A Close Reading of the Arthur Thistlewood, Annual Register Extract

Arthur Thistlewood’s extract on The Peterloo Massacre reflects the political climate of the Romantic Period. In order to interpret and understand this extract, it is crucial to understand the many definitions of Romanticism. Due to the history of its reception and critical field, early critics fell for how poets self described themselves. Victor Hugo viewed Romanticism as ‘Liberalism in Literature’ (Parker, D. C. 1918). Hugo saw writers as being free from limitations and encouraged revolutionary ideas. In a similar way, Aidan Day defined the period as being inspired by the revolutions in America and having an ‘Extreme assertion with the self and value of individual experience.’ (1996). Thistlewood draws on these Romantic themes of favouring a new system and personal thought within the Peterloo extract.

While there are many definitions of Romanticism, some critics contend that the period itself in which they define it in also varies. The dates are most recognised as the Romantic Period start in 1800 and end in 1850. However, other critics, such as Watson had ideas on the period starting in 1789 and ending in 1830 (1992). It is problematic to define Romanticism and the period specifically because there are various pieces of Romantic writing that differ from on another. For example, Wordworth’s “Lines Written a Few Miles Above Tintern Abbey” is concerned with the sublime of nature, ideal state of mind and recollection of memory with ‘The day is come when I again repose’ (Wu, D. 1998. p.265). On the other hand, P.B Shelley’s “Ozymandias” reflects the survival of poetry in the future and is more biblical, for example, ‘Look on my works, ye Mighty, and despair!’ (Wu, D. 1998. p.849) Regardless of these differences, it is impossible to ignore that most work from this time, and even in modern day, in some respects cannot avoid the political climate of the period. The politics at the time are apparent in writings because everybody experienced the effects of the government. Williams explained this idea contending, ‘[Other] than the poets from Blake and Wordsworth to Shelley and Keats there have been few generations of creative writers more deeply interested and more involved in study and criticism of the society of their day.’ (1960). The point Williams arises is that it is typical to see this societal and political criticism within, and exclusive to, Romanticism alone. While there are many definitions and themes, for the purpose of this close reading the focus will be on the idea of Political Climate of the time. The main themes include The Self, Humanitarianism, Slavery and Neoclassism and how they contribute to Romantic writing, including in Thistlewoods speech.

It is important to understand that most writers could not radically experiment with their work at this time due to censorships. After the latter part of The French Revolution in 1789, writers would suffer consequences if they overtly discussed the government negatively. Thistlewood opposed this however and as part of the enlightenment was a radical figure that revolted against parliament. The speech Thistlewood gave, addressed the inhumane actions from the government in the Peterloo Massacre in 1819. It began as a peaceful campaign for parliamentary reform but was broken up by the Manchester force due to their concerns of a revolution. In the speech, Thistlewood encouraged revenge, and in some respect, revolution, ‘The blood of the victims should have been a watchword for vengeance on their murders.’ (1820) Later repeated, the statement adds the personal pronoun, ‘I resolved on vengeance’ (1820). Regardless of his attempt to justify his own actions of attempting murder on members of parliament in the Cato Street Conspiracy, with their murder in the Manchester massacre, Thistlewood was still sentenced, as his fate was inevitable. Writer, Donald Read recognised that overturning the administration was impossible because only upper classes had control and power. Chancellor at the time, Lord Eldon argued that ‘the insane, however, can only play such a game and think of winning.’ (Read, D. 1958) furthering this idea of hierarchy. Similarly, in P.B Shelly’s “Ozymandias” (Wu, D. 1998. p.849) the theme of power being transient is conveyed. All are examples of how Romantic writing was relevant to the broader issues at the time.

