This Coward Cruelty: the Activist Art of William Hogarth

As promised in the previous post, here are some comments on William Hogarth’s series of engravings published in 1751 and titled The Four Stages of Cruelty. These pictures have some topicality anyway, because the exhibition Hogarth and Europe is in its last few days of presenting Tate Britain’s “new ways of looking” at the great man’s work.

You might expect those “new ways” to involve relating this most English of artists to his European fellow-practitioners, and something of that sort is indeed attempted, but it’s not the main theme of the show as signposted in the running commentaries. These are much more interested in the contemporary “inequalities around class, race and gender” which can be found illustrated by the pictures, sometimes with evident purpose on Hogarth’s part, more usually without. The continual nagging on these subjects has keenly irritated the exhibition’s reviewers, who have spoken variously of “pious captions”, “sanctimonious wall-texts”, “self-righteous sociological lectures” and “wokeish nonsense”.

Of course there is good reason for reading morals in or even into Hogarth’s art, if rather less for reading politics there. Many of the pictures – and those the best known and most original to Hogarth – are indeed presented as moral tales, told in sequences of images, with their consequentialist morality announced or at least hinted at in their titles: The Rake’s Progress, The Harlot’s Progress, Industry and Idleness. But ruthless as the moral justice is that punishes vice in these paintings, there is much more fecklessness than vice to be seen in them, and more largely a generous and boisterous acceptance of what a near-contemporary critic and biographer of Hogarth, Allan Cunningham, called “the follies and frivolities of the passing scene”. While the central characters are contriving their own personal ruins, there goes on around them a vulgar confusion of human life which Hogarth does not seem particularly indignant about: drinking, petty thieving, snogging, urinating, larking of all kinds.

Only in one of these moral series that Hogarth created, namely The Four Stages of Cruelty, is there something like the strict and concentrated censoriousness that the Tate’s wall-texts are looking for, and ironically enough it’s on a theme in which the Tate commentators seem to have no interest at all. Indeed the series itself is not shown in the exhibition or, as far as I could find, even mentioned. And yet Hogarth himself spoke with unusual earnestness of it, saying that he created the engravings “in the hope of, in some degree, correcting that barbarous treatment of animals, the very sight of which renders the streets of our metropolis so distressing to every feeling mind”.

Accordingly,his approach to them had a single-mindedness of purpose nearly unique in his work (Gin Lane has it too). Most of the other series began as paintings, from which engravings were made for more popular sales; the Four Stages were engravings from the start, and were made and sold as cheaply as possible, so as not to be “too expensive for the persons to whom they were intended to be useful”. Stylistically Hogarth wanted “a strong bold stroke” rather than “delicate engraving”: not just as cheaper to make, but as more immediately eloquent of the ugly scenes (“expressing them as I felt them”), and also because, since these images “were addressed to hard hearts”, he “preferred leaving them hard”. It’s exactly what the artist Sue Coe means by her phrase “activist art”, and in fact she based her own illustrated narrative of animal cruelty, Pit’s Letter (published in 2000), on these engravings.

Probably it’s an essential feature of such art that it’s distressing to view. Sue Coe says that when people weep in front of her prints of animal suffering, “That, to me, is great – it’s like,You’ve got it!’ ” No doubt that’s why Allan Cunningham, who saw in the Cruelty series “great skill in the grouping, and profound knowledge of character”,none the less wrote “I wish it never had been painted [i.e. engraved].” Better, of course, to say, as Hogarth himself would surely have done, ‘I wish the subject had never been there to paint.’

Hogarth plate 1

Here is the narrative sequence. In Plate 1, as shown, we see boys in a street variously tormenting cats, dogs, and birds. In the centre, the series protagonist Tom Nero (his name being chalked on a wall by a neighbour, with a scrawled gallows above it) hideously maltreats a dog. In Plate 2 we find Nero at work as a hackney coachman. His horse has collapsed with a broken leg, and Nero, now habituated to cruelty, tries to beat the horse back to work. Elsewhere in the street, a donkey is being similarly worked toward death, a sheep beaten, an escaped bull being chased. In Plate 3, Nero’s savagery, thus rehearsed upon animals, has been directed against his pregnant lover. In a lurid moonlit scene, she lies dead with her throat cut, while Nero himself is taken into custody. A discarded letter shows her pathetic loyalty to the man. And lastly, we see in Plate 4 the end foretold by the boy with the chalk: Nero has been hanged, and, in line with the Murder Act of that same year (1751), his body has been made available for dissection. The discarded heart of the corpse (for what’s going on seems to be half-science, half-butchery) is being eaten by a dog.

