their immense labyrinth of sandstone, where bellbirds chimed and long filaments of water fell, wreathing, from distant cliffs. (p.299)

And pages 373 (Macquarie Harbour), 399 (Port Arthur).

Slang and jargon

  • basil – an iron fetter worn on one leg only
  • a canary – 100 lashes (p.345)
  • buttock-and-twang – sex as practiced by prostitutes (p.255)
  • cramping box – punishment cell or room or box too small to sit or lie in (p.155)
  • a sandstone – weakling who crumbled under flogging (p.345)
  • stringy-back – wizened, poor farmer (p.256)
  • triced – secured by a rope or chain (p.155)

Placenames

Australia – since australis is Latin for ‘south’ terra australis was the name used for a hypothetical continent in the Southern Hemisphere since ancient times.

Botany Bay – named by Captain Cook as testament to the number of specimens collected by expedition scientist, Joseph Banks.

Brisbane – named after Major General Sir Thomas Makdougall Brisbane, 1st Baronet, British Army officer, administrator, and astronomer, and sixth governor of New South Wales, from 1821 to 1825.

Hobart – named after Robert Hobart, 4th Earl of Buckinghamshire aka Lord Hobart, secretary of state for the colonies who commissioned Captain David Collins’ expedition to settle Van Diemen’s Land.

Melbourne – founded in 1835 with the arrival of free settlers from Van Diemen’s Land and named after the then British Prime Minister, William Lamb, 2nd Viscount Melbourne.

Sydney – named after Home Secretary Thomas Townshend, 1st Viscount Sydney by Captain Arthur Phillip, leader of the first transport of convicts to Botany Bay, who moved location to the cove north of it, called Port Jackson by Cook, but renamed after Sydney.

Van Diemen’s Land – named in honour of Anthony van Diemen, Governor-General of the Dutch East Indies who had sent the Dutch explorer Abel Tasman on his voyage of discovery in the 1640s.

Old joke

Australia was always destined for greatness because her population was chosen by the finest judges in England! (p.354)


Credit

The Fatal Shore by Robert Hughes was published by William Collins in 1986. References are to the 1987 Guild Publishing hardback edition.

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Executions @ the Museum of London Docklands

For over 700 years London was the scene of public executions, a practice which wove itself into the city’s history and popular culture. This excellent and imaginatively designed exhibition at the Museum of London Docklands explores all aspects of public executions in London, using a combination of artifacts, letters, informative videos, songs and voices, paintings, engravings and caricatures, and some really gruesome exhibits.

Above all, it is amazingly comprehensive – it touches on all the aspects of the subject I’d expected beforehand but goes on to explore all kinds of nooks and crannies I’d never have thought of. I’d never thought about the effort some condemned prisoners put into being well dressed for their trip to the gallows. Well, the exhibition tells the stories of condemned men and women who went to great lengths to look their best on their death day, and even has the fine dress and fancy suit worn by a female and male executionee:

  • on the left, the ‘white muslin gown, a handsome worked cap and laced boots’ worn by Eliza Fenning who was hanged for attempting to poison her employers
  • to the right, the ‘superb suit of white and silver, being the clothes in which he was married’ worn by Laurence Shirley, Earl Ferrers, was hanged on 5 May 1760 for the murder of his steward John Johnson, whom he shot in a rage

Final clothing section in the ‘Executions’ exhibition at the Museum of London Docklands © Museum of London

(The door on the right of this photo is one of the three doors you had to pass through to enter Newgate Prison. The architect George Dance thoughtfully positioned swags of chains and shackles over the main entrance door at Newgate to terrify and intimidate new prisoners.)

I’d never thought about what happened to the bodies of the hanged after their execution. Turns out that from the mid-16th century the bodies of executed criminals were given to the Company of Barber-Surgeons and the Royal College of Surgeons for dissection and medical research. The thought of being dissected filled the condemned with horror. Fights could break out at executions as friends and family of the deceased would attempt to stop the surgeons claiming bodies. In the same spirit I had no idea that life sized casts of the heads of the executed were often made – there’s a selection of them on display here, which, as the nineteenth century progressed, were used to study ‘criminal’ physiognomy. Alternatively, the casts of notorious criminals were kept in a special display at Newgate where they could be viewed by visitors, who included Charles Dickens.

Death masks at the ‘Execution’ exhibition at the Museum of London Docklands © Museum of London

I knew that broadsheets and leaflets were often sold at executions which claimed to give the last speech of the condemned man, along with a ballad poem describing his fate – but I’d never had the opportunity to read some of these before. Ditto the last letters condemned men wrote to their loved ones. There’s not only letters but rings and coins sent by those condemned to transportation instead of execution in the mid-nineteenth century.

