Imagining John Bull: Part 1: The Georgian Age

Not so long ago people in much of the world would have easily recognized the image below as John Bull, a symbol of the British nation, much like the USA's Uncle Sam or France's Marianne. But he did not always look like this guy. He evolved for more than two centuries before he was allowed to go to his rest.

John Bull began life as a literary creation rather than an image. He was "born" in 1712 as a character in two of Dr John Arbuthnot's political satires, Law is a Bottomless Pit and The History of John Bull. Ironically, Arbuthnot was a Scot whose character evolved into a personification of Englishness. 

The name "Bull" from the beginning invited comparisons with the animal of that name, especially its virility, strength and stubbornness. Bull also alluded to English fondness for roast beef. The French often called the English les rosbifs.

During the Georgian period, caricaturists provided John Bull with a visual image, or rather a variety of images. He was sometimes portrayed as a bull rather than a man, as in James Gillray's, "John Bull Triumphant" (1780). 

The figure the bull is tossing into the air represents Spain, which had recently joined France and the fledgling United States in war against Britain. The frightened looking figures at the right are France (in blue and pink) and the USA (the Native American!). A farmer in red and buff looks on in satisfaction at the bottom left. Or is he John Bull the man? 

In the cartoon from 1814 below, Bull is pictured as a man with a bull's head. "Johnny Bull and the Alexandrians," however, is by an American. It is commenting on the British attack on Alexandria, Virginia during the War of 1812. The anthropomorphic Bull did not catch on. He was destined to be a man.

The Georgian era John Bull was English, but not necessarily British, in outlook. He was insular in his views. He distrusted "foreigners." That distrust extended to Scots (or North Britons), despite the fact that England and Scotland had been united into Great Britain since 1707.

The cartoon below, Sawney Scot and John Bull (1792) illustrates but seems to condemn the age-old animosity between the Scots and the English. With Britain heading to war with revolutionary France,  the artist was perhaps saying, "let's bury the prejudices that divide us." It would take some time, but John Bull would come to be a British as well as an English symbol. 

During the French Revolution and Napoleonic periods (1789-1815), John Bull emerged into the national limelight as a patriotic, no-nonsense opponent of revolution and then of authoritarianism. 

Two great Georgian caricaturists, James Gillray and Thomas Rowlandson, played significant roles in shaping the image of Bull around the turn of the 19th century. 

An example is Gillray's "French Liberty/English Slavery" (1792). Although Gillray does not name the English figure here, he parallels the image of John Bull he and other artists were developing. 

The "liberated" Frenchman wearing a tricolor cockade is emaciated and attired in rags. He is dining on raw scallions and snails. In contrast, the English "slave" is stout, comfortable, and well dressed He is tucking into a meal of roast beef and ale, his wig at his side. 

The skinny Frenchman is praising the new French republic as a paradise. The portly Englishman is complaining that high taxes are starving him to death. The irony could hardly be missed.  

British caricaturists of the revolutionary period generally drew Bull as a yeoman farmer. He is a man of the earth -- honest, hale, hearty, and rough in manner. Neither rich nor poor, he is a man of simple tastes and strong principles, pugnacious and ever ready to fight Britain's enemies. 

He was also a man of voracious appetites. Gillray's 1798 print, "John Bull Taking a Luncheon, or British Cooks Cramming Old Grumble Gizzard with Bonne Chere" shows Bull gorging on French naval ships. The cooks are British admirals. The one on the right is Admiral Nelson, who had just won a major sea battle against the French fleet in the Battle of the Nile. 

Artists of the time often drew Bull in a long coat and buff trousers (as above), or in a farmer's smock, as in this 1791 Gillray print, "Alecto." 

"Alecto" is a satirical jab at Whig leader Charles James Fox, who had expressed sympathy for the French Revolution. Fox, on the right is pictured as a recruiting sergeant, trying to enlist John Bull into support for the revolution. No hope for that. 

During the 19th century, the farmer's smock disappeared. The long coat and buff trousers became standard in colored prints, often with a red waistcoat. The coat was often blue, perhaps because blue and buff symbolized the two major political parties of the time, the Tories and the Whigs. 