The extract is taken from a recorded address to the court that Thistlewood wrote and then gave as a speech; therefore it is a non-spontaneous piece of writing, unlike many writers who claimed spontaneity in their work. The personal pronouns Thistlewood uses, for example, ‘My feelings have become too intense’ (1820) is a common theme of Romantic writing language. Writers often allow their own experiences to become an undertone of their work. The Self defined as ‘A persons essential being that distinguishes them from others’ (Weiner, E, S, C. Simpson, J, A. 2004), ties in with the theme of personal feelings and imagination. More specifically to the period, Aidan Day contended, ‘… Romanticism involved, above all else, an emphasis on the inner processes of the individual mind…’ (1996. p.101). Romantic writers were concerned with how reader’s minds are in the world and make sense of reality. Some critics want to live in reality and some do not. The extract is a clear example of a writer who is grounded in reality, as opposed to Blake, for example, which believes in imagination leading us into another spiritual realm. Thistlewood commentates real events and feelings of victims in the Peterloo incident, for instance, ‘…but when their miseries were laughed at, and when they dared to express their sufferings, they were inhumanly massacred.’ (1820).

Generally, although not limited to the period, readers cannot understand Romanticism without these ideas, as they also bring their own interpretations to Romantic writings. Romantic poetry has emphasis on individual feeling. Furthering this idea, Abram’s argued that the work ‘carries an indictment of the brutalising influence of an industrial and commercial society, and insistence on individual values against growing pressure to mass conformity.’ (Abrams, M. H. 1953). This highlights the influence of society and political climate at the time.

Humanitarianism is an evident theme within the extract, and the Romantic Period as a whole. Humanitarianism is defined as ‘A person who seeks to promote human welfare.’ (Weiner, E, S, C. Simpson, J, A. 2004). Arthur Thistlewood embodies this theme in the extract, for instance, ‘…the height of my ambition, was for the welfare of my starving countrymen.’ (1820) The Manchester Massacre as a whole was a widespread human suffering event. Thistlewood was engaged with equality and attaining justice for the lower classes. The Romantic Period was the first that experienced the American war for independence, followed by the French Revolution, both of which would have inspired Romantic writing. Aidan Day summarised the initial Peterloo movement as an influence from American politics, ‘Successes in American colonies achieving independence lead to Britain campaigning to reform in the system of parliamentary representation.’ (1996. p.76) Many writers used ideas from Humanitarianism in their work because it was impossible to avoid the politics of the period. In a similar way, William Blake’s “Songs of Innocence” (Wu, D. 1998. p.60-70) and Wordsworth’s “Lyrical Ballads” (Wu, D. 1998. p.189-265) are both examples of Humanitarianism in Romantic text, highlighting this common theme. Day argued that Blake, Wordsworth, Shelley, and numerous other Romantic authors wrote ‘Visionary mode of poetry; and the use of poetic symbolism deriving from a world view…’ (1996. p.2) This statement proposed by Day could be applied to Thistlewood because he has adopted a relaxed working class language style that moved away from normality proposed by the ruling classes. Due to Thistlewood writing/speaking in this working class manner, it would have allowed him to include himself in their community and move further away from the ruling class.

The Humanitarian notion in some ways sought the abolition of slavery. Slavery is a recognisable subject within Romanticism that derived after The Enlightenment. The British Empire abolished slavery in 1833, emerging towards the end of the Romantic Period. Due to only the elite few being granted the vote, the campaign to end slavery relied on writing and speaking about these issues. Thistlewood arises the problems of slavery in the extract when he contends, ‘Albion is still in the chains of slavery.’ (1820) Here Thistlewood appears to be displaying the Peterloo Massacre as a form of slavery, due to the hierarchy on human rights. The tone of his disgust can be understood as it takes the form of a short sentence. The sharp and harsh reality of his point reflects the recognition of the problems rooted in slavery. Other writers also displayed similar ideas at the time. William Blake attacked attitudes towards race and slavery. His poem, “Little Black Boy” conveys internalised racism and white privilege deeply but subtlety, for example ‘I am black but O! My soul is white’ (Wu, D. 1998. p.62) in first stanza. The young black narrator deems himself as having a white soul to protect him and become equal. Coleman analysed the narrator in “Little Black Boy” as ‘longing for whiteness’ (2005), bringing to light the many issues of white supremacy, mainly within politics. Many writers, much like Thistlewood and Blake, criticise the establishment for their power over individuals, specifically those vulnerable, different or disadvantaged.

