History Archives - Page 3 of 7 - Penelope J Corfield

MONTHLY BLOG 120, ISAAC NEWTON, WORLD RENOWNED PHYSICIST & INVENTOR OF THE CAT FLAP!?

1 December 2020/in History, Monthly Blog/by Penelope J. Corfield

Downloaded from https://www.catsbest.eu/catsbest_en (Nov. 2020)

Nothing wrong with a special cat-sized doorway, of course.¹ A cat flap is a handy device. But was it really invented in the late seventeenth century by Sir Isaac Newton (1643-1727), the renowned physicist and mathematician?² He was certainly a man of great ingenuity, with practical as well as theoretical powers. One important invention reliably attributed to Newton was his construction of the world’s first reflecting telescope. It incorporated specially-ground mirrors instead of refracting lenses, to remove even the slightest distortions of vision. The result was a sharper, clearer image. Today the Newtonian telescope bears his name, in tribute to its parentage.³

But Sir Isaac Newton, inventor of the cat flap? It was not that the great scientist was too grand for small matters of moment in the daily life of his contemporaries. He was for many years an energetic Master of the Mint, personally tracking down counterfeiters and dealers in clipped money.⁴ Indeed, Newton was a polymath, making interventions in physics, mathematics, optics and mechanics, as well as in theology and alchemy. For such a busy man, a moment spent devising a cat-flap would seem all in a hectic day’s work.

There is also a humorous side to the story. It seems to date from the early nineteenth century, and was recounted by a scholar in Newton’s Cambridge College, Trinity.⁵ There were apparently two holes in the stout wooden door to the rooms inhabited by the great physicist in the early 1660s. It was there that Newton had, apparently, his eureka moment. Annoyed at being disturbed by a cat repeatedly seeking to enter and leave, he cut one hole for the adult cat and, next to it, a smaller one for her kitten.⁶ (One version of the story has Newton cutting three small holes for three kittens). Aha! ‘Even Homer nods’, as the saying has it. Later generations could laugh indulgently at the great scientist, who had apparently overlooked the obvious fact that her kittens could easily pass through the mother cat’s aperture. Even a Newton, while gazing at the cosmos, can make simple errors on his own doorstep.

And so was born an urban legend. There is in fact no evidence that Newton, who was a self-sufficient intellectual and psychological loner, had any close physical relationships either with his fellow humans (whatever his private desires) or with domestic pets. Nonetheless, urban legends variously provide him with a cat, named Spithead; and, for good measure, a dog, named Diamond. These ‘facts’ are regularly repeated on the web, despite much debunking. And, as with all legends, they are continuously embroidered and developed.

Newton is likely therefore to retain his web-title as inventor of the cat-flap for some years to come. The fact that various apertures cut for scavenging cats in barn- and farm-doors had existed for centuries – even for millennia – does not manage to halt the mythology. One venerable cat-hole survives at the Chetham Library, Manchester, built 1421;⁷ and some others are still to be found.

French carved oak door with cat hole, c.1450-1500: from Wikimedia Commons (2020).

Nonetheless, people like to have specific dates and details for specific developments.⁸ So Sir Isaac Newton provides a neat time-line for the feline-friendly cat-flap. Moreover, the homely invention humanises his glittering but distinctly remote genius. It brings the international sage down to earth – and salutes him with a hint of ironic laughter too. All very well, as long as the Newtonian cat-flap is recalled purely as unverified urban legend – without the specificity of the Newtonian telescope or the Newtonian laws of gravity.

ENDNOTES:

¹ This is my fourth and last BLOG on eighteenth-century cats. They are collateral outputs from detailed research, on which see P.J. Corfield, ‘“For I will Consider my Cat Jeoffry”: Cats and Literary Creativity in Eighteenth-Century Britain’, work-in-progress for publication 2021

² Among a huge literature, see I.B. Cohen, The Newtonian Revolution (Cambridge, 1980); J. Gleich, Isaac Newton (2003); R. Iliffe, Priest of Nature: The Religious Worlds of Isaac Newton (Oxford, 2017); N. Guicciardini, Isaac Newton and Natural Philosophy (2018).

³ For context, see G. Andersen, The Telescope: Its History, Technology and Future (Oxford, 2007).

⁴ J.H.M. Craig, Newton at the Mint (Cambridge, 1946).

⁵ ‘A Trinity-Man’ [J.F.M. Wright], Alma Mater: Or, Seven Years at the University of Cambridge (1827), Vol. 1, p. 17,

⁶ https://3milliondogs.com/catbook/did-you-know-issac-newton-invented-the-cat-flap/.

⁷ https://library.chethams.com/.

⁸ A verified development in recent times is the invention of the microchip cat-flap after years of research (2005-7), by Dr Nick Hill, like Newton a Cambridge physicist:

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MONTHLY BLOG 119, THE FELINE MUSE IN THE LONG EIGHTEENTH-CENTURY

1 November 2020/in History, Monthly Blog/by Penelope J. Corfield

Fig.1: William Hogarth’s alert cat, ears pricked, teeth bared, claws unleashed, and intent gaze fixed upon its notional prey (a caged bird)– revealing the feral cat within the domestic pet.
Source: detail from Hogarth’s Portrait of the Graham Children (1742).

Cats in Britain changed their roles decisively in the course of the long eighteenth century.¹ They switched from being rat-catchers-in-chief into much treasured domestic pets. Of course, the changeover was not absolute. There were pet cats before this period; and there were rat- and mouse-catching cats long afterwards. Nonetheless, this era was a prime time of change, as Britain launched into its new history as a world leader in terms of urbanisation, commercialisation and (later) industrialisation. Families in town houses increasingly cultivated the companionship of cats not as on-site pest controllers (though that might be an agreeable by-product) but as domestic pets.

Two quick pointers confirm the process of adaptation. One was the growing number of men who worked as professional rat-catchers, undertaking the task more systematically than did domestic cats, which tended to fall asleep after dining well. And the second was the emergence of a regular market in pet food. Vendors known as ‘cat’s-meat men’ (who actually included a few women) walked the town streets with barrows of chopped horsemeat, purchased from the knackers’ yards. Such supplies preceded the tinned catfood which took over the market from the 1920s. Owners wanted their sleek, well-fed pets constantly on hand – not hungrily prowling in garrets and basements in search of food.

In this changed domestic environment, it was not surprising that many felines, snugly ensconced indoors, provided welcome companionship to authors sitting for long hours at their sedentary profession. Much the most famous eighteenth-century cat is the black-coated Hodge, which patiently kept Dr Johnson company while he toiled over his great Dictionary of the English Language (1755). This animal was not in fact the only feline pet in the household. But he was considered to be Johnson’s favourite. (In 1997 a sympathetic statue to Hodge was erected in Gough Square, outside the London townhouse which Dr Johnson rented between 1748 and 1759. Sometimes tourists place coins on the plinth or hang ribbons on the statue, for good luck).²

Other literary figures who were known as cat lovers included the writer and art connoisseur Horace Walpole; the mystic poet Christopher Smart; the legal philosopher Jeremy Bentham, who was one of the first protagonists of animal rights; the Poet Laureate Robert Southey, whose home at Greta Hall in Keswick was full of cats; the ‘Gothic’ author Mary Shelley; and the novelist Sir Walter Scott, whose tabby named Hinse (sometimes spelt Hinx) reportedly tyrannised over his pack of dogs.

Moreover, at least fourteen eighteenth-century poets were inspired by the feline muse. Their ranks included (chronologically) Anne Finch; John Gay, James Thomson; Thomas Gray; Christopher Smart; Percival Stockdale; Anna Seward; William Cowper; William Wordsworth; P.B. Shelley; Joanna Baillie; John Keats; John Clare – and (out of chronological sequence because his feline theme was somewhat exceptional) William Blake. His beautiful and enigmatic ballad saluted the ‘Tyger, tiger, burning bright’ (1794).³ But all the rest, however surprising it may seem (the ‘romantic’ Wordsworth? Keats? Shelley?), wrote poems about domestic cats.

Sometimes they wrote about specific animals. So the poet and anti-slavery campaigner Percival Stockdale wrote verses to commemorate Hodge, the favourite cat of his close friend Dr Johnson. While others wrote about archetypal cats. The poet and hymnodist William Cowper used a feline example to point a moral. His poem to The Retired Cat (written 1791) told the tale of a cat which was shut by mistake into a chest of drawers and left for long hours without food. It taught the imperious puss the invaluable lesson that the world did not revolve around her. But the moral was universal, as Cowper explained: ‘Beware of too sublime a sense/ Of your own worth and consequence!’ ⁴

Having enjoyed all these poems, my award for the weakest of these effusions goes to one by P.B. Shelley. His epigrammatic Verses on a Cat (c.1800) stress that the causes of suffering among all living creatures are diverse: ‘You would not easily guess/ All the modes of distress/ Which torture the tenants of earth’.⁵ In one specific case, however, the problem was clear:

But this poor little cat
Only wanted a rat,
To stuff its own little maw

It’s unfair, however, to laugh at Shelley’s plonking verse. It was an example of his very youthful wordplay, at the age of 8 or 9; and not written for posterity. Indeed, for a neophyte poet, the sentiments were impressively mature. Anyway it was saved by Shelley’s sister and published after the poet’s early death aged thirty, when no doubt all mementoes were being treasured.

