- Museum number
A satirical pamphlet attacking radical authors, journalists and publishers entitled: 'The Men in the Moon: or, the Devil to Pay; with Thirteen Cuts.' Lettered beneath the title with a quotation:
“High o’er their heads the threat’ning Eagle flies, To hurl the vengeful thunders of the skies.”
1. The frontispiece illustration, BM Satires 13635, is a counter-blast to 'The Man in the Moon.' BM Satires No. 13508, &c.,1865, 1111,404-13, by the author of BM Satires No. 13624, &c. A white disk on a dark ground surrounded by clouds represents the moon. Above it hovers an eagle clutching thunderbolts. The woodcuts, initialled by George Cruikshank, are BM Satires Nos. 13636-47. (Reid, Nos. 3023-34.)
2. BM Satires 13636. 'The agents of Satan.' A demon stands at a table holding a trident, with his followers; all place one hand on the table, the legs of which are formed of bones and skulls. On the Devil's right is Cobbett holding a flag inscribed 'Weekly Register'; on his left is Hunt, with a flag inscribed 'Reform'. At the ends of the table are Wooler (left), standing on a stool, and Carlile (right) with a paper inscribed 'Deist' in his pocket (see BM Satires No. 13274). The flag of the former is inscribed 'Black Dwarf' [With reference to Wooler’s satirical publication see BM Satires No. 12982, &c.], of the latter 'Republican' [the paper published by Carlile from 1819 to 1826]. Every flag-staff is surmounted by a cap of Liberty (as at Hunt's meetings). Behind are flames; on the ground (right) are crab-like monsters, and above them all towers a gigantic Devil. All agree to: 'shake Hell's Scorpions o'er the peaceful land'.
3. BM Satires, 13637, 'Physic for Rogues.' A little demon with a trident sits on a gibbet, beside which are stocks, shackles, and a whipping-post with birch-rod and scourge, topped by a fool's cap.
4. BM Satires 13638, 'The Lord of the Faithless.' Satan, supported on wings, clutches Byron's shoulder, whispering in his ear and pointing to a distant gibbet surrounded by carrion birds. Byron, wearing a cloak, starts in horrified surprise; one foot, a cloven hoof, rests on an open book on which are an anchor and the word 'Revelation'. The Devil informs Byron that his 'crew' 'Have fram'd, | a Resolution, | Swearing to 'overthrow' | The Constitution; . . .'. The venom with which Byron attacked Castlereagh and the contempt with which he wrote of the Regent seemed to align him with the Radicals. See Fuess, 'Byron as a Satirist in Verse', 1912, and BM Satires Nos. 13330, 14496.
5 BM Satires 13639, [Tail-piece to] 'His Lordship's reply.' A cross, inscribed 'IHS' and irradiated, is enclosed in a circle formed of a serpent, symbolising Eternity (like the printing-press in Radical tracts, cf. BM Satires No. 13518).
6. BM Satires 13640. 'Erin's pocket Apollo.' Thomas Moore, dressed as an Irish peasant, with a bludgeon under his arm, holds up a clumsy lyre. A basket of ballads is on his arm; inscriptions: 'Lovely Molly'; 'Smiling Betty'; 'Ruddy Sally'; 'Burning Kisses'. At his feet is a bag: '2d Post Bag'. Beside him squats a demon clutching his calf and slipping round his foot a noose of rope. In the background is a gibbet. He is blamed for '"fudges" and "post-bags", And scurrilous "rhymes"'.—and 'motions . . . "hostile" to ENGLAND'S THRONE'. Moore's 'The Twopenny Post-Bag', 1813, and 'The Fudge Family in Paris', 1818, attacked the Regent and Ministers. See vol. ix, pp. xx-xxii.
7. BM Satires 13641. 'The Changeling Lover.' Moore, as a fat Cupid, flies above a flaming heart supported on a tripod; he aims his arrow at a winged heart (right) from which projects a weathercock.
