Lies, Spies, and Unsung Heroes: Espionage and the British Empire

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Engraving of Elizabeth I with William Cecil (left) and Francis Walsingham (right)

We’ve loved our spy fiction for over 100 years. The early years of the twentieth century saw the start of the genre, with Kim, by Rudyard Kipling, several books by Joseph Conrad, The Scarlet Pimpernel, by Baroness Orczy, even some of the Sherlock Holmes stories by Sir Arthur Conan Doyle.

Sexy heroes, thrilling encounters, mysterious beautiful women, and ghastly villains. Spy novels had it all. How things have changed.

Disreputable and dishonest

In the past, spying was a murky hidden business, and spies despised as liars who sold their honour. The British Secret Service was not founded until the twentieth century, and before that spies were seen as dishonest and disreputable. Yet without them, the history of England would be very different.

Henry VIII and Elizabeth I both had spymasters whose extensive spy networks helped keep their royal majesties on their throne.

Sir Anthony Standen—torn between loyalties

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Standen’s alias: Pompeo Pellegrini

One of those spies was a Catholic refugee from Protestant England, whose reports on the Spanish Armada allowed the English to attack the Spanish Fleet at Cadiz. Sir Francis Drake fired ships and sunk galleys, putting the invasion off for years.

Poor Sir Anthony Standen. His love for England and his love for his faith conflicted, and — although he eventually returned to his home country — he was not welcomed by a grateful nation. Indeed, though he was sent on further spying missions, he was also imprisoned for a time in the Tower of London.

It is an interesting juxtaposition: his sterling work for the Crown did not (in the eyes of some) prove his patriotism, but rather his lack of moral fibre. He spied, therefore he could not be trusted.

Spying at home as well as abroad

Walsingham and his successors were as likely to spy on Englishmen as on enemies from abroad. William Pitt the Younger, in more than tripling the amount spent by the government on spying and infiltration of potentially rebellious organisations, was walking in well-trodden footsteps. The budget passed through the hands of a few civil servants at home, and ambassadors and military commanders abroad, with no more accounting than this oath.

I A.B. do swear, That the Money paid to me for Foreign Secret Service, or for Secret Service in detecting, preventing, or defeating, treasonable, or other dangerous Conspiracies against the State…, has been bona fide, applied to the said Purpose or Purposes, and to no other: and that it hath not appeared to me convenient to the State that the same should be paid Abroad. So help me GOD.

A secret part of the Post Office opened, read, and copied mail, especially mail from foreign governments. And both amateur and professional informers reported on their neighbours.

Systematic spying

Napoleon employed a network of spies, under the Minister of Police, Joseph Fouche, who had survived the two previous regimes and would survive the Empire to serve the restored monarchy.

The English system was much more ad hoc. Spies, yes, and many of them, but probably no central co-ordination, though William Savage makes a good argument for the central role of The Alien Office.

Overseas, diplomats and military commanders took the fore. We know the names of some of the diplomatic spymasters who plotted against Napoleon: William Wickham in Switzerland, Francis Drake* in Munich and later Italy.

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Colquhoun Grant by George Jones (1815-1820), National Portrait Gallery. Grant was a British army soldier and intelligence officer during the Napoleonic Wars.

Noble spies

Wellington had ‘exploring officers’, who would have challenged you to a duel had you dared to call them spies. They were officers and gentlemen, and if they did creep behind enemy lines to collect information, they wore their uniforms to do so. Wearing a disguise or other forms of deception would be beneath their code of civilised behaviour.

But Wellington (and other military leaders) also had other intelligence gatherers who were less particular. Did some of them include members of the great aristocratic families of England? If so, we would not expect to find out from the records. Such a secret would reflect badly on those families, and would never be disclosed.

Spies of romance

So we are free to imagine that the romantic heroes and heroines of our modern stories might represent some, at least, of the spies whose reports on Napoleon’s troops, movements, and intentions saved England from invasion. Or who uncovered plots at home.

Prudence Virtue, heroine of my book Revealed in Mist, is a spy in the service of the mysterious Tolliver. Recruited after a love affair turned sour, she infiltrates the houses of the ton to uncover secrets and help defend the State. Or so Tolliver claims.

Jude Knight

15057987_707784779371091_490009922_nJude Knight’s writing goal is to transport readers to another time, another place, where they can enjoy adventure and romance, thrill to trials and challenges, uncover secrets and solve mysteries, delight in a happy ending, and return from their virtual holiday refreshed and ready for anything.

Since publishing Candle’s Christmas Chair in December 2014, Jude’s name has seldom been off Amazon bestseller lists for one or more books. She is a member of Romance Writers of New Zealand, and of the Beau Monde chapter of Romance Writers of America. You can visit her at http://www.judeknightauthor.com

Revealed in Mist is out December 13, 2016.

Website | Facebook | Twitter | Pinterest | Email

References
Ioffe, Alexander: Espionage During the Napoleonic Wars. The Dear Surprise.
Rice, Patricia: Spies in Regency England. Word Wenches
Savage, William: The C18th British Secret Service under Pitt. Pen and Pension.
Secrets and Spies, National Archives Exhibition.