I knew that prisoners in gaol were often shackled but I don’t think I’ve seen a collection of the different types of handcuffs, shackles and ‘waist belts’ used for this purpose on display before. Apparently the weight of shackles prisoners were manacled with sometimes meant they could barely move. As well as direct punishment of the prisoner, the sound of all this metalwork clanking through the echoing vaults of the grim prisoner had a demoralising and terrifying psychological effect on other inmates. The practice of routinely keeping prisoners shackled in irons ceased in the 1820s.

Shackles and handcuffs used in Newgate Prison at the ‘Executions’ exhibition at the Museum of London Docklands © Museum of London

I’ve certainly never seen a real actual gibbet before and I didn’t know that they didn’t come in a standard size, but that a gibbet ‘tailor’ took the corpse’s measurements and built the gibbet to perfectly fit. In line with the state of the art interactivity of the exhibition, the display of this real-life gibbet had a gruesome audio soundtrack with the noise of flies buzzing round the rotting corpse.

Wrought iron gibbet cage from ‘Executions’ at the Museum of London Docklands © Museum of London

I was at first puzzled why the gibbet was so elaborate but realised that a lifeless body would flop in all directions unless its limbs were very strictly compassed and controlled. The effect can be seen in this illustration of the body of the notorious pirate Captain Kidd.

Captain Kidd, gibbeted near Tilbury in Essex, following his execution in 1701

More criminals were gibbeted in the greater London area than elsewhere in the country. The bodies of murders and highwaymen were gibbeted on heaths located on the outskirts of London and main highways into the capital, especially on the wide open Hounslow Heath which became famous for the number of gibbets.

Capital punishments

Between the first recorded execution at Tyburn in 1196 and the last public execution in 1868, there were tens of thousands of executions in London. Nobody knows the precise number because records weren’t kept before the 18th century.

Right at the start there’s a wall-sized video which shows a scrolling list of all the offences which carried the penalty of capital punishment. By the end of the 18th century some 200 crimes were punishable by death in a list which became known as the ‘Bloody Code’. London’s courts condemned more people to die than those in the rest of the country combined.

Scrolling list of capital offences at the ‘Executions’ exhibition at the Museum of London Docklands © Museum of London

Types of execution

Most ordinary criminals were hanged. More florid ways of being despatched were reserved for VIPs.

1. Drawing, hanging and quartering

An ancient punishment for treason, the prisoner was ‘drawn’ or dragged from prison to the execution site, hanged until they were nearly dead, then castrated, disembowelled, beheaded and cut into quarters. Thee practice continued into the 19th but by then prisoners were hanged first and then beheaded.

there’s a vivid engraving of the fate of the Gunpowder Plotters who, after being found guilty in 1606, were publicly executed over two days in St Paul’s Churchyard and Old Palace Yard, Westminster, where they were dragged by horses through the streets, hanged, castrated, disembowelled and cut into pieces.

2. Burning

In 1401 an Act of Parliament made burning the punishment for heresy. It aimed to ‘strike fear into the minds’ of people who questioned the teachings of the church. Women convicted of murdering their husbands or counterfeiting could also be burned to death. By the 18th century they were strangled first.

The exhibition features illustrations of the Protestant martyrs burned at the stake at Smithfield. Over 280 religious dissenters were burned at the stake during the five-year reign of Mary I, known as ‘Bloody Mary’. Besides Smithfield others were burned to death at Stratford-le-Bow, Barnet, Islington, Southwark, Uxbridge, Westminster and throughout England.

Woodcut depicting John Rogers, the first of the ‘Marian martyrs’, being burned at the stake in Smithfield (1555)

3. Boiling

Death by boiling was a rare punishment. In 1531 a cook named Richard Roose poisoned the porridge of the household of Bishop John Fisher, causing two deaths. Henry VIII was so disgusted he declared this crime treason and Parliament passed the ‘Acte for Poysoning’ ordering those who murdered by poison to be boiled to death. Roose was boiled at Smithfield. Eleven years later Margaret Davies suffered the same fate for poisoning four people. Edward VI abolished this execution method in 1547.

4. Beheading

Members of the nobility condemned for treason were often beheaded out of respect for their high status, rather than suffering the agony and humiliation of drawing, hanging and quartering. Most beheadings took place in public on Tower Hill before a large crowd.

5. Hanging

Most ordinary criminals were executed by hanging. There appear to have been two methods. Initially the condemned were placed under a gallows (in the very early period just a tree) standing on a cart. A rope was noosed round their neck and the cart slowly pulled away by horses or oxen till the condemned fell off the back of it and was left dangling. This could be a fairly slow, excruciating death. Laster the ‘short drop’ method was introduced, where the condemned stood on a raised platform and, with the flick of a handle, a trapdoor opened underneath them, dropping them through and making it more likely their neck would snap with the sudden ratchet of the noose. But both methods were far from foolproof and family members or the executioner often pulled the legs of the hanged person to speed up their death.

