“We Are Threatened with…Anarchy and Ruin”: Fear of Americanization and the Emergence of an Anglo-Saxon Confederacy in England during the American Civil War

2001 ◽  
Vol 33 (4) ◽  
pp. 583-614
Author(s):  
Hugh Dubrulle

In an October 1861 letter to Charles Sumner, the prominent Republican Senator from Massachusetts, William Howard Russell, The Times’ correspondent in America, explained England’s attitude toward the American Civil War: “In England we are threatened with Americanization which to our islands would be anarchy & ruin, & the troubles in America afford our politicians & writers easy means of dealing deadly blows at Brightism which is often attacked under the guise of war & the troubles in America.” Indeed, as Russell claimed, the conflict allowed those who identified the radicalism of John Bright with Americanization and disorder to present a plausible case to the English public. Americans, so this argument went, were but Englishmen transformed by Americanization, a social and political process that fostered a licentious individualism and a pernicious egalitarianism. This transformation had not only precipitated disorder in America, but the deterioration of civilization. England could also succumb to Americanization if it allowed Brightism to achieve dominance by extending the suffrage and introducing a radical, middle-class Parliament. The consequent implementation of free trade and destruction of privilege would lead to political and social democracy, making Americans of the English in England. From this perspective, Bright was an American in the most pejorative sense of the word.

2012 ◽  
Vol 46 (3) ◽  
pp. 663-679
Author(s):  
ANDREW MILLER

This paper involves a close reading of Herman Melville's poem “On the Photograph of a Corps Commander,” published in Melville's 1866 collection Battle-Pieces. Realizing that Melville's poem is one of the first descriptions (ekphrases) of a photograph in verse, the paper explores how Melville's poem uses physiognomy to describe the subject of the photograph: an American Civil War general, who is only identified as “the Corps Commander.” In this way, Melville's poem reflects the nineteenth-century philosophical and popular notions of photography. These notions came to regard photography as a Neoplatonic medium capable of recording and revealing the inner character of its subjects. Relying on these conceptions of photography, Melville's poem describes the photograph of the Corps Commander as having the power to reveal the Platonic absolute of American masculinity, and thus it comes to hail the photograph as a semi-sacred image that has the power to draw Anglo-Saxon American men into a common brotherhood.


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