H.K. Browne's Depiction of Hugh the Hostler in Barnaby Rudge

Nicholas Clark
Department of English
University of Otago
New Zealand

nicholas.clark@stonebow.otago.ac.nz

Deep South v.1 n.3 (Spring, 1995)

In chapter 11 of Barnaby Rudge Dickens introduces the reader to the "slumbering form" of the hostler Hugh who he describes initially as being "muscular and handsome." There is a clear indication of his roguish behaviour, his wild and unkempt look: "a young man of a hale athletic figure, and a giant's strength, whose sunburnt face and swarthy throat, overgrown with jet black hair, might have served a painter for a model." Dickens's emphasis is on the character's rough but attractive appearance -- "the negligence and disorder of the whole man, with something sullen in his features, [that] gave him a picturesque appearance."[1] The visual interpretations of the character, however, show a gradual distortion of this picturesque appearance. I consider this to be in line with the author's wish to accentuate the depravity to which Hugh, and those who follow him, eventually fall.

Browne's first illustration of Hugh as he sits "stretched upon the bench" catches him in a customarily ragged and untidy pose. It remains faithful to the author's vision, although it is a lantern rather than the Maypole fire that allows a view of the character. His sleeves are ruffled and uneven and his shirt and loose-fitting waistcoat are open. Hugh's left arm hangs limp and points toward a dropped tankard, presumably the inducer of his sleep. The open and now empty tankard is a significant addition as it is "the drink" to which the young hostler later feels obligated and praises as the provider of "strength and courage" while in the presence of John Chester: "Who's he who when I was a weak and sickly wretch, with trembling legs and fading sight, bade me cheer up, as this did? I never knew him; not I. I drink to the drink master . . . Ha ha ha!" (p. 178).

Hugh does not, at this stage, lend himself to caricature and Phiz's depiction is of a cavalier but "picturesque appearance." Later representations of Hugh, however, show an abrupt move from the picturesque to the grotesque.

This, I believe, is an attempt to correspond with the author's desire to emphasise the way in which Hugh, a symbol of the Gordon Riots, descends into abhorrent behaviour. Several of the other principal young characters (with the obvious exception of Barnaby) are shown variously with natural expressions of heroic disdain (as is the case with Edward Chester's disobediance of his father) or dejection (Joe Willet as he bids Dolly goodbye) but Hugh's "animality" reflects what the author referred to as a "shameful tumult,"[2] the base and ungovernable nature of revolution out of hand. Dickens's criticism of primitive and reactionary behaviour is evident in both his historical novels, and in Hugh he concentrates on an example of that behaviour.

The hostler's "animality," as Barbara L. Stuart points out, "despite his beauty, is linked to a violence which has long seethed within him unnoticed by those around him."[3] It finds a release amid the personal as well as political unrest examined within the novel.

The first visual caricature of the grotesque can be seen in "Hugh accosts Dolly Vardon" in which the young heroine comes upon the hostler as she passes the wicket gate while en route from the Warren. John Chester sees him as a 'centaur' and it is here that the comparison is most apposite. Dolly, with famous head dress, is seen as startled by Hugh's sudden appearance. Here Phiz's technique of caricaturization is viewed to best effect. Dolly's worried but still well defined countenance is an obvious contrast to the man-beast expression on the face of Hugh. His stance is casual yet at the same time it is expressive of the intimidation that he casts over her. Dickens stresses the futility of her attempting to escape as he was "nimble, strong and swift of foot . . . and it was a fruitless expenditure of energy, for he had her in his encircling arms again before she had gone a hundred yards" (p. 161). It is true that Dickens is influenced by an archetypal gothic scenario: that the heroine is momentarily in the clutches of the inhuman villain therefore the villain must appear as sufficiently menacing. More significant, perhaps, is the threat of sexual violence that is emphasised by the beast-like leer on Hugh's face to express what is euphemistically termed as "coarse bold admiration." Presumably Hugh is in a similar age group to that of Edward Chester but indefinable features makes him appear older and more fearful. Phiz's drawing attention to Hugh's dark passion is significant in that later this energy will be released amid the fury of the Newgate pillaging. It is during the description of the rioting, of the recurrent danger in which Dolly and Emma Haredale will be involved, that Dickens attacks such unrestrained and primitive passion.

In "Hugh calls on his Patron" the young hostler, plied with wine, is seen in opposition to John Chester. This illustration shows the patron's irritating dominance over Hugh, and thus urges a need for the tamed 'Orson' to break free of such condescension. The contrast is marked by dress; the wigged Chester reclines, fixes his surtout and is dressed in a frock coat. Another coat, a three cornered hat, looking-glass and knee boots appear behind him to accentuate his vanity. Hugh on the other hand makes an uneasy balance within the illustration. His shabby dress is complimented by his rather awkward seating upon an arm-chair. He gazes at Chester through the glass in his right hand while his left hand is also playfuly engaged with a drinking glass. Instead of symbols of finery Hugh has only his loyal dog lying at his feet who prompts Chester's comment -- "Virtuous and gifted animals, whether man or beast, always are so hideous" (p. 181). Hugh's features are contorted into a decidedly sinister smile. His face is less refined and not as soft as that of Chester, whose pointed nose and lengthy chin he seems to study perhaps because, even at this stage, there is an indication that Sir John "somewhat resembles Hugh".[4] Hugh's colouring is also much darker than that of Chester, suggesting his true place to be the common "ladder and the cart" that his patron so obviously despises. Whereas Chester is calm and unruffled, Hugh's gestures are wild and exuberant, and disclose a character out of control. Again, this is probable forewarning of the terror that will be released in full force during the riots later on in the novel.

Hugh's physical decline from a figure seen as "muscular and handsome" to one who poses the threat of violence is the essence of Phiz's caricatures. Such a depiction was clearly in tune with the author's imaginative vision.

NOTES

1. Charles Dickens, Barnaby Rudge, (Oxford: Oxford University Press, 1987), p. 86. My emphasis. All quotations are from this edition. [Back]
   
2. Author's Preface, 1868, ibid, xxiv. [Back]
   
3. Barbara L. Stuart, "The Centaur in Barnaby Rudge,"Dickens Quarterly, 8, (1991), 31. [Back]
   
4. Jane R. Cohen, Charles Dickens and his Original Illustrators, (Columbus: Ohio State University Press, 1980), p. 78.