Places of execution

In the City of London you are never more than 500 metres from a former place of execution. London was packed with them. Early on in the exhibition there’s a useful wall-sized video, with a bench to sit and watch it, which shows maps of London from early medieval times onwards, showing not only ow its street plan grew and developed (interesting in itself) but where the ever-growing number of places of execution were sited (indicated on the maps by entertaining ochre blotches of blood).

1. Smithfield

In the medieval and Tudor periods Smithfield was used for various public purposes, including a livestock market, fairs and executions, as in the burning of the Protestant martyrs mentioned above.

2. Tyburn

Tyburn stood slightly to one side of the current position of Marble Arch at the north-east tip of Hyde Park. It served as London’s principal site of execution for around 600 years. The earliest account records the execution of William FitzOsbert in 1196. Until the late 18th century it was a semi-rural location, easy to get to and easy for crowds to assemble and watch the spectacle.

A huge amount of popular tradition and iconography grew up around the public hanging of criminals at Tyburn. The exhibition contains umpteen engravings and pictures, stores and facts, not least about the carnivalesque atmosphere which reigned along the route of carts transporting convicted criminals from Newgate Prison, via St Giles’s-in-the-Fields church and then along what is now Oxford Street. Many of the condemned went to their execution drunk, in fact it became customary for the cart to stop off at a pub at St Giles where the executioner and victim shared a last pint of beer. This became known as ‘the St Giles Bowl’.

Bernard Mandeville wrote that ‘all the way from Newgate to Tyburn, is one continued Fair, for whores and rogues of the meaner sort.’

In 1961 construction began on new pedestrian subways by Marble Arch and the excavators found large quantities of human bones around the site of the Tyburn gallows which archaeologists presume are the remains of the executed who were buried where they died.

Execution at Tyburn by Thomas Rowlandson (1803)

A lot of slang and catchphrases grew up about the place. The scaffold was known as ‘the Tyburn tree’. To ‘take a ride to Tyburn’ (or simply ‘go west’) was to go to one’s hanging. The ‘Lord of the Manor of Tyburn’ was the public hangman while ‘dancing the Tyburn jig’ was the act of being hanged because of the wriggling, dancing movement of the hanged in their last moments.

The last execution at Tyburn was of John Austin, a highwayman, on 3 November 1783.

3. Newgate

With the closure of Tyburn London’s public executions moved to the open space in front of the rebuilt Newgate Prison. This was to be London’s principal site of public execution for the next 85 years until public executions were discontinued in 1868.

The move meant the end of the great public procession from Newgate to Tyburn. It was an assertion by the authorities of their control over the timing and atmosphere of the executions. The Newgate scaffold featured two beams with capacity for up to 12 hangings.

Newgate Prison itself closed in 1902. The demolition of one of London’s most iconic buildings aroused considerable public interest and relics of the prison were sold at auction. A keystone from the main doorway is on display here, as is one of the heavy wood-and-metal doors (see first photo).

4. Horsemonger Lane

Public executions at Horsemonger Lane in Southwark took place on the roof of the gatehouse, making them highly visible to spectators.

5. Tower Hill

A small number of noble men and women, soldiers and spies were privately executed within the walls of the Tower of London. Many more – at least 120 between 1388 and 1780 – were executed in public on Tower Hill. Beheadings and hangings, were common enough for the ‘posts of the scaffold’ to become a landmark. It was here that Thomas, Earl of Strafford, a key ally of Charles I, was executed on 12 May 1641, as part of the political divisions which opened up before the outbreak of civil war the following year.

6. Execution Dock

On the Thames near Wapping, Execution Dock was used for more than 400 years to execute pirates, smugglers and mutineers who had been sentenced to death by Admiralty courts. The ‘dock’ consisted of a scaffold for hanging. The last executions there took place in 1830. Just up the river at Blackwall Reach where it bends bodies of convicts were gibbeted so as to be more visible to boats entering the city.

7. Charing Cross

Public executions took place at Charing Cross in the 16th and 17th centuries. A pillory that locked the head and hands of a criminal into a wooden frame for public humiliation was later erected at the site.

8. New Palace Yard and Westminster Hall

The area around the Palace of Westminster was used for public executions, the display of body parts and pillorying criminals.

9. Kennington Common

From at least 1678 until 1800 Kennington Common was the principal execution site for the county of Surrey.

The execution and embowelling of Jacobite rebels on Kennington Common mid to late 18th century)

10. Cheapside

Temporary gallows were erected on several occasions at Cheapside between the 14th and 17th centuries. They were in place for over 100 days in 1554 following the execution of two rebels involved in a Protestant uprising against Mary I.

