The Great Terror of 1803–4
It is possible that Ruskinʼs poem reflects his parentsʼ memory of an unsettled period during the beginning of their long courtship.
In 1803, with the collapse of the Peace of Amiens Napoleon began to mass troops on the French coast of the English Channel along with
a flotilla of rafts and boats in port cities, ready to carry the invading force across the Channel into England. The threat threw the United Kingdom
into a state of high alarm, prompting calls to organize, arm, and drill volunteer militias in cities, towns, and villages throughout England and Scotland.
During this tense period, which held until Horatio Nelsonʼs victory at Trafalgar in October 1805, Margaret Cock was living in the Edinburgh
residence of her uncle on her motherʼs side, John Thomas Ruskin (1761–1817), serving as a vital household support to her aunt, Catherine Ruskin (1763–1817).
Margaretʼs cousin, John James Ruskin, had recently set out for London in search of a career. In 1803, Margaret was twenty‐two and John James was eighteen—the
latter a dreaming, bookish youth, as captured in the 1802 portrait by George Watson (1766–1837). The cousins had already established an understanding,
as characterized by John Jamesʼs 1801 poem addressed to Margaret:
Suppose a youth entitled to comment,
On praising earthly beauty fully bent,
Say could he find a mortal face like thine,
Where Natures graces ever lovely shine?
. . . . . . . . . . . . . . . . . . . .
The first thou art that eʼer his fancy caught,
To lavish words on Beauty never taught,
Inspired by thee, tis nature dictates all
Those lines that from his pen unpolishʼd fall.
In
1803–4, the unsettled state of the nation was mirrored by
John Jamesʼs uncertainty about his future. In
1801, he had gone to
London with letters of introduction in search of a position,
only to be called back to
Scotland to toil for a druggist in
Fife while awaiting an opening in
London. By
1804–5, he had finally gained a position with a
London merchant firm,
but the firmʼs future was unpromising. An
1805 letter by his mother suggests a complex tangle of emotions—on his part, a guilty sense of “undutifulness” in leaving home,
combined probably with resentment of his fatherʼs irrational “temper” that apparently wanted him neither in
London nor at home; and on his motherʼs part, self‐recrimination
as a “poor selfish being who for her own gratification”—presumably, in wanting to keep him at home—“would ruin the prospects of her Child and perhaps condemn him to a life of misery forever”.
Now, however,
Catherine perceived her duty in propping up her sonʼs “habits of Industry”, “
God requir[ing] that man should be accountable for his time”
and “active in doing good to his fellow Creatures”
(
Catherine to John James Ruskin, 18 April 1805, Ruskin Family Letters, ed. Burd, 5–6, and see 7 n. 2).
As
John James labored under conflicted feelings of guilt, resentment, and duty toward his parentsʼ home in
Edinburgh,
while dreaming of establishing a more stable future home of his own with
Margaret,
his conflicted emotions were writ large by British evangelicals whose assurance of
Godʼs protection was thrown into question by the prospect of French invasion.
As a correspondent in
Knaresborough, Yorkshire, cautioned readers of the
Evangelical Magazine in
1804:
“a supposed confidence in
God in the season of apparent security, may not produce all the effects expected, in the hour of difficulty and distress.
It is indeed arguing according to the promise, when we try to persuade ourselves that, ‘As our day is, so shall our strength be’:
but unless we take into the account an habitual concern to please him and to walk with him, such a persuasion will prove presumptuous,
rather than the fruit of a lively active faith, and will leave us in want of the consolation and support we expected”
(
H., “French Invasion, and Capture of the Duff”, 73).
Another correspondent with the magazine sent a poem pleading forgiveness for whatever “sins” and “crimes” had brought on this threat from abroad:
Eternal Sovʼreign! Gracious Sire!
To thee we wing the strong desire,—
To thee our prayers ascend.
Turn back thy wrath, thy anger stay,
And give us not to foes a prey;
But prove our gracious Friend!
These fears and doubts would prove at variance with the spirit that Wordsworth roused in 1807 with the series, “Sonnets Dedicated to Liberty”.
In the sonnet “October, 1803”, Wordsworth, unlike the Yorkshireman, reassures the reader with the promise, “as thy days, so shall thy strength be” (Duet. 33:25),
arguing that, for “Sound, healthy Children” of God and Britain, “sufficient unto the day is the evil thereof” (Matt. 6:34) since their minds are “untilled”
by the worldliness that causes “rich men” to quail with “apprehension and despair”:
These times touch monied Worldlings with dismay:
Even rich men, brave by nature, taint the air
With words of apprehension and despair:
While tens of thousands, thinking on the affray,
Men unto whom sufficient for the day
And minds not stinted or untilled are given,
Sound, healthy Children of the God of Heaven,
Are cheerful as the rising Sun in May.
