A Parody On The Political House That Jack Built Or The Real House That Jack Built

Conservatism was born as an anguished attack on democracy. So argues Don Herzog in this arrestingly detailed exploration of England's responses to the French Revolution. Poisoning the Minds of the Lower Orders ushers the reader into the politically lurid world of Regency England. Deftly weaving social and intellectual history, Herzog brings to life the social practices of the Enlightenment. In circulating libraries and Sunday schools, deferential subjects developed an avid taste for reading; in coffeehouses, alehouses, and debating societies, they boldly dared to argue about politics. Such conservatives as Edmund Burke gaped with horror, fearing that what radicals applauded as the rise of rationality was really popular stupidity or worse. Subjects, insisted conservatives, ought to defer to tradition--and be comforted by illusions. Urging that abstract political theories are manifest in everyday life, Herzog unflinchingly explores the unsavory emotions that maintained and threatened social hierarchy. Conservatives dished out an unrelenting diet of contempt. But Herzog refuses to pretend that the day's radicals were saints. Radicals, he shows, invested in contempt as enthusiastically as did conservatives. Hairdressers became newly contemptible, even a cultural obsession. Women, workers, Jews, and blacks were all abused by their presumed superiors. Yet some of the lowly subjects Burke had the temerity to brand a swinish multitude fought back. How were England's humble subjects transformed into proud citizens? And just how successful was the transformation? At once history and political theory, absorbing and disquieting, Poisoning the Minds of the Lower Orders challenges our own commitments to and anxieties about democracy.

Ian Haywood explores the 'Golden Age' of caricature through the close reading of key, iconic prints by artists including James Gillray, George and Robert Cruikshank, and Thomas Rowlandson. This approach both illuminates the visual and ideological complexity of graphic satire and demonstrates how this art form transformed Romantic-era politics into a unique and compelling spectacle of corruption, monstrosity and resistance. New light is cast on major Romantic controversies including the 'revolution debate' of the 1790s, the impact of Thomas Paine's 'infidel' Age of Reason, the introduction of paper money and the resulting explosion of executions for forgery, the propaganda campaign against Napoleon, the revolution in Spain, the Peterloo massacre, the Queen Caroline scandal, and the Reform Bill crisis. Overall, the volume offers important new insights into the relationship between art, satire and politics in a key period of history.