Ordinary criminals and reprieves

The exhibition contains the story of what feels like 50 or so ordinary criminals, whose names are preserved for some or other aspect of their crime or their trial or their plea for pardon or the way they died. One by one their pitiful stories build up into an upsetting profile of the generally poor and wretched who committed often petty crimes and went to their deaths miserably.

As the number convicted of capital offences rose in the later 18th century the number of reprieves increased, if only to manage down the number of executions which threatened to swamp the system. The exhibition features letters written by the condemned, their friends and relatives and influential contacts. I like the story of the Dane Jørgen Jørgenson, who was convicted in 1820 of robbery but managed to get a letter to the Duke of Wellington for whom he had worked as a during the Napoleonic wars. The exhibition includes a letter from the Duke pardoning Jørgenson on condition he ‘transports’ himself out of the country.

The most famous victim: Charles I

Probably the most famous execution ever to take place in London was not of a common criminal or aristocratic traitor but of the king himself, namely Charles I, brought to trial by the Puritan junta and found guilty of treason against his own people. The exhibition devotes a large case to his execution, on 31 January 1649, with several contemporary illustrations and a number of artefacts said to be linked to it, namely a pair of royal gloves he was said to have taken with him, and even the silk undershirt he insisted on wearing to prevent him shivering with cold (it was January in London) which, he told his attendant, Sir Thomas Herbert, might be misinterpreted as fear.

Later on in the exhibition there are several objects pertaining to the punishment of his killers. 59 leading Puritan generals and MPs signed the king’s death warrant and so came to be known by their enemies as the ‘regicides’. On his Restoration in 1660, Charles II had special agents arrest any of the regicides living in England and track down those who had fled abroad and assassinate them.

Three of the leading regicides, Oliver Cromwell, John Bradshaw and Henry Ireton, had already died of natural causes and been buried at Westminster Abbey, but in 1661 Charles’s Cavalier Parliament ordered their bodies to be exhumed, executed and decapitated. Their heads were displayed on poles outside Westminster Hall. Cromwell’s head remained there until 1685.

The most famous criminal: Jack Sheppard

John ‘Jack’ Sheppard was convicted of robbery in 1724, aged 22. Sheppard was one of London’s greatest criminal heroes. Notorious for escaping multiple times from Newgate, he became a symbol of freedom for London’s working classes. An apprentice carpenter, Jack fell into a life of thieving, reputably led astray by ‘bad company and lewd women’. Although eventually executed at Tyburn at the age of 22, his effrontery and skill in challenging authority ensured his story was recounted in popular books and plays for generations. The artist James Thornhill paid one shilling and sixpence to visit him in his cell to draw this portrait.

Portrait of Jack Sheppard by Sir James Thornhill (1724)

In the 1850s the campaigning journalist Henry Mayhew discovered that ‘chapbooks’ recounting Sheppard’s exploits were hugely popular in low lodging houses, where they were read aloud to illiterate youths. He interviewed 13 boys who confessed to thieving in order to pay for a theatre ticket for the  current play about Jack’s life.

The most famous executioner: Jack Ketch

In 1685, the Duke of Monmouth, illegitimate son of Charles II, led a rebellion to seize the throne from his uncle, James II. The rebellion was defeated, Monmouth was captured, condemned for high treason and beheaded on Tower Hill. Despite asking to be killed with one clean blow, Monmouth’s executioner, Jack Ketch, made a right monkeys of the procedure, failing to despatch the Duke after two strikes with an axe and being forced to resort to a knife to cut through the neck while the Duke made a grim effort to rise from the block to the horror of onlookers. As a result of this heroic failure Ketch’s name became infamous and, eventually, became a byword for public executioners, who, by and large preferred to keep their identities secret.

Transportation

A final section of the exhibition explains how crimes which had previously resulted in execution were amended to ‘transportation’ to the colonies, generally meaning Australia. In fact the first convicts transported out of England had been despatched as long ago as 1718, when they were sent to America to supply plantations there with labour. Thus Moll Flanders, heroine of Daniel Defoe’s 1722 novel, is convicted of a capital offence but gets it commuted to transportation to British America.

Transport to America ended when that country became independent in 1776 but, as luck would have it, just a few years earlier (in 1770) Australia had been discovered and provisionally mapped by Captain James Cook. Between 1788 and 1868 over 160,000 convicts were sent to Australia from England and other parts of the Empire.

The exhibition includes a few paintings of the first settlement, which are fairly predictable – but I had never heard about ‘convict tokens’ before. Apparently, convicts awaiting transportation presented loved ones with smoothed coins engraved with messages of affection. Often created by prisoners skilled in metalwork, for a fee, the tokens could be highly decorative and became known as ‘leaden hearts’. Half a dozen examples are on display here.

