Oscar Wilde: Prison Voices and Prison Writings

Oscar Wilde experienced life within a Victorian prison himself after being convicted of homosexual offences in 1985.  It is interesting to acknowledge that Wilde ‘contributed to mounting public conversation exposing the inhuman treatment of inmates and demanding penal reform as a means of anticolonial mobilization; they ultimately reclaimed the prison as a viable site of communication and aesthetic production’ (1) Although Wilde moved around several prisons, including Newgate, it seems that his time at Reading is perhaps one of the most significant periods of his life in terms of the way it influenced his writing, as ‘The Ballad of Reading Gaol’ is based on both his personal feelings towards prison while also significantlydraws upon the execution of Charles Thomas Wooldridge (executed at age 30) who the poem is written in memoriam of. It is suggested that ‘The Ballad is an indictment of the death penalty and the whole penal system, but it is much more than a protest poem. It is a revelation, and its structure is part of that revelation’ while it is also highlighted that ‘It was first published simply under his prisoner identification number, C.3-3’ (2)

Reading Gaol

Wilde subtly describes both Wooldridge and questions the penal system throughout the poem.

I never saw a man who looked
With such a wistful eye
Upon that little tent of blue
Which prisoners call the sky,
And at every drifting cloud that went
With sails of silver by. (stanza 3)

This stanza depicts Wilde's personal observation of Wooldridge leading up to his execution, as he had accepted his fate. The phrase 'wistful eye' insinuates the sense that Wooldridge was noticeably nostalgic and perhaps more calm than some prisoners may have been in his situation. Wilde uses the scenic, pleasant imagery of a 'drifting cloud' to reinforce these thoughts, ultimately shifting the focus from Wooldridge's crime itself to the sentimental value of human life. Perhaps one of the most striking sections of the poem is the stanza:

I walked, with other souls in pain,
Within another ring,
And was wondering if the man had done
A great or little thing,
When a voice behind me whispered low,
'THAT FELLOW'S GOT TO SWING.'

This appears to be Wilde's direct approach of challenging the penal system and arguably the death penalty. The spiritual language such as 'other souls' similarly evokes an emotional reaction from readers, reminding them that prisoners should not be dehumanised despite their crimes. Wilde questions whether Wooldridge is guilty or not, yet is reminded that the execution will take place regardless of his thoughts. The use of 'whispered low' creates the sense of an echoing voice, perhaps reflecting the continuation of the penal system process, which does not prioritise individual emotions over laws. The phrase 'that fellows got to swing' sounds shockingly casual in this context, yet this may be for dramatic effect, as creating this juxtaposition with the rest of the language used highlights again to us that the execution is simply a legal process that overlooks the value of human life.

Cited:

A. Jarrin, C (2008) 'You Have the Right to Refuse Silence: Oscar Wilde's Prison Letters and Tom Clarke's Glimpses of an Irish Felon's Prison Life' p.85-87

Rumens, C (2009) 'Poem of the Week: The Ballad of Reading Gaol',The Guardian

Wilde, O (1898) 'The Ballad of Reading Gaol' 
 

Prison memoirs of a suffragette

Prison memoirs are an interesting and valuable way for us to gain insight into the personal experiences of convicts, in particular those who are no longer alive to share their stories vocally. While reading through different memoirs, I was intrigued by that of Lady Constance Lytton, a British suffragette.

Lady Constance Georgina Bulwer-Lytton, 1908

Lytton was born into a privileged family in 1869 yet chose to reject the lifestyle of her family and take part in the Women’s Social and Political Union, aiming for Votes for Women. She consequently used the disguise of an ordinary London seamstress and used the nom de guerre of Jane Warton to complete her role.

Dressed as Jane Warton, 1910

Lytton writes humorously about this choice, describing that ‘The look of Jane Warton was still comic in the extreme, the two wardresses laughed as they undressed her. Her glasses were the subject of excessive care and she was allowed to keep them with her. I would most gladly have given them up, for they hurt the bridge of my nose which was far too wide for them, but it was good, of course, to help the disguise for some while longer’. The informal and very personal tone is engaging and allows us to obtain a sense of understanding towards her.

Walton Goal, 1910

Lytton recalls her time at Walton goal in Liverpool, describing her refusal to eat and separation from fellow suffragettes, such as Elsie Howey. She then recalls that ‘I said that I did not bow to the imprisonment and so would not undress myself, whereupon a wardress began to pull my things off, but I showed them this was not from disagreeableness but only through the prison strike’. The use of ‘pull’ to describe being undressed insinuates harsh treatment. She also chooses to justify her actions to the reader, explaining that she is merely remaining loyal to her cause rather than deliberately being difficult. Again, this allows us to warm to her character.