So the argument of the Four Stages is – partly, at least – that cruelty to animals naturally passes into cruelty to fellow-humans, and thence into crime, disgrace and degradation. That is the human story to it, one that continues to be told in police files and reports today. Thus far, the ethics might be as the contemporary philosopher Emmanuel Kant had them: one should be kind to animals because it’s good practice for treating humans well.

But that detail of the dog in Plate 4 puts the matter rather differently. Hogarth is giving the animal a kind of come-back (it happens also in Plate 2, where the escaped bull tosses a human into the air, and a nearby dog seems to be entering into the fun). For although the stage-by-stage ‘progress’ in cruelty may be a purely human matter (the downfall of a man habituated to violence), the wrong to animals is of the same character and the same weight as the wrong to humans. Nero’s crime against the woman is shown by that love-note as a cruel betrayal; just so, the dog in Plate 1 licks the hand of the bully tying a bone to his tail. The real difference pictured in the Four Stages is not in the importance of the wrongs, but in the instituted sanctions. The humane man in that hackney coach notes down Nero’s name and number, and perhaps Nero will lose his licence (though I can find no mention in the licensing regulations of the time that horses had to be well treated). But in 1751 the criminal law gave no protection to animals; it is only for violence against the person that Nero is finally punished. The implication of the Four Stages is clear: sanctions ought to begin where cruelty itself does. It took another seventy years for that to start to happen.

Under each of the four pictures there’s a set of verses commenting on the action (written by a poet friend of the artist). One such verse addresses Tom Nero thus:

Inhuman Wretch! say whence proceeds
This coward Cruelty?
What Int’rest springs from barb’rous deeds?
What Joy from Misery?

These questions actually appear under Plate 2, but by that stage there’s a reasonable answer to them: these men have a use for the animals, and mean to effect it. Violence has become a routine of work to them. The stanza really belongs under Plate 1, where the cruelty of the boys is quite gratuitous, practised as something enjoyable in itself, as their gleeful expressions show. One might despairingly answer that the “barb’rous deeds”, far from being ‘inhuman’, derive from a trait or flaw peculiar to the species: the restless ego and its search for acknowledgement. But a more particular explanation seems also to be offered.

In the top left corner, at a high window, two boys have tied bladders to a cat and launch the poor animal into the air. It’s a type of experiment: will the cat float or fall? Something of the same depraved curiosity is present in the other acts of cruelty. In all of them, humans are trying things out on animals to see what will happen. One or two of these cruelties distinctly call to mind more formalized animal researches: the two cats induced to fight (see Roger Ulrich’s experiments in the 1960s, featured in this blog), a bird blinded (see any of the countless experiments that have involved depriving animals of sight, hearing, etc.?). And therefore perhaps there’s a cautionary tale in Plate 4 that goes beyond Tom Nero’s case.

32.35(121)

That scene of dissection is apparently set in the premises of the Company of Surgeons, just then being established as a separate and learned profession (separate, that is, from the traditional barber-surgeons): hence the royal arms set up above the president’s chair, and other signs of professional dignity. It may be that what Hogarth’s first biographer John Ireland calls “disgusting and nauseous objects” are unsurprising, if still deplorable, in such a context. More concerning is that these medical men, as Hogarth depicts them, “seem to have just as much feeling as the subject [i.e. Tom Nero] now under their inspection” – that is, none at all.  Ireland concludes that “frequent contemplation of sanguinary scenes hardens the heart, deadens sensibility, and destroys every tender sensation.” Worse still, Hogarth leaves us unsure whether Nero himself, fixed to a pulley and eviscerated, really is without feeling. He seems to be crying out, as if suffering vivisection rather than dissection at the hands of these unfeeling men.

