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Eating the World: London in 1851 Author(S): Thomas Prasch Source: Victorian Literature and Culture, Vol

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Eating the World: London in 1851 Author(S): Thomas Prasch Source: Victorian Literature and Culture, Vol Eating the World: London in 1851 Author(s): Thomas Prasch Source: Victorian Literature and Culture, Vol. 36, No. 2 (2008), pp. 587-602 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/40347206 . Accessed: 07/11/2014 14:40 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Victorian Literature and Culture. http://www.jstor.org This content downloaded from 192.104.1.4 on Fri, 7 Nov 2014 14:40:12 PM All use subject to JSTOR Terms and Conditions VictorianLiterature and Culture(2008), 36, 587-602. Printedin theUnited States of America. Copyright© 2008 CambridgeUniversity Press. 1060-1503/08$15.00 doi:10.1017/S1060150308080352 EATINGTHE WORLD: LONDON IN 1851 By ThomasPrasch "London, for some time previousto the openingof the Great Exhibition,has been a curious even to Londoners," declaredin 1851, or theAdventures of sight HenryMayhew " Mr.and Mrs. Sandboysand Family,Who Came Up to Londonto "Enjoy Themselves, and to See theGreat Exhibition, his comic instantnovel aboutthe transformation of London in the year of the GreatExhibition. Mayhew proceededto detail what had growncuriouser and curiouserabout the London scene in thatclimactic year: "New amusementswere daily springinginto existence,or old ones being revived.The Chinese Collection had returnedto the Metropolis,with a familyfrom Pekin, and a lady with feet two inches and a half long, as proofof the superiorstanding she had in society;Mr Calin [sic; he means Caitlin]had re-opened his Indian exhibit;Mr Wyle [sic\he means Wyld; instant novels apparentlydid not allow much timefor proofreading] had boughtup the interior - of Leicester Square, with a view of cramminginto it 'yeah, the greatglobe itself" (132). Elsewherein Mayhew'sparodic panorama1 of London's exhibitionmania, he offered a view of otherglobalized London scenes, focusingon celebratedchef Alexis Soyer's new restaurant,"where the universemight dine, fromsixpence to a hundredguineas, of cartes rangingfrom pickled whelks to nightingale'stongues . fromthe 'long sixes,' au naturalof the Russians,to the 'stewed Missionaryof the Marquesas,' or the 'cold roast Bishop' of New Zealand" (2). Mayhew's imaginarymenu, with its cannibalisticextremes, expressesa widerconcern about the deluging of London by foreignerscome to see theGreat - Exhibition(some 60000 "extra"foreigners - beyond, that is, standardvisiting numbers were estimatedto have actuallyvisited, mostly from the Continent,that year, roughly doubling theexisting foreign population of London; see Auerbach186), whichfound expression in an amused (when not moregenuinely terrified) xenophobia that often focused on foreign foodways. Mayhew's catalogs of entertainmentsavailable in London in the year of the Great Exhibitioncavalierly cross real and imaginedopportunities for touristic entertainment. The ChineseCollection (which, in fact,shared space witha showcaseof SouthAfrican artifacts, Cumming'sExhibition; see BritishMetropolis 267), Caitlin'sIndian show (600 oil paintings and assortedartifacts from Caitlin's travels among Native Americans; see Limbird79), and Wyld'sGlobe (a massivemetal sphere the inside walls ofwhich replicated the earth's surface and physicalfeatures in modeled plaster;for a fullerdescription, see BritishMetropolis xix-xx),were all real enough,all partof thegreat exhibitionary year, even if theirofferings could notquite match Mayhew's hyperbole. 587 This content downloaded from 192.104.1.4 on Fri, 7 Nov 2014 14:40:12 PM All use subject to JSTOR Terms and Conditions 588 VICTORIAN LITERATUREAND CULTURE Indeed,in thecase of Soyer'srestaurant, Mayhew seems notto have exaggeratedat all. The hyperbolicmenu Mayhew offers borrows much of its detail- as well as itsbest joke - fromSoyer's own advance publicityfor the restaurant:"Cosmopolitan customs should demandcosmopolitan cookery; and it is by no meansan exaggeratedexpectation, we think, to imaginewithin the walls of theSymposium grave and livelyFrenchmen, expatiating over theirpotages and fricandeaux;phlegmatic Turks, discussing pillaf and hachis; mercurial Persians,enjoying their sherbet; sententious Spaniards, luxuriating over olla podrida;wide- awake Americans,consuming johnny-cakes and canvas-backedducks; pigtailedChinese, devouringtheir favourite stewed dog; metaphysicalGermans, washing down prodigious quantitiesof sauerkrautwith oceans of rhienwein[sic]; swarthyRussians, up to