What do we gather hence but firmer faith
That every gift of noble origin
Is breathed upon by Hopeʼs perpetual breath;
That virtue and the faculties within
Are vital,—and that riches are akin
To fear, to change, to cowardice, and death!
As
Richard Matlak remarks, this position represents a change of heart in
Wordsworth, as he,
Dorothy, and
S. T. Coleridge
appeared at first to have shunned the summons for militia volunteers by departing home for a tour of
Scotland in
August–September 1802.
Immediately on their return, however,
Wordsworth signed up with the Grasmere Volunteers, his mind changed,
Matlak argues,
by a meeting with
Walter Scott during the tour.
Scott was an ardent militarist, and his zeal was answered not just by British countrymen but also by
London merchants—those
“monied Worldlings” whom
Wordsworth condemns for cowardice, but whom
Matlak reads as straw men in the poem
(
Matlak, “Wordsworth and the ‘Great Terror’ of 1803–05”).
The temptation to construct straw men would have been strong in a time when patriotism was feverish, yet some were apt to “taint the air” with “apprehension and despair”—not
because they feared for their riches, but because as evangelicals they read divine retribution into the events. For
John James Ruskin, the conflicting signs must have mirrored
his own despair even of locating a home much less of defending it.
Pacifism and Domesticity
Attitudes to invasion were no less conflicted for British women. Children who grew up in
Britain during the
Napoleonic and immediately post‐Napoleonic eras
were exposed to the anxieties of women who, as
Linda Colley remarks,
“seem to have believed that their own security and the security of the family unit were at stake in this
French war as they had not been in earlier conflicts.
In part, this was because the risk of a French invasion of
Britain was so much greater in this war than ever before.
But crucial, too, as an ingredient in female anxiety was the destruction of
Marie‐Antoinette and the rest of the French Royal Family”—a regicide that
Edmund Burkeʼs
Reflections on the Revolution in France
(
1790) taught the elder Ruskinsʼ generation to stigmatize specifically in terms “of a queen who was also a wife and mother being driven by force from her home”
(
Colley, Britons, 254, 253).
One source of womenʼs anti‐war writing to which
Ruskin had access was
Evenings at Home by the Unitarian educationalists,
Mrs. Barbauld and her brother
John Aikin.
While it is impossible to specify when and with what extent of supervision
Ruskin dipped into this miscellaneous “juvenile budget”
of dialogues, fables, and poems, its anti‐war pieces were vividly prominent. For example, in the dialogue
“Things by Their Right Names” (traditionally ascribed to
Barbauldʼs authorship rather than
Aikinʼs),
a Father obliges the wish of his son, Charles, for a story about “bloody murder“; however,
in place of the generic props and characters of romance that Charles anticipates,
the father substitutes unexpected “right names” for elements in the story.
As Charles pieces together these words, he realizes his father is not relating a thriller but describing a battle:
“‘I do not know any
murders half so bloody’”, the Father concludes.
Implicit in the fatherʼs lesson is the real threat that war poses to the English home,
as the family has gathered “‘round the fire quite ready to hear”’ a good story,
only to find their expectations invaded by graphic images of violence
(
Barbauld and Aikin, Evenings at Home, 1:154–56).
Other anti‐war dialogues and tales in
Evenings at Home—probably by
Aikin, or perhaps by
Aikin and
Barbauld collaboratively—include
the dramatic sketch
“The Two Robbers”,
which uses a strategy similar to that of
“Things by Their Right Names” of substituting blunt definitions for the evasions of self‐glorifying warriors.
The pretensions of
Alexander the Great are mocked by a lowly Thracian, who has been captured for stealing.
Alexanderʼs conquests, the Thracian explains, are no better than the robberies committed by the captive (2:152–56). Later,
in
“True Heroism”, the actions of
Alexander and other alleged heroes are attributed to mere selfishness, while true heroism is bestowed
on a common lad who protects his family from the abuse and neglect of his father—“of all the tyranny and cruelty exercised in the world,
. . . that of bad husbands and fathers [being] by much the most frequent and worst” (5:85–90, 88).
Another dialogue that deflates the gains of war,
“The Price of a Victory”,
opens with a boy bursting into “his fatherʼs house” to proclaim the “glorious news” of “a complete victory”,
only to be cross‐examined by his father. Rationally, the father unpacks the news by weighing the illusory benefits of the victory against its hugely painful costs.
