Tag Archives: London

“Heavy Fumes of Charcoal Creep into the Brain”

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Lake Eola (2005) by Steven Willis

In March of 2018 I attended the American Society for Eighteenth-Century Studies conference in Orlando, Florida and delivered a brief paper on John Evelyn’s late-seventeenth-century pamphlet Fumifugium: Or, The Inconvenience of the Aer and Smoake of London Dissipated.  The panel’s topic was “Intimations of the Anthropocene/Capitalocene,” and it was scheduled on the conference’s final day and in its final time band, which seemed fittingly apocalyptic given that we were all talking environmental cataclysm.  What follows is a reconceptualization of that paper based on insights from the other panelists as well as dialogue with the audience:

I am afraid I won’t have much that is meaningful to say about our unspeakably vexed environmental present—our “-cene,” be it “Anthropocene,” “Capitalocene,” or some other—except to stress its continuities to the past.  Obviously, the broiling present of our hotbox planet cannot be ignored, and nor can the climate refugees who are its victims.  But I am not yet convinced that there is anything actionable that eighteenth-century studies can say to those whom environmental degradation immiserates except “a lot of people in a lot of places and times saw this coming.”  Even so, the bottom-out environmental condition of “major system collapse after major system collapse after major system collapse,” as Donna Haraway puts it, must niggle at the consciences of those of us who drove to that conference with our sacred gasoline just as it must have weighed on the minds of those of us who flew there on the strength of aviation turbine fuel—a signal petro-chemical achievement in combustibility [1].  Even the Orlando International Airport, that great gateway to the Disney phantasmagoria, must drag down our ecologically privileged souls:  twenty square miles of concrete poured out over a drained swamp where airport employees likely fire propane cannons to scare birds lest their flights disturb ours.

Fumifugium (1661) by John Evelyn

To come back to Evelyn, his Fumifugium is quite simply an anti-air pollution pamphlet.  It was published in 1661 and then later reproduced several times in the eighteenth century, notably in 1772 by antiquarian Samuel Pegge the elder.  In the document proper, Evelyn outlines and Pegge reiterates a geo-engineering project in two strokes:  first the removal of certain industries from the pleasant—read upper class—urban places they are polluting, followed by the mass planting of fine smelling trees.  “But the Remedy which I would propose,” Evelyn writes, “require[s] only the Removal of such Trades, as are manifest Nuisances to the City, which I would have placed at farther distances [from the city]; especially, such as in their works and Fournaces use great quantities of Sea-Coale, the sole and only cause of those prodigious Clouds of Smoake” [2].  A simple and economically productive way to carve out a refuge:  move all the burning industries six miles south of London, for who knows what rabble lives and can be poisoned there.  The title of this post—“Heavy fumes of charcoal creep into the brain”—is W. H. D. Rouse’s English translation of the Latin epigraph on Fumifugium’s title page [3].  The epigraph itself comes from Lucretius’s De Rerum Natura, a famed example of the consolation of philosophy.  I won’t gloss De Rerum Natura here, but the intertext is important [4].  In an atomistic universe, one in which the collision of primary particles determines events and happenings, the material residues of fire and smoke are essential.  Smoke’s waftings alter things in the human world—they alter the body and brain as Evelyn points out.  Smoke is the clinamen of atoms in perhaps its most obvious form—a classic example of the “airborne toxic event” that we all face down for the remainder of our days [5].  This is how Evelyn’s tract describes London’s repellent air pollution.  The unavoidable smoke and its “black and smutty Atomes […] insinuate[s] itself into our very secret Cabinets, and most precious Repositories,” both bodily and architectural [6].  “It enters by several branches into the very Parenchyma, and substance of the Lungs […] together with those multiform and curious Muscles, […] which becoming rough and drye, can neither be contracted, or dilated […]” [7].  According to Evelyn, the noxious burning of coal can be laid at the hands of “Brewers, Dyers, Soap-boilers and Lime-burners,” whose pursuits unquestionably endanger all.