8. BM Satires 13642, 'The Botley showman.' Cobbett, as a peep-show man holding a trumpet, bawls 'Walk up! Ladies and Gentlemen. Only one penny!' His peep-show is a box on trestles, surmounted by a skull and cross-bones; a picture of a hog inscribed 'Hampshire Bred' (cf. BM Satires No. 13563), and a flag inscribed 'How to Raise the Wind'. An old countrywoman stoops to peer in (to see Tom Paine's bones). A farm worker in a smock with a little boy holding a goose by the neck gape in terror (right). Behind Cobbett stands the Devil (left), playing a box-organ slung from his neck and grinning at his protégé. For Cobbett and Tom Paine's bones see BM Satires Nos. 13283, &c., 13525, &c. Cobbett was making various attempts to raise money, including the sale of rings containing Paine's (alleged) hair. E. I. Carlyle, 'William Cobbett', 1904, p. 214. He was also advertising 'Cobbett's Fund for Reform', with a collecting-box at the office of Cobbett's 'Evening Post' (see BM Satires No. 13540): 'I propose to you [Reformers] to raise a Fund [£5,000] for furthering the cause of Reform in a way such as my discretion shall point out, ... to be used solely by me, of course, without the check or controul of any-body; and without any one ever having a right to ask me what I am going to do with it.' 'Pol. Reg.', 6 Jan. 1820. On the dissolution of Parliament he proposed to use the money for his election expenses at Coventry (see BM Satires Nos. 13708, 14039).
9. BM Satires 13643, 'The road to radical reform.' Cobbett sits in a cart, praying, and exhorted by a parson, on the way to execution. The Devil (right) walks behind with a neat coffin strapped to his back. The gibbet is on a mound (left).
10. BM Satires 13644, 'A printer and his devil restrained.' Hone described as, 'the blasphemer, of infamous fame', tied to a whipping-post, with a demon standing beside him, is scourged by Castlereagh, while Sidmouth and Canning watch approvingly. For Hone's trials for seditious blasphemy see BM Satires no. 12899, &c. Cf. BM Satires No. 13200. See also BM Satires No. 14150.
11. BM Satires 13645, 'A pugilisti-political contest.' Hunt and Castlereagh are stripped to the waist; Hunt lies on the ground exhausted, held up by his second, Cobbett, while his bottle-holder, the Devil, puts a bottle to his mouth. Castlereagh, very alert, sits on the knee of his second, Canning; his bottle-holder, Sidmouth, triumphantly holds out his watch to Hunt. Hunt, called to time, gave in after the passing of 'the New Laws', see BM Satires No. 13504, &c. There is an allusion to the 'white feather' dispute with Morley, see BM Satires No. 12866.
12. BM Satires 13646, 'The death of the political hydra.' A scaly monster with eight heads, shackled to the ground, collapses under the attacks of Sidmouth, Canning, and (inconsistently) the Devil, all using tridents, while Castlereagh raises an axe for the finishing stroke. The heads are Cobbett (uppermost), Hunt, Burdett, Hobhouse, Carlile, Wooler (in the persona of: the 'Black Dwarf’), and (?) Thelwall and Hone. Like BM Satires No. 13645, a justification of the Six Acts: the monster is vanquished because Castlereagh and Canning 'So indited [sic] sound laws/ For "England's cause'.
13. BM Satires 13647. 'Huzza! Huzza!! Huzza!!!' Tail-piece. 'The body of the hydra', see BM Satires No. 13646, is burned; the heads are blazing at the foot of a gibbet round which the monster's tail is coiled and nailed. The heads, only five being characterized, wear bonnets-rouges. A farm worker (?) stirs up the fire with a pitchfork, while the Attorney-General (left) (Gifford) waves his wig in triumph. The Regent stands on the right surrounded by Sidmouth, Canning, Wellington, and Castlereagh; all five raise their hats exultantly.
At the foot of the page: “Dean and Munday, Printers, Threadneedle-street."
c. January-February 1820
Wood-engraved illustrations to a letterpress pamphlet
- Production date
Height: 216 millimetres (approx. page size)
Width: 141 millimetres (approx. page size)
- Curator's comments
- (Description from M.Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', X, 1952).
Bound as part of 'Political Tracts Volume 6.' Number 6 of 10 volumes of 'Political Tracts' Published circa 1819-1822. The pro-government and anti-radical tone of this volume’s content contrasts with the pamphlets in the earlier volumes which often satirise George IV, his court and his ministers.
According to M. Dorothy George, BM Satires 13636-47 are initialled by George Cruikshank and Reid and Cohn attribute all illustrations to him. However, Cruikshank was still collaborating closely with William Hone, who is harshly attacked in this pamphlet, circa 1819-20. Meanwhile, the strong critique and inversion of his own illustrations for 'The Man in the Moon.' also call the attribution, or the circumstances of the commission, into question.
- Not on display
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- Prints and Drawings
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