It may be the end of Nero’s career, then, but this shocking final act of the series doesn’t wrap up the story. It looks into the future, and warns that what Hogarth calls “hard hearts” may need correcting in professional places as well as in the streets – may in fact be more intractable there, for these are not powerless urchins satisfying idle curiosity, but members of a proud and established collective, whose curiosity had the honourable name of ‘natural philosophy’ or, as it would come to be called, science.

William_Hogarth_006

                *            *          *             

William Hogarth especially liked dogs. They appear in odd corners of many of his pictures, pursuing their own interests. He put one of his own admired pugs into a self-portrait, as if to take pride in their similar personalities. But in his garden at Chiswick, the pets’ cemetery seems to have accommodated other deceased animal friends too. Everything about his Four Stages engravings was aimed at making them not profitable or liked but “useful” in the service of animals, and he said of them, “If they have had this effect, and checked the progress of cruelty, I am more proud of having been the author, than I should be of having painted Raphael’s Cartoons.”

Notes and references:

The exhibition Hogarth and Europe continues at Tate Britain until 20 March. Quotations are from the pages of the gallery’s web-site devoted to it. The reviews appeared in various papers and journals, and seem to have been unanimous in admiring the pictures but ridiculing or at least deprecating the Tate’s commentary on them.

Contemporary quotations from Allan Cunningham, John Ireland, and Hogarth himself are taken from the compilation Anecdotes of William Hogarth, edited and published by John Nichols in 1833, pp. 64-5 and 233-7.

Sue Coe is quoted from two interviews, one in 2012, now online here, https://bombmagazine.org/articles/drawing-attention-sue-coe/ , and one in 2017 for the online journal Animal Liberation Currents here: https://animalliberationcurrents.com/rendering-cruelty-art-politics/

Her own activist art for animals is reviewed in this blog here: https://voiceforethicalresearchatoxford.wordpress.com/2017/09/25/the-vegan-animals-manifesto-by-sue-coe/

The post in this blog about Roger Ulrich’s research into the origins of violence is here: https://voiceforethicalresearchatoxford.wordpress.com/2017/09/11/fighting-for-peace/

Other information and ideas about Hogarth come from Hogarth: Life in Progress by Jacqueline Riding, Profile Books 2021, and this article in The Eighteenth Century, vol.42, Spring 2001: ‘Monstrous Appearances: Hogarth’s Four Stages of Cruelty and the Paradox of Inhumanity’, by James A. Steintrager.

The illustrations show Plates 1 and 4 of the Four Stages of Cruelty (1751) and Self-Portrait with Pug, painted in 1745.

Free as a Bird

In the European Ceramics gallery of Oxford University’s Ashmolean Museum there is at present a “contemporary art installation” entitled A Nice Cup of Tea? The title is a pun of sorts, and the implied answer to the more serious sense of the question – has a cup of tea always been a nice, a fastidious, thing? – is ‘no’. In fact the aim of the show is to remind viewers who enjoy this refreshment ritual that “every sip connects us to the legacy of the British Empire, global trade and transatlantic slavery”, and in particular with “the brutal exploitation of enslaved people producing sugar in the West Indies. The art-work itself is in the suspended-bits style pioneered and made famous by the artist Cornelia Parker: a tea set has been broken into pieces (analysed, in fact; it’s a sort of visual pun) and hung on strings above a pile of crockery fragments and dust. cup of tea art.JPG

A notebook to one side is made available to visitors: “Please tell us what you think”, says the label. The pages were still blank when I was there: nothing to add, it seems. Or too much for the time and space, perhaps. After all, that dazzling gallery of eating and drinking equipment “connects us” to much more than the prizes and vices of Empire: it’s an index to human life and history. And if the Ashmolean’s curators have rightly spotted the shameful connections to slavery, they have yet to remark on the much more obvious and continuing reference to the non-human objects of our compulsive imperialism. It’s not just that most of this china was designed and used for eating animal parts and products from. Much of the charm, and sometimes beauty, of its designs derives from representations of animal life. (To only a slightly lesser extent, this is true of the whole Ashmolean Museum, and indeed of any art gallery.) The animal presence simply stares at you from all sides. And although the images are often made with affectionate attention, there’s no doubt who’s serving whom. Not only the real presence of animals in flesh and work provides for us, then; their mere forms minister, as ornaments, to our pleasure.