In fact, all these eighteenth-century feline verse tributes are notable in their different ways. They range from tender to comic; from well-observed to schematic. Collectively, they confirm the ubiquity of cats in the eighteenth-century domestic scene.

Standing out from the pack, two poems record particularly graceful tributes to felinity. Best known is Thomas Gray’s Ode on the Death of a Favourite Cat, Drowned in a Tub of Goldfishes (1748).⁶ It’s wryly witty. And it ends with the poet’s sage observation that covetousness should not be taken too far.

Not all that tempts your wandering eyes
And heedless hearts, is lawful prize,
Nor all that glisters, gold.

Most wonderfully, however, Christopher Smart’s mid-century ruminations on his cat Jeoffry evoke a real living animal. The 74-line section appears within a much longer mystic-philosophical verse outpouring, entitled Jubilate Agno [Rejoice in the Lamb of God]. The work was not published until long after the poet’s death; and these days the Jeoffry section is often extracted as a separate poem. It is too long to quote in its entirety here. But it is written by a cat-lover, who, whilst struggling with personal anguish,⁷ wanted to record the special charm of his companion Jeoffry: ‘For he is a mixture of gravity and waggery’.⁸

As cats came to reign majestically upon the domestic hearth, the feline muse was considerably enhanced. No disrespect to other indoor pets. Or to those magnificent outdoor companions: dogs⁹ and horses.¹⁰ But the feline mixture of caution, companionship, and curiosity makes them potent triggers to innovative thought and cultural creativity. As well as featuring in traditional folkloric tales and magical spells, cats are now commemorated in novels, poems, art, cartoons, films, songs, opera, musicals, philosophical debates and scientific concepts (hello/goodbye to Schrödinger’s cat) and, of course, proverbial sayings. It’s seriously enough to make a cat laugh …

ENDNOTES:

¹ For further context, see P.J. Corfield, ‘“For I will Consider my Cat Jeoffry”: Cats and Literary Creativity in Eighteenth-Century Britain’, work-in-progress for publication 2021.

² But Hodge has rivals in fame. See P.J. Corfield, ‘An Eighteenth-Century Folly Builder, and Cat Lover’, Monthly BLOG 117 (Sept. 2020); and idem, ‘Commemorating Another Feisty Eighteenth-Century Sea-Going Cat’, Monthly BLOG 118 (Oct. 2020).

³ W. Blake (1757-1827), The Tyger (1794), in K. Raine (ed.), A Choice of Blake’s Verse (1970), p. 61.

⁴ W. Cowper (1731-1800), The Retired Cat (1791) in W. Hayley (ed.), The Life and Posthumous Writings of William Cowper … (Chichester, 1803), Vol. 1, p. 258.

⁵ P.B. Shelley (1792-1822), Verses on a Cat (1800; publ. 1858), in T. Hutchinson (ed.), The Chief Poetical Works of Percy Bysshe Shelley (1907), p. 829.

⁶ T. Gray, On the Death of a Favourite Cat, Drowned in a Tub of Goldfishes (1748), in F.T. Palgrave (ed.), The Golden Treasury … (1861; 1959), pp. 138

⁷ C. Mounsey, Christopher Smart: Clown of God (2001); N. Curry, Christopher Smart (Horndon, 2005).

⁸ C. Smart (1722-71), Jubilate Agno (c.1759-63; 1^st pub. 1939), in idem, A Selection of Poetry, ed. D. Wheeler (2012), pp. 43, 123.

⁹ F. Jackson (ed.), Faithful Friends: Dogs in Life and Literature (1997); K.W. Chez, Victorian Dogs, Victorian Men: Affect and Animals in Nineteenth-Century Literature and Culture (Columbus, Ohio, 2017).

¹⁰ K. Raber and T.J. Tucker, The Culture of the Horse: Status, Discipline and Identity in the Early Modern World (Basingstoke, 2005); S. Forrest, The Age of the Horse: An Equine Journey through Human History (2016).

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MONTHLY BLOG 118, COMMEMORATING ANOTHER FEISTY EIGHTEENTH-CENTURY SEA-GOING CAT

2 October 2020/in History, Monthly Blog/by Penelope J. Corfield

Fig. 1 John Cornwell’s bronze statue of Trim, the feisty black cat who sailed in the circumnavigation of Australia in 1801/3: located outside Mitchell Library, 173 Macquarie St, Sydney, Australia.

Another feisty sea-going cat from the eighteenth century has inspired a great set of contemporary statues in both England and Australia.¹ This cat was jet black, with white feet and a white star on its breast. He was named Trim, after the devoted servant and companion-at-arms in Laurence Sterne’s whimsical novel Tristram Shandy (1759). And in the years 1801-3 the cat participated in the first recorded circumnavigation of Australia with Captain Matthew Flinders, the explorer and cartographer.²It was he who later paid Trim the compliment of writing a special account of its life history, preserving its memory for posterity.³

At one point on the trip round Australia, the adventurous feline was washed overboard. But it swam/scrambled to reach a floating rope and clambered determinedly up to safety, winning the captain’s admiration. Indeed, Flinders later saluted Trim as ‘one of the finest animals I ever saw’. The cat had in fact been born on a ship and lived much of its life on board a series of different vessels. So it clearly had the feline equivalent of ‘sea-legs’. It also had a degree of good luck, surviving, with Flinders, the shipwreck of HMS Porpoise in 1803. (The disaster happened on the Wreck Reefs in the Coral Sea, off north-eastern Australia – an area now preserved as a historic shipwreck site).

Trim thus became something of a mascot for Flinders and his crew. Many cats were in fact to be found on board ships.⁴They were recruited as mousers, providing on-board pest control. But they often provided affection and companionship as well. Flinders was not short of human company on his circumnavigation. One leading member of his team was a community leader named Bungaree, who came from the indigenous people of eastern Australia. He provided invaluable help as guide and negotiator.⁵On more than one occasion on the long journey, he averted conflict between the sailors and various indigenous communities, with whom he managed to communicate, despite the linguistic barriers. Flinders, who wrote warmly of Bungaree’s ‘open and manly conduct’, also appreciated his kindness to Trim.

This adventurous cat was thus an archetype of the many travelling felines who appear in myths and legends.⁶In such tales, their natures are resourceful and affectionate, without being dependent or needy. Cats like the companion of Dick Whittington; or Puss-in-Boots (who appears in many European variants); or the cat who proverbially ‘looks at a king’ are cool customers. They star in many folk cultures around the world, featuring in songs and musicals as well as art and cartoons. It is no surprise to find also that travelling cats are imagined as voyagers in space fiction.⁷Shared adventures are integral to the long history of human-feline interactions.

What ultimately bonded Trim and Matthew Flinders, however, was their joint experience of imprisonment. On his return from Australia to Britain, the navigator put into the French-held island of Mauritius, hoping that his status as a scientific investigator would secure him safe passage. However, the governor detained him. France and Britain were then at war; and Flinders’ motives were suspected. He was held there from December 1803 to summer 1810, at first in close captivity, and then with greater freedom but without the right to leave. Trim kept Flinders company for most of this period of irksome inactivity; and it was when the cat disappeared suddenly some time in c.1808 (its fate unknown), that Flinders was moved to pen his account of the cat’s life. His warm tribute, stating that Trim was ‘ever the delight and pleasure of his fellow voyagers’, undeniably came from the heart.

Matthew Flinders has been extensively commemorated in Australia. Not only are there many places and institutions which bear his name (including the renowned Flinders University in Adelaide) but he himself named many features around the coast, in the course of circumnavigation. Bungaree has been much less well served, in terms of public commemorations. But Boongaree Island, off the Kimberley coast of Western Australia, was named after him in 1820; and there have been some nautical tributes. (A public statue is surely overdue).

Meanwhile, the cultural star of Trim has risen in recent years. The publication of Flinders’ cat-biography in 1977, allied to the increasing contemporary desire to humanise past heroes, has brought the intrepid feline voyager to public attention. In 1996, John Cornwell’s bronze statue of Trim (Fig.1) was installed outside the Mitchell Library (State Library of New South Wales) in Sydney. The striking representation was an immediate success. The Library began to sell a range of Trim memorabilia and it names its restaurant as Café Trim. In 2006, another engaging statue of Flinders was installed in Donington, his Lincolnshire birthplace. In this case Trim leans confidently against the navigator’s leg, in a style which is obviously cat-like but not subservient. The statue was created by Judith Holmes Drewry, with input from local schoolchildren. Their joint project helped to foster local interest in Flinders, which has recently culminated in a successful campaign to have his remains reburied in Donington’s parish church.

Fig. 2 Trim with Matthew Flinders, standing together on a street corner in Donington, Lincolnshire, Flinders’ birthplace: statue by Judith Holmes Drewry, erected 2006.