*The diplomat, not to be confused with Sir Francis Drake. -Ed.

 

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Art is the Best Revenge: Painting Justice with Artemisia Gentileschi

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Artemisia Gentileschi. Self-portrait, 1638-9.

Centuries before feminism had a name, post-Renaissance artist Artemisia Gentileschi (1593-1653) made waves with exemplary work in a male-dominated medium. Raped at seventeen, she channeled her trauma into her art, raising questions about the mistreatment of women with paintings of staggering beauty and brutality. Of fifty-seven known paintings, forty-nine feature female heroines from history and mythology in positions of strength, many of them also survivors of sexual assault.

Artemisia Gentileschi was born in Rome in 1593. Her father, Orazio Gentileschi (1563-1639), was an established artist who taught her to paint while she was growing up. By the age of sixteen, she already showed great promise, but was rejected by more formal academies. Wanting to nurture his daughter’s talent, Orazio arranged for Artemisia to be tutored by a friend of his, artist Agostino Tassi (1578-1644).

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Susanna and the Elders. AG, 1610.

Perhaps the first hint that Tassi was not exactly a gentleman can be found in Susanna and the Elders (1610). The Biblical Susanna was a virtuous young woman who was sexually harassed by some of the older men in her community. While many male artists had depicted Susanna as compliant or even flirtatious, Artemisia’s heroine is anything but: she is disgusted and exposed, shielding herself from two men almost falling over each other to leer at her.

By 1612, Orazio had taken Tassi to court for raping his daughter. Artemisia testified he had forced himself on her, and she had fought him so savagely that she removed a chunk of flesh from his penis. After the rape, Tassi pressured her into having an ongoing sexual relationship with him with the promise he would eventually marry her. Tassi was already married and could fulfill no such promise, but continued to abuse Artemisia until her father brought charges against him.

It wasn’t Tassi’s first run-in with the law. He had already been tried for rape, incest, and the attempted murder of his wife. Artemisia, his latest victim, was a well-behaved young woman of eighteen. So what happened?

They tortured her.

Although Tassi’s defense was contradictory and blatantly false, the court didn’t believe Artemisia’s claim that he had raped her. She was subjected to a humiliating physical exam in front of the court to prove she was no longer a virgin, her character was questioned, she was accused of promiscuity, and then she was tortured with thumbscrews while her rapist watched. Over months of witness testimonies and torture, Artemisia never once changed her story and Tassi was eventually convicted. He chose banishment from Rome over imprisonment, but he was back within a few months. By now it was common knowledge that he was a real piece of work, but he had friends in high places: Pope Innocent X was a big fan of his landscapes.

Tassi may have escaped justice through the courts, but Artemisia wasn’t done with him. Now a far superior artist to her one-time tutor, she took her revenge in a series of masterful paintings depicting women equal to or dominating men. At least half a dozen show women physically assaulting men, such as the story of Judith and Holofernes:

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Judith Slaying Holofernes (1612, and again in 1620): As the story goes, Judith was a Jewish widow. When her town was attacked by Assyrian general Holofernes, she took advantage of his attraction to her by going to his tent with him and then decapitating him as he was passed out drunk. This story has been interpreted by several notable artists including Botticelli, Michelangelo, Caravaggio, and even Kilmt in the twentieth century, but Artemisia’s is undoubtedly the most graphic. It was owned by the Medicis, but hidden for years as it was considered too brutal to display. Two versions of this were painted, the first just after Tassi’s trial.

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Caravaggio’s Judith (left) and Gentileschi’s Judith (right)

This painting is a clear tribute to Caravaggio’s work of the same name, but Artemisia takes it further. Artemisia’s Judith is more mature and self-assured. While Caravaggio’s Judith hesitantly beheads her attacker with a look of distaste on her face, Artemisia’s Judith is all business. She looks almost bored as she hacks off Holofernes’ head as if it’s something she does–or has thought of doing–every day.

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Judith and Her Maidservant (1613-14) : Here we see Judith leaving with her maidservant, sword in hand. Holofernes’ head is in a bag, bottom left. Her hairpin here depicts David, who likewise removed the head of Goliath.

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Judith and Her Maidservant With the Head of Holofernes (1625): In the last of this series, the head is bottom center as Judith and her maid escape into the night.

And then there’s Jael and Sisera (1620):

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Sisera was a Canaanite leader who had ruled over the Israelites for many years. Following his defeat by the Isrealites, Sisera sought refuge in Jael’s tent, only to have a tent post hammered into his brain once he fell asleep.

Artemisia painted heroines she could relate to, such as Lucretia, the classical victim of rape, and other famous “fallen women” like Mary Magdalene and Cleopatra. Lucretia and Cleopatra are shown in the moments prior to suicide: instead of despair, they seem to question the idea that they ought to take their own lives. Surely a woman is worth more than the concept of “honor” attached to her body?

