Source image:Â http://digital.library.mcgill.ca/napoleon/search/printsdetail.php?ID=1052&doctype=Prints&sitelanguage=english
‘General Frost shaving Little Boney’ (December 1,Â 1812) is very grim in its humour. Bonaparte begs, Â but in vain, Â for pity: ‘Pray Brother General, have Mercy. Don’t overwhelm me with your hoary element. You have so nipped me, that my very teeth chatter. O dearâ€”I am quite chop fallen.’ But the unrelenting and unpitying Frost replies, ‘Invade my Country, indeed! I’ll shave, freeze, and bury you in snow, you little Monkey.’
Source:Â Ashton, J (1884).Â English Caricature and satire on Napoleon I. London: Chatto & Windus.
(Internet Archive:Â https://archive.org/details/englishcaricatur02ashtiala)
The same sequence I had earlier discovered via Saville’s excellent caricature website has been discovered by Doug Wheeler at Superitch too. Here he concentrates on the racist message being conveyed but again it the sequential panelling I focussed on.
Original article here:Â http://superitch.com/?p=43407
I have changed contrast on images in an attempt to clarify the text. I also have larger jpeg versions now so can work out the narrative.
The narrative is sequential in that Johnny takes part in a logical progression of activities culminating in his marriage to the plantation owner’s beautiful daughter after a variety of idle and lascivious ‘adventures’. There are no linking actions in a filmic sense but then as this 1812 the whole idea of photography and cinema did not exist the nearest would have been sequences in magic lanterns which tended to be (like Hogarth) separate entities. What significant here is the panels being displayed as a sequence in one frame. This something I will look at in more detail Â in the paper. If one compares to popular broadside imagery and text then it is a step forward. It is also close to Hone and Cruikshank’s ‘The Queen’s Matrimonial Ladder’ toy of 1819 for a full pamphlet of 1820 (Source: p.70 James, L. (1976) English Popular Literature 1819-1851. (see below) for more detail see The Print Shop Window Archive including original photos of Hone’s ‘toy’.
here :Â http://printshopwindow.blogspot.co.uk/2012/05/george-cruikshank-william-hone-queens.html
I am indebted to Superitch which has proved to be an excellent stateside resource which challenges most of the prevailing Stateside views of comic history.
These sequential panels by Seymour are especially interesting in relation to the pre Dickens/Victoria mid 1830s. In it Seymour depicts the unrest which affected London and the wider country, Â including here in Â Nottingham in 1831 post Reform Bill.
Again the question of a ‘continuing character’ seems not to apply and the titling does not seem to cohere into a complete sequential narrative but it damn close …As for Seymour’s radical politics they seem proven here and it interesting that just six years later the ‘radical’ Seymour was dead and the ‘Liberal’ Dickens was set to thrive as the conscience of a rising literate bourgeoisie fueled by cheap labour, imports and new technology…..sound familiar? Daumier would have understood completely…
This is an undercurrent I shall return to.
Panel 2 captions are fascinating in light of what about to occur in terms of expansion of the railway….the means whereby Dickens and Pickwick papers began its technological dissemination and promoted his ‘fame.
Large central figure, speaking to his dog:Â â€œWhat the Devil is the matter with us? Can you tell Trusty?â€
Dog:Â â€œNo my good Master John. You like myself Seem to be getting worse and worse. I have a chance of a chance should the Steam Carriage come into vogue, But I see nothing for you except you can descend to live as I do.â€
This is the official website for the conference which handily is blocked from within Nottingham Trent University 🙂