As tattoos are both drawing and text that imprint the epidermis in inky arabesques of Delphic symbolism, Punch or The London Charivari acted, for more than one-hundred and sixty-one years (1841-2002) as the sharply witty, bitterly satirical chronicle of its own time. With a weekly circulation of approximately 50,000 – 60,000 issues in the mid-Victorian period, Punch became one of the most influential journalistic witnesses in mid-Victorian Britain, renowned for its unique sense of humour, audacious approach to current social and political matters and, most of all, for an unprecedented mastery of caustic illustrations, in a fresh approach to capture and caricaturise the spirit of the epoch, equally unprecedented in its dynamism and expansion. Although throughout the 1840s the magazine built its popularity more on political analysis than on satirical drawing, ”Punch's Pencillings” would turn the magazine into a vivid fresco, whose inimitable touch and magnetism have come to be osmotically associated with John Leech (1817-1864). With his undeniably remarkable artistic touch he managed not only to define the overall architecture of the magazine, but also to create a new understanding of humorous drawings, introducing the world to the concept of 'cartoon' as we all know it today. This article examines a selection of his three-thousand drawings published in Punch, in an attempt to recompose, through curved charcoal lines, the jigsaw of what Henry James coined as “newspaperized world,” at times when, as Lucy Brown argues, Britain was forging the modern concept of news. It is not only the social, cultural and political milieu that interests us, but also the extratextual implications of a visual appearance and narrative that pervaded the literary scene, as nineteenth-century journalism shared its boundaries with the realm of literary fiction.
Seven Types of Animality, Or: Lessons from Reading and Teaching Animal Fictions