A View from the East-End of the Brewery Chiswell Street (1792) by George Garrard

“[I]t is manifest,” Evelyn writes, “those who repair to London, no sooner enter into it, but they find a universal alteration in their Bodies, which are either dryed up or enflamed, the humours being exasperated and made apt to putrifie, their sensories and perspiration so exceedingly stopped, with the losse of Appetite, and a kind of general stupefaction, succeeded with such Catharrs and Distillations, as do never, or very rarely quit them, without some further Symptoms of dangerous Inconveniency so long as they abide in the place […]” [8].  Moreover, and because of the use of coal, the trees can no longer bear fruit, flowers no longer flower.  People are condemned to the “strange stupidity” of being “fumo praefocari,” that is, “suffocated by smoke.”  It is stunning that Evelyn’s understanding of the bodily effects of anthropogenic air pollution anticipates our own so neatly.  And so what is to be done to remediate these dangers?  On the one hand, “fumifugium” can mean “removal of smoke.”  According to this translation, the “constant and unremitting poison” of “smoake” can actively be eliminated, or “dissipated,” by human ingenuity and labor, both of which create value.  I’d like to gesture to an alternate construal of “fumifugium” as “flight from smoke.”  For me, this slant translation both anticipates the dire predicament of our own moment’s evaporating refugia and, conversely, gets to the heart of the inhuman dream of imperial capitalism from the seventeenth century to today:  whether by flights of industrious fancy or fleets of frigates, the Earth always offers a new territory lucratively to destroy [9].  At least, that is, until it doesn’t.  Evelyn is an environmentalist type who is legible in our own ruined moment.  Even as he condemns the “sordid and accursed Avarice of some few particular persons” whose means of being produce the inescapable London smoke that Evelyn finds so “impure” and “uliginous”—a word that I learned means “slimy” and “miasmic”—Evelyn’s condemnation is also actually a statement of his own worth as projector.  When Evelyn describes what others have done to make London the “Court of Vulcan” and—one of my favorite of his metaphors—the “Suburbs of Hell,” he does so in order to announce his own value as improvement thinker, one who will lead the king and (some of) his people toward a more wholesome future by way of industrial displacement and tree planting.  These are labor-producing endeavors, the green jobs of long ago.

John Evelyn (1689) by Godfrey Kneller

Fumifugium is an originary biopolitical text.  Its arguments are grounded in the fact, attested by eighteenth-century Bills of Mortality, that air pollution was a public health disaster even as it was caused by economic activities meant to keep the population alive and growing.  Evelyn writes:  “The Consequences then of all this is, that (as was said) almost one half of them who perish in London, dye of Phthisical and Pulmonic distempers.”  Smoke is killing children, which in any economy qualifies as biopolitical quandary.  Secondly, the Fumifugium is a prophetic text in its way.  Evelyn’s distaste for fire—that originary human experience of capitalism, log after log, coal after coal, without end—derives in part because fire threatens to ignite the city, as it would five years later in the Great Fire of London.  Perhaps most interesting for readers of The 18th-Century Common is the Fumifugium’s afterlife.  Samuel Pegge’s 1772 edition all at once dissociates the text from its Restoration context and repurposes it for the new polluting industries of the Georgian era.  One hundred years after the 1661 publication, nothing and everything was different.  “We may observe how much the evil is increased since the time this Treatise was written,” Pegge writes in the preface to the 1772 edition.  Industrial pollution has not abated but increased, a queer thought to think from 2018 looking at 1772 looking at 1661.  Regarding the term “Anthropocene,” the Invisible Committee writes, “At the apex of his insanity, Man has even proclaimed himself a ‘geological force,’ going so far as to give the name of his species to a phase of the life of the planet:  he’s taken to speaking of an ‘anthropocene.’  For the last time, he assigns himself the main role, even if it’s to accuse himself of having trashed everything—the seas, and the skies, the ground and what’s underground—even if it’s to confess his guilt for the unprecedented extinction of plant and animal species” [10].  For these authors, our hubristic term “Anthropocene” is more of the same:  it’s Evelyn in 1661, in 1772, in 2018.  “But what’s remarkable,” the committee writes, “is that we continue relating in the same disastrous manner to the disaster produced by our own disastrous relationship with the world” [11].  So how do we rethink this “disastrous relationship,” and, actually, can we?

Notes

[1] Haraway, Donna.  “Anthropocene, Capitalocene, Plantationocene, Chthulucene:  Making Kin.”  Environmental Humanities.  Vol. 6 (2015).  1.

[2] Evelyn, John.  Fumifugium:  Or, The Inconvenience of the Aer and Smoake of London Dissipated.  London:  B. White, 1772.  34.