Artemisia seemed to think so. She married another painter and worked as an artist her whole life, fulfilling commissions for the Medicis and England’s Charles I. She was a friend of Galileo, painted a ceiling for Michelangelo’s nephew, and inspired countless other women artists to follow in her footsteps during her lifetime.

As for Tassi, his work has fallen into obscurity and he is now primarily known as Artemisia’s rapist. I wasn’t able to find a portrait of him, but we might be able to guess what he looked like…

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Jessica Cale

Further Reading:

Brash, Larry. Artemisia Gentileschi.

Christiansen, Keith, and Mann, Judith. Orazio and Artemisia Gentileschi

Sartle. Category: Artemisia Gentileschi

 

Guy Fawkes Night: 400 Years of Fire and Madness

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The conspirators. Crispijn van de Passe

Guy Fawkes and the Gunpowder Plot

“Remember, remember the fifth of November” is more than just a line from V for Vendetta. Also known as Bonfire Night, Guy Fawkes Day (or Night) is a holiday celebrated every year on the fifth of November in the UK. Bigger and more widely celebrated than Halloween, people get together after dark to drink mulled wine and watch massive displays of fireworks. But what is it, where did it come from, and what did Guy Fawkes do that was so great?

The Gunpowder Plot was a conspiracy planned by a group of English Catholics to assassinate the Protestant James I and to replace him with a Catholic leader. On November 5th, 1605, Guy Fawkes was arrested while guarding explosives that had been stashed beneath the House of Lords for this very purpose. Fawkes was tortured into a confession and was sentenced to a traitor’s execution of hanging, drawing, and quartering, but managed to end his own life by throwing himself from the scaffold to avoid suffering the rest.

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The Execution of Guy Fawkes. Claes Jansz Visscher.

Why would we celebrate that?!

The tradition started that very week when people around London lit bonfires to celebrate that King James had survived the plot. In 1606, the Observance of 5th November Act actually enforced annual celebration on this day. It became known as Gunpowder Treason Day, and was celebrated on command every November.

Three Hundred Years of Madness

If it’s not weird enough for you to be ordered to celebrate, you just can’t have that much fire and booze without attracting a certain amount of madness. Gunpowder Treason Day became the focus of a lot of anti-Catholic sentiment, with effigies of the pope being burned alongside other hate figures. This only got worse when Charles I married the Catholic Henrietta Maria in 1625. During the Interregnum, Parliamentarians feared further Catholic plots, and fueled the paranoia of the public by suggesting that Catholics were plotting to blow them up, too.

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“The Guy Fawkes of 1850, Preparing to Blow Up All of England!”Anti-Catholic cartoon in Punch, November 1850.

The Restoration of Charles II brought new life to the holiday. It became a celebration of “God’s preservation of the English Throne” and was taken over by London’s apprentices as a sort of fire festival “attacking sobriety and good order.” The fires got bigger and the celebrations madder and more violent until fireworks and bonfires were banned by the London militia in 1682.

The damage had already been done, however, and celebrations continued in various forms over the years, all incorporating the element of fire. Frequent violence between the classes in the nineteenth century only added to the festivities, and the Observance of 5th November Act was finally repealed in 1859 (but the violence continued into the twentieth century).

Guy Fawkes Today

Sometime during the late 18th century, children began to drag effigies of Guy Fawkes around while begging for pennies “for the Guy.” This became a tradition, and Gunpowder Treason Day gradually became known as Guy Fawkes Day (also Guy Fawkes Night and Bonfire Night). Today it’s a pretty harmless and family-friendly holiday celebrated with fireworks, music, and if you’re unlucky, laser shows. In most places in Britain, you’ll be hard-pressed to find an effigy of anybody, let alone an open flame. People may not be cooking potatoes on sticks over bonfires anymore, but food trucks aren’t usually far away.

For those of you who have read Alan Moore’s V for Vendetta or seen the movie but missed the context, the Gunpowder Plot is a pretty central theme and is repeated through the use of one of the traditional rhymes, V’s plan, and his Guy Fawkes mask.

Here’s one of the better known (and actually least unsettling) Guy Fawkes Day rhymes:

Remember, remember the fifth of November
Gunpowder, treason and plot.
I see no reason, why gunpowder treason
Should ever be forgot.

Guy Fawkes, guy, t’was his intent
To blow up king and parliament.
Three score barrels were laid below
To prove old England’s overthrow.

By God’s mercy he was catch’d
With a darkened lantern and burning match.
So, holler boys, holler boys, Let the bells ring.
Holler boys, holler boys, God save the king.

And what shall we do with him?

Burn him!

The Rakehell in Fact and Fiction

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A Rake’s Progress, Hogarth (1732-33). This progress was a series of eight paintings by William Hogarth showing the decline and fall of a man who wastes his money on luxurious living, sex, and gambling.

In modern historical romantic fiction, the hero is often described as a rake. Frequently, he has the reputation but not the behaviour. He is either misunderstood, or he is deliberately hiding his true nature under a mask, perhaps for reasons of state.

