Diacritica 25-2_Filosofia.indb - cehum - Universidade do Minho

QUEEN CAROLINE AND THE PRINT CULTURE OF REGENCY RADICALISM
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ated the pace of print production. On the other hand, the erosion of the
seriousness of the discourse of authority – the basis of satiric laughter – that
resulted from the acquittals of Hone and Wooler at their 1817 trials also
played a part. At Hone’s fi rst trial, the grave, authoritative warning by Mr.
Justice Abbott only elicited more laughter from the audience:
If there is any body present of so light a disposition as to think that a matter
of this kind should be made a subject of laughter, at least he shall learn that
he shall not come here to interrupt those who are of a graver disposition, and
in the discharge of an important duty (Hone, 1818: 5).
Pamphlet satires were popular sub-literary genres during the Queen
Caroline aff air. In 1820 over sixty volumes of satirical verse were published,
against a total of 201 volumes of poetry, according to J. R. Jackson’s incomplete
list Annals of English Verse, 1770-1835 (Dyer, 1997: 12). Th e average
cheaper price of pamphlet satires in relation to satirical prints [16] and their
relatively quick production lent themselves to prompt and popular political
comment.
Hone (1780-1842) was a pivotal fi gure in the production of satiric
pamphlets on behalf of Queen Caroline in partnership with the caricaturist
George Cruikshank (1792-1878). Despite his initial reluctance to join the
Queenites – imprisonment and trials in 1817 had left indelible fi nancial
and psychological marks – he shared in the movement on behalf of Queen
Caroline, both with the pen and the press. It was his last overt and serious
political commitment.
Hone’s was a creative response to the Aff air. Although he also wrote
or published non-satirical texts [17] supporting the Queen, by far his most
relevant contribution was satirical. Like Wooler, Hone used satiric laughter
as a counter-discourse of resistance to the hegemonic power summoned
against the Queen, oft en intertwined with the theme of the power of the
press, a most cherished theme by Hone, as by radicals in general.
16 Most pamphlet satires cost one shilling, whereas the price of satirical prints varied, according
to size, colouring, or detail. ‘Plain’ prints usually cost one shilling, but coloured ones cost two
shillings (Baker, 2005: 18).
17 Hone wrote two non-satirical pamphlets in 1820, supporting the Queen – Th e King’s Treatment
of the Queen, Shortly Stated to the People of England (Hone, 1820b) and Th e Form of Prayer
(Hone, 1820c). Although the latter text parodies the practice of issuing ‘a form of prayer’ to
celebrate a major event in the monarchy, the tone is not satirical; he also published the Queen’s
Letter to the King (Hone, 1820a); in 1821, Hone wrote two further pamphlets –To the King, from
the Author of Th e King’s Treatment of the Queen (Hone, 1821a), and An Accurate Report of the
Trial of Her Most Gracious Majesty Queen Caroline (Hone, 1821b).
Diacritica 25-2_Filosofia.indb 171 05-01-2012 09:38:28