liberty figureFor instance: just to one side of the exploded tea-set installation, a showcase contains the figure of a man reaching up to release a bird (the piece was made in the eighteenth-century at the Bow factory in London). The man’s gesture has a sort of drunken licence about it: might it represent the traditional subversive fantasy of a world turned upside down – in this case, letting the animals go at last? No: the figure is indeed intended to represent liberty, but it’s the man’s liberty; the bird is only a symbol for the human experience. At the man’s feet is a ram, also there as a symbol (of virility), and a dog (of philandering?). The whole piece is in fact called ‘Liberty’, and was designed as a pair with its complement or opposite (not represented in the gallery) called ‘Matrimony’. The wretched bird, all too aptly stuck to the man’s up-reached hand, is just there to image the husband’s day-dream of sexual licence.

One can find this ‘free as a bird’ motif throughout art and literature (yes, and pop music), part of the larger habit of making non-human animals tell us our own story back again: a use for them, in fact. Often these images are very fine. The well-known poem by Siegfried Sassoon, ‘Everyone Sang’ (which is generally read as a response to the contemporary 1918 armistice, though Sassoon himself denied it was written as such), thoroughly deserves its place in national memory:

Everyone suddenly burst out singing;
And I was filled with such delight
As prisoned birds must find in freedom,
Winging wildly across the white
Orchards and dark-green fields; on – on – and out of sight.

That word “must” at least shows that he allowed the birds their own mystery; he did not pretend to know them. But then of course the poem is not about them. The birds are there to illustrate a human feeling.

The release of poor Miss Flyte’s caged birds at the crisis of Charles Dickens’s novel Bleak House is likewise very moving, but that too is essentially symbolic – in her case, of liberation from the false hopes and ruinous toils of Chancery law.

In short, these thought-up birds all mean what we mean them to. Meanwhile real birds, birds as themselves, are “everywhere in chains” – in cages, at least – in order to please humans or (as instanced in some previous posts of this blog) to make some possible or merely notional contribution to our understanding of human physiology. It’s surely strange that, feeling this almost visceral communion with the flight of birds as humans commonly do, we should nevertheless deny flight to so many of them. A brief and informal study was recently made by Animals Australia of this phenomenon. Showing, in a series of impromptu interviews, that randomly selected people did have this sympathy, they juxtaposed it with the wretched statistic of 8.1 million caged ‘pet’ birds in that country. The short film ends with a definition of the phrase ‘cognitive dissonance’: “simultaneously holding two or more conflicting ideas, beliefs, values or emotional reactions”. It’s a human capacity or perversity which has made possible our present tragic relations not just with birds but with all the other animals.

So of course that famous opening statement of Jean-Jacques Rousseau’s Social Contract (1762) was about humans only: “Man is born free, but he is everywhere in chains.” And how many high-minded invocations of freedom have made it special to humans in just that way! Thus President Kennedy in his fine inauguration address, a locus classicus for the theme of liberty, was talking with all his ambitious expansiveness strictly about “the freedom of man”. And when the politician and diplomat Wendell Willkie wrote grandly, in his best-selling book One World (1943), that “Freedom is an indivisible word”, he meant, of course, within reason: indivisible as between us humans. And that’s the premise also, casual and undeliberate as it may be, of the Ashmolean Museum exhibition. Freedom – the valuation of it and the right to it – is really what divides humans from the rest of nature.

There’s a scene in Axel Munthe’s memoir The Story of San Michele (a book featured in this blog last month) where both these human habits – denying animals their freedom, and yet making them symbols of our own – are satisfyingly busted. During Easter week, it was the tradition in the village of Anacapri (and elsewhere, no doubt) to capture small birds in preparation for a special ritual on the Sunday: “For days, hundreds of small birds, a string tied round their wing, had been dragged about the streets by all the boys of the village.” At the Easter service, they were to be released as images of the resurrection. But not in practice given their freedom, because when let go “they fluttered about for a while helpless and bewildered, breaking their wings against the windows, before they fell down to die on the church floor.” So one Easter at daybreak Munthe puts a ladder up against the church and smashes the windows to let the birds fly out.