Even the genuine player is not what they would have called a rakehell back in the day. He cats around, sleeping with multiple lovers (either sequentially or concurrently) or keeping a series of mistresses, or both. But when he falls in love with the heroine he puts all of that behind him, and—after undergoing various trials—becomes a faithful husband and devoted family man.

Yesterday’s rakehell was a sexual predator

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John Wilmot, 2nd Earl of Rochester was part of the Merry Gang, the original Restoration rakes who surrounded Charles II. He is known for his lovers, his poetry, his profligate behavior, and an unending stream of scandal. He is said to have been constantly drunk for five years, and died at only 33 years of age.

The Georgian and Regency rakehell was a far less benign figure. Back then, a rakehell was defined as a person who was lewd, debauched, and womanising. Rakes gambled, partied and drank hard, and they pursued their pleasures with cold calculation. To earn the name of rake or rakehell meant doing something outrageous—seducing innocents, conducting orgies in public, waving a public flag of corrupt behaviour under the noses of the keepers of moral outrage. For example, two of those who defined the term back in Restoration England simulated sex with one another while preaching naked to the crowd from an alehouse balcony.

Then, as now, rakes were self-centred narcissists who acknowledged no moral code, and no external restraint either. Their position in Society and their wealth meant they could ignore the law, and they didn’t care about public opinion. What they wanted, they took. A French tourist, writing towards the end of the 19th century said:

“What a character! How very English! . . . Unyielding pride, the desire to subjugate others, the provocative love of battle, the need for ascendency, these are his predominant features. Sensuality is but of secondary importance. . . In France libertines were frivolous fellows, whereas here they were mean brutes. . .”

Most aristocrats in the 18th century would not have called themselves rakes

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Francis Dashwood, 11th Baron le Despencer, fount time between his political duties and his promiscuous sexual activities to found and run the Hellfire Club, whose members included some of the most powerful men of the day. They gathered to share their interests: sex, drink, food, dressing up, politics, blasphemy, and the occult.

Historians have commented that we see the long Georgian century through the lens of the Victorian era, and our impressions about moral behaviour are coloured by Victorian attitudes. The Georgians expected men to be sexually active, and where women were concerned, they worked on the philosophy that if no one knew about it, it wasn’t happening. If visiting brothels, taking a lover, or keeping a mistress, was all it took to be defined as a rake, most of the male half of Polite Society would be so called. And a fair percentage of the female half.

Drunkenness certainly didn’t make a man a rake—the consumption of alcohol recorded in diaries of the time is staggering. Fornication and adultery weren’t enough either, at least when conducted with a modicum of discretion (which meant in private or, if in public, then with other people who were doing the same thing).

In the late 18th and early 19th century, one in five women in London earned their living from the sex trade, guide books to the charms, locations, and prices of various sex workers were best-selling publications, men vied for the attention of the reigning courtesans of the day and of leading actresses, and both men and women chose their spouses for pedigree and social advantage then sought love elsewhere. The number of children born out of wedlock rose from four in 100 to seven (and dropped again in the Victorian). And many women had children who looked suspiciously unlike their husbands.

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Lord Byron. Described as mad, bad, and dangerous to know, Byron was admired for his poetry and derided for his lifestyle. When a series of love affairs turned sour, he married, but within a year his wife could no longer take his drinking, increased debt, and lustful ways (with men and women).

The more things change, the more they remain the same

Some of today’s sports and entertainment stars, and spoilt sons of the wealthy, certainly deserve to be called rakehells in the original sense of the word. And just as the posted videos and images of today show how much the serial conquests are about showing off to the rake’s mates, the betting books that are often a feature of historical romances performed the same function back then.

Given access to social media, yesterday’s rakehell would be on Tinder.

Lord Byron earned the appellation ‘rake’ with many sexual escapades, including—so rumour had it—an affair with his sister. His drinking and gambling didn’t help, either. But none of these would have been particularly notable if they had not been carried out in public.

The Italian adventurer Giacomo Casanova mixed in the highest circles, and did not become notorious until he wrote the story of his life.

On the other hand, William Cavendish, 5th Duke of Devonshire, lived with his wife and his mistress, who was his wife’s best friend. The three did not share the details of their relationship with the wider world, so there was gossip, but not condemnation. Devonshire is also rumoured to have been one of Lady Jersey’s lovers (the mother of the Lady Jersey of Almack fame). He was not, at the time, regarded as a rake.

Jude Knight

jude-knightJude Knight’s writing goal is to transport readers to another time, another place, where they can enjoy adventure and romance, thrill to trials and challenges, uncover secrets and solve mysteries, delight in a happy ending, and return from their virtual holiday refreshed and ready for anything.

Since publishing Candle’s Christmas Chair in December 2014, Jude’s name has seldom been off Amazon bestseller lists for one or more books. She is a member of Romance Writers of New Zealand, and of the Beau Monde chapter of Romance Writers of America. You can visit her at http://www.judeknightauthor.com

Website | Facebook | Twitter | Pinterest | Email

For Jude’s new companion piece, Writing a Believable Rakehell, please visit our sister blog here.