The father closes his case with a story illustrating the sufferings of a soldier, who returns home from battle grotesquely wounded,
and whose death causes the decline of his fiance and parents. Again, the greatest cost of war is pictured as the fall of the peaceful and prosperous home (4:52–63).
In a sequel dialogue,
“The Cost of a War”, the father describes the notorious destruction of the
German Palatinate by
Louis XIV of
France
to reveal the effects of imperial aggression on unoffending villagers whose homes and crops are burned (5:54–63; and see,
in
Account of a Tour on the Continent, the essay
“All has yielded to it from time immemorial” [“Heidelberg”] and associated glosses).
Barbauld and
Aikinʼs anti‐war rhetoric in
Evenings at Home has been shown to be consistent with discourse shared among Radical reformers
during the
Revolutionary period. The language for the childrenʼs lessons is simpler, and their ironies less biting than what
Barbauld indulged in her anti‐war political pamphlets.
The simplicity, however, potentially increased the risk of censure for sedition during the height of the governmentʼs alarm in the
1790s,
since the arguments could be construed as leading unsophisticated folk astray
(
Trethewey, “Lady Defender of the Revolution”, 163–65, 161).
Certainly,
Barbauldʼs mastery of a shared Radical discourse drew censure because her rhetoric was indistinguishable from that of male writers.
In her own time, she was accused of having “unsexed” herself. Famously,
John Wilson Croker attacked her in his review of her poem,
Eighteen Hundred and Eleven, for
“wander[ing] from the course in which she was respectable and useful”—as an educator and writer for children—and
mistaking “her power and her duty” as a “lady‐author” by presuming to comment on the affairs of empire ().
(see
Mahon, “Sermon and Story”, 29–30;
McCarthy, “‘A High‐Minded Christian Lady’”, 179–80).
The anti‐war pieces for children in
Evenings at Home avoided scrutiny as subversive perhaps because, as
Aileen Fyfe has found,
the book was initially well received primarily among liberal Dissenter families. The book proved objectionable to Anglican Evangelical readers,
but primarily for what it did not say, such as connecting scientific topics explicitly with religious commentary.
In any case, controversy had waned by the
1820s,
when
Ruskin encountered the work, and
Evenings at Home achieved the status of a classic,
reprinted in thousands of copies (
Fyfe, “Tracts, Classics and Brands”, 220–21).
Aikin and
Barbauld may also have steered clear of sedition by confining the anti‐war pieces to historical examples—the ancient
Macedonia
of
Alexander the Great, the seventeenth‐century
Europe of
Louis XIV. However the implications of the anti‐war arguments were apprently muted for most readers, just as
in
Ruskinʼs
“The Defiance of War” Barbauld and
Aikinʼs discourse appears largely ignored in details. One can perhaps glimpse the Radical contention
that only the ruling class benefits by war in
Ruskinʼs remark that war “like[s] better a king to be”. Overwhelmingly, however,
the poemʼs pacifist message is not only unsupported by argument but even contradicted by a discordant militarism, such as the threat
that any invading army “here shall suffering die”. Moreover, the gender positioning seems aggressively masculine,
with the promise that war will in its turn be conquered by “he” who is “the strongest of us”—presumably referring to the patriarch of the household,
or to a military hero of the nation.
War poetry that was more conflicted than
Barbauld and
Aikinʼs rational dialogues may have been available to
Ruskin in work by
Felicia Hemans,
which he certainly knew to some extent at this time. In
Hemansʼs early poems about the
Napoleonic Wars, the idea of a peaceful British home,
which stands invulnerable to warfare that
Britain itself wages, appears as a trope with specific uses within a larger argument.
In
“War and Peace—A Poem, Written at the Age of Fifteen”,
published in
1812 when the poet was still
Felicia Dorothea Browne, the nation,
“Albion”, is figured as the invulnerable home:
Oh! Albion! Libertyʼs immortal fane,
Empress of isles! palladium of the main!
Thoʼ thy loud thunders throʼ the world resound,
Thoʼ thy red lightnings flash victorious round;
Thoʼ nations own, in many a distant clime,
Thy arm triumphant, as thy name sublime;
Rock of the waves! thoʼ proud, from zone to zone,
Extend the pillars of thy naval throne;
Around thy coast thoʼ wild destruction roars,
Yet calm and fertile smile thy favorʼd shores;
In emerald verdure blooms thy sunny plain,
And the dark war‐blast rolls without‐in vain!
