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Punch and Comic Journalism in Mid-Victorian Britain

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Punch and Comic Journalism in Mid-Victorian Britain CHAPTER 4 Punchand comicjournalism in mid-VictorianBritain RichardlVoakes In fi42 the WestminsterReuiew examineda new comic periodical that had 'Committee ^pparentlybeen established to meetthe demandsof a recent of Council for Education' launchedby the governmentfor improving meth- ods of popular instruction. According to the reviewer,the editor of this 'all new periodicalhad successfullyembraced the moral, scientific,philo- sophical,political, poetical,and intellectualsubjects, requiring to be newly adaptedto the wants of the age'.Adopting a more ausrererone, the reviewer questionedwhether criticismson the part of a quarterlyreview should be confinedto high-priced publicationscirculating exclusively among the wealthy,but having little or no influenceamong the masses.Let it not be said,can any good come out ofNazareth? All the good that the people at large can desire from the labours of the philosopher or man of sciencemust reach them, if it reachesthem at all, through the medium of the cheap literature of the country. The cheap literary newcomer certainly deservedto be noticed by the 'moral Westwtinster.Itdisplayed superiorrry over comparablepublications, 'wit such as the Satirist, the Age, and John Bull, its elevated and humour' 'desire testified to a growing for somewhat more healthful and intellec- tual meansof pleasurableexcitement than police reports',and its woodcuts 'improvement demonstratedthe in the art of wood-engravingfor practical purposes'.t The subject of the review was Punch: Or the London Chariuari, a weeklythat first appearedon ry July r84r (fig. 1.1. The Westminsterclearly anticipatedthat Punchwould pI^y an important part in the dissemination 'masses', of philosophicaland scientific laboursto the becauseit struck a 'pleasurable balanceberween excitement'and intellectualstimulation. The formula worked, becausePunch outlived most of its rivals in the competi- tive field of Victorian comic journalism. Althou gh Punch struegledduring its early years,within rwo decadesof its launch this ld illustrated comic 9r Comic j ournalism: Punch 9J journal becameone of the most talked about and respecrableinstitutions of British literature.' More has been written about Punch than almost any orher periodical, but little attention has been paid to its scientific conrent.l Only recendy have scholarsbegun to appreciatethe complex representarionsof science tn Punch.In particular,Richard Altick's magisterialaccount of Punch'sfirst decadeillustrates how faithfully it tracked majorscientific, engineering, and medicaldevelopments, and how scientifictopics were used ro com-.nt o1 non-scientific issues.In his generalstudy of Victorian satire and science JamesParadis has surveyed Punch'sironic porrrayal of the increasinglyab- stract fruits of scientific research.James Secord's exploration of Prnc/t's responseto the Wstiges{the lVatural History of Creation (t8++) helps us ro understandthe periodical in the overlappingmetropolitan landscapesof graphicjournalism and scientific spectacle.Roy Porter'sstudy of medical illustrationsshows that Punc/t'srepresentations of medicalpractitioners re- flectednot only an individual artist'ssqyle but alsoa Victorian tradition of 'phenorypically depicting doctors and physiognomic"lly rather asthe pro- fessionmight havewished itself to havebeen seen'. Finally, my recentstudy of Punch'sportrayalof technologicalsubjects and its deploymentof techno- logicalmetaphors helps us to understandthe embeddednessof engineering and invention in Victorian political, social,and cultural discourses.4 For most historiansof sciencePuncb has been a handy sourcefor docu- 'popular' menting reactionsto scientific topics of the d^y, ranging from public health to new inventions.t They treat Punch as a passivemed- iator, rather than an active mediilffi, of science.However, recentwork on the history/of nineteenth-centuryprint culture suggeststhe importance of understandtng Punch as an active producer of knowledg.. Thus in his analysisof Punch's greatcontemporary, the lllusftated London lVews,Peter 'singular Sinnema rightly urges us to treat any periodical as a discursive practice,active in the production of truth(s), and engagedwith a complex arrayof other discourses'.6Studies by Roy Porter Brian Maidmenr re- "rd 'represent' inforcethis argument by insisting that graphic prints always or 'through mediatehistorical events aestheticand gestural.orrr..rrion', and JamesSecord's Victorian Sensation(zooz) demonsrrareshow much pop- ular perceptionsof controversialscientific claims owed ro the way i"ilt claimswere representedin illustrated periodicals.TOf particular i-por- tanceto this chapter is Janet Browne'srecent discussionof caric"tur., of Darwin in Victorian comic periodicals.Browne concludeswith the com- 'are pelling suggestionthat these humorous portrayals nor just a rrans- parent medium of communication, not iust illustrations,but could be 94 Sciencein the lVineteenth-CenturyPeriodical the actual shapers- maybe even reahzers- of nineteenth-centurvpopuiar thought'.8 attemptsro understandhow Punchfunctioned asa medium Thir chapter 'peo- for producing scientificknowledge for what the Westminstercalled the - pl. large'. Concenrratingon the first three decadesof the periodical a "t period .olr.rponding approximatelyto the tenure of the first editor, Mark L.