English Caricature and Satire on Napoleon I. Volume 2 (of 2) — Context and Discussion
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HAPTER XXXVIII. PAGE INVASION SQUIBS--CADOUDAL’S CONSPIRACY--EXECUTION OF THE DUC D’ENGHIEN--CAPTAIN WRIGHT 1
NAPOLEON PROCLAIMED EMPEROR--THE FLOTILLA--INVASION SQUIBS 12
NAPOLEON’S CORONATION 23
NAPOLEON’S LETTER TO GEORGE THE THIRD--NAVAL VICTORIES--CROWNED KING OF ITALY--ALLIANCE OF EUROPE--WITHDRAWAL OF THE ‘ARMY OF ENGLAND’ 35
SURRENDER OF ULM--BATTLE OF TRAFALGAR--PROPOSALS FOR PEACE-- DANIEL LAMBERT 45
NEGOTIATIONS FOR PEACE--DEATH OF FOX--NAPOLEON’S VICTORIOUS CAREER--HIS PROCLAMATION OF A BLOCKADE OF ENGLAND 57
NAPOLEON’S POLISH CAMPAIGN--BATTLE OF EYLAU--MEETING OF THE EMPERORS AT TILSIT--CAPTURE OF THE DANISH FLEET 65
FRENCH ENTRY INTO PORTUGAL--BLOCKADE OF ENGLAND--FLIGHT OF THE PORTUGUESE ROYAL FAMILY--THE PENINSULAR WAR--FLIGHT OF KING JOSEPH 75
PENINSULAR WAR, _continued_--MEETING AT ERFURT 87
RETREAT TO CORUNNA--THE BROKEN BRIDGE OVER THE DANUBE--WAGRAM-- JOSEPHINE’S DIVORCE 96
FAILURE OF EXPEDITIONS TO SPAIN, PORTUGAL, AND HOLLAND--NAPOLEON’S WOOING OF, AND MARRIAGE WITH, MARIA LOUISA--BIRTH OF THE KING OF ROME--NAPOLEON IN THE NURSERY 110
A NAVAL ENGAGEMENT--NAPOLEON’S TOUR IN GERMANY--DECLARATION OF WAR WITH RUSSIA--ENTRY INTO WILNA--SMOLENSKO--BORODINO--ENTRY INTO MOSCOW--BURNING OF THE CITY--NAPOLEON’S RETREAT 123
REJOICINGS IN ENGLAND OVER THE RESULT OF NAPOLEON’S RUSSIAN CAMPAIGN--THE EMPEROR’S RETURN TO FRANCE 138
THE ARMISTICE--BATTLE OF VITTORIA--DEFEAT AT LEIPSIC--THE BRIDGE BLOWN UP 150
NAPOLEON’S RETURN TO PARIS--HIS RECEPTION 164
L’HOMME ROUGE--NAPOLEON’S SUPERSTITION 172
NAPOLEON AGAIN TAKES THE FIELD--HIS DEFEATS--THE ALLIES AT PARIS--NAPOLEON ABDICATES--HIS ATTEMPT TO POISON HIMSELF 181
NAPOLEON LEAVES FOR ELBA--HIS RECEPTION THERE 194
NAPOLEON AT ELBA--HIS OCCUPATIONS WHILST THERE--FAITH BROKEN WITH HIM--THE VIOLET--GENERAL REJOICINGS AT HIS EXILE 203
NAPOLEON’S ESCAPE FROM ELBA--UNIVERSAL CONSTERNATION--FLIGHT OF THE BRITISH FROM FRANCE--CARICATURES ON HIS RETURN 214
PREPARATIONS FOR WAR--THE SHORT CAMPAIGN--WATERLOO--NAPOLEON’S ABDICATION 225
NAPOLEON A PRISONER--SENT TO THE ISLE OF AIX--NEGOTIATIONS FOR SURRENDER--GOES ON BOARD THE ‘BELLEROPHON’ 233
NAPOLEON ON BOARD THE ‘BELLEROPHON’--ARRIVAL AT TORBAY--CURIOSITY OF THE PEOPLE--THE ENGLISH GOVERNMENT DETERMINE TO SEND HIM TO ST. HELENA 239
NAPOLEON IS SENT ON BOARD THE ‘NORTHUMBERLAND’--HE PROTESTS AGAINST HIS EXILE--PUBLIC OPINION AS TO HIS TREATMENT 250
VOYAGE TO ST. HELENA--CESSATION OF CARICATURES 259
ENGLISH CARICATURE AND SATIRE
INVASION SQUIBS--CADOUDAL’S CONSPIRACY--EXECUTION OF THE DUC D’ENGHIEN--CAPTAIN WRIGHT.
The Volunteer movement was well shown in a print by A. M., November 1803: ‘Boney attacking the English Hives, or the Corsican caught at last in the Island.’ There are many hives, the chief of which has a royal crown on its top, and is labelled ‘Royal London Hive. Threadneedle Street Honey’--which Napoleon is attacking, sword in hand. George the Third, as Bee Master, stands behind the hives, and says, ‘What! what! you plundering little Corsican Villain, have you come to rob my industrious Bees of their Honey? I won’t trust to your oath. Sting, Sting the Viper to the heart my good Bees, let Buz, Buz be the Word in the Island.’ The bees duly obey their master’s request, and come in clouds over Napoleon, who has to succumb, and pray, kneeling, ‘Curse those Bees they sting like Scorpions. I did not think this Nation of Shopkeepers could sting so sharp. Pray good Master of the Bees, do call them off, and I will swear by all the three creeds which I profess, Mahometan, Infidel, and Christian, that I will never disturb your Bees again.’