A convict’s love token from the ‘Executions’ exhibition at the Museum of London Docklands © Museum of London

The campaign to abolish public executions

The advent of Queen Victoria to the throne in 1837 marked a sea change in social attitudes. The young queen consciously rebelled against the louche morals of her rakish predecessor, William IV. She wanted a chaste, sober court and her high moral tone and sincere Anglicanism set the style for the new reign among the aristocracy and aspiring upper middle classes. There was a general wish to make all aspects of public life more respectable and, in time, the new mood extended to the utterly disreputable practice of public executions, with all their opportunities for immorality of every description which this exhibition has chronicled.

In 1840 William Makepeace Thackeray attended the execution of the Swiss valet François Courvoisier, executed for murdering his master, Lord William Russell. He wrote that ‘I feel myself ashamed and degraded at the brutal curiosity which took me to that brutal sight…I came away…that morning with a disgust for murder, but it was for the murder I saw done.’

In 1849 Charles Dickens had attended the execution of Maria and Frederick Manning and wrote a furious letter to The Times criticising the ‘inconceivably awful behaviour’ of the crowd. Describing public execution as a ‘moral evil’, he doubted communities could prosper where such scenes of ‘horror and demoralisation’ could take place.

Prison reform had been an issue since the start of the nineteenth century and combined with the campaign to abolish public executions. The exhibition cites the MP Thomas Hobhouse in 1866 arguing that the spectacle, instead of instilling fear of crime and respect for the law, resulted in the crowds who became ‘hardened and literally acquired a taste for blood.’

The exhibition features a powerful satirical cartoon published in Punch magazine mocking the commercialisation of state executions. The scaffold is a theatrical stage with a sign for ‘opera glasses’ and a booth selling tickets while the mixed crowd is worked by hawkers and costermongers. ‘Ere’s lots o’ the rope which ‘ung the late lamented Mr Greenacre, only a penny an inch!’

The Trial for Murder Mania, illustration for Punch, 1850

After several attempts to move a bill in Parliament, the Capital Punishment Amendment Act was finally passed in 1868 public executions in Britain were officially banned. The last person to be publicly executed in London was the Irish republican Michael Barrett, on 26 May 1868. Three days later the practice was outlawed.

But it wasn’t the abolition of the death penalty, though. Another century was to pass before that occurred. Only in 1965 was the death penalty for murder in Britain suspended for five years and in 1969 was this made permanent. And it wasn’t until 1998 that the death penalty in Britain was finally abolished for all crimes. The last people executed in the UK were Peter Allen and Gwynne Evans on 13 August 1964.

Amnesty International

Things take a very earnest turn at the end of the exhibition with a large video screen showing an interview with Paul Bridges from Amnesty International. He reminds us that 55 countries still retain the death penalty (although, admittedly, many have not used it for some time). Nonetheless, Amnesty International recorded 579 executions in 18 countries in 2021.

Summary

This is an outstandingly interesting, comprehensive, thought-provoking, sometimes funny, but mostly grisly and gruesome exhibition, beautifully staged, with absorbing interactive elements. You have two more weeks to catch it.


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Van Gogh and Britain @ Tate Britain

Before I went I’d read some disparaging reviews of this exhibition – but I found it really interesting, thought-provoking, full of wonderful paintings and prints and drawings, and making all kinds of unexpected connections. And big, much bigger than I expected.

The premise is simple: Vincent van Gogh came to live in England in 1873, at the age of 20. He lived in London for nearly three years, developing an intimate knowledge of the city and a great taste for English literature and painting. The exhibition:

  1. explores all aspects of van Gogh’s stay in London, with ample quotes from his letters to brother Theo praising numerous aspects of English life and London – and contains several rooms full of the English paintings and prints of contemporary urban life which he adored
  2. then it explores the development of van Gogh’s mature style and the many specific references he made back to themes and settings and motifs he had first seen in London, in London’s streets and galleries
  3. finally, the exhibition considers the impact van Gogh had on British artists
    • as a result of the inclusion of his pictures in the famous 1910 exhibition Post-Impressionist Painting
    • between the wars when van Gogh’s letters were published and fostered the legend of the tormented genius, the man who was too beautiful and sensitive for this world
    • and then how van Gogh’s reputation was further interpreted after the debacle of the Second World War

Gustave Doré

The first three rooms deal with the London that van Gogh arrived in in 1873. Among the highlights was a set of seventeen prints from Gustave Doré’s fabulous book London, a pilgrimage, which had been published only the year before, 1872. All of these are marvellous and the first wall, the wall facing you as you enter the exhibition, is covered with an enormous blow-up of Doré’s illustration of the early Underground.