Primitive Neoclassism is another prominent theme within Romantic writings. Aidan Day argued that while some saw Romanticism as revolting against and challenging Neoclassism, it was in fact a version of the Neoclassical. Day explained Primitive Neoclassism as ‘…a style that was associated with the revolution against the ancien regime’ (1996. p.76). In short, Primitive Neoclassism involved questioning established authority in literature. The extract highlights this theme by including a lexical field of injustice as he writes ‘sufferings’, ‘murderers’ and ‘vengeance’ (1820). The purpose behind Thistlewoods speech is clear, he aims to bring the vulnerable, lower class people together and be the voice for them against the system, concluding the political climate of the period influencing his piece. The use of emotive language in the extract provides as another technique to convince the listeners that he genuinely cares for their circumstance and injustice, ‘My every principle was for the prosperity of my country.’ (1820). In the extract, Thistlewood presents the courts, magistrates and powerful individuals as binary opposites to working class public. On a first read, the text as a whole indefinitely creates a separation between the good and the evil. P.B Shelly’s “The Mask of Anarchy” (Wu, D. 1998. p.930-939) is a piece of Romantic writing that addresses the inhumane acts of the higher classes, particularly the event at Peterloo. The title alone depicts the façade of those in authority. Within this piece, three political figures are shamed, Foreign Sectary Lord Castlereagh, Chancellor Lord Eldon, and Home Sectary Lord Sidmouth. For example:

And many more destructions played

In this ghastly masquerade (25)

All of these powerful figures had the interests of the ruling class before the working class community. Both Castlereagh and Sidmouth supported Magistrate’s decisions. Likewise, King of England at the time, George IV, thanked Magistrates for ‘their prompt, decisive, efficient measures for the preservation of public tranquillity.’ (Aikin, J. 1820). The ruling class were delusional of their actions and Thistlewood, alongside many other romantic writers, questioned their legitimacy. Magistrates argued that the crowd were not peaceful and portrayed traits more of a military unit. P.B Shelley’s “England in 1819” conveys this unfair upper class advantage when he references the law, ‘a book sealed’ (Wu, D. 1998. p.940). Laws are expected to favour peace, hope, and assurance, however, the courts disregarded the victims. Raymond Williams understood the common reoccurring political themes within Romantic texts, ‘Collaboration was central to the development of Romanticisms critique of capitalism and bourgeois individualism.’ (Baskin, J. M. 2013) Many writers of the period, including Thistlewood, would alliance with one another and the working class to challenge hierarchy. Williams reinforced the overall idea that these pieces of literature within the defined Romantic Period are pieces of Romantic writing as a consequence of their common themes, imagery and content, revolving around the political climate of this period whether this was intended or not.

In summary, Thistlewoods Peterloo Massacre extract is an example of Romantic writing for the themes it conveys on politics, much like many writers of the period. Although many Romantic writers will be discussed for their themes of nature, the influence of politics cannot be disregarded. The revolutionary and subsequent individualism and humanitarian undertones throughout the extract were not uncommon for Romantic writers. Arthur Thistlewood wrote this extract at a time of difficultly for himself personally and at a time of hardship for the community who lost any trust in the government. The extract reflects this unjust experience for the working class and the cracks in political figures, therefore making it a Romantic piece of writing. Another conclusive point to be drawn is that it was not just poetry that could be considered as Romantic but rather many forms of writing or literature of the period. Overall, the extract conveys a large amount of ideas retrospective to the Massacre and the issues of politics that came with this, and hierarchy as a whole.

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