For a related history piece, check out Jude’s excellent Syphilis: Zoonotic Pestilence or New World Souvenir?

For more on John Wilmot, 2nd Earl of Rochester, read our post John Wilmot, 2nd Earl of Rochester: Satirist, Poet, and Libertine.

The Art of Courtly Love: Romance in 12th Century France

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Lancelot and Guinevere. Herbert Draper, 1890s.

De Amore, more commonly known as The Art of Courtly Love, was written in the late twelfth century by Andreas Capellanus (Andreas the Chaplain) as a guide to the theory and practice of love. Capellanus was a friend and contemporary of Chretien de Troyes and though he was not really a literary figure himself, his manual offers an invaluable insight into life in the French court. Along with medieval manners, the rules of love were taught and probably practiced to a point.

The idea that love as we know it was invented in this period is frankly ridiculous. Even if you’re inclined to believe that love is a construct rather than a feeling (science would disagree), Capellanus and de Troyes did not invent what we would call romantic love. Ovid’s The Art of Love and The Cure for Love predate Capellanus’ text by some twelve hundred years and contain many of the same ideas: that women’s power over men is absolute, men must do anything necessary to please them (including neglecting basic necessities such as sleep and food), and that a little jealousy goes a long way.

Many of the ideas or “rules” still hold true today, but one of the starkest differences is the irrelevance of marriage. Ovid and Capellanus agree that marriage has nothing to do with love – it is not the object of falling in love, and it’s not an excuse to not fall in love with someone other than your spouse. The obstacle of a husband can even make love sweeter because it is forbidden.

Similar ideas also existed in 11th century Spain. In 1022, Ibn Hazm compared contemporary ideas about love to that of the Bedouins and ancients including Ovid and Plato. He agrees that people in love may experience jealousy and palpitations, but also subscribes to Plato’s idea of soulmates, that true love is a reunion of souls that have been separated since creation. He differentiates between love and passion: passion may be felt for any number of people, but true love can only be felt for one.

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From Codex Manesse (14th century)

By the time Chretien de Troyes was writing at the end of the twelfth century, the ideal of chivalry had firmly taken hold among knights and courtiers as a code of social and moral conduct. In addition to piety, prowess, and generosity, it was common for knights to pay court to the wives of their masters or to other great ladies. This was accepted and even encouraged not as an attempt to make off with the woman, but to honor your lord by honoring his wife. Nothing was expected to come of it. Alternatively, some people preferred the idea of platonic love or “pure love,” which was a spiritual, non-physical devotion thought to improve the character of the lovers, because people in love are selfless and they constantly try to better themselves for the sake of their beloved (in theory).

So far, so PG. Were there people engaged in extramarital affairs? Did people ever marry for love? Of course. Just because love was separated philosophically from marriage at the time does not mean they did not sometimes coincide. We can no more generalize about love and marriage in the middle ages than we can about the same subjects today. What we can do, though, is read Capellanus’ rules and see what they tell us about the medieval vision of love:

The Rules of Love

I. Marriage is no real excuse for not loving.
II. He who is not jealous cannot love.
III. No one can be bound by a double love.
IV. It is well known that love is always increasing or decreasing.
V. That which a lover takes against the will of his beloved has no relish.
VI. Boys do not love until they reach the age of maturity.
VII. When one lover dies, a widowhood of two years is required of the survivor.
VIII. No one should be deprived of love without the very best of reasons.
IX. No one can love unless he is impelled by the persuasion of love.
X. Love is always a stranger in the home of avarice.
XI. It is not proper to love any woman whom one would be ashamed to seek to marry.
XII. A true lover does not desire to embrace in love anyone except his beloved.
XIII. When made public love rarely endures.
XIV. The easy attainment of love makes it of little value; difficulty of attainment makes it prized.
XV. Every lover regularly turns pale in the presence of his beloved.
XVI. When a lover suddenly catches sight of his beloved his heart palpitates.
XVII. A new love puts to flight an old one.
XVIII. Good character alone makes any man worthy of love.
XIX. If love diminishes, it quickly fails and rarely revives.
XX. A man in love is always apprehensive.
XXI. Real jealousy always increases the feeling of love.
XXII. Jealousy, and therefore love, are increased when one suspects his beloved.
XXIII. He whom the thought of love vexes eats and sleeps very little.
XXIV. Every act of a lover ends in the thought of his beloved.
XXV. A true lover considers nothing good except what he thinks will please his beloved.
XXVI. Love can deny nothing to love.
XXVII. A lover can never have enough of the solaces of his beloved.
XXVIII. A slight presumption causes a lover to suspect his beloved.
XXIX. A man who is vexed by too much passion usually does not love.
XXX. A true lover is constantly and without intermission possessed by the thought of his beloved.
XXXI. Nothing forbids one woman being loved by two men or one man by two women.

