Royal Romances: Sex, Scandal, and Monarchy (61 page)

the gift of the Queen consort. The print suggests that Wood hoped

to be made Warden of St. Catherine’s in return for his support of the

Queen.

12. The attribution “Gay” suggests that the verse is drawn from John

Gay’s
Fables
, but it was more likely written by Lane for the engraving.

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N o t e s

223

It is in the style of Gay’s verse, and cats and monkeys feature often in

the
Fables
, but these four lines do not appear in Gay.

13. The punctuation appears in Gillray’s title but not in Lane’s.

14. She is washing out her “last shift” in the picture, but the title also

suggests the kind of workaday changeover that might account for her

weary stance.

15. Gillray reinforces the association of Lady Hamilton with prostitution

with the relics at her feet. Presumably from her husband’s collection

of antiquities, they include statues of Priapus, Messalina, Venus, and

a satyr.

16. The National Library of Scotland lists several different versions of

“The Blue Bells of Scotland” throughout the later eighteenth and

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nineteenth centuries. The one anthologized in the
Scots Musical

algra

Museum
in 1803 begins “O where and O where does your highland

laddie dwell; / He dwells in merry Scotland where the blue bells

sweetly smell.” In other broadsides the second line is often some ver-

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sion of “He’s gone to fight the French, for George upon the Throne”

(“The Blue Bells of Scotland”). My thanks to Clare Simmons for

pointing out the transmogrification of references in these prints,

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from laddie/soldier to sailor to courier.

17. Robert Patten briefly discusses the relationship between the two

sitetsbib

prints in his biography of Cruikshank (233–34).

18. It would have cost a good deal more to purchase than any of the indi-

vidual prints, which could have been bought colored for as much as

two shillings or uncolored for as little as sixpence (Tamara Hunt 698).

A bound volume like this, on the other hand, would have been much

more expensive. William St. Clair points out that “in 1812, a bound

copy of [
Childe Harold
] in quarto cost about half the weekly income

of a gentleman” (
The Reading Nation in the Romantic Period
195).

19. Tamara Hunt points out that the need for a print to be current often

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meant that production was rushed: “it was more important for a cari-

cature to be timely rather than a production of high artistic quality”

.palgra

(699).

20. As Lockhart’s sketch suggests, discussion of Byron’s image focused

om www

on his face as an index, a “welcome adjunct to reading” his poetry

(Mole, “Ways of Seeing Byron” 69): the true cast of Byronic melan-

choly. The pseudo-miniatures of the tête-à-têtes in the eighteenth

century accomplished the same thing with Robinson’s image.

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21. Toulalan lists several references to posture girls in seventeenth- and

Cop

eighteenth-century pornographic texts, suggesting that “the reveal-

ing of the genitals to excite a client seems to have been a standard

practice” (186–87). Robinson reinforces this association in the sketch

when she comments that Tarleton “has often been a mere spectator,

as he is now, of such follies” (187).

22. “It is this overweening, aggravated, intolerable sense of swelling

pride and ungovernable self-will, that so often drives them mad; as

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224

N o t e s

it is their blind fatuity and insensibility to all beyond themselves,

that, transmitted through successive generations and confirmed by

regal intermarriages, in time makes them idiots” (“On the Regal

Character” 340).

23. The entire cost of William’s coronation was just over 30,000 pounds

(Ziegler 193). Victoria’s cost about 70,000 pounds (Hibbert,
Queen

Victoria
71), while George IV’s cost over three times as much.

Cumming lists the total expenditure for his coronation as just over

238,000 pounds, of which 100,000 pounds were paid by Parliament

and the rest came from France under the peace treaty (42).

24. William’s biographer Philip Ziegler cites the “at times almost fran-

tic” (152) avoidance of ceremony that characterized his brief reign.

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He quotes the Duke of Wellington’s observation that “This is not

algra

a new reign, it is a new dynasty” and adds that it would be “more

accurate to say that it was not a new king, it was a new concept of

monarchy” (154–55).

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25. Plunkett points out that “[a]ttacks and commentary upon the nine-

teenth-century monarchy as an institution have to be continually set

against the much larger number of column inches engendered by the

lioteket i

Queen’s engagements” (14).

sitetsbib

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.palgra

om www

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Wor k s C i t e d

Agg, John.
The Book Itself; or, Secret Memoirs, of an Illustrious Princess;

Interspersed with Singular Anecdotes of those Personages connected with

the Court of Alb. A Political, Amatory, and Fashionable Work. Concisely

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Abridged from Mr. Agg’s New Work, “The Book Discovered. ”
London:

algra

Printed and Published (for the Editor) by E. Thomas, Clare-Court,

Drury-Lane, 1813.

Aristotle’s Complete Master-piece, in Two Parts; Displaying the Secrets of

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Nature in the Generation of Man
. London, 1797.

Authentic Memoirs, Memorandums, and Confessions. Taken from the Journal

lioteket i

of His Predatory Majesty, the King of the Swindlers
. London: Printed for

the Editor; and Published by J. Parsons, 21, Pater-Noster-Row, c. 1800.

Ashe, Thomas.
Memoirs and Confessions of Captain Ashe, Author of “The

sitetsbib

Spirit of the Book,” &c. &c. &c. Written by Himself
. London: Printed for

Henry Colburn, 1815.

———.
The Spirit of “the Book”; or, Memoirs of Caroline Princess of Hasburgh,

a Political and Amatory Romance
. Philadelphia, 1812.

Aspinall, Arthur.
Lord Brougham and the Whig Party
. 1927. Manchester:

Manchester University Press, 1939.

———. “Statistical Accounts of the London Newspapers, 1800–36.”
The

English Historical Review
65.255 (April 1950): 222–34.

———. Ed.
The Correspondence of George, Prince of Wales, 1770–1812
. Vol. 1.

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London: Cassell and Co., 1963.

The Attorney-General’s Charges against THE LATE QUEEN brought for-

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ward IN THE HOUSE OF PEERS, on Saturday, August 19, 1820,

ILLUSTRATED with FIFTY COLOURED ENGRAVINGS
. London:

om www

Published by G. Humphrey, 27, St. James’s Street, 1821.

Austen, Jane.
Emma
. Ed. Kristin Samuelian. Peterborough, Ontario:

Broadview Press, 2004.

———.
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. Ed. Deirdre Le Faye. New York: Oxford

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Univerisity Press, 1995.

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———.
Mansfield Park
. Ed. Claudia L. Johnson. New York: W. W. Norton &

Company, Inc., 1998.

———.
Northanger Abbey
. Ed. Claire Grogan. Peterborough, Ontario:

Broadview Press, 1996.

———.
Pride and Prejudice
. Ed. Robert P. Irvine. Peterborough, Ontario:

Broadview Press, 2002.

Ayling, Stanley.
George the Third
. New York: Knopf, 1972.

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Barbour, Judith. “Garrick’s Version: the Production of ‘Perdita.’ ”
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Barker-Benfield, G. J.
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tury Britain
. Chicago: University of Chicago Press, 1992.

Blackstone, William.
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the First Edition of 1765–1769
. 4 vols. Chicago: University of Chicago

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