Lytton outlines the routine of the meals which she politely declined, including porridge at 7am, meat and potatoes at 12 and porridge at 4:30 in the afternoon. She juxtaposes this by vividly describing her dream the same night, which consisted of ‘fruits, melons, peaches and nectarines, and of a moonlit balcony that was hung with sweetest smelling flowers, honeysuckle and jessamine, apple-blossom and sweet scented verbena’ along with ‘the sound of night birds throbbing over the hills that ranged themselves below the balcony’.  Her creation of such a scenic and pleasant fantasy highlights the very mundane and dreary reality of prison life.

Generally wardresses are not displayed in a severely negative light throughout the memoir, at one point one is even described to be ‘amiable’. However, Lytton’s resistance is demonstrated clearly through the line ‘Presently an officer came and led me out. The manner of nearly all the officers was severe; one or two were friends but most of them treated me like dirt’.

It seems that the memoir aims for reform and to comfort prisoners, who Lyntton encourages to ‘Be just, kind and forgiving to yourself’. Although evidently she describes her dislike for public opinion surrounding prisoners and for goalers, it seems that throughout her time within prison she does not directly aim to challenge every minor detail of the system yet is more focused on striving towards her political goals.

Her political motives are summarized well in the line ‘I wrote on the wall of my cell my name and the words which rung in my head over and over again, from the Book of Joshua: “Only be thou strong and very courageous.”

Cited:

Constance Lytton and Jane Warton, Prisoners and Prisoners: Some Personal Experiences (London: W. Heinemann, 1914)

http://digital.library.upenn.edu/women/lytton/prisons/prisons.html#XIII

Love Tokens

Love Tokens, which are also referred to as ‘leaden hearts’, were engraved by British convicts before they were transported to Australia. Christopher Pearson (2008) writes that ‘When convicts received a sentence of transportation to NSW, usually the alternative was being hanged. Some prisoners even expressed a preference for the gallows, because in the 1790s most people assumed that it was a one-way trip to Port Jackson and they’d never be seen again’. Therefore, love tokens were a small yet sentimental way in which convicts were able to provide their loved ones with something to remember them by. Pearson highlights that ‘quite a lot of the tokens were stippled or engraved by a professional, or at least a trained hand – there were plenty of penny forgers in the jails’.

Although many of the tokens included the names of both a convict and their significant other, I have chosen to look at the following token, which is associated with the Chartist, John Frost, who was married with eight children.  From searching the Index to Tasmania Convicts, State Archives of Tasmania, I was able to identify Frost through the ship (the Mandarin) in which he travelled upon. Here I found a hand-written document recording the details of Frost’s physical features. In addition to this, a picture of Frost is inserted below.

John Frost, born 25 May 1784. Died 27 July 1877 (aged 93)

Token relating to the Chartist, John Frost (Courtesy of National Museum of Australia)

The main reason that this particular love token captured my attention, is that unlike many other tokens, it would appear that the intention behind it was a political statement rather than romantic. We an see this from the alternate side of the token. John Frost was a respected figure within the Chartist movement and had led an attack on Newport. He was originally sentenced to be hung, yet after public outcry, his sentence was commuted to transportation for life. In a letter written by Frost in 1840, he states that ”I am acting as a clerk, and hitherto the labour has not been heavy. I am in excellent health – much better than I could possibly have anticipated.”

The back of this token simply says ‘Charter’

From viewing the back of the token, we can see that the main message John Frost wished to leave behind was in memory of his role within the Chartist movement. It seems as though one of his main ambitions in life was to achieve political reform in Britain for the working-class. W.J Linton’s article ‘Who were the Chartists?’ states that the Chartist movement was ‘a people’s protest against absolutism, monarchical or oligarchical—against privilege and class-legislation: a simple claim for some voice in the appointment of governors or public servants’. While researching Frost, it seemed he was often described as a person of good intentions, who aimed to help the ‘small man’ of society. This allows us to warm to the idea of him and therefore the story behind this token.

Another reason I was intrigued by Frost’s life is the successes which followed on from his transportation, he received a conditional discharge in 1854, allowing him to travel to New York and eventually lecture in England on the horrific experiences of life as a convict. Linton (1881) reassures us that when Frost reached old age he was a ‘hale, hearty-looking old man of ninety-three, unchanged in his opinions’.

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http://en.wikipedia.org/wiki/John_Frost_(Chartist)

Index to Tasmania Convicts, State Archives of Tasmania http://linctas.ent.sirsidynix.net.au/client/en_AU/names/search/results?qu=john+frost&qf=NI_SHIP_FACET%09Ship%09Mandarin%09Mandarin

Frost, J (1840) Monmouthshire Merlin

Millett, Timothy, Convict Love Tokens http://love-tokens.nma.gov.au/

Pearson, C ‘Every Token Tells A Story’, The Australian (2008)

Linton, W.J ‘THE CENTURY ILLUSTRATED MONTHLY MAGAZINE’ WHO WERE THE CHARTISTS?’ (1881)

Newgate Exercise Yard by Gustave Dore

Newgate Exercise yard by Gustave Dore, from ‘London: A pilgrimage’ by Gustave Dore and Blanchard Jerrold – 1872

The illustration I am analysing in order to explore prison reformation is Newgate Exercise Yard by Gustave Dore, from ‘London: A pilgrimage’ by Gustave Dore and Blanchard Jerrold – 1872. There are several factors which add to the strikingly atmospheric feel of this image. Since the prisoners are all male, it seems the prison has been reformed. The mundane depiction of the circular motion implies that the prison enforces a strict routine and that such activities are a frequent occurrence. This can be interpreted from the body language of the prisoners, as their hunched positions and blank facial expressions allow us to empathise with their apathy.