Thoʼ flames of valor, kindling in thine eye,
Brave every storm, and every foe defy;
Yet soft, beneath its milder beam, serene,
Luxuriance blossoms oʼer the glowing scene;
Fair laugh thy vales! no deathful sounds assail,
Mirth warbles free, and music swells the gale;
While firm in might, thy victor‐arm extends,
Death to thy foes, and succour to thy friends!
In
Evan Gottliebʼs analysis of another juvenile war poem by
Hemans,
England and Spain; or, Valour and Patriotism (
1808),
which he reads against
Barbauldʼs
Eighteen Hundred and Eleven,
Hemans seeks in the end to privilege peace over warfare; however, in order to do so,
she puts “herself in the awkward position of anticipating the end of freedom‐loving violence . . . for the sake of perpetual peace”, despite
having all along valorized
Britainʼs imperial aggression as the means to prosperity and spread of democracy.
Barbauld perceives the contradiction in this oblivious optimism and predicts that
Britainʼs paradoxical pursuit of peace and prosperity through imperioalistic aggression—regardless
of particular, seemingly justifying circumstances—will ultimately collapse (
Gottlieb, “Fighting Words”, 334, 338).
The near‐eschatological terms with which
Hemans needs to represent the peaceful English home at the end of
England and Spain,
as well as in the paean to Albion in
“War and Peace”, may explain the gap between military aggression and desire for a peaceful sanctuary
that
Ruskin fails to bridge in
“The Defiance of War”. Even when
Hemans at least acknowledges a contradiction in her somewhat maturer poem,
“The Domestic Affections” (
1812), by asking rhetorically whether “warʼs dread scenes [can] the hallowʼd ties efface” and
whether “fields of carnage, days of toil, [can] destroy / The lovʼd impressions of domestic joy?” (lines 111–14), she still insists
that home is an “ark of refuge” and a “fane of rest [that]
no raging storms invade” (lines 76, 61).
Triumphantly, the poem asserts the “mystic power” of domestic affections (line 252) to overcome all trials of adversity,
just as domestic joy will outlast any competing sources of joy such as fame and genius.
Doubt emerges only when evocation of “maternal love” prompts the question of “who may charm
her sleepless pang to rest” (lines 341, 343)
(
Hemans, Selected Poems, ed. Wolfson, 4–15).
Pacifism in Britain after Waterloo
The latest credible threat of invasion of British shores had ended, of course, in
1815
with the
Battle of Waterloo, which closed the
Napoleonic Wars.
Soon thereafter, in
London in
1816, the Peace Society was founded as a coalition of Quakers and other Dissenters,
such as Congregationalists—the Ruskinsʼ church at this time—Baptists, and Unitarians, as well as
Anglican Evangelicals.
Peter Brock characterizes the society as marking the emergence of an organized peace movement
as compared with earlier, sporadic assertions of Christian pacifism by individuals, and as partaking of the reform optimism
of the
1820s–30s generally. A middle‐class movement, and never a broadly populist one, the society was intent initially on converting British opinion
through pamphleteering. As the flush of optimism surrounding the
Vienna Settlement gave way to rising nationalism on the
Continent, accompanied by friction
between reactionary state policies and republican movements, the Peace Society advocated nonintervention. It finally found a political platform
through alliance with free‐trade internationalists (
Brock, Pacifism in Europe, 376–86).
In
late 1826, near the time of
Ruskinʼs poem, an international incident that had the potential to affect trade
occurred in the East, in connection with the
Greek War for Independence from Turkish domination.
While no threat to
Britain, the war would have interested the Ruskins for its associations with
Lord Byron, who had died in
Missolonghi in
1824. In the
Greek conflict,
Britain was striving to avoid an outbreak
between
Turkey and
Russia, whose new tsar,
Nicholas I, was willing
to push hostilities. In
October 1826,
Britain pressured
Turkey to accept Russian conditions in the
Convention of Akkerman. This assured Russian influence in the
Caucasus and the opening of the
Straits of Bosphorus to trade, which might have interested the Ruskinsʼ mercantile household.
As it turned out,
Russia continued to press hostilities in the name of the Greek cause, and
Britain joined
France and
Russia to declare
joint mediation, according to a treaty signed in
London in
July 1827. (In the subsequent history, the Turks refused mediation but were defeated by
allied fleets at
Navarino in
October 1827. The
Treaty of Adrianople, rendering
Greece autonomous, was signed
two years later, in
September 1829.)