The Workmen’s Train by Gustave Doré (1872)

Frankly, I could have stopped right here and admired Doré’s fabulous draughtsmanship and social history, as I looked at the wall covered with seventeen of the prints from the book which we know van Gogh owned and revered.

It’s the basis of the first of many links and threads which run through the show because, many years later, when van Gogh had developed his mature style but had also developed the mental illness that was to plague him, during his confinement in a mental hospital, he was to paint a faithful copy of Doré’s depiction of inmates in Newgate prison but in his own blocky style, to express his own feelings.

The prison courtyard by Vincent van Gogh (1890) © The Pushkin State Museum of Fine Arts, Moscow

Social realism

Van Gogh had come to London because he had got a job with the art dealing firm Goupil, which was part of the fast-growing market for the popular prints and art reproductions which were informally referred to as ‘black and whites’.

VanGogh ended up with a collection of over 2,000 of these English prints, and admired them for their realistic depictions of contemporary urban scenes, especially among the poor. I was fascinated to learn that there was a set of socially-committed artists who all drew for The Graphic magazine, including Luke Fildes, Edward Dalziel, Frank Holl, and Edwin Buckman. The exhibition includes quite a few black and white social realist prints by artists from this circle and, as with the Doré, I could have studied this stuff all day long.

A London Dustyard by Edwin Buckman, from the Illustrated London News, 1873

The curators related these blunt depictions of London life back to the novels of Charles Dickens, who we know van Gogh revered (in this instance the rubbish dump motif linking to the dust yard kept by the Boffin family, the central symbol of his last, finished novel, Our Mutual Friend). As Vincent was to write during his first year as a struggling artist:

My whole life is aimed at making the things from everyday life that Dickens describes and these artists draw.

But these illustrations by numerous London artists are also here because Vincent copied them. Next to the Buckman image of a dustyard is a graphite sketch of dustmen by Vincent. Next to a Luke Filde image of the homeless and poor, is a van Gogh drawing of a public soup kitchen.

A Public Soup Kitchen by Vincent Van Gogh (1883) © The Van Gogh Museum, Amsterdam

Other images include one of surly roughs waiting for the pub to open and a hooligan being arrested. Next to them all are van Gogh’s own earliest sketches and drawing, including a series he did of a homeless single mother begging on the streets, Sien Hoornik, who he took in and fed and had model for him (fully clothed) in a variety of postures of hopelessness and forlornness. And variations on the theme of tired, poor old men.

This is the Vincent who set his heart on becoming a vicar and did actually preach sermons at London churches, as well as crafting skilled sketches of churches in the letters he sent to brother Theo, and which are displayed here.

The example of old masters

But it wasn’t just magazine and topical illustration which fired Vincent’s imagination. The curators have also included a number of big classic Victorian paintings – by John Constable and John Millais among others – to give a sense of what ‘modern’ art looked like to the young van Gogh.

He was not yet a painter, in fact he didn’t know what he wanted to be. But the curators have hung the sequence, and accompanied them by quotes from letters, to show that, even in his early 20s, he was an acute observer of other people’s art, not only Victorian but other, older, pictures he would have seen at the National Gallery.

The Avenue at Middelharnis by Meindert Hobbema (1689) © The National Gallery, London

Several of these classic paintings depict an open road between a line of trees and, as the room progresses, the curators have hung next to them van Gogh’s later depictions of the same motif, showing early versions of the motif done in a fairly rudimentary approach, the oil laid on thick and heavy and dark…

Avenue of Poplars in Autumn by Vincent van Gogh (1884) © The Van Gogh Museum, Amsterdam

And then next to these, suddenly, we have the first works of his mature style in which his art and mind have undergone a dazzling liberation.

Path in the Garden of the Asylum by Vincent van Gogh (1889) © Collection Kröller-Müller Museum, Otterlo

The triumph of distortion

One of the things you can see evolving is his depiction of faces. Early on, he’s not very good. There’s a set of faces of what look like jurymen, as well as individual portraits of working men and women, and often they are either expressionless blocks, or a bit cack-handed, a bit lop-sided. Even the numerous sketches of Sien Hoornik are better at conveying expression through the bent posture of her body, than through facial expressions which are often blurred or ignored.

Similarly, you can’t help noticing that the early landscapes like the avenue of poplars, above, very much lack the suave painterly finish and style of his models (Constable, Millais).

But what happens as you transition into room four – which covers his move to Paris to be near his brother in 1885 – is a tremendous artistic and visual liberation, so that the very wonkiness and imperfections in his draughtmanship which were flaws in the earlier works, are somehow, magically, triumphantly, turned into strengths. The blockiness, the weakness of perspective, the lack of interest in strict visual accuracy, have suddenly been converted into a completely new way of seeing and of building up the image, which feels deeply, wonderfully emotionally expressive.