Like most direct actions, this was an imperfect victory: “only a very few of the doomed birds found their way to freedom” [309]. But for those birds at least it was real freedom, not a picture of it, or an idea about it. Just so when Mr Virtue, the parson in Flora Thomson’s memoir Still Glides the Stream, attends the village show: he knows that many wild birds are cruelly kept in cages by the villagers, but at least they are no longer proudly exhibited, as are the various rabbits, cats, and canaries, “because one year Mr Virtue, who judged the pet entries, had carried outside and released a skylark, and when its owner had complained had thrown the empty cage at him, swearing with many oaths unfitting for a Flower Show, that a man who was capable of robbing a little singing bird of its liberty should be sent to gaol for six months’ hard.”

Yes, an incomplete victory, but a real freedom, so that the visceral communion I mentioned earlier itself becomes real, an authentic sympathy rather than a romantic whim. When 1500 foxes were set free from a Scottish fur farm in 1976, one of the cage-breakers recalls as much: “It was like being liberated at the same time as the foxes.” [61] It’s a beautiful saying, and here we’re beginning to see that freedom is indeed morally indivisible, or as William Hazlitt said, love of liberty is love of others (love of the others, he might have said). And in fact that quotation about the foxes comes from a book which is a great testament to that indivisibility: Keith Mann’s 600-page history of the Animal Liberation Front titled From Dusk till Dawn (2007).

This most remarkable book chronicles the efforts of groups and individuals, from the 1970s to the early years of this century, to practise that love of others by actually liberating them, and implicating their own freedom in the endeavour. The book itself was begun in a prison, and as papers or discs it followed Keith Mann from prison to prison. So it’s not just a story of captivity and freedom, but a material product of this largely invisible but altogether real strain in modern society. It relates to the Ashmolean’s artistic meditation on slavery much as an escape bid relates to wringing your hands in the comfort of home (or for that matter, I’m afraid, writing prose like this about freedom). In one vivid and exemplary scene, “the prisoner Mann” (as the police report of the incident calls him) does indeed make his own escape bid, slipping from a police escort, jumping onto and over a twelve-foot gate, cycling off on a ‘borrowed’ bicycle, and then hiding up under a railway viaduct, all the while “chuckling intermittently to myself . . . I’d liberated myself and it felt great.” He stayed free for nearly a year, which he spent (of course) at an animal sanctuary.

That impertinent glee, the chuckling, is characteristic of this folk-heroic personality, pictured grinning undefeatably on the back of the book. For Mann belongs to a kind that has been embarrassing authority, mocking its dignity and disrespecting its institutions, ever since the first official uniform was put on, but also paying for it, often far over the odds. And From Dusk till Dawn, full as it is of subversive wit and dauntlessness, is necessarily a tragi-comedy. At every story of liberation that Mann tells (and as Benjamin Zephania rightly says in his foreword, “Mann is a natural storyteller, with a hell of a story to tell”), some or most of the animals have to be left behind. Even those that are freed can have no firm property in their freedom: getting them back into confinement is at least as much part of the official response as punishing their liberators is. Keith Mann recounts the effortful rounding-up in this way of some beagles briefly rescued from Oxford University’s notorious Park Farm (at that time “a complex of windowless buildings imprisoning various species of animals awaiting the vivisector’s carving knife”), and he wonders “What is this obsession with taking these animals back to these places?”   

One consequence of the direct actions which Mann recounts has been stricter law and increased security, so that his chronicles now have a period feel about them; such low-tech raids on the prison camps of speciesism are no longer feasible. Compare, for instance, the disorderly and half-supervised Park Farm with its “comparatively minimal” security, as Mann describes it, with Oxford University’s present-day animal storage and research facility, the Biomedical Sciences Building, likewise windowless, but also fenced, front-doorless, and protected by CCTV. But of course that ‘love of others’ never goes away, so that, as Keith Mann says with his characteristically selfless buoyancy, the story of ALF “will continue to be re-written and be added to by many others over the coming years until animal liberation is finally achieved.”