[3] Lucretius.  “Carbonumque gravis vis, atque odor insinuator / Quam facile in cerebrum?”  De Rerum Natura.  Trans. W. H. D. Rouse.  Cambridge, MA:  Harvard UP, 1924.  5.803-4.

[4] By “intertext,” I refer to a general connection between two different pieces of writing.  In this case, Lucretius’s work clearly influences and animates Evelyn’s project.

[5] In Lucretius, “clinamen,” or swerve, refers to the spontaneous and unpredictable movement of particles that lead to different potentialities.  “Airborne toxic event” is a reference to the second part of Don Delillo’s White Noise (1985).

[6] Evelyn, Fumifugium, 20.

[7] Evelyn, Fumifugium, 26.

[8] Evelyn, Fumifugium, 24.

[9] See other articles in this series, including Cynthia Williams’s “Napoleon, an English Poet, and the Gas Lighting of London” and Nick Allred’s “Locke’s American Wasteland.”

[10] The Invisible Committee, To Our Friends.  Pasadena, CA: Semiotext(e) (2014).  32.

[11] The Invisible Committee, To Our Friends, 32.

Napoleon, an English Poet, and the Gas Lighting of London

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“Chinese Pagoda and Bridge, in St James’s Park” (1820) by Edward Wedlake Brayley

Almost before the ink was dry on the Treaty of Fontainebleau in April of 1814, people of all stations and occupations—including allied generals, monarchs, and heads of state—converged on London to celebrate Napoleon’s defeat with a panoply of special events:  processions, dinners, balls, performances, worship services, and much, much more.  As Edward Orme reported in his souvenir Historical Memento, especially creative were the uses of light [1].  Illuminations were staged in a wondrous variety of places, from banks and parks to the Houses of Parliament; amid the countless candles, oil lamps, torches, and fireworks blazed the efforts of the Gas Light and Coke Company.  This young enterprise had just launched an ambitious and truly transformative infrastructure project:  installing gas lights on the streets of London.  Seven years earlier, Pall Mall had been the first street anywhere in the world to be lit with gas, and now, with legislation permitting bold and extensive excavation, the company eagerly contracted with the government to participate in the grand celebrations of Napoleon’s exile (Conlin 7) [2, 3].  Undaunted by issues of scale, their pièce de resistance was the Chinese bridge and pagoda erected in St. James Park, which included 10,000 gas flames.  Within a year the company had laid thirty miles of gas pipe in the city (Conlin 7) [2].  By 1826, “fifty-three British cities had gas mains,” and the pace picked up from there (Flanders 219) [3].  It’s hard to overestimate the impact of gas lighting on London, “the first city to establish uniform lighting as a civic obligation” (Flanders 219) [3].  After all, as Jonathan Conlin reminds us, lighting was not simply an incidental feature of the public sphere; it actually helped to create the public (13) [2].

Felicia Hemans’s poem “The Illuminated City” (1826) is said to have been inspired by just this coincidence:  the celebrations of 1814 and the installation of gas lights in London [4, 5, 6].  Although Hemans’s body of work fell out of favor at the end of the nineteenth century, during her lifetime this enormously popular poet was understood to speak for all of England.  As scholar Tricia Lootens has put it, “[f]ew poetic careers can have been more thoroughly devoted to the construction of national identity than was that of Felicia Hemans” (239) [7].  So it’s not surprising to read her poem “The Illuminated City” as referencing the incorporation of gas lighting into a civic celebration that helped recalibrate English identity for a post-war paradigm.  While the text does not name London (opting instead for allusion, which is typical of Hemans’s work), the spectacle of the “royal city” evokes a key moment in English national, imperial, and even (we inhabitants of the Anthropocene might say) planetary history.

In a sensory-rich opening stanza, fire blazes from an array of sources.  In the hills, hamlets, forests, and especially the city, “festive light” shines from “lamps [. . .] upon tower and tree”; pillars are “wreath’d with fire”; spires resemble “shooting meteor[s]”; silhouetted buildings sparkle in “the clear dark sky.”  Through its comprehensive reach, this vista takes in and stabilizes all the varied elements of the landscape; thus, the glow of victory unifies.  Soon, however, the poetic speaker realizes that these illuminations might succeed too well.  The “bright lamp’s glare” is so “dazzling” that he becomes blinded, and so light itself casts a figurative shadow.  As the poem explains, these many forms of light prevent us from apprehending vital truths about the cost of war.  Life’s “deep story” can only be encountered in those places beyond the glare of gas lamps and fireworks.  A foreshortened line of sight replaces the vista, and we are denied access to scenes that the poet values as true.  Elaborated through five stanzas, the play of light and dark insists on the limits of vision.  Thus, in the end, Hemans’s poem resists any straightforward reading of brightly lit pageantry the likes of which the summer of 1814 offered.  Her rendition of the spectacle suggests an attendant crisis of perception, an intimation of persistent illegibility—blind spots, as it were.  Occlusion becomes an important dynamic in her poem of post-war illumination.

