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Gilpin</span></h3> <p><span style="color: #999999; font-family: georgia, palatino, serif;"><img src="https://www.cambridgescholars.com/uploads/sbpub_sub/BiF%20Landing%20Page/(7)%20June%202023/9781527598119.jpg" alt="" width="357" height="500" style="display: block; margin-left: auto; margin-right: auto;" /></span></p><div class="" id="crow4963"> <div class="container"><div class="row " ><div class="col-xs-24 col-sm-24 col-md-24 textarea_content_block_div " id="block4963" ><div class="textarea_block"><hr /> <p><span style="font-family: georgia, palatino, serif;"><strong></strong>Sir Charles D’Oyly (1781-1845) was a ranking government official at Calcutta in early British India from 1798 to 1817. He was born in India, educated in England, and returned to serve in Richard Wellesley’s administration. Trained as an artist and known in Britain for his Indian landscapes, D’Oyly moved uphill to Patna in 1818 where he painted in self-exile; he formed a circle of “outsider” (and mixed race) artistic and literary friends, and acquired one of the newly-invented lithographic presses for circulating their unsanctioned artwork. D’Oyly also wrote and illustrated satiric poetry. <em>Tom Raw, the Griffin</em> was his most sustained, mixed-media satiric work. The poem, in twelve cantos with 25 cartoon-style coloured illustrations, is ostensibly an amusing and harmless mock-heroic narrative of the experiences of a young English cadet in India sent, as Edmund Burke said, “fresh from England . . . to found an empire for Britain.” Published in London and Paris by Richard Ackermann, dated 1828, <em>Tom Raw, the Griffin</em> was recalled in page-proofs from journal previews in 1827 and upon publication immediately withdrawn from circulation and bookshops in London by the publisher. Presumably, the work was politically too hot to handle in a nascent but evolving imperial Britain. Unknown and without context from the start, D’Oyly’s <em>Tom Raw, the Griffin </em>has been a very rare book in hard copy, and accessible only in the archival holdings of a few research libraries, worldwide. Recovered and contextualized for a contemporary audience, <em>Tom Raw, the Griffin </em>is now in hardback and paperback—and available to general readers, scholars, and students of the literature, art, political theory, and history of the nineteenth century.     </span></p> <p><span style="font-family: georgia, palatino, serif;">In the context of its compositional time, D’Oyly’s <em>Tom Raw</em> endures as an extraordinarily significant cultural and political document. It was drawn and composed between 1815 and 1824 in a British colonial place during a European period of intellectual ferment, artistic creativity, scientific inquiry, geographic exploration, nation-building (and sometimes expansion)—and democratic movements in the Americas as well as Europe. In strictly literary terms, D’Oyly’s tongue-in-cheek story of the young cadet’s episodic adventures in India finds place at the end of a long tradition of mocking responses to the heroics of Homer’s <em>Odyssey</em> best exemplified, perhaps, by <em>Don Quixote</em> and Pope’s mock-heroic poems. <em>Tom Raw</em> finds artistic place, also, among contemporized and reductively Homeric illustrated narratives of innocents abroad: Bridges’ <em>Homer Travestie</em>, Hogarth’s <em>Hudibra</em>s, Rowlandson’s and Combe’s <em>Dr. Syntax</em> series, the anonymous military <em>Adventures of Johnny Newcome</em>. Because of its proximity in time and shared antecedents, the closest parallel for <em>Tom Raw </em>might well be Lord Byron’s <em>Don Juan</em>, which was published serially between 1819 and 1823. The incongruities inherent in associating an unknown poem by a visual artist with a canonical Romantic literary masterpiece should not undermine the value of <em>Tom Raw</em> as a cultural as a cultural artifact, a literary work, and a critique of imperial hubris. The dismissal of unknown or secondary works creates a deficit or loss to a given historical period and a lacuna in literary history. In the case of <em>Tom Raw</em>, this dismissal precludes the opportunity for expanding the borders for a more global movement in Romanticism.</span></p> <p><span style="font-family: georgia, palatino, serif;"><em>Tom Raw</em> has primary value in that it is <em>sui generis</em> in topic, the first sustained critique of Britain’s imperial project, and written decades before the formal establishment of the British Raj and the declaration of Queen Victoria as Empress of India (1872). Because of its singularity as a colonial satire <em>and</em> a Romantic work of art, because of its fearless choice of topics for its satire in an age of newly-enacted sedition laws, because of its insouciant irony and predictive statements on the overall European colonial enterprise, <em>Tom Raw</em> justifies its recovery and studied consideration alongside well-known Romantic works. Once it is known for its unusual context among lost literary works, and for its place as nearly contemporaneous with Byron’s satiric work, D’Oyly’s poem will complicate our recognition of Byron’s achievement in <em>Don Juan</em>—and reveal his unexpected kinship. In the late “English” cantos of <em>Don Juan</em> (composed 1822-23), for example, Byron “comes home” to satirize knowingly and from within British society and the institutions that he knows best, as D’Oyly would and does of the inhabitants of British Calcutta and the lackeys of the Bengal establishment. D’Oyly also goes on to predict, like Byron and Byron’s favorite historian Gibbon before him, the incipient decay and fall of yet another empire.</span></p> <p><span style="font-family: georgia, palatino, serif;">Mischievous, gleeful, scathing—and sometime wickedly funny or fiercely earnest—D’Oyly’s satiric stance in <em>Tom Raw</em> is that of a knowing <em>inside</em> outsider in British India. Positioned “at large” outside the British establishment centered in Calcutta and uphill from the city’s “white palaces” of government, and with the full knowledge of life and work in Britain’s city as Records Secretary to Wellesley and ranking official in the Governor-Generalships of Lords Minto and Amherst, D’Oyly knew first-hand the experiences of innocents and not-so-innocents in Britain’s evolving residential empire. As the son of Sir John Hadley and the godson of Warren Hastings (Hadley was the senior advisor in India and confidant of Hastings) during a somewhat more benign and freewheeling British age of maritime trade in India, D’Oyly heard of and then witnessed the changes in the British colonial presence that occurred in political philosophy, governing practice, and social attitude after Warren Hastings’s departure from India. Raised and educated in England amid his father’s friends from