The hazardous actualities of From Dusk till Dawn, even the simple but wholly practical proto-ALF interventions of Axel Munthe and Parson Virtue, seem to belong to a different dimension from the fashionably aesthetic meditation on historical 68408684_1332946016860747_7385333270633775104_o.jpgslavery which the Ashmolean’s “contemporary art installation” provides, but in fact it’s all one unhappy and continuingly urgent subject. The placard pictured here on the right, which was being carried during August’s Official Animal Rights March in London (reported in this blog), succinctly states the case which the Ashmolean Museum might bear in mind if it wants its art to be not just modish but actually modern.

 

 

 

Notes and references:

The free exhibition A Nice Cup of Tea? is on show at the Ashmolean Museum, University of Oxford, until 22 March 2020.

The Animals Australia video can be viewed here: https://www.animalsaustralia.org/issues/caged_birds.php

Research using birds is a particular topic in this blog on 21 May 2019 (‘What are Sixty Warblers Worth?’) and 24 October 2016 (‘How to Learn about Magpies’).

The post in this blog about Axel Munthe’s book The Story of San Michele can be read here: https://voiceforethicalresearchatoxford.wordpress.com/2019/10/04/franciscan-medicine/

Still Glides the Stream was first published in 1948, its contents looking back to the late nineteenth century. The quotation is from p.103 of the Oxford University Press edition, 1966.

The critic and essayist William Hazlitt contrasted love of liberty with love of power (which, he said, is “love of ourselves”) in the article ‘Illustrations of the Times Newspaper’ published in Political Essays (1819).

From Dusk till Dawn was published by Puppy Pincher Press in 2007. The book is available to buy online at http://www.fromdusktildawn.org.uk/shop/

This year’s Official Animal Rights March was reported in this blog here: https://voiceforethicalresearchatoxford.wordpress.com/2019/08/26/march-of-a-nation/

See also, on this subject of direct action, the post ‘In Prison, and You Visited Me’: https://voiceforethicalresearchatoxford.wordpress.com/2016/01/15/in-prison-and-you-visited-me/

Keeping Them in their Places

At the top of Time Out’s list of recommended museum destinations in London this autumn is University College’s Grant Museum of Zoology and its exhibition ‘The Museum of Ordinary Animals’. The theme of the exhibition is “the mundane creatures in our everyday lives, including dogs, pigeons, cats, cows, chickens and mice”, and how these animals have, through their relationship with humans, “changed the world”: a very important theme, especially at the start of an academic year, when it may help to advise a new body of zoology students how to view their subject. Whether the advice implied in the exhibition is altogether good advice is another matter.

The Museum itself comprises one fine galleried room in the enormous 1920s Rockefeller Building, part of University College London’s medical school in Gower Street. Most of the room is taken up by a permanent collection: skeletons, whole and partial animals showcase 3 preserved in jars, and other remnants of the world’s zoology, themselves part of a much larger collection made by former administrations but still in use for teaching purposes. Being mostly (and very wisely) unmodernized, the room is a period piece. It looks, on its smaller scale, much as Oxford University’s Museum must have looked in the 1870s when John Ruskin gave his lectures there and angrily spoke against that collection as “the confused pillage of the continents of the world”. Ruskin hated its emphasis on the exotic and the dead, and he told the students “I could fill all this museum with studies of a duck and a drake, and a hen and chickens, and it should be more educationally useful than it is now.”

So the Grant Museum’s current exhibition, fitted in among these more traditional exhibits, may be thought of as making, at least temporarily, just the correction that Ruskin had proposed. There’s a showcase about chickens (illustrated with a stuffed hen) and other farmed animals. Another one follows the human-related migrations of feral rats. There’s a sad account of the imported domestic cat and its destruction of Australia’s wild-life. And two or three videos, as well as a display of snails inhabiting a log, show animals in the live state.

One showcase is labelled ‘Ordinary animals and medicine: the Brown Dog Affair’, and tells that story, illustrated with a picture of the original “very contentious statue” [see post for 7 August 2015]. Inside the case is a respirator for keeping such dogs alive “during vivisection”. It’s an ugly exhibit, or perhaps just an ugly idea; at any rate, here and elsewhere, the exhibition strives to be candid and impartial, positivist in the scientific sense, neither giving nor taking ground on the subject of what we’re entitled to do to these “ordinary” animals. Thus a case showing examples of dissection acknowledges that the practice is becoming less popular in schools “because of changing perceptions by many students and teachers about whether dissection is right”, but the word perceptions (being nowadays used to mean thinking rather than seeing) indicates that it’s a sociological rather than a moral point that’s being made.