There is also one fine composite statue of Flinders, with Trim on the lookout, both crouching over a chart of the territory of Terra Australis, Flinders being one of the most determined to popularise its name as Australia. This monument, devised by Mark Richards, was erected in 2014. It was timed to commemorate the bicentenary of Flinders’ death in 1814, at the comparatively early age of 40. And the statue was aptly located at Euston Station, which was later constructed over the graveyard where the navigator was buried.⁸(His coffin was discovered in 2019 during excavations for the new high-speed rail link, leading to the successful campaign for Flinders to be reinterred at Donington).

Fig.3 Flinders, compasses in hand, and Trim on the watch, crouch together over the map of Australia: elegantly apt statue by Mark Richards, installed at Euston Station with copy also at Tasman Terrace, Port Lincoln, Australia.

So these companions on the move are commemorated in multiple locations. The moral, from the viewpoint of a feline wishing to be remembered by posterity, was to be loved by a writer with time to write a cat-biography on its behalf. And for Flinders? He was a great namer of places: among others, Australia’s Port Lincoln, after the county of his birth; Kangaroo Island, named for the abundant wildlife there; Encounter Cove, where he met and exchanged news of his discoveries with the French scientist Nicholas Baudin, who was also exploring the world far from his homeland. Naming has a certain power – not supreme power; but influential. And, yes: Flinders did well to identify the feisty black cat with white feet as Trim – neat, natty, nautical, appealing, affecrtionate – and now memorable as well.

ENDNOTES:

¹ Companion-piece to PJC BLOG.117 (Sept. 2020), entitled: ‘An Eighteenth-Century Folly Builder and Cat Lover’. For further context, see also P.J. Corfield, ‘“For I will Consider my Cat Jeoffry”: Cats and Literary Creativity in Eighteenth-Century Britain’, work-in-progress for publication 2021.

² K. Morgan, Matthew Flinders: Maritime Explorer of Australia (2016).

³ M. Flinders, Trim: Being the True Story of a Brave Seafaring Cat (1977; 1997); https://en.wikipedia.org/wiki/Trim_(cat).

⁴ See V. Lewis, Ship’s Cats in War and Peace (2001); and listings of known travelling cats in https://en.wikipedia.org/wiki/Ship%27s_cat.

⁵ K.V. Smith, King Bungaree (Kenthurst, 1992).

⁶ H. Loxton, Cats: 99 Lives – Cats in History, Legend and Literature (1999)

⁷ An example is the cat Spot in the sci-fi TV series Star Trek (1966- ).

⁸ https://en.wikipedia.org/wiki/Matthew_Flinders.

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MONTHLY BLOG 117, AN EIGHTEENTH-CENTURY FOLLY-BUILDER & CAT-LOVER

4 September 2020/in History, Monthly Blog/by Penelope J. Corfield

Public monuments to cats – as opposed to literary, artistic and musical celebrations¹ – are rare to find, especially dating from the eighteenth century. So this majestic example deserves full appreciation. The lordly cat sits atop a giant Grecian vase, all forming the substantial Cat Monument.² It was designed in 1749 and built c.1770 in the new weatherproof composite known as Coade Stone.³ Erected at Shugborough Park in Staffordshire, the Monument was commissioned by Thomas Anson (c.1695-1773). He was the felinophile, who owned the estate and had the wealth as well as the space to indulge his taste for architectural patronage in full.

Curiously enough, the identity of this publicly honoured cat remains uncertain. One strong possibility is that it commemorates Thomas Anton’s own favoured pet, named Khouli-Khan. This cat was the last of a line of Persian cats owned by the family. Hence, behind the luxuriant mustachios on the Monument’s lordly feline, the statue may show the round face and short muzzle that is characteristic of that particular breed.

Another possibility, however, is that the honoured cat was the adventurous moggy who circumnavigated the globe in the years 1740-44 with Admiral George Anson (1697-1762). He was the much admired younger brother of Thomas Anson. And the childless George Anson had bequeathed his great fortune, based upon Spanish treasure, to his older sibling. As a result, some of the monuments and memorabilia at Shugborough Park were devised as fraternal tributes to the circumnavigator. In that context, therefore, it is possible that the Cat Monument commemorates the circumnavigating cat.

Throughout this period (as in earlier and later eras), thousands of feline pest controllers travelled the high seas.⁴ They dined on the mice and rats which infested the wooden ships of the commercial fleet and the Royal Navy. (Keeping pets on board was banned by the British Navy only in 1975). Often these sailing cats were adopted by the crews as informal mascots. The feline companion (name unknown) of George Anson seems to have been a talisman of that ilk. Indeed, it is quite possible that the Cat Monument commemorates not one specific cat but human admiration for the species generically. The design is certainly eclectic. Around the Monument’s plinth are the carved heads of Corinthian goats, which were kept on the Shugborough Park estate c.1768. But the lofty cat is the king.

Accompanying the Monument, meanwhile, Anson commissioned an extraordinary array of follies and fancies.⁵ The Chinese House (1747) is one of the earliest examples of oriental design in Britain. A Gothic Ruin, complete with a gothic pigeon-house, followed in 1750. The Shepherd’s Monument was built in the later 1750s, taking the form of an ornamental arch around a pastoral bas-relief. (Two outer pillars and a classic pediment were added in 1763). A Doric Temple followed in c.1760. The massive Hadrian’s Arch was then erected in 1762, at a high point on the estate with extensive views. Built in a style borrowed from classical Athens, the design was adapted as a tribute to George Anson, who died in 1762, and George’s wife Elizabeth. A Tower of the Winds, based upon the Athens’ Horologium of Andronikos, was created in 1765, initially with a surrounding pool of water, which was lost in the course of flood damage on the estate in 1795. And in 1771 the Lanthorn of Demosthenes, based upon the design of an Athenian house dating from 4BCE, completed Anson’s career as an alfresco architectural patron. (He also remodelled the ancestral Shugborough Hall and amassed a collection of memorabilia).

Amongst this eclectic miscellany of edifices, the Cat Monument more than holds its own. It has a stately presence, framed by trees. It is not overawed by its Gothic, Oriental, Doric or Corinthian monumental companions, elsewhere in Shugborough Park. Whether it commemorates one adventurous globe-trotting feline, or one exotic Persian cat, or all cats generically, it makes its point finely.

Fig.2.1-3 Three Shugborough Park Monuments, Commissioned by Thomas Anson:
(L) The Shepherd’s Monument (later 1750s; expanded 1763)
(Centre) The Cat Monument (designed 1749; built c.1770)
(R) Hadrian’s Arch (1762), adapted as a tribute to Admiral George Anson and his wife Elizabeth.

Around the globe – and at home in Staffordshire – feline companionship is something to admire. A cat may look at an admiral or at a country landowner (and MP) or at a king. And humans look closely at these classic domestic companions too. At a time of global crisis, compounded of climatic, epidemiological, economic and political challenges, it is as well for humans to recollect their pan-global co-residence with all living beings. And, not least among them, those great triggers to the literary imagination in the form of the amiable, adventurous, wily, and famously enigmatic cats.⁶

ENDNOTES:

¹ H. Loxton, Cats: 99 Lives – Cats in History, Legend and Literature (1999).

² For the Cat Monument (designed 1749; erected c.1770) NGR: SJ9932022722, see https://www.nationaltrust.org.uk/shugborough-estate/features/parkland-buildings-monuments-and-follies

³ H. Van Lemmen, Coade Stone (Princes Risborough, 2006).

⁴ See V. Lewis, Ship’s Cats in War and Peace (2001); and listings in https://en.wikipedia.org/wiki/Ship%27s_cat/.

⁵ All monuments are listed and dated in https://www.nationaltrust.org.uk/shugborough-estate/features/parkland-buildings-monuments-and-follies

⁶ See P.J. Corfield, ‘“For I will Consider my Cat Jeoffry”: Cats and Literary Creativity in Eighteenth-Century Britain’, work-in-progress for publication 2021.

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MONTHLY BLOG 116, THE LONG EIGHTEENTH CENTURY’S MOST AMAZING LADY RECLUSE

1 August 2020/in History, Monthly Blog/by Penelope J. Corfield

Image of Lady Hester Stanhope
(1776-1839)
Garbed as an Oriental Magus

More than matching the fame of the most notable male recluses of eighteenth-century Britain was the renown of the amazing Lady Hester Stanhope.¹She not only cut herself off from her aristocratic family background to live remotely but did so, at first in grand style and then as a recluse, in the Lebanon.

Her story indicates that there were some remarkable options open to independent-minded women, with independent fortunes but no family attachments. In fact, there was quite a substantial amount of female solitude in the eighteenth century.²The caricature view, which asserts that every woman was under the domestic tutelage of either a husband or a father was just that – a caricature.