Felicia Hemans (1837) by W. E. West

A similar crisis of perception also operates in a second, admittedly minor Hemans poem, “The Curfew Song of England” (1834) [8].  This text memorializes a much earlier iconic moment in English history, when William the Conqueror decreed that all his subjects return home at the sound of the bell and extinguish every light.  Here the affront is not the blaze that prevents perception, but instead the prohibition against candle, lamp, rushlight, and most importantly the fire in the hearth.  In “The Curfew Song,” the fire doused on the order of a foreign oppressor becomes part of the nation’s cultural inheritance.  Here, once again, the effect is to obscure the sight the poet claims to want to illustrate, for the text peremptorily snuffs out several scenes in quick succession.  As in “The Illuminated City,” then, the obstructed view is integral to the telling of the national tale.  Both texts present moments around which English identity is presumed to cohere, and in both cases, representation is compromised through an important point of tension:  artificial light and its control.

“A Peep at the Gas Lights in Pall Mall” (1809) by Thomas Rowlandson

So the centrifugal force in Hemans’s body of work—her thematic interest in emigration and military service, her popularity at the farthest Anglophone reaches—is complemented by this additional dynamic.  Illumination and its opposite (extinction) are expressions of power with rather complex implications.  In “The Illuminated City,” even with lamps and pillars and spires aflame, the full truth of national life remains obscured.  New technologies might well overreach, unintentionally limiting the vision of the poetic speaker.  Left unacknowledged are the vulnerabilities of the nation that the blaze is meant to celebrate.

Plate V from A Practical Treatise on Gas-Light (1815) by Fredrick Accum

Susan Wolfson has recently explained that in the work of Lord Byron, the Shelleys, and other Romantics, the “macro-discharge of lightning communicated the bold, risky spirit of the age” (757) [9].  That Promethean spark offered a kind of electrical sublime.  In fact, the image was current enough that Byron’s imitator William Sotheby described Napoleon’s first defeat as Britain’s “lightning stroke” (as cited by Wolfson, 760) [9].  Quite differently, in “The Illuminated City,” light is neither natural nor instantaneous.  Thus, perhaps it presages a much more sustained and comprehensive gamble.  On the occasion of Napoleon’s exile to Elba, when England stood at the verge of its fossil-fueled acceleration, the woman whose “mind [was] national property” reckoned with the promise and failings of the moment [10].  Hemans, who, according to her contemporary Jane Williams, unified readers “in the most distant and alienated colonial settlements and in the old home of the British race” (Wolfson 602) [11], anxiously assessed the implications when bright lights obscure sober reflection—when the spectacle of national belonging overpowers and occludes.  In both “The Illuminated City” and “The Curfew Song of England,” describing what cannot be seen certainly poses a compositional challenge for the poet, but how she stage-manages sources of light is far more than an aesthetic concern.  In these texts, Englishness is associated with the coercive control of artificial light.  The expanding networks of gas evoked by “The Illuminated City” reify a pervasive alienation and displacement that have become ever more symptomatic of the Anthropocene.  Speaking of our own day, Jonathan Crary has argued that we in the twenty-first century encounter increasing “institutional intolerance of whatever obscures or prevents an instrumentalized and unending condition of visibility” (5) [12].  It would seem that Felicia Hemans has foreshadowed this state of affairs.

Notes

[1] Orme, Edward.  Historical Memento Representing the Different Scenes of Public Rejoicing, which took place the first of August in St. James’s and Hyde Parks, London in Celebration of the Glorious Peace of 1814, and the Centenary of the Accession of the Illustrious House of Brunswick to the Throne of these Kingdoms.  London, 1814.