Having read this, indulge me for a moment and apply it to the medieval literature you know. I’ll make it easy for you. Probably the most enduring love story of the middle ages is that of Lancelot and Guinevere. It’s still being re-imagined in countless books, films, and TV, but from a modern perspective, it’s always problematic. Guinevere is read by most as thoroughly unsympathetic, cheating on “poor Arthur” with his dreamy right hand man. She is jealous, unfaithful to Arthur, and incredibly demanding (remember that sword bridge he crossed for her in The Knight of the Cart?), and plenty of people have delighted in writing Lancelot a nice, sane girlfriend to replace the crazy Queen who is obsessed with him.

Okay, I’m exaggerating, but only a little. Read through Capellanus’ rules and think about Lancelot and Guinevere again. It’s only a bad relationship through modern eyes. As a romance in the twelfth century, it was not about the infidelity, but a story about the perfect love. Guinevere is unfaithful to her husband, jealous, and demanding, yes, but this is what proves her love for Lancelot. Lancelot does everything she asks and more because he is completely devoted to her. Her marriage is irrelevant because she doesn’t love Arthur; she is faithful in her heart to Lancelot, and that’s all that matters. Everything they do, good or bad, is for love of each other, and that’s how you know it’s real. This story was not a precautionary tale for wives. In every instance Guinevere is almost punished, Lancelot betrays the King to save her. It’s a romance, and at the time, it may have been the ultimate one.

Chretien de Troyes’ romances and Andreas Capellanus’ manual were written at the same time for the same audience and shared the same ideas. The latter can be used as a key to better understanding the former, and both offer an invaluable insight into the theory and practice of love in twelfth century France.

Jessica Cale

A note on the sources: I used the 1941 translation of The Art of Courtly Love by John Jay Parry. His preface and introduction include extensive notes on the historical context of this text, notably references to Ovid, Plato, and Ibn Hazm. There are other translations of this available, but his information is what I used for the beginning of this post. Comparisons between this text and the romances of Chretien de Troyes are my own and based in part on a thesis I wrote on the subject for Swansea University in 2007.

Further reading:
The Art of Courtly Love. Andreas Capellanus.
The Knight of the Cart. Chretien de Troyes.
Le Morte d’Arthur. Thomas Malory.
Lancelot du Lac (The Vulgate Cycle).

“A Most Infamous, Vile Scoundrel”: Francis Charteris, The Rape-Master General

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A mezzotint of ‘Colonel Francisco,’ shown courtesy of the British Museum, with the heavily ironic words underneath: “Blood!–must a colonel, with a lord’s estate, be thus obnoxious to a scoundrel’s fate? Brought to the bar, and sentenc’d from the bench, Only for ravishing a country wench?”

For some people the word ‘rake’ is applied almost as a compliment–a recognition of hard-living and hard-drinking, with an almost heroic life spent on gambling and fornicating. But there was nothing heroic about Francis Charteris; he was not just a rake, he was a rapist, and a serial one at that. There are few men from the Eighteenth Century who come across as so totally devoid of decency and morality. Here was a thoroughly nasty piece of work–Swift described him as “a most infamous, vile scoundrel.”

Redeeming features? None that anyone could see. He was born in 1675 into a wealthy aristocratic Scottish family. He joined the army and was chucked out on four occasions, most notably by the Duke of Marlborough who had him court-martialed for cheating at cards. Eventually he was dismissed by Parliament for accepting bribes. By then he had achieved the rank of colonel–a rank which he had purchased largely through his expertise at cards. On one occasion he fleeced the Duchess of Queensbury out of £3000 by the simple expedient of playing cards with her after positioning her in front of a mirror, enabling him to see each hand of cards reflected in the glass.

He amassed money through bribery, fraud and blackmail as well as by dabbling on the nascent stock market (he was one of the few who did not get burned when the South Sea Bubble burst in 1720). He would lend money at an exorbitant rate of interest – sometimes 100%. It was small wonder that he reputedly had an income of £7000 a year, as well as a hundred thousand pounds invested in stocks and shares. He was a bully, a cheat and a con-artist, and a man who apparently thought he could have any woman he wanted, under some twisted idea of ‘droit de signeur.’ On one occasion in Scotland he raped a married woman at gunpoint, before running away to England to avoid capture. That meant that he was unable to return to the country of his birth, where he owned substantial estates, but in 1721 was able to petition the king (George I) for a pardon.

Armed with the pardon, he clearly felt that he was free to commit rape with impunity–he reveled in the name “Rape-Master General” and bragged of having had his way with some three hundred women. Nathaniel Mist, in his ‘Weekly Journal’, wrote “We hear a certain Scotch Colonel is charged with a Rape, a misfortune he has been very liable to, but for which he has obtained a Nolle Prosequi. It is reported now that he brags that he will obtain a Patent for ravishing whomever he pleases.”

Honour had no place in his repertoire. On one occasion when staying at an inn in Lancaster he reportedly persuaded a young servant girl to have sex with him on payment of a gold guinea. The next day, before departing, he told the inn-keeper that he had given the girl a gold coin and asked her to have it changed into silver, and that she had failed to deliver his change. The girl was searched, the gold coin discovered, and of course the word of Colonel Charteris was accepted, and the girl’s protestations were in vain: he got his guinea back, and she got the sack.