Sorrowing old man (‘At Eternity’s Gate’) by Vincent van Gogh (1890) © Collection Kröller-Müller Museum, Otterlo

Room four makes fleeting reference to the community of like-minded artists he found working around Paris, and in particular to Pissarro, exponent of what was being called neo-Impressionism.

It seems quite obvious that van Gogh was very influenced by the Frenchman’s experiments with chunks and blocks, and spots and dabs and lines of pure colour. The painting above combines the strong formal outlines redolent of the black and white Victorian prints he revered so highly, with a new approach to filling in the outlines – not with a consistent smooth finish à la Millais – but a completely new idea of filling the space with disconnected lines of paint, the artist quite happy to leave blanks between them, quite happy to let us see them as isolated lines all indicating colour and texture.

The curators link this technique back to the cross-hatching used to create volume and shape by the Victorian print-makers and illustrators. So one way of thinking about what happened is that Vincent transferred a technique designed for print making to oil painting. What happens if you don’t create a smooth, finished all-over wash of colour, but deliberately use isolated lines and strokes, playing with the affect that basic, almost elemental short brushstrokes of mostly primal colours, create when placed next to each other.

It has a jazzy effect, creates a tremendous visual vibration and dynamism. the image looks like it is quivering or buzzing.

The Manet and the Post-Impressionists exhibition

To be honest, by this stage my head was buzzing with the fabulous images of Doré and Fildes and the other British illustrators, and van Gogh’s similarly social realist depictions of the poor, the old, prostitutes and so on and the way the early social realist paintings had morphed into a series of paintings of outdoor landscapes. I felt full to overflowing with information and beauty. But there was a lot more to come.

Suddenly it is 1910 and room five is devoted to the epoch-making exhibition held in London and titled Manet and the Post-Impressionists by the curator Roger Fry. As with Doré’s underground image at the start, the curators have blown up a page from a popular satirical magazine of the time, depicting the dazed response of sensible Britishers to the outlandish and demented art of these foreign Johnnies and their crazed, deformed, ridiculously over-coloured paintings. A number of Vincent’s paintings were included in the show and came in for special scorn from the philistine Brits.

This amusing room signals the start of part two of the show which looks at van Gogh’s posthumous influence on a whole range of native British artists.

This second half is, I think more mixed and of more questionable value than the first half. We know which British artists and illustrators van Gogh liked and admired and collected, because he included their names and his responses to their works, in his many letters.

As to the influence he had after his death, this is perforce far more scattered and questionable. Thus room six introduces us to paintings by Walter Sickert, leader of the Camden Town school (whose work I have always cordially hated for its dingily depressing dark brown murk), to Vanessa Bell and Duncan Grant (bright Bloomsburyites), and to Matthew Smith, Spencer Gore and Harold Gilman.

The Vineyard by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

It’s impossible to place any of these artists on the same level as Vincent. Amid the sea of so-so also-rans, the scattered examples of works by van Gogh ring out, shout from the walls, proclaim the immensity of his genius, the vibrancy of design, colour and execution. Like an adult among children.

That said, there’s quite a lot of pleasure to be had from savouring these less-well-known British artists for their own sakes. I was particularly drawn to the works of Harold Gilman and Spencer Gore. Here is Gore’s painting of Gilman’s house. It doesn’t have a lot to do with van Gogh, does it, stylistically? Apart from being very brightly coloured.

Harold Gilman’s House at Letchworth, Hertfordshire by Spencer Gore. Courtesy of New Walk Museum & Art Gallery, Leicester Arts and Museums Service

Similarly, I really liked Gilman’s picture of the inside of a London caff, focusing on the decorative wallpaper and bright red newel posts, and a sensitive portrait titled Mrs Mounter at the Breakfast Table, 1917. The curators relate this latter painting back to Vincent’s vivid, warts-and-all portraits, which also contain highly decorative elements and stylised wallpaper, a garish brightness which scandalised critics of the 1910 show.

Maybe. It’s a good painting, he conveys the old woman’s character in a sober, unvarnished way and the use of decorative elements is interesting. But only a few yards away is hanging one of five or six drop-dead van Gogh masterpieces of the show, the Hospital at Saint-Rémy (1889), and there is absolutely no competition.

Hospital at Saint-Rémy (1889) by Vincent van Gogh © Hammer Museum collection

Good God, hardly anything you’ve ever seen before explodes with such power and vibrancy as this painting. The brown earth, the green grass, the writhing trees and the very air seem to have burst into flames, to be erupting and leaping with energy, fire, ecstasy, fear, manic force.

Although there are a number of other, milder, more discreet landscapes by Vincent, when he is in this manic mood he wipes everybody else off the table, he dominates the dancefloor, he takes over the room, while the others are playing nice tunes on their recorders, he is like a Beethoven symphony of colour and expression, full of tumult and vision.