[2] Conlin, Jonathan.  “Big City, Bright Lights?  Night Spaces in Paris and London, 1660-1820.”  La Sociabilité en France et en Grande-Bretagne au Siècle des Lumières:  Modèles et Espaces de Sociabilité.  Ed. Valerie Capdeville and Eric Francalanza.  Editions Le Manuscrit, 2014.

[3] Flanders, Judith.  The Making of Home:  The 500-Year Story of How Our Houses Became Our Homes.  Atlantic, 2014.

[4] Susan Wolfson, for example, makes this connection in her edition of Hemans’s work.  See Felicia Hemans:  Selected Poems, Letters, Reception Materials.  Princeton UP, 2000.  420.

[5] Gary Kelly associates illuminations in the poem with a different expression of power, when mobs would coerce homeowners to light their windows to show partisan support.  See Felicia Hemans:  Selected Poems, Prose, and Letters.  Ed. Gary Kelly.  Broadview, 2002.  345.

[6] “The Illuminated City” was published first in Monthly Magazine as part of a new series in November 1826 (515).

[7] Lootens, Tricia.  “Hemans and Home:  Victorianism, Feminine ‘Internal Enemies,’ and the Domestication of National Identity.”  PMLA 109.2 (March 1994):  238-253.

[8] Hemans, Felicia.  “The Curfew Song of England.”  The Poetical Works of Felicia Hemans Complete in One Volume with a Memoir, by Mrs. L. H Sigourney.  Phillips and Sampson, 1853.  613-614.

[9] Wolfson, Susan J.  “‘This is my Lightning’ or; Sparks in the Air.”  SEL 55 (Autumn 2015):  751-786.

[10] Review of The Siege of Valencia by Felicia Hemans.  See British Critic and Quarterly Theological Review 20 (July 1823):  53.

[11] Jane Williams wrote an entry on “Felicia Dorothea Hemans” for The Literary Women of England, published in 1862.  Wolfson includes extensive passages in her collection (602).

[12] Crary, Jonathan.  24/7:  Late Capitalism and the Ends of Sleep.  Verso, 2013.

“Looking for the Longitude”

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Screen ShotLongitude was a hot topic in eighteenth-century Britain.  What we might perceive now as a niche, and perhaps rather uninteresting, navigational problem, was then crucial to finding a means of accurately measuring longitude at sea as Britain’s trade and naval aspirations expanded.  Supported by very large award monies from the government, the search for a solution became a subject of national discussion, ridicule, and social relevance appearing in every conceivable type of source from newspapers and novels to prints and paintings.

My research looks at that plethora of paper materials, which had to be navigated on land by any person putting forward a potential solution, before it would ever be trialed at sea.  The questions, conversations, jokes, diagrams, and drawings in which Georgian men and women referenced longitude become visible in precisely the sorts of digital databases and collections that The 18th-Century Common seeks to showcase.  It is the ability to search these sets of materials that makes visible the kinds of throwaway references to longitude that would otherwise be almost impossible to locate, stimulating further research in physical collections.

Digital resources, furthermore, allow us to begin to reconstruct the patterns of production as well as the use and reference in texts and images that physical collections can obscure.  My recent project with the Paul Mellon Centre’s innovative online journal, British Art Studies, has begun to think about what possibilities this might offer.  “Looking for the Longitude” brings together a series of images and commentaries to consider how people experienced the longitude debate in eighteenth-century London, using as a starting point an engraving from William Hogarth’s famous series, A Rake’s Progress.  A pirate version of the image, done from the copyist’s memory of the original painting in Hogarth’s studio, offers the opportunity to examine what the copyist remembered and altered.  Marshaling a selection of texts and images that circulated at the time serves to show how such materials would have affected what this copyist, and other viewers, saw in Hogarth’s engraving.  It allows us to construct a period eye.

This was also a particularly London story, however, tied to a group of metropolitan locations that shaped production and consumption of text and image.  Each of my longitude images is therefore located on an interactive map and enhanced by commentary from a group of expert contributors, ranging across histories of art and science.  They consider the significance of the urban setting, bringing into play a further circle of materials and texts.  Over the course of 11 days in June 2016, these appeared as part of a daily Twitter tour that you could, and still can, follow around the British capital.

My hope is that this digital project serves to reconstruct a sense of the rapid production and discussion, the buzz and fervor, that surrounded the longitude problem in the eighteenth century; and that in combining digital collections with digital publishing it makes the case for what such platforms can achieve.