The body language of the prison officers similarly provides us with some insight. Their folded arms reaffirm their authority within the prison and create a definite contrast between the prisoners and those in charge. Although some may argue that this could also display class differences, the Museum of London website provided some useful information on this subject. They acknowledge how Jerrold explains that within the exercise yard, he observed a prisoner who had been a colonel in the English army.  Jerrold continues, noting that ‘the main body of the prisoners were in the garb of gentlemen…those who will not work, and cannot honestly live without work, are of all classes’’.

The image has been influential and was later copied by Van Gogh.

‘Prisoners’ Round’ (1890) by Vincent van Gogh – painted while he was staying at the asylum in Saint-Rémy

Works citied:

http://www.museumoflondonprints.com/image/143200/gustave-dore-newgate-exercise-yard-1872

Does society create criminals?

‘Moll Flanders’ book cover (Wordsworth Classics paperback)

Are criminals born or made by society and circumstances? There are many ways to tackle this debatable question. I will be utilizing Daniel Defoe’s characterisation of Moll Flanders in order to form my own personal response, while also acknowledging Defoe’s intended approach.

Kerry Ellis as Nancy from Oliver Twist

It is firstly interesting to observe the representation of Moll’s persona on the book cover pictured above. It seems almost satirical, as her body language is informal and she stands confidently with her hands on her hips, perhaps demonstrating that she is unashamed of the life she has led. Her clothes appear to represent the typically working-class Victorian woman, while it could be suggested that theme of red on her both her clothing and lips creates a sultry appearance, similar to that of Nancy in stage productions of Oliver Twist. Consequently, she appears as a relatable and almost familiar character to the audience.

We can identify in chapter two in particular that Defoe construes the idea that criminals are directly impacted by the circumstances they are born into. The protagonist, Moll, narrates the story, informing us that her mother left her ‘about half a year old; and in bad hands, you may be sure’. (1) This creates the sense that Defoe is subtly excusing her actions from the start and highlighting that her troubled childhood was a catalyst for the turbulent life she leads throughout the novel.

It is difficult to avoid possessing some sympathy for Moll, as it is so evident that the lack of positive role models and stability as a child have been a root of her problems. Coinciding with these thoughts, criticism has noted that ‘What is disturbing about Moll Flanders is how she is like us—or like what we might become if we were scrabbling hard to pull ourselves up in the world. The fact that Defoe has written a novel that gets us to sympathize with her helps explain why moralists were so suspicious of the novel in the 18^th century. While Defoe claims to condemn her, we can’t help but cheer’ (2)

Keeley Hawes as Moll Flanders in the 1996 television adaptation

Despite this, Defoe also appears to challenge these ideas, as Moll explains how she was taken in by a poor but good woman, who she describes to have brought her up as ‘mannerly’ in a comfortable environment. From this we could argue that Moll has experienced some form of a positive influence in slightly later life, yet she has either been already too influenced negatively to change, or people are born as criminals no matter what their circumstances are.

Considering all of these ideas, to me it seems inevitable from the beginning that it would have been almost impossible for Moll to live an honest and simple life. Her childhood was far from easy and it seems as though Defoe almost satirizes stereotypically petty ‘female crime’ such as theft and prostitution. Since Moll doesn’t actually commit an act of murder, a small sense of her morality is kept in tact and she is not dehumanised.  The emphasis that Moll originally makes on being ‘born into such an unhappy place’ cannot be ignored, as it is implied that there was never any hope for her to succeed without crime, even if she may have wanted to.

References:

(1) Defoe, D (1722) ‘Moll Flanders’ Chapter 2 The Literature Network

(2) Bates, R (2013) ‘Moll Flanders, Quintessential Capitalist’ Better Living Through Beowulf

Bibliography

Image of ‘Moll Flanders’ Wordsworth Classics book cover http://www.tower.com/moll-flanders-daniel-defoe-paperback/wapi/100029858

Image of Keeley Hawes as Moll Flanders in television adaptation http://www.betterlivingthroughbeowulf.com/moll-flanders-quintessential-capitalist/

Bates, Robin ”Moll Flanders, Quintessential Capitalist’ Better Living Through Beowulf (2013)

Defoe, Daniel  ‘Moll Flanders’ Chapter 2 The Literature Network http://www.online-literature.com/defoe/moll_flanders/2/