The impact of sunflowers

Emotionally and intellectually exhausted? I was. But there’s more. A whole room devoted to sunflowers. Pride of place goes to one of his most famous paintings, the sunflowers of 1888, and I was fascinated to learn from the wall label that van Gogh’s still lifes contributed to a major revival of the art of painting flowers. There are ten or a dozen other paintings of sunflowers around this room, by a whole range of other artists (of whom I remember Winifred and William Nicholson, Christopher Wood and Frank Brangwyn and Jacob Epstein). One of the Brits is quoted as saying that the painting of flowers had been more or less dismissed by the moderns, as having come to a dead end in Victorian tweeness and sentimentality. Until Vincent’s flower paintings were exhibited in the 1920s.

Sunflowers by Vincent Van Gogh (1888) © The National Gallery, London

Van Gogh’s flower works showed that flowers could be painted in an entirely new way, blazing with colour and passion, wildly undermining traditional canons of beauty, revealing the passionate secrets implicit in the shapes and patterns of nature.

In a work like this you see a pure example of his exploration of colour for its own sake, a post-Impressionists’ post-Impressionist, the sunflowers not only being a blistering depiction of the flower motif, but a highly sophisticated and daring experiment with all the different tones of yellow available to the artist in 1888. So much to do, so much to paint, so much experience implicit in every fragment of God’s beautiful world!

Van Gogh’s reputation between the wars

By the 1920s van Gogh’s works were being exhibited regularly in Britain and snapped up by private collectors. He became famous. The process was helped hugely by the publication in English translation of his vivid, passionate and tormented letters. The life and the works became inextricably intertwined in the myth of the tortured genius. The curators quote various writers and experts between the wars referring to Vincent’s ‘brilliant and unhappy genius’.

However, this room of his last works makes a simple point. For a long time it was thought that the painting he was working on when he shot himself on 27 July 1890 was ‘Wheatfield With Crows‘. Forests have been destroyed to provide the paper for oceans of black ink to be spilt publishing countless interpretations which read into this fierce and restless image the troubled thoughts which must have been going through the tormented genius’s mind on his last days.

Except that the display in this room says that the most recent research by Vincent scholars have conclusively proven that it was not Van Gogh’s last painting! The painting he was working on when he shot himself was a relatively bland and peaceful landscape painting of some old farm buildings.

Farms near Auvers by Vincent Van Gogh (1890) © Tate

The point is – there’s nothing remotely tormented about this image. And so the aim of the display is to debunk the myth of the ‘tortured’ artist and replace it with the sane and clear-eyed artist who was, however, plagued by mental illness.

Phantom of the road

This point is pushed home in the final room which examines van Gogh’s reputation in Britain after the Second World War. All his works, along with all other valuable art had been hidden during the war. Now it re-emerged into public display, including a big show at Tate in 1947.

In the post-war climate, in light of the Holocaust and the atom bomb, the legend of the tormented genius took on a new, darker intensity. The curators choose to exemplify this with a raft of blotchy, intense self-portraits by the likes of David Bomberg which, they argue, reference van Gogh’s own striking self portraits.

But this final room is dominated by a series of paintings made by the young Francis Bacon in which he deliberately copies the central motif of a self-portrait Vincent had made of himself, holding his paints and easel and walking down a road in Provence.

Bacon chose to re-interpret this image in a series of enormous and, to my mind, strikingly ugly paintings, three of which dominate one wall of this final room.

Study for portrait of Van Gogh by Francis Bacon (1957) Tate © The Estate of Francis Bacon

They are, in fact, interesting exercises in scale and colour, and also interesting for showing how Bacon hadn’t yet found his voice or brand. And interesting, along with the Bomberg et al in showing how the legend of tormented genius was interpreted in the grim grey era of Austerity Britain.

And they show what a very long journey we have come on – from the young man’s early enthusiasm for Charles Dickens and Gustave Doré right down to his reincarnation as a poster boy for the age of the H-bomb.

A bit shattered by the sheer range of historical connections and themes and ideas and visual languages on show, I strolled back through the exhibition towards its Victorian roots, stopping at interesting distractions on the way (some of Harold Gilman’s works, the big cartoon about the Post-Impressionist show, some Pissarros, the Millais and Constable at the beginning, the wall of Dorés), but in each room transfixed by the one or two blistering masterpieces by the great man.

Even if you didn’t read any of the wall labels or make the effort to understand all the connections, links and influences which the curators argue for, it is still worth paying to see the handful of staggering masterpieces which provide the spine for this wonderful, dazzling, life-enhancing exhibition.

Starry Night by Vincent van Gogh (1888) Paris, Musée d’Orsay. Photo © RMN-Grtand Palais / Hervé Lewandowski

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