After 1800, the cartoons tend to portray Bull as a sporting countryman who loves dogs, horses, hunting, and English ale. He has little use for intellectualism and European high culture. 

An example is Rowlandson's 1811 print "John Bull at the Italian Opera." While others are enjoying or pretending to enjoy the music, Bull, up in the box, cannot disguise his irritation, or boredom. Away with that foreign stuff! 

John Bull appeared frequently as the nemesis of Napoleon Bonaparte. A common theme was "Come on Boney, we dare you to attack us!" Gillray drew an especially grisly Bull holding the head of Napoleon in "Buonaparte 48 Hours after Landing" (1803)

In "John Bull Making Observations on the Comet" (1807) Rowlandson tells the comet (Napoleon) that he will never reach the level of the sun (King George III). British naval ships on the horizon explain why. 

In "Conversation Across the Water" (artist unknown), 1803, Napoleon declares he will invade Britain. John Bull, looking a bit like Bilbo Baggins, dares him to try. He also points to Royal Navy ships on the horizon. In many of the prints of this time, Napoleon appears as a pint-sized dictator dwarfed by his hat and boots: "Little Boney."

In "John Bull Arming the Spaniards," (1808) Rowlandson portrays Bull as the British emissary bringing aid, arms, and ammunition to Spain in its struggle against Napoleonic conquest. 

In the aftermath of the Napoleonic Wars, Bull was enlisted in other causes, some of them repugnant today. In "John Bull Taking a Clear View of the Negro Slavery Question" (1826), Robert Cruikshank uses Bull to undermine the arguments of the growing antislavery movement. 

The abolitionists (in black) are raving about the terrible conditions of the enslaved in the West Indies. Bull, in blue and buff, peers through the telescope and "clearly" sees them enjoying feasting and dancing. A few years later (1833) the abolitionists succeeded. Parliament abolished slavery in the British Empire. 

By the 1820s, John Bull was maturing as a personification of the British nation. Victorian caricaturists would give him a fashion makeover, and employ him to represent a variety of opinions.

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The Science Behind Mary Shelley's Frankenstein

Mary Shelley's novel Frankenstein (1818) exists at the borders of Gothic horror and science fiction. Much of what she wrote in that novel was inspired by actual scientific research and experiments of her era. 

As the daughter of William Godwin and Mary Wollstonecraft, and the wife of Percy Bysshe Shelley, Mary Shelley (1797-1851) was exposed to many of the latest scientific ideas of the time, including the idea that matter might be animated into life through chemical and/or electrical means. [Below: Two Portraits of Mary Godwin Shelley]

Although the novel does not explain how Victor Frankenstein brings his creature to life, Mary Shelley was inspired by the writings and researches of men like Erasmus Darwin (grandfather of Charles Darwin and a friend of Mary's father), the chemist Humphrey Davy, the physicist Luigi Galvani, and her husband Percy's tutor at Eton College, Adam Walker.

In the introduction, Shelley quotes Darwin as saying that the creation of life from animated matter was not impossible. (Image: Erasmus Darwin)

Professor M. Waldman, who instructs Victor in the new creative powers of science, was probably modeled on Sir Humphrey Davy, the pioneering chemist. Waldman's character says things similar to what Davy had written. (Image: Humphrey Davy)

Davy is featured (holding the yellow pot) in this 1802 satirical cartoon by James Gillray below, a satire of the new craze for scientific experiments.

Electrical experiments "animating" dead animals and animal parts, conducted by Luigi Galvani, were another source of inspiration for Mary Shelley. (Image: Galvani)

Percy Shelley's tutor at Eton, Adam Walker, popularized Galvani's work in Britain and argued for a connection between electricity and life. (Image: illustration from Walker's book System of Familiar Philosophy, 1799)

By Shelley's time, the idea that a corpse might be "galvanized" into life by electricity was being mooted, even attempted.

In 1818, the year Shelley's novel was published, Scottish physician Dr. Andrew Ure tried to reanimate a corpse using electricity. The body of the man jerked upwards when Ure applied an electric shock, but did not, alas, come back to life. [Image: Ure's experiment]

Shelley does not mention Ure's experiment, but it and her novel both reflect the scientific knowledge and claims of her day. 

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