There were plenty of female-headed households listed in contemporary urban enumerations; and a number of these were formed by widows living alone. Many lived in the growing spas and resorts, where low-cost lodgings were plentiful. Some would have other family members living with them; but the poorest were completely alone. In Jane Austen’s Persuasion (1817), the protagonist Anne Elliott meets in Bath an old school-friend, the widowed Mrs Smith. She is impecunious and disabled. Her lodgings consist of two small rooms; and she is ‘unable even to afford herself the comfort of a servant’. Nonetheless, solitary living was not the same as being a recluse. Local gossip networks helped to counter isolation, as Jane Austen well understood. Hence, although socially remote from Bath’s smart visitors, Mrs Smith gets all the up-to-date news ‘through the short cut of a laundress and a waiter’.³As a result, Anne Elliott is surprised to discover how much information about herself and her family is already known to her old friend.

Lady Hester Stanhope was utterly different. Lively, charming, and wealthy, she was the daughter of the 3^rd Earl Stanhope and, in her late twenties (1803-6) acted as political hostess for her uncle Prime Minister William Pitt the Younger. Her social elevation and experience of life at the heart of government gave her immense self-confidence. But Pitt’s death in 1806 left her looking for a role.

In retrospect, Stanhope’s subsequent adventures indicate something of the social plight – or, put more positively, the challenges – facing talented and spirited upper class women, who did not wish (or manage) to marry or to go into business. There were plenty of female commercial entrepreneurs, usually of ‘middling’ social origins.⁴And there was a positive ‘femocracy’ of high-born women who pulled the political strings behind the scenes.⁵But these were generally married ladies, hosting salons and gatherings for their particular party affiliation, under the ‘shelter’ of their husband’s rank and wealth. The options were much more limited for a single aristocratic female, albeit one with a modest state pension granted after the death of Pitt (at his request). In 1810 Stanhope began to travel extensively in the Middle East; and she never returned to Britain. Initially, she had a sizeable entourage with her; and she attracted the attention of crowds as she toured. By the end of her life, however, she was running out of money and had become a complete recluse.

During her long self-exile, she did a number of remarkable things. Firstly, she adopted her own version of male oriental dress. She sported a velvet robe, embroidered trousers, soft slippers, a swathed turban. and no veil. So attired, she caused a sensation on her travels. In 1813, crowds gathered to see the ‘Queen of the Desert’ as she rode triumphantly on horseback into the remote and beautiful city of Palmyra, having crossed the territory of potentially hostile Bedouins. That moment was, for her, one of intense joy. Her garb and demeanour signalled that she had cut herself off from her previous life; and, even more pointedly, that she rejected any submissive female role, whether in the occident or orient. She was visibly her own person. Indeed, she was a grand personage, meeting local power brokers and Ottoman officials as a potentate in her own right.

A second notable initiative happened in 1815. Stanhope at the age of 39 broke new ground in terms of female self-employment – literally, when she tried some pioneering archaeology.⁶She won permission from the Turkish authorities to excavate the ancient port of Ashkelon, north of Gaza. There were disputes, both then and later, about the outcomes of this search for fabled treasure. But Stanhope’s method of basing dirt-archaeology upon documentary evidence from medieval manuscripts showed that she was not attempting a random smash-and-grab raid. But, either way, it was not an adventure that she ever repeated.

Instead, it was a moment of religious revelation which constituted Stanhope’s third claim to fame – and which governed her behaviour for the rest of her life. At some stage c.1815 she was told by Christian sooth-sayers that she would become the bride of the Messiah, whose return to Earth was imminently due. Nothing could be more aptly dramatic. Stanhope accepted her destiny; and settled down to wait. She found two noble and distinctive horses, which were carefully tended for years, awaiting the moment when the returned Messiah and his bride would ride forth to judge the world at the Second Coming.

Excited prophecies of the End of the World can be found in any era,⁷and were particularly rampant in Europe in the febrile aftermath of the French Revolution and the prolonged Napoleonic wars. At different times, individuals have claimed to be the returned Messiah – or to be closely connected with such a figure – or to know the exact date of the Second Coming. In the Christian tradition, it is rare for women to claim divinity or near-divinity on their own account. However, in 1814 Joanna Southcott, aged 64, announced that she was pregnant with the new Messiah and, briefly, attracted a large following, until she died of a stomach tumour, without producing the miraculous child. During her lifetime, she had instituted her own church, with a male minister to officiate at the services. And the Southcottian movement has survived as a small sect, with numerous twists and turns in its fortunes, into the twenty-first century.⁸

By contrast, Lady Hester Stanhope’s vision remained an individual destiny. Visitors approached her in her Lebanese retreat, impressed by her magus-like reputation. But Stanhope did not attempt to found a church or a supporting movement. Instead, she settled in to wait patiently. That response is a not uncommon one when a divine revelation is not immediately realised. True believers keep faith. It is the timing, not the vision, which is inaccurate. So the answer is to wait, which is what Stanhope indomitably did. Living initially in first one and then another disused monastery, she retreated eventually to a conical hill-top site with panoramic views at Joun, eight miles (13k) inland from Sidon. There she lived as the de facto local magnate. She was accepted within the religious mix of Muslim, Christian and Druze communities that has long characterised the Lebanon; and she tried to protect the Druze from persecution on grounds of their distinctive blend of Islam, gnosticism and neo-platonism. Doctrinal rigidity was very far from her personal mindset.

Only with time did Stanhope become a real recluse. By the mid-1830s, her original English companions had either died or returned home. Her funds ran low and she was besieged by creditors. The servants, allegedly, began to steal her possessions. Lady Hester Stanhope received her few last visitors after dark, refusing to let them see more than her face and hands. Reportedly, she suffered from acute depression. The Messiah did not come. Yet there was a sort of glory in her faithfulness. Her life’s trajectory was utterly distinctive, not one that could be emulated by others. Buoyed by sufficient funds, she made an independent life in an initially strange country, far from the political salons of early nineteenth-century London. And she persisted, even when impecunious. Stanhope died in her sleep aged 63, still awaiting her destiny – and having made her own legend.

ENDNOTES

¹ There are many biographies: see e.g. K. Ellis, Star of the Morning: The Extraordinary Life of Lady Hester Stanhope (2008); and a pioneering survey by C.L.W. Powlett, The Life and Letters of Lady Hester Stanhope (1897).

² B. Hill, Women Alone: Spinsters in England, 1660-1850 (2001).

³ J. Austen, Persuasion (1817/18; in Harmondsworth, 1980 edn), pp. 165-7, 200.

⁴ N. Phillips, Women in Business, 1700-1850 (Woodbridge, 2006); H. Barker, Family and Business during the Industrial Revolution (Oxford, 2017).

⁵ E. Chalus, Elite Women in British Political Life, c.1754-90 (Oxford, 2005).

⁶ For a sympathetic account, see https://womeninarchaeology.com/2016/05/05/lady-hester-lucy-stanhope-the-first-modern-excavator-of-the-holy-land/.

⁷ J.M. Court, Approaching the Apocalypse: A Short History of Christian Millenarianism (2008); C. Wessinger (ed.), The Oxford Handbook of Millenialism (Oxford, 2011).

⁸ J.K. Hopkins, A Woman to Deliver her People: Joanna Southcott and English Millenarianism in an Era of Revolution (Austin, Texas, 1982); J.D.M. Derrett, Prophesy in the Cotswolds, 1803-1947 (Shipston-on-Stour, 1994); P.J. Corfield, Power and the Professions in Britain, 1700-1850 (1995; 2000), pp. 106-8. 124, 139; J. Shaw, Octavia, Daughter of God: The Story of a female Messiah and her Followers (2012).

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MONTHLY BLOG 115, THE EIGHTEENTH-CENTURY INVENTION OF TWO NEW SOLITARY OCCUPATIONS

1 July 2020/in History, Monthly Blog/by Penelope J. Corfield

1793 Statue of Ancient British Druid,
Croome Park, Worcestershire

Not only did a few famous eighteenth-century recluses choose solitude (see BLOG no 114, June 2020) but others found that isolation went with the job. Two new occupations called for people with self-contained personalities, who were willing to live and work ‘far from the madding crowd’s ignoble strife’, to cite the evocative words of Thomas Gray (1751).¹

Firstly, there were the light-housekeepers, employed to tend the dramatic new structures being constructed around the British coast to keep shipping safe.² These men and the few women in the business had to be punctilious in sticking to the timetables of the job, and able to keep themselves busy with daily repairs and maintenance. Their lamps needed constant attention, to keep the lenses clean and wicks trimmed. Some keepers brought their families with them – indeed some jobs were handed on from father to son. But their work and lifestyles were unavoidably isolated.

Light-housekeepers, who were expected to keep their eyes open for shipping in distress at sea, sometimes found themselves in danger too. The world’s first sea-girt Eddystone Lighthouse (1698-1703), which was situated on perilous rocks off the Cornish coast, did not last long. Wood-built, it was destroyed in the notorious ‘great storm’ of 1703. Also killed in the cataclysm were Henry Winstanley, its architect who was checking for repairs – and three light-housekeepers. The imperative need for their warning beacon was such that three successor structures have since been built on or near the original site. A second Eddystone (1708-55) burned down in 1755, killing its 94-year-old light-housekeeper. He was looking at the blaze, open-mouthed, when he fatally swallowed a globule of hot lead, dying several days later. (The third Eddystone lasted from 1756-1877, until replaced by the current Victorian edifice, located very close to the original (1878- now).)