‘Selling the Skin before the Bear is caught, or cutting up the Bull before he is killed,’ is by I. Cruikshank (December 21, 1803), and represents a Bull reposing calmly on the English shore, whilst on the opposite or French coast is Bonaparte, Talleyrand, and several Generals. Bonaparte, pointing to the Bull, says: ‘I shall take the Middle part, because it contains the Heart and Vitals--Talley, you may take the head, because you have been accustomed to take the Bull by the horns.’ Britannia stands, fully armed, behind the Bull, by an ‘alarm post,’ on which hangs a bell, ‘British Valor,’ which she is preparing to ring: ‘When these Mounseers have settled their plan, I will just rouse the Bull, and then see who will be cut up first.’
‘New Bellman’s Verses for Christmas 1803!’ is an extremely inartistic work of an unknown man (December 1803); the only thing worth quoting about it are these verses:--
This little Boney says he’ll come At Merry Christmas time, But that I say is all a hum, Or I no more will rhyme.
Some say in wooden house he’ll glide, Some say in air Balloon, E’en those who airy schemes deride, Agree his coming soon.
Now honest people list to me, Though Income is but small, I’ll bet my Wig to one Pen--ney, He does not come at all.
John Ashton's second volume of English Caricature and Satire on Napoleon I proceeds chronologically from 1804 to the Emperor's final years, each chapter anchored to a specific military or political event. The book's structure mirrors the rhythm of the Napoleonic Wars: a flurry of invasion squibs, a coronation, a retreat. Ashton does not simply list prints; he reads them as immediate responses, often published within days of the news they satirize. The excerpts show how caricaturists recycled visual motifs—the tiny Boney, the giant John Bull, the broken bridge, the fleeing king—to keep pace with a fast-moving war. The work is as much a history of British public opinion as it is an art catalogue.
The Caricature as News Bulletin
Ashton's chapters often open with a précis of recent events, then present the prints that reacted to them. The Battle of Vittoria (June 1813) generated at least three caricatures within days: Cruikshank's 'Boney receiving an account' (July 8), 'Jourdan and King Joe' (July 9), and 'A Scene after the Battle' (July 10). The speed of production is striking. Ashton notes that one print 'will do for any time during the year,' suggesting that some images were generic enough to be repurposed. The caricatures functioned as a kind of visual journalism, compressing complex campaigns into single, legible scenes.
Recurring Figures: Boney, John Bull, and the Mameluke
Certain figures recur across the volume. Napoleon is consistently miniaturized—a 'Little Emperor' in a 'great Passion,' stamping and tearing his hair. John Bull appears as a sturdy, exasperated everyman, as in 'John Bull teazed by an Earwig' (1813), where Boney, perched on his shoulder, pricks his cheek with a Lilliputian sword. The Mameluke Roustem, Napoleon's bodyguard, is shown in undisguised terror. These recurring types create a stable visual vocabulary: the reader learns to expect Napoleon's tantrums, John Bull's patient strength, and the Mameluke's comic fear. The consistency of these figures across different artists suggests a shared satirical language.
Movement and Setting: From Battlefield to Nursery
The excerpts reveal a striking range of settings. The volume moves from battlefields (Vittoria, Borodino) to domestic interiors (John Bull's frugal meal of bread, cheese, and beer) to the nursery (Napoleon 'in the Nursery' with the King of Rome). This variety is not accidental; it reflects the satirists' strategy of deflating Napoleon by placing him in incongruous contexts. The 'broken bridge over the Danube' and the 'burning of Moscow' are set pieces of disaster, while the nursery scenes reduce the Emperor to a domestic figure. Ashton's commentary often notes the shift in tone, from the grand guignol of the Russian retreat to the mock-heroic of the nursery.
Ashton's Method: Description Without Interpretation
Ashton rarely offers aesthetic judgment. His typical entry describes the print's date, artist, publisher, and then enumerates its visual elements: 'A ragged postilion, mounted on the back of a kneeling soldier, holds up a long roll.' He transcribes speech bubbles and captions verbatim, letting the caricatures speak for themselves. This descriptive approach gives the volume the character of a catalogue raisonné. The reader is left to infer the political slant. When Ashton does editorialize, it is usually to note a historical inaccuracy or to explain an obscure allusion. The result is a work that prioritizes documentation over argument, making it a valuable resource for scholars of visual culture.
Readers approaching this volume should treat it as a reference work best consulted alongside a timeline of the Napoleonic Wars. The index of artists and the chronological arrangement make it easy to locate prints by date or campaign. Ashton's transcriptions of the caricatures' lettering are especially useful, as many of the original prints are now difficult to read. For those interested in the intersection of politics and popular art, this volume offers a dense, detailed record of how British satirists saw—and shaped—the war.
Flipping through these plates, I recalled my grandfather’s worn atlas, where he’d penciled tiny mustaches on every portrait. It felt like that same quiet mischief. A similar warmth stirred when I first held English Caricature and Satire on Napoleon I. Volume 1 (of 2) — A Closer Reading, as if history weren’t distant, but just someone’s familiar, laughing face.
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