theireyes in caviar; Cossacks, callingfor more train oil; Tartars,swallowing quarts of mare's milk; and New Zealanders- no, notNew Zealanders,for who could formany idea of thehorror and dismaywhich would be caused by some ebony-skinnedand boomerangedchieftains demanding'baked young woman' for two, and a 'cold boiled missionary'to follow?" (Volantand Warren2200-01). Comparedto thepromiscuous prodigious international feast Soyer'sown publicitypromises, Mayhew's catalog seems quite tame. That all of London had become the fair duringthe great fair of the world's first internationalexhibition perfectly suited Mayhew's purposes. The Sandboys,the provincial familythat comes to Londonfor the Great Exhibition in Mayhew'snovel, because of a series ofmishaps and confusions,never quite manage to maketheir way through the entrance gates (althoughMayhew himself does; he interruptshis narrativeto entertainreaders with his own accountof theCrystal Palace's richofferings). That they never make it intoPaxton's palace, however,is finallybeside thepoint, since the cityitself has become an exhibition,packed withthe foreign. In theteeming boarding houses of thecity, the Sandboys encounter a wide rangeof foreignvisitors to London, mustachio'dFrenchmen being especiallyprominent. And Mayhew'ssomewhat more sly argumentis thatthe internationalism that characterized theGreat Exhibition was fullyon displayeven in themost dismal sectors of thecity, as in the second-handclothing stalls where Mr. Sandboysis forcedto go to recoverhis lost trousers (don't ask how he lost them;it is a verylong story):"The buyers,too, wereas picturesque and motleya groupalmost as thesellers - forthe purchasers were of all nations"(100). An exhibitionof all nationscould be foundin anystreet market of themetropolis, and, although Mayhewmakes little of theirfoodways, they brought their recipes with them. Mayhewspoofs, in hisexaggerated catalogs, the ways in whichthe metropolis of London capitalizedon thecoming of theGreat Exhibition, transforming large parts of thecity into extensionsof the global display containedunder the arches of Paxton's CrystalPalace. If, as PeterHoffenburg has argued,in the GreatExhibition and its successorinternational showcases,"Nation and empirewere introducedas spectacle,but became personaland accessible... by means of such participatoryforms of public cultureand entertainment" (245), it is also the case thatsuch public cultureextended beyond the limitsof exhibition buildings.Mayhew's spoofing has a rootin fact:in theactual expansion of internationalized exhibitionarydisplay throughthe city in 1851, and in the penetrationof the foreign- includingforeign foodways - intothe heart of thecity. Both trends,exhibitionary and gastronomical,had deepersources, reflecting long-term shiftsin the patternsof British,and especiallyLondon, life and culture.First of all, the culturalprocesses set in motionby Britishimperialism ensured the arrival on Britishshores ofboth imperial food products and foreign foodways.3 This is mostabundantly evident in the This content downloaded from 192.104.1.4 on Fri, 7 Nov 2014 14:40:12 PM All use subject to JSTOR Terms and Conditions "Eatingthe World" 589 penetrationof Indian cookery into British consumer markets and cookbooks, a processSusan Zlotnickhas aptlydescribed, in herdiscussion of JosephSedley's curryfeasts in William Makepeace Thackeray'sVanity Fair (1848),4 as, borrowingher language from her source, a "metaphorof incorporation,of delightfulgobbling" (Zlotnick 55). WhatBritain conquers, it also eats. Second, an internationalizationof Britishcookery was a directconsequence of the consolidationof industrialism,and with it the shiftof Britain froma self-sustaining agriculturalproducer to a consumerdependent upon an increasinglyglobalized marketplace.5 Derek Oddy,addressing shifting British dietary habits, notes that "Change was at its most extremewhere industrial development . createdan urbansociety dependent almost entirely uponthe marketplace [as opposedto local production]for food supplies," and further observes that"The GreatExhibition of 1851 began an age of commercialentertainment. With this came an unprecedentedgrowth of cateringfor business travellers and touristsalike" (1,9). RichardTames similarlysees in the"second half of thenineteenth century," in consequence of changingmarkets, "a significanttrend towards the systematiccommercialization of the cateringbusiness" (31). That commercialization,dependent on global markets,results in changedpatterns of consumptionand moreopenness to foreignfoods, trends most evident at Britain'scommercial heart, in themarkets
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