One of the drawbacks of his notoriety was that it was well-nigh impossible to find female servants to work in his household, so when he needed a new servant-girl for his home at Hanover Square in London, he gave his name as Colonel Harvey. It was apparently part of a ritual, played out for the amusement of the somewhat fat fifty-four year old colonel and his friends. Girls would be hired, raped, and then pushed out onto the streets.

As the Newgate Calendar put it: “his house was no better than a brothel, and no woman of modesty would live within his walls. He kept in pay some women of abandoned character, who, going to inns where the country waggons put up, used to prevail on harmless young girls to go to the colonel’s house as servants; the consequence of which was, that their ruin soon followed, and they were turned out of doors, exposed to all the miseries consequent on poverty and a loss of reputation.”

In October 1729 a young woman called Anne Bond was taken on as a maid-servant and was immediately besieged by the loathsome lothario. She resolutely declined the Colonel’s demands for sexual favours. On the third day she overheard someone refer to her master as Colonel Charteris. Realizing who ‘Colonel Harvey’ was, she sought to leave his employment immediately. He responded by having her locked in her room. The next day, 10th November 1729, he sent for her demanding that she make up the fire. He then brutally raped her, after gagging her screams with his night cap. When she stated her intention to report the crime, had her stripped and horse-whipped, alleging that she was a thief. She was thrown out with no possessions.

Brave girl –she made a complaint against Charteris and initially he was charged with the misdemeanour of assault with intent to rape. The Middlesex Jury upgraded the charge to rape, a crime which carried the death penalty. The case was referred to the Old Bailey and the trial started on 27 February 1730. By then the trial was the subject of huge Press attention. His defense team tried to besmirch Anne Bond’s character, claiming that she was a prostitute and a thief. He claimed that the act was consensual, producing his household servants to give evidence that the girl was lying, and that they had heard no noises or screams at the time of the alleged offence. Charteris even produced a letter which his footman swore on oath came from the girl, but it was clearly a forgery. Three witnesses were produced to give evidence that Anne was a virtuous and religious young woman. The jury retired for just 45 minutes to consider its verdict, and on 2 March Charteris was found guilty and sentenced to death.

That should have been the end of the matter–he was carted off to Newgate prison and his goods were seized as being forfeit to the Crown. He was, it transpired, one of ten men sentenced to death by the court that day.

However, a campaign to pardon the appalling colonel got under way–it appears that he had ‘friends in high places’ not least with Robert Walpole, First Lord of the Treasury. More to the point, he seems to have been able to buy off Anne Bond with the promise of an annual sum of £800, enough for her to get married. She planned to open a public house, apparently to be named ‘The Colonel Charteris Head.’ The sum of fifteen thousand pounds was apparently spent on ‘oiling the wheels of justice’ (in other words, laid out in bribes). It worked. Six weeks after sentence was handed down, George II granted a Royal Pardon, and the man was set free. He then had the nerve to sue for the return of his goods, even though his conviction as a felon meant that the seizure was entirely lawful. He ended up having to sell shares to obtain the return of his chattels. Meanwhile the Press also alleged that he made a substantial ‘thank you’ gift to Sir Robert Walpole….

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Hogarth, A Harlot’s Progress (Plate 1). When William Hogarth drew the first plate of his Harlot’s Progress, he shows the young, innocent Polly arrive in London with Colonel Charteris fondling himself in the doorway in eager anticipation of debauching the girl. His manservant ‘Handy Jack’ is by his side (top right).

The public were outraged–the poor because it was a clear example that the rich could get away with anything, and the rich because he was a disgrace and a dishonest cheat. He was pilloried in the Press with books such as “Some authentick memoirs relating to the life, amours … of Colonel Ch—-s. Rape-Master General of Great Britain.” A ballad entitled “On General Francesco, Rape-Master General of Great Britain” was published and he became the subject of satirical attacks by popular writers such as Alexander Pope, John Arbuthnot and Jonathan Swift.

Charteris returned to Edinburgh in ill-health, possibly as a result of illness contracted in prison. He died on 24 February 1732. The outraged citizens of Edinburgh saw no reason why he should receive the full sacrament–they chased away the clergyman conducting the funeral, and pelted the grave at Greyfriars with manure, offal, and dead cats.

His conduct and unpopularity coincided with a campaign aimed at discrediting Walpole, who was seen as corrupt. The idea that “the rich can get away with it” was echoed in John Gay’s The Beggars Opera, which cast the hero as a highwayman and posed the question: why do the poor get punished for their crimes, when the rich do not?

in-bed-etcMike Rendell retired as a lawyer 15 years ago and now writes and lectures on Georgian history. He has written The Journal of a Georgian Gentleman based on the treasure trove of family papers (diaries, day books, etc) kept by his 4x great grandfather. His next book, In Bed With The Georgians: Sex, Scandal, and Satire in the 18th Century, will be out in October from Pen & Sword Books. You can visit him at http://mikerendell.com.