All the same, illuminating as it is, the exhibition doesn’t really present a dis-interested account of the subject. In details, and in more general ways, its world-view is plainly and conservatively anthropocentric. That stuffed henstuffed hen, for instance (incidentally a modern piece of work), is glowingly clean and alert-looking, with a roomy glass case to itself. The plinth is simply labelled ‘chicken’, as if this glossy hen stands for all her kind, but the theme of the case is given as ‘The genetics of battery farming’. It amounts to a consoling lie. No battery-farmed chicken could look like this. A single photograph of ‘battery farming’ would have shown what in practice it means to a chicken’s health and appearance to “yield” (that’s the verb used in the exhibition) eggs or meat on the scale required.

And there’s a larger and stranger misrepresentation. Of these species that we “encounter every day on our plates, on our laps and on our streets”, by far the most familiar and ubiquitous, on our streets at any rate, is simply omitted, except as the reference-point for everything else. Anyone visiting the exhibition must feel this anomaly, having just been part of the herds of humans surging this way and that between UCL’s different buildings, and hunted off the roads by competing surges of the motorized sub-species. What the cat has done to Australia is a little thing compared to what humans have done there and everywhere else in the world. But I could find no confirmation in the exhibition that humans are even animals at all. In this room where the names of UCL life-science worthies are inscribed in gold on the ceiling brackets, the exhibition discourses as if the evolution of species has yet to be accepted in the university.

Then there’s the humour. Time Out’s review of the Grant Museum show is predictably flippant: “They’re playing a cat-and-mouse game with a show dedicated to all creatures ‘mundane’.” That’s how some journalists like to write. More dismaying is that the several curators of the show, some or all of whom are academic scientists, are infected with the same waggishness. “Most museums are too chicken to celebrate ‘boring beasts’ – but we’re not”, they announce on the more or less scholarly web-site ‘The Conversation’. And it’s there in the exhibition too. The text about cats in Australia is headed ‘CATastrophe’. The one about rats following human settlements is headed ‘Rat race’. Professor Steve Jones enlivens his display of Cepaea snails with a quip about the science of genetics having until recently moved at a snail’s pace.

This is fun science, I suppose (one of the associated events is a ‘comedy night’), but it’s instructive to compare the ‘Ordinary Animals’ show with another UCL exhibition a short distance away in the main building, entitled ‘What Does it Mean to be Human? Curating Heads at UCL’. This is a straight and wholly unjocular review of its subject, which is human attitudes and practices in relation to human death and the dead human body. It includes the preserved head of Jeremy Bentham, one of the founders of UCL. Bentham Benthamfirst bequeathed his own body to medical study in a will made when he was aged 21. Later he specified that it should afterwards be preserved and set up as an ‘auto-icon’ in the college – where indeed it may still be seen, in a cabinet stationed a few yards from this exhibition, though with a wax model for the head. Partly, Bentham wished to support scientific education, but he also, as a secularist, wished to de-mystify the human body, to rank it thus with the thousands of deserted casings of other species later to be kept in the college and visible in the Grant Museum. (For the ethical dimension to this egalitarianism, see the quotation from Bentham on the banner shown at the top of this page.) But evidently UCL hasn’t yet caught up with Bentham’s serene impartiality: the quite properly respectful, even wary, tone in the wordage to this exhibition is very different from the jauntiness at the Grant Museum. This, after all, is about us; over the road, it’s only about them.