Notwithstanding the isolation and occasional dangers, the light-housekeepers stuck devotedly to their roles. They knew that their beaming lamps conveyed messages of hope and support for all seafarers. And the keepers formed part of a coastal watch-guard, which included customs officials and lifeboat crews.

Things were quite otherwise in the case of an entirely new eighteenth-century post for solitary workers. A few wealthy landowners with a taste for re-envisaging the simple life built hermitages in their rolling parklands. And they hoped to employ real individuals to inhabit these properties in a suitable druidic lifestyle. The ideal hermit was a man with an imposing presence, long hair, and a beard. He should have a taste for solitude but equally be willing to remain on view as a living statue.³ But suitable candidates were hard to find. The hermits generally had no tasks other than being – and no close colleagues, being neither part of the estate workforce not part of the employing household. They were intended to be truly lonely, in order to live the role.

In the mid-1740s one resident hermit was established in a specially built Heritage at the aristocrat Charles Hamilton’s lavishly landscaped Painshill Park, near Cobham, Surrey. However, the new recluse lasted three weeks in the job – before absconding. His contract was thereupon cancelled.

But, in other cases, the hermit was asked to play a particular role. At Sir Richard Hill’s Hawkstone Estate, near Market Drayton in Shropshire, visitors in 1784 could ring a special bell and gain admittance to the grotto. There sat a venerable hermit, in front of a table bearing a skull, an hour-glass, and an open book. Conversation was allowed, in which the sage would participate with graceful melancholy.

Elsewhere, however, employers expected hermits to remain silent. One landowner advertised for a recluse who was prepared to take a vow of silence for seven years – and, in the meantime, not to wash – and to let his hair and nails grow unchecked. There was, however, no rush of applicants. Before long, the fashion for employing humans as estate ornaments collapsed.

Already by the mid-eighteenth century, some landowners were experimenting with the use of model or dummy hermits. These were cheaper and much more tractable than living people. One mechanical hermit at Samuel Hellier’s estate at The Wodehouse, near Wombourne in Staffordshire, was reported in the 1770s as being moved (by a hidden servant) in a lifelike manner to delight visitors. Such contrivances showed how landowners tried to entertain the touring guests, who frequently called to view estates and the public rooms of grand houses. An ancient hermit gave an estate the patina of antiquity.

Druid statues, meanwhile, offered an equally visible but managerially easier option. They too alluded to ancient British mythologies; and signalled an intended link with the deep past.⁴ Thus two powerful druidic figures were installed in 1776 to flank the main entrance to the Palladian Penicuik House in Midlothian, Scotland. And in 1793 the owners of Croome Park, near Croome D’Abitot, in south Worcestershire, joined the fashion. Their finely brooding statue of a druid (shown above in 2013 photo) was carved in the new and fashionable Coade stone, which lent itself to expressive designs.⁵

Figures in a landscape were a means of attracting human attention. Only a few had the space and funds for large statues. But miniaturised versions began to become popular in Britain from the 1840s onwards, with the importation from Germany of specially manufactured garden gnomes.⁶ In 1847 Sir Charles Isham imported a batch of these terracotta figures to adorn his garden at Lamport Hall, at Lamport, Northamptonshire. Today one gnome, named Lumpy, still survives on display. He is only an indirect descendant of the eighteenth-century hermits. But the fashion for statues and gnomes shows how people continue to add human images to complement a garden design – long after the real-life human hermits disappeared. To recap: the light-housekeepers accepted their solitude, as it was embraced for a good cause, applauded by all. But a lonely life as someone else’s invented hermit did not prove at all appealing.

ENDNOTES

¹ T. Gray, Elegy Written in a Country Churchyard (1751).

² T. Nancollas, Seashaken Houses: A Lighthouse History, from Eddystone to Fastnet (2018).

³ See the invaluable study by G. Campbell, The Hermit in the Garden: From Imperial Rome to Ornamental Gnome (Oxford, 2014).

⁴ R. Hutton, Blood and Mistletoe: The History of the Druids in Britain (2009).

⁵ A, Kelly, Mrs Coade’s Stone (Upton-upon Severn, 1990).

⁶ T. Way, Garden Gnomes: A History (2009).

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MONTHLY BLOG 114, SELF-ISOLATION EIGHTEENTH-CENTURY STYLE

1 June 2020/in History, Monthly Blog/by Penelope J. Corfield

Fig.1 Engraving (1808) of Lord Rokeby (1713-1800),
a famous eighteenth-century self-isolator,
who looked like a wise old wizard
but whose actual message was obscure.

It’s not original to note that humans are a highly social species. But it’s only now becoming generally appreciated just how damaging a period of prolonged and enforced isolation from others can be. Basically, it’s bad news for both physical and mental health.¹ Of course, some individuals do embrace silence and seek solitude. Maybe for spiritual reasons. Yet such conscious choices, which can be revoked at any time, are very different from enforced solitude, not of an individual’s seeking.

The eighteenth century in Britain provided two quirky individuals who famously created their own isolated lifestyles, cushioned by their private incomes. So what can be learned from their stories? No great revelation of enlightenment emerges. Instead, the two men have been slotted into the history of zany English eccentricity.² They certainly both fitted into that category plausibly enough. Yet do their lifestyles convey some further message for humanity in the early summer of today’s special virus-avoiding Lockdown?

One of these isolates was the well-connected Matthew Robinson, 2^nd Baron Rokeby (1713-1800). He was a landowner, with legal training and literary interests. In his thirties (1747-61), he became MP for Canterbury. There was nothing to suggest his impending eccentricity. Anyhow, at a certain point, he developed a passion for daily immersion in water for hours on end. At first, he walked from his country estate near Hythe (Kent), on the edge of Romney Marsh, to swim in the sea, bathing for hours until he was exhausted and had to be rescued. Then he constructed a private pool in a glass-house attached to his country mansion, which he refused to heat. Again he stayed for hours in the water, refusing company. He got nourishment chiefly from an infusion of beef tea; refused to see doctors; and claimed that he could best worship naturally, in the water and under the stars. Occasional visitors were treated to readings of his lengthy poems.

When Rokeby (rarely) appeared in public, he was taken for a foreigner, on account of his flowing locks and massive beard. Anecdotes circulated about his lifestyle; and prints were engraved (as shown above), to illustrate his hirsute appearance. His younger sister, the highly sociable literary lady and bluestocking Mrs Montagu, wrote sardonically that her brother had become a modern Diogenes: ‘he flies the life of London, and leads a life of such privacy and seriousness as looks to the beholder like wisdom’.³ Ouch. Evidently his nearest and dearest were not impressed. His two younger sisters remained busy and productive: Elizabeth Montagu (1718-1800), later dubbed ‘Queen of the Blues’, and Sarah Scott (1723-95), the novelist and translator, whose Millennium Hall (1763) envisaged a harmonious community of women without men.⁴

For his part, Rokeby wrote and said nothing memorable, despite looking ever more like a wizard in his later years, He did not do anything to foster swimming or sea-bathing. His eccentric pastime remained a purely private matter, which ended only with his peaceful death in bed, unmarried and childless. His estate and the barony passed to a cousin.

What did all it mean? Rokeby’s lifestyle suggests a personal quest for ecological simplicity, before there was an ecological movement to join him or for him to join. He does not seem to have been personally unhappy; or, at any rate, did not announce any disquiet. Yet his story seems at very least to have been one of unrealised talents, particularly when contrasted with his siblings.

A second case of self-isolation was that of John Tallis (1675-1755). As reported in the Gentleman’s Magazine, he stayed in bed for the last 30 years of his life, swathed in coverings and with a peg on his nose, in a darkened, draught-proof room in a country inn at Burcot (Worcestershire).⁵ He saw no-one but a few occasional visitors, impelled by curiosity – and his servants, who replaced his bed annually.

Insofar as he justified his strange lifestyle choice, Tallis claimed, to general bemusement, that his morbid fear of fresh air was triggered by an old beldame’s curse. Evidently, he had sufficient funds to pay for his lodging and minimal keep. And no family intervened to try to change his mind. Throughout, Tallis declined to seek medical or even spiritual help for what seemed to be a prolonged and debilitating physical and/or psychological malady.

By the end of his life, he was becoming classed among the ranks of great British eccentrics. His sad tale probably provided the inspiration for William Wordsworth’s later ballad The True Story of Goody Blake and Harry Gill (1798). That jingling poem recounted a malediction directed at a wealthy but hard-hearted farmer, who had no compassion for a poor old woman gleaning in his hedgerow.⁶ His penalty for an icy heart was then to lie abed, forever chilled:

Oh! what’s the matter? what’s the matter?
What is’t that ails young Harry Gill?
That evermore his teeth they chatter,
Chatter, chatter, chatter still.
Of waistcoats Harry has no lack,
Good duffle grey, and flannel fine;
He has a blanket on his back,
And coats enough to smother nine.