*or, - it that Purrh's production of sciencewas intimately con- "ig,r., nectedwith a function that it sharedwith mostweeklies - the representation of news and topical issues.\il7hat was specific to Punc/t was its use of the techniquesof .o*ic journalism to engagewith and reproducescientific 'served -"t.ri"l. Altick has rightly arguedthat Punch asa weekly illustrated comic supplementto the London Times,reflecting as in a distorting mirror a selectionof the week'snews and jauntily editorialisingon its significance'.e Its dependenceon the ebb and flow of news storieswas neatly captured by Shirley Brooks, a later editor, who boastedthat Punch'set its watch by the clock of The Times'.'oThis chapter showshow the scientific material dependedon Punch'sjournalistic pulse. The contributorsto Punch engaged *ith topical and sensarionalscientific subjects which their readerswould have.rto,ptered in readingnewspapers, visiting exhibitions,and listening to gossip. Buildi"g on the work of Celina Fox, and continuing themesexplored in the introd,r.tion to this book and in chapter z,I shallinitially situatePunch in the merropolitan world of graphic and comic journalism, and outline how its earlf contributors developedthe periodical in order to appeal to the increasinglyaffluent Victorian bourgeoisie."I then examinethe con- tributors themselvesand show how sciencefigured in their backgrounds, interesrs,and in their weekly negotiationsto produce the periodical'scen- 'large trepiece the cut'. Drawing on a systematicstudy of the entire contents of the periodical berweenr84r and r87t, I then surveythe kinds of scientific maierial contained rn Punch, and the literuty and graphical genresdeployed." The journalistic preoccupationsof Punch contributors arespectacularly reflected in its content and form. The scientifictopics that Punch satirizedwould have been familiar, entertaining,or of relevanceto middle-classreaders, and consistedprimarily of commentarieson scientific news items. The final section details how different literary and graphic genres de- ployed by Punch engagedwith scientific issues.I use this approach to support my central contention that Punc/t'ssatires on sciencewere not iniended merely to entertain readers.Instead, Punc/t'sinvolvement with sciencewas frequently serious,informed, and provocative.Although this Comicjournalism: Punch g5 rnaterlalmight have prompted a smile or even a laugh, it was ultimately a soberengagement with the world of science. In this senseLeslie Stephen's 'greatest fi76 description of the of modern humourists' applies ro Punch contributors,for they ofren seemedto be thoroughly Puritan in their com- 'strongest edy,having the perception of the seriousissues which underlie our frivolous lives,the profoundestsense of the infinities which surround our petty world'.'3 The moral conscienceof Punch,so powerfully revealed in its rants over political, religious,and socialissues, also shone forth in its discussionsof science. 'science' Throughout this chapter,I shallbe using asa convenientshort- hand for science,technology, and medicine, and employing an inclusive definition of theserelated aspects of culture. The former -o,r. is not only desirablebut justifiableon the groundsthat in its first three decades Puncb often refcrredto the enterprisesand practitionersof medicine and techno- 'scientific'.ta logy as TFIE'wORLD CITY, COMIC JOURNALISM, AND PtlLlCH In chapter z JonathanTopham emphasizedthat London-basedillustrated journals of the late Regencyperiod drew extensivelyon the spectaclesof the metropolitan landscape.Punch was no diffcrent. From fi$ to rgoo the Punchoffice was in a single-storeybuildingat 85 Fleet Street,in the heart of London's blossomi"g journalistic empire. Here its writers and artists often composedtheir material, surroundedby the workplacesof the very professionalswhose writings and deedsfuelled Punclt'scolumns - the myr- iad newspaperoffices on Fleet Street,the Middle and Inner Temples,the Apothecaries'Hall, and the Royal Collegeof Surgeons.From the windows of their office, Punc/t'searly contributors watched the Lord Mayor's Show other Ttd spectaclesthat took placeon one of London'sbusiest thorough- fares,and then turned these displaysinto cartoons
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