Taxation, Smuggling, and Sheep Dung: The Dirty History of Tea in Britain

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Still Life: Tea Set. Jean-Etienne Liotard, 1781-3.

Tea is thought to have been popularized in Britain by Catherine of Braganza, wife of Charles II. Although she adopted English fashion following her marriage to Charles II in 1662, she continued to favor the cuisine of her native Portugal. Tea was already popular in Portugal, Holland, and other parts of Europe through trade with the east, but it was still unusual in England in 1660 when Pepys recorded trying it for the first time on September 25th, 1660:

“To the office, where Sir W. Batten, Colonel Slingsby, and I sat awhile, and Sir R. Ford coming to us about some business, we talked together of the interest of this kingdom to have a peace with Spain and a war with France and Holland; where Sir R. Ford talked like a man of great reason and experience. And afterwards I did send for a cup of tee (a China drink) of which I never had drank before, and went away.”

Unfortunately, he doesn’t tell us what he thought of it. At this time, tea was usually drunk without anything added to it. Milk was difficult to keep fresh and was mainly used for butter or cheese. It was brewed by pouring hot water into a pot, and slotted spoons were used to extract the leaves. As it gained popularity throughout the seventeenth century, there was some confusion as to how to make it. Sir Kinelm Digby advised that brewing should take “no longer than while you can say the Misere Psalm very leisurely.”

The first tea cups to arrive in Britain were mismatched, handle-less Chinese porcelain used primarily as ballast on the clipper ships. Matching sets were not purchased until the eighteenth century with the development of the British ceramic industry. Inviting people over for tea took off as a way for the hostess to show off both her purchasing power (tea and tea sets were prohibitively expensive) and manners (in knowing how to serve it).

Although tea was hugely popular in the eighteenth century, few could afford it. The East India Company held the monopoly on importing it, and on top of the already high prices, tea was taxed heavily. Tea was a luxury item everyone wanted, so to answer the demand for an affordable product, two things became commonplace: smuggling and adulteration.

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Smugglers. John Atkinson, 1808

Smuggling flourished. Much tea was smuggled in from continental Europe on small ships, but some was purchased from the East India Company’s own officers who would use the space allotted to them to undercut the company with some private trade of their own. Throughout the eighteenth century, smuggling grew in scale and became more organized, until an anonymous pamphlet in 1780 complained that so many men were employed as smugglers Britain’s agriculture was suffering as a result. Fortunately, tea smuggling stopped abruptly when William Pitt the Younger introduced the Commutation Act of 1784, reducing the tax on tea from an outrageous 119% to a more reasonable 12.5%.

‘British tea’ was a regional substitute for the genuine article that was produced briefly both as an addition to imported tea and as something to drink on its own. Made from the buds of elder, hawthorn, and ash trees, it was banned in 1777 out of concern over the destruction of the trees.

Even after the Commutation Act made tea more affordable, merchants added other substances to it to further reduce the price. Green tea was colored with highly toxic copper carbonate and lead chromate. Because of this, black tea became more popular, although adulterated back tea wasn’t much better. Often cut with sheep’s dung, floor sweepings, or black lead, if it wasn’t lethal, it would have tasted revolting. It was made palatable with the addition of milk, which wasn’t much better. By the time it became a common addition to tea in the nineteenth century, milk was often watered down and whitened with chalk dust.

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Chemical Lectures by Thomas Rowlandson. Caricature depicting Friedrich Accum. Accum was a chemist and his Treatise on Adulteration of Food (1820) denounced the common practice of cutting food and tea with additives.

The public was largely aware of these abuses, and it seems to have been generally accepted as a trade off for an affordable product. Parliament eventually brought in the Food and Drugs Act of 1860, but tea continued to be adulterated throughout the century.

Tea had become so cheap by the nineteenth century, that it was a dietary staple for those who could afford little else. It continued to be popular across class lines, and coffee and tea stalls popped up all over London until there were an estimated three hundred in 1840. Encouraged and sometimes sponsored by the Temperance movement, they remained open all day to offer an alternative to alcohol. Coffee and tea were sold in the streets with hard-boiled eggs, bacon, and bread, and many people purchased their meals from these street vendors. Made in cans over charcoal burners, coffee and tea were served in china. People would drink it quickly and return the cup to be (hopefully) washed and used by the next customer.

By 1901, the average person in Britain drank an estimated six pounds of tea per year. Tea had become so much a part of British life that the government took over tea importation during the First World War to ensure it continues to be affordable and readily available. Tea was acknowledged to boost morale, and was one of the products rationed during the Second World War.

Jessica Cale

Sources

Paterson, Michael. Life in Victorian Britain. Running Press, 2008.
Worsley, Lucy. If Walls Could Talk: An Intimate History of the Home. Walker Publishing, 2011.
The Diary of Samuel Pepys, entry for September 25th, 1660.
The UK Tea & Infusions Association. Catherine of Braganza and Tea Smuggling.

For more on smuggling, read Virginia Heath’s post How Smuggling Shaped the English Language.