Wordsworth’s imaginative evocation was much more vivid than anything communicated by Tallis, who gave no further explanation of his condition. The poet’s moral was that a flinty heart brought its own penalty. Property-owners should not begrudge the poor who gleaned in the fields and hedgerows, Wordsworth concluded pointedly.⁷

Tallis’s own inert self-isolation baffled everyone during his lifetime. Such a fatalistic belief in a personal curse already seemed like a relic of a bygone age, if that was indeed his motivation. It may simply have been an excuse for doing what he wanted, although his 30 year bed-rest did not seem very enjoyable. Certainly no witnesses to Tallis’s fate made any move to get him exorcised or the notional curse removed.

However, thanks to the transmuting power of poetry, this eccentric case of self-isolation prompted Wordsworth’s appeal for liberal warm-heartedness. ‘A-bed or up, by night or day;/ His teeth they chatter, chatter still,/ Now think, ye farmers all, I pray,/ Of Goody Blake and Harry Gill’. It’s always open to self-isolates to explain themselves to the wider world. But, if they don’t, then others will have a stab at doing so for them. After all, the moral is that isolates are not actually alone. The human community is watching, trying to detect a message.

ENDNOTES:

¹ K.T. Rowe (ed.), Social Isolation, Participation and Impact upon Mental Health (New York, 2015); R. Fiorella, R. Morese and S. Palermo, Social Isolation: An Interdisciplinary View (2020).

² J. Timbs, English Eccentrics and Eccentricities (1875); E. Sitwell, The English Eccentrics (1933); D. Long, English Country House Eccentrics (Stroud, 2012); S.D. Tucker, Great British Eccentrics (Stroud, 2015).

³ https://en.wikipedia.org/wiki/Matthew_Robinson,_2nd_Baron_Rokeby.

⁴ J. Busse, Mrs Montagu, Queen of the Blues (1928); S.H. Myers, The Bluestocking Circle: Women, Friendship and the Life of the Mind in Eighteenth-Century England (Oxford, 1990).

⁵ Gentleman’s Magazine (March 1753), p. 123.

⁶ J.A. Sharpe, A Fiery and Furious People: A History of Violence in England (2016), pp. 251-2.

⁷ W. Wordsworth, Poetical Works, ed. T. Hutchinson (1920), pp. 536-7.

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MONTHLY BLOG 113, LIGHT FROM THE LAMP OF EXPERIENCE

1 May 2020/in History, Monthly Blog/by Penelope J. Corfield

Fig.1, A hand-held eighteenth-century lantern, its lighted candle providing an immediate pool of light.

‘The Lamp of Experience’ is a marvellous phrase. A lantern throws light. It does not insist dogmatically but instead conveys sufficient illumination for good judgment. ‘Experience’ is also a vital component of the phrase. It implies not just a list of facts from history but also the capacity to cogitate about past events and to learn from them. Moreover, experience can be gleaned not just from each individual’s personal life but from the collective experiences of humanity as a whole.

During the current pandemic, for example, people can learn instructive lessons from comparable past global disasters. Factual histories provide suggestive evidence of what was done, what was not done, and what could have been done better.¹ And imaginative literature allows people to share the range of subjective emotions and reactions which may be triggered by great and unexpected disasters.² It allows for a sort of mental rehearsal. Needless to say, imaginative fiction is not written primarily for utilitarian purposes. And far from all happenings that can be conjectured will actually transpire. (Time Travel provides a pertinent example). Nonetheless, imaginative literature, even when imagining things that are technically impossible, contributes to the stock of human creativity. And thoughts and dreams, as much as deeds and misdeeds, all form part of the human experience.

There is additionally a pleasant irony in on-line references to ‘the Lamp of Experience’. Various web-lists of famous quotations attribute the dictum to Edward Gibbon (1737-94), Britain’s nonpareil historian. The full statement runs as follows: ‘I have but one lamp by which my feet are guided, and that is the lamp of experience. I know of no way of judging the future but by the past’. But that formulation does not accord with Gibbon’s impersonally magisterial and often ironic style. The words are spikier, and more personalised.

In fact, their true author is also credited on the web; and maybe with time the accurate citations will crowd out the error. True, the general observation does not lose its force by being misattributed. Yet credit should go where credit was due. The reference was first made in a celebrated speech by a Virginian planter-turned-lawyer, named Patrick Henry (1736-99).³ He was an exact contemporary of Gibbon. But they differed in their politics. Henry was an American critic of British rule. In 1765, he used his knowledge of legal precedents to argue that the Westminster government’s attempt at imposing the unpopular Stamp Tax upon the American colonists was unconstitutional.⁴

Lawyers, like historians, were accustomed to weighing and pondering evidence before making judgments. In this case, Henry was using the ‘lamp’ of past experience for radical purposes. His arguments, while rejected by Britain, were popular in the American colonies; and in 1776 Henry became the first Governor of Virginia post-Independence. Manifestly, his appeal to experience had not produced universal agreement. As already noted, studying history provides options, not a universal blueprint for what it to be done.

Fig.2 Engraved portrait of the intent figure of Patrick Henry (1736-99), his eye-glasses pushed up onto his lawyer’s wig: a Virginia planter who turned to law and politics, Patrick Henry served as first and also sixth post-colonial Governor of the State of Virginia.

What, then, is the appeal and power of the past? The truth is that Henry’s dictum, while evocative, does not go nearly far enough. Experience/history provides much, much more than a pool of light. It provides the entire bedrock of existence. Everything comes from the past. Everyone learns from the past. The cosmos, global biology, languages, thought-systems, the stock of knowledge, diseases, human existence … arrive in the present from the past.⁵

All that is because Time is unidirectional. Humans live in the present but have to rely upon the collective databank of past human experience. That great resource is not just a lamp, sending out a single beam. Instead, collective experience provides the entire context and content of surviving successfully in Time. All humans, as living histories, are part of the process, and contribute their personal quota. The better, fuller and more accurate is that collective knowledge, the better the long-term prospects for the species.

Humans in history are restless problem creators. Yet they are also impressive problem solvers. It’s time, not just for renewed human escape from an obvious viral danger, but equally for urgent collective action to halt, and where possible to reverse, the accelerating environmental degradation, which is damaging the global climate and global biodiversity – let alone the global habitat of humans.

Now needed – not just a Lamp but a mental Sunburst, drawing upon experience and transmuting into sustained action. Stirring times! What comes from the past will have a mighty effect on the future. And decisions taken in the present contribute crucially too.
¹ See e.g. M. Honigsbaum, A History of the Great Influenza Pandemics: Death, Panic and Hysteria, 1830-1920 (2013; ppbk 2020)..

² D. Defoe, A Journal of the Plague Year (1722; and many later edns); A. Camus, La Peste (Paris, 1947), in Eng. transl. by S. Gilbert as The Plague (1960).

³ P. Henry, ‘Speech at 2nd Virginia Convention, 23 March 1775’, in L. Copeland and L.W. Lamm (eds), The World’s Great Speeches (New York, 1999), pp. 232-3; T.S. Kidd, Patrick Henry: First among Patriots (New York, 2011).

⁴ P.D.G. Thomas, British Politics and the Stamp Act Crisis: The First Phase of the American Revolution, 1763-9 (Oxford, 1975); E.S. and H.M. Morgan, The Stamp Act Crisis: Prologue to Revolution (1974; 1995).

⁵ P.J. Corfield, ‘All People are Living Histories’ (2007), available on PJC website www.penelopejcorfield.co.uk/essaysonwhatishistory/pdf1

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MONTHLY BLOG 103, WHO KNOWS THESE HISTORY GRADUATES BEFORE THE CAMERAS AND MIKES IN TODAY’S MASS MEDIA?

1 July 2019/in History, Monthly Blog/by Penelope J. Corfield

Responding to the often-asked question, What do History graduates Do? I usually reply, truthfully, that they gain employment in an immense range of occupations. But this time I’ve decided to name a popular field and to cite some high-profile cases, to give specificity to my answer. The context is the labour-intensive world of the mass media. It is no surprise to find that numerous History graduates find jobs in TV and radio. They are familiar with a big subject of universal interest – the human past – which contains something for all audiences. They are simultaneously trained to digest large amounts of disparate information and ideas, before welding them into a show of coherence. And they have specialist expertise in ‘thinking long’. That hallmark perspective buffers them against undue deference to the latest fads or fashions – and indeed buffers them against the slings and arrows of both fame and adversity.

In practice, most History graduates in the mass media start and remain behind-the-scenes. They flourish as managers, programme commissioners, and producers, generally far from the fickle bright lights of public fame. Collectively, they help to steer the evolution of a fast-changing industry, which wields great cultural clout.¹

There’s no one single route into such careers, just as there’s no one ‘standard’ career pattern once there. It’s a highly competitive world. And often, in terms of personpower, a rather traditionalist one. Hence there are current efforts by UK regulators to encourage a wider diversity in terms of ethnic and gender recruiting.² Much depends upon personal initiative, perseverance, and a willingness to start at comparatively lowly levels, generally behind the scenes. It often helps as well to have some hands-on experience – whether in student or community journalism; in film or video; or in creative applications of new social media. But already-know-it-all recruits are not as welcome as those ready and willing to learn on the job.