UCL isn’t alone in this, of course. When the Oxford University Museum hosted a conference earlier this year with a similar theme, ‘Chickens and People: Past, Present and Future’, it did have a definite ideological aim: to consider “the consequences of our consumer demands [i.e. for “cheap protein”] on global human and animal health”. It hoped also to recover or at least recall, on the chickens’ behalf, something of the prestige which the species enjoyed in pre-modern times as one of the “special animals”. Even so, the event was presented with the same familiar winks and puns. “Why did the chicken cross the globe?” asked the University’s News and Events web-page, introducing the conference. The running narrative of the event on twitter was tirelessly joky: “Registration table ready!” “Flocking to take seats at the chicken conference.” “Cracking!” Someone tweeted a sign which they’d noticed outside an Oxford fast-food restaurant, advertising “our latest special Cluckosaurus Rex: it’s a clucking beast of a burger!” Noticed it with indignation and sorrow? Not at all, for in fact a highlight of the conference scene was a giant model chicken, placed alongside the Museum’s skeleton-cast of Tyrannosaurus rex and itself named ‘Dinnersaurus rex’. As the University’s web-site explains, “With chickens now being selectively bred to grow so large, so quickly, it won’t be too many decades before they reach dino-size.” It’s true that this model was part of a school project linked to the conference, and led by an official artist/comedian (wearing, hilariously, a papier-mâché chicken head), but that just makes the remorseless jocularity authoritative and prescribed. It would have been more in accord with the expressed purpose of the conference to teach or show children how to take animals seriously. I feel sure that most children would naturally prefer to do so.

The question is whether these adults take animals seriously. Perhaps they can’t really afford to, except as academic raw material; it would make using them for that or any other purpose so much more problematic. In her novel Hackenfeller’s Ape [see post for 11 October 2015], Brigid Brophy writes about a research monkey called Percy, and “the facetious spirit which had given the animal its name”. Mocking animals in this way, however mildly, has a function; it keeps them at a distance, makes their status more malleable. For after all, at the same time as boosting the chicken’s proper dignity with this conference, or proposing to do so, Oxford University had been conducting ‘procedures’ on real chickens as part of an extended study of their mating and reproductive characteristics (using red junglefowl or Gallus gallus, chief ancestor of the farmed chicken). This was partly a study in evolution, but it also aimed to illuminate “reductions in performance amongst domestic chickens and resultant impact on the poultry industry”. Such work presupposes and accepts the complete subjugation of the species, and supports it. I won’t detail the devices and techniques used to intervene in the animals’ sex acts, but neither they nor their commercial reference will have done anything to advance the status of this wretchedly abused species.

Like Oxford, UCL is always somewhere in the top three or four consumers of research animals among British universities. The uncertainty of attitude characterizing the events  at these two institutions, their unscientific speciesism, the habitual smirk with which the non-human animals are patronized, all these are symptoms of a divided mentality. As humans, we know that these animals are fellow-creatures, homogeneous with us in origin and mode of being, but so long as in practice we exploit them as objects, we cannot think and speak of them with the rationality of a good conscience, and it shows.

 

Notes and references:

The Grant Museum exhibition (on until 22 December) is introduced online at https://www.ucl.ac.uk/culture/projects/museum-ordinary-animals

Quotations about it are from the online text, or from the booklet issued at the Museum, unless otherwise stated. The exhibition is free, and the place is hospitable and well worth visiting anyway. The photograph of the hen is made available on the Grant Museum web-site. I should add that the taxidermist in this instance, Jazmine Miles-Long, quite reasonably calls her taxidermy “ethical”, in that she does not accept work upon animals which have been killed for that purpose.

The piece in Time Out, selecting London’s top ten museum exhibitions, was posted on 25 September here: https://www.timeout.com/london/things-to-do/museum-shows-to-fall-for-this-autumn

The exhibition ‘What Does it Mean to be Human?’ (on until 28 February 2018) is in the Octagon of the main Wilkins Building of UCL.

John Ruskin’s words come from lecture 4 in the series ‘Readings in Modern Painters’, delivered in the University Museum in Michaelmas Term 1877 (see Works, ed. Cook and Wedderburn, vol.22, p.520).

The Oxford conference took place on 27-8 January 2017, as presented on the University’s web-site here: http://www.ox.ac.uk/news/2017-01-25-chickens-and-people-past-present-and-future-oxford-conference-research-findings and as variously reported on @Chicken_project.

The particular junglefowl study quoted is Borziac, K., et al, ‘The seminal fluid proteome of the polyandrous Red junglefowl offers insights into the molecular basis of fertility, reproductive ageing and domestication’, published in Scientific Reports 6, 2016. This was one of several publications arising from a research project at the University’s John Krebs Field Station.