Generally, there’s a huge surplus of would-be recruits over the number of jobs available. It’s not uncommon for History students (and no doubt many others) to dream, rather hazily, of doing something visibly ‘big’ on TV or radio. However, front-line media jobs in the public eye are much more difficult than they might seem. They require a temperament that is at once super-alert, good-humoured, sensitive to others, and quick to respond to immediate issues – and yet is simultaneously cool under fire, not easily sidetracked, not easily hoodwinked, and implacably immune from displays of personal pique and ego-grandstanding. Not an everyday combination.

It’s also essential for media stars to have a thick skin to cope with criticism. The immediacy of TV and radio creates the illusion that individual broadcasters are personally ‘known’ to the public, who therefore feel free to commend/challenge/complain with unbuttoned intensity.

Those impressive History graduates who appear regularly before the cameras and mikes are therefore a distinctly rare breed.³ (The discussion here refers to media presenters in regular employment, not to the small number of academic stars who script and present programmes while retaining full-time academic jobs – who constitute a different sort of rare breed).

Celebrated exemplars among History graduates include the TV news journalists and media personalities Kirsty Wark (b.1955) and Laura Kuenssberg (b.1976)., who are both graduates of Edinburgh University. Both have had public accolades – Wark was elected as Fellow of the Royal Society of Edinburgh in 2017 – and both face much criticism. Kuenssberg in particular, as the BBC’s first woman political editor, is walking her way warily but effectively through the Gothic-melodrama-cum-Greek-tragedy-cum-high-farce, known as Brexit.

In a different sector of the media world, the polymathic TV and radio presenter, actor, film critic and chat-show host Jonathan Ross (b.1960) is another History graduate. He began his media career young, as a child in a TV advertisement for a breakfast cereal. (His mother, an actor, put him forward for the role). Then, having studied Modern European History at London University’s School of Slavonic & Eastern European Studies, Ross worked as a TV programme researcher behind the scenes, before eventually fronting the shows. Among his varied output, he’s written a book entitled Why Do I Say These Things? (2008). This title for his stream of reminiscences highlights the tensions involved in being a ‘media personality’. On the one hand, there’s the need to keep stoking the fires of fame; but, on the other, there’s an ever-present risk of going too far and alienating public opinion.

Similar tensions accompany the careers of two further History graduates, who are famed as sports journalists. The strain of never making a public slip must be enormous. John Inverdale (b.1957), a Southampton History graduate, and Nicky Campbell (b.1961), ditto from Aberdeen, have to cope not only with the immediacy of the sporting moment but also with the passion of the fans. After a number of years, Inverdale racked up a number of gaffes. Some were unfortunate. None fatal. Nonetheless, readers of the Daily Telegraph in August 2016 were asked rhetorically, and obviously inaccurately: ‘Why Does Everyone Hate John Inverdale?’⁴ That sort of over-the top response indicates the pressures of life in the public eye.

Alongside his career in media, meanwhile, Nicky Campbell used his research skills to study the story of his own adoption. His book Blue-Eyed Son (2011)⁵ sensitively traced his extended family roots among both Protestant and Catholic communities in Ireland. His current role as a patron of the British Association for Adoption and Fostering welds this personal experience into a public role.

The final exemplar cited here is one of the most notable pioneers among women TV broadcasters. Baroness Joan Bakewell (b.1933) has had what she describes as a ‘rackety’ career. She studied first Economics and then History at Cambridge. After that, she experienced periods of considerable TV fame followed by the complete reverse, in her ‘wilderness years’.⁶ Yet her media skills, her stubborn persistence, and her resistance to being publicly patronised for her good looks in the 1960s, have given Bakewell media longevity. She is not afraid of voicing her views, for example in 2008 criticising the absence of older women on British TV. In her own maturity, she can now enjoy media profiles such as that in 2019 which explains: ‘Why We Love Joan Bakewell’.⁷ No doubt, she takes the commendations with the same pinch of salt as she took being written off in her ‘wilderness years’.

Bakewell is also known as an author; and for her commitment to civic engagement. In 2011 she was elevated to the House of Lords as a Labour peer. And in 2014 she became President of Birkbeck College, London. In that capacity, she stresses the value – indeed the necessity – of studying History. Her public lecture on the importance of this subject urged, in timely fashion, that: ‘The spirit of enquiring, of evidence-based analysis, is demanding to be heard.’⁸

What do these History graduates in front of the cameras and mikes have in common? Their multifarious roles as journalists, presenters and cultural lodestars indicate that there’s no straightforward pathway to media success. These multi-skilled individuals work hard for their fame and fortunes, concealing the slog behind an outer show of relaxed affability. They’ve also learned to live with the relentless public eagerness to enquire into every aspect of their lives, from health to salaries, and then to criticise the same. Yet it may be speculated that their early immersion in the study of History has stood them in good stead. As already noted, they are trained in ‘thinking long’. And they are using that great art to ‘play things long’ in career terms as well. As already noted, multi-skilled History graduates work in a remarkable variety of fields. And, among them, some striking stars appear regularly in every household across the country, courtesy of today’s mass media.

ENDNOTES:

¹ O. Bennett, A History of the Mass Media (1987); P.J. Fourtie, (ed.), Media Studies, Vol. 1: Media History, Media and Society (2^nd edn., Cape Town, 2007); G. Rodman, Mass Media in a Changing World: History, Industry, Controversy (New York, 2008); .

² See Ofcom Report on Diversity and Equal Opportunities in Television (2018): https://www.ofcom.org.uk/__data/assets/pdf_file/0021/121683/diversity-in-TV-2018-report.PDF

³ Information from diverse sources, including esp. the invaluable survey by D. Nicholls, The Employment of History Graduates: A Report for the Higher Education Authority … (2005): https://www.heacademy.ac.uk/system/files/resources/employment_of_history_students_0.pdf; and short summary by D. Nicholls, ‘Famous History Graduates’, History Today, 52/8 (2002), pp. 49-51.

⁴ See https://www.telegraph.co.uk/olympics/2016/08/15/why-does-everyone-hate-john-inverdale?

⁵ N. Campbell, Blue-Eyed Son: The Story of an Adoption (2011).

⁶ J. Bakewell, interviewed by S. Moss, in The Guardian, 4 April 2010: https://www.theguardian.com/lifeandstyle/2010/apr/04/joan-bakewell-harold-pinter-crumpet

⁷ https://www.bbc.co.uk/programmes/articles/1xZlS9nh3fxNMPm5h3DZjhs/why-we-love-joan-bakewell.

⁸ J. Bakewell, ‘Why History Matters: The Eric Hobsbawm Lecture’ (2014): http://joanbakewell.com/history.html.

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MONTHLY BLOG 101, ARE YOU A LUMPER OR SPLITTER? HOW WELL DO YOU KNOW YOUR OWN CAST OF MIND?

1 May 2019/in History, Monthly Blog/by Penelope J. Corfield

If citing, please kindly acknowledge copyright © Penelope J. Corfield (2019)
The terminology, derived from Charles Darwin,¹ is hardly elegant. Yet it highlights rival polarities in the intellectual cast of mind. ‘Lumpers’ seek to assemble fragments of knowledge into one big picture, while ‘splitters’ see instead complication upon complications. An earlier permutation of that dichotomy was popularised by Isaiah Berlin. In The Hedgehog and the Fox (1953), he distinguished between brainy foxes, who know many things, and intellectual hedgehogs, who apparently know one big thing.²

These animalian embodiments of modes of thought are derived from a fragmentary dictum from the classical Greek poet Archilochus; and they remain more fanciful than convincing. It’s not self-evident that a hedgehog’s mentality is really so overwhelmingly single-minded.³ Nor is it clear that the reverse syndrome applies particularly to foxes, which have a reputation for craft and guile.⁴ To make his point with reference to human thinkers, Berlin instanced the Russian novelist Leo Tolstoy as a classic ‘hedgehog’. Really? The small and prickly hedgehog hardly seems a good proxy for a grandly sweeping thinker like Tolstoy.

Those objections to Berlin’s categories, incidentally, are good examples of hostile ‘splitting’. They quibble and contradict. Sweeping generalisations are rejected. Such objections recall a dictum in a Poul Anderson sci-fi novella, when one character states gravely that: ‘I have yet to see any problem, which, when you looked at it in the right way, did not become still more complicated’.⁵

Arguments between aggregators/generalisers and disaggregators/sceptics, which occur in many subjects, have been particularly high-profile among historians. The lumping/splitting dichotomy was recycled in 1975 by the American J.H. Hexter.⁶ He accused the Marxist Christopher Hill not only of ‘lumping’ but, even worse, of deploying historical evidence selectively, to bolster a partisan interpretation. Hill replied relatively tersely.⁷ He rejected the charge that he did not play fair with the sources. But he proudly accepted that, through his research, he sought to find and explain meanings in history. The polarities of lumping/splitting were plain for all to see.

Historical ‘lumpers’ argue that all analysis depends upon some degree of sorting/processing/generalising, applied to disparate information. Merely itemising date after date, or fact after fact ad infinitum, would not tell anyone anything. On those dreadful occasions when lecturers do actually proceed by listing minute details one by one (for example, going through events year by year), the audience’s frustration very quickly becomes apparent.

So ‘lumpers’ like big broad interpretations. And they tend to write big bold studies, with clear long-term trends. Karl Marx’s panoramic brief survey of world history in nine pages in The Communist Manifesto was a classic piece of ‘lumping’.⁸ In the twentieth century, the British Marxist historian E.P. Thompson was another ‘lumper’ who sought the big picture, although he could be a combative ‘splitter’ about the faults of others.⁹

‘Splitters’ conversely point out that, if there were big broad-brush interpretations that were reliably apparent, they would have been discovered and accepted by now. However, the continual debates between historians in every generation indicate that grand generalisations are continually being attacked. The progression of the subject relies upon a healthy dose of disaggregation alongside aggregation. ‘Splitters’ therefore produce accounts of rich detail, complications, diversities, propounding singular rather than universal meanings, and stressing contingency over grand trends.

Sometimes critics of historical generalisations are too angry and acerbic. They can thus appear too negative and destructive. However, one of the twentieth-century historians’ most impressive splitters was socially a witty and genial man. Intellectually, however, F.J. ‘Jack’ Fisher was widely feared for his razor-sharp and trenchant demolitions of any given historical analysis. Indeed, his super-critical cast of mind had the effect of limiting his own written output to a handful of brilliant interpretative essays rather than a ‘big book’.¹⁰ (Fisher was my research supervisor. His most caustic remark to me came after reading a draft chapter: ‘There is nothing wrong with this, other than a female desire to tell all and an Oxbridge desire to tell it chronologically.’ Ouch! Fisher was not anti-woman, although he was critical of Oxbridge where I’d taken my first degree. But he used this formulation to grab my attention – and it certainly did).

Among research historians today, the temperamental/intellectual cast of mind often inclines them to ‘splitting’, partly because there are many simplistic generalisations about history in public circulation which call out for contradiction or complication. Of course, the precise distribution around the norm remains unknown. These days, I would guestimate that the profession would divide into roughly 45% ‘lumpers’, seeking big grand overviews, and 55% ‘splitters’, stressing detail, diversity, contingency. The classification, however, does depend partly on the occasion and type of output, since single-person expositions on TV and radio encourage generalisations, while round-tables and panels thrive on disagreement where splitters can come into their own.

Moreover, there are not only personal variations, depending upon circumstance, but also major oscillations in intellectual fashions within the discipline. In the later twentieth century, for example, there was a growing, though not universal, suspicion of so-called Grand Narratives (big through-time interpretations).¹¹ The high tide of the sceptical trend known as ‘revisionism’ challenged many old generalisations and easy assumptions. Revisionists did not constitute one single school of thought. Many did favour conservative interpretations of history, but, as remains apparent today, there was and is more than one form of conservatism. That said, revisionists were generally agreed in rejecting both left-wing Marxist conflict models of revolutionary change via class struggles and liberal Whiggish linear models of evolving Progress via spreading education, constitutional rights and so forth.¹²

Yet the alignments were never simple (a splitterish comment from myself). Thus J.H. Hexter was a ‘splitter’ when confronting Marxists like Hill. But he was a ‘lumper’ when propounding his own Whig view of history as a process of evolving Freedom. So Hexter’s later strictures on revisionism were as fierce as was his earlier critique of Hill.¹³

Ideally, most research historians probably seek to find a judicious balance between ‘lumping’/‘splitting’. There is scope both for generalisations and for qualifications. After all, there is diversity within the human experience and within the cosmos. Yet there are also common themes, deep patterns, and detectable trends.

Ultimately, however, the dichotomous choice between either ‘lumping’ or ‘splitting’ is a completely false option, when pursued to its limits. Human thought, in all the disciplines, depends upon a continuous process of building/qualifying/pulling down/rebuilding/requalifying/ and so on, endlessly. With both detailed qualifications and with generalisations. An analysis built upon And+And+And+And+And would become too airy and generalised to have realistic meaning. Just as a formulation based upon But+But+But+But+But would keep negating its own negations. So, yes. Individually, it’s worth thinking about one’s own cast of mind and intellectual inclinations. (I personally enjoy both lumping and splitting, including criticising various outworn terminologies for historical periodisation).¹⁴ Furthermore, self-knowledge allows personal scope to make auto-adjustments, if deemed desirable. And then, better still, to weld the best features of ‘lumping’ and ‘splitting’ into original thought. And+But+And+Eureka.

ENDNOTES:

¹ Charles Darwin in a letter dated August 1857: ‘It is good to have hair-splitters and lumpers’: see Darwin Correspondence Letter 2130 in https://www.darwinproject.ac.uk/.

² I. Berlin, The Hedgehog and the Fox: An Essay on Tolstoy’s View of History (1953).

³ For hedgehogs, now an endangered species, see S. Coulthard, The Hedgehog Handbook (2018). If the species were to have one big message for humans today, it would no doubt be: ‘Stop destroying our habitat and support the Hedgehog Preservation Society’.

⁴ M. Berman, Fox Tales and Folklore (2002).

⁵ From P. Anderson, Call Me Joe (1957).

⁶ J.H. Hexter, ‘The Burden of Proof: The Historical Method of Christopher Hill’, Times Literary Supplement, 25 Oct. 1975, repr. in J.H. Hexter, On Historians: Reappraisals of Some of the Makers of Modern History (1979), pp. 227-51.

⁷ For Hill’s rebuttal, see The Times Literary Supplement, 7 Nov. 1975, p. 1333.

⁸ K. Marx and F. Engels, The Manifesto of the Communist Party (1848), Section I: ‘Bourgeois and Proletarians’, in D. McLennan (ed.), Karl Marx: Selected Writings (Oxford, 1977), pp. 222-31.

⁹ Among many overviews, see e.g. C. Efstathiou, E.P. Thompson: A Twentieth-Century Romantic (2015); P.J. Corfield, E.P. Thompson, Historian: An Appreciation (1993; 2018), in PJC website http://www.penelopejcorfield.co.uk/PDF’s/CorfieldPdf45.

¹⁰ See P.J. Corfield, F.J. Fisher (1908-88) and the Dialectic of Economic History (1990; 2018), in PJC website http://www.penelopejcorfield.co.uk/PDF’s/CorfieldPdf46.

¹¹ See esp. J-F. Lyotard, The Postmodern Condition: A Report on Knowledge (Paris, 1979; in Eng. transl. 1984), p. 7, which detected ‘an incredulity toward meta-narratives’; and further discussions in G.K. Browning, Lyotard and the End of Grand Narratives (Cardiff, 2000); and A Munslow, Narrative and History (2018). Earlier Lawrence Stone, a classic historian ‘lumper’, had detected a return to narrative styles of exposition: see L. Stone, ‘The Revival of Narrative: Reflections on a New Old History’, Past & Present, 85 (1979), pp. 3-24. But in this essay Stone was detecting a decline in social-scientific styles of History-writing – not a return to old-style Grand Narratives.

¹² Revisionism is sufficiently variegated to have avoided summary within one big study. But different debates are surveyed in L. Labedz (ed.), Revisionism: Essays on the History of Marxist Ideas (1962); J.M. Maddox, Hiroshima in History: The Myths of Revisionism (1974; 2011); L. Brenner, The Iron Wall: Zionist Revisionism from Jabotinsky to Shamir (1984); E. Longley, The Living Stream: Literature and Revisionism in Ireland (Newcastle upon Tyne, 1994); and M. Haynes and J. Wolfreys (eds), History and Revolution: Refuting Revisionism (2007).

¹³ J.H. Hexter (1910-96) founded in 1986 the Center for the History of Freedom at Washington University, USA, where he was Professor of the History of Freedom, and launched The Making of Modern Freedom series. For his views on revisionism, see J.H. Hexter, ‘Historiographical Perspectives: The Early Stuarts and Parliaments – Old Hat and the Nouvelle Vague’, Parliamentary History, 1 (1982), pp. 181-215; and analysis in W.H. Dray, ‘J.H. Hexter, Neo-Whiggism and Early Stuart Historiography’, History & Theory, 26 (1987), pp. 133-49.

¹⁴ See e.g. P.J. Corfield, ‘Primevalism: Saluting a Renamed Prehistory’, in A. Baysal, E.L. Baysal and S. Souvatzi (eds), Time and History in Prehistory (2019), pp. 265-82; and P.J. Corfield, ‘POST-Medievalism/ Modernity/ Postmodernity?’ Rethinking History, 14 (2010), pp. 379-404; also on http://www.penelopejcorfield.co.uk/PDF’s/CorfieldPdf20.

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MONTHLY BLOG 101, ARE YOU A LUMPER OR SPLITTER? HOW WELL DO YOU KNOW YOUR OWN CAST OF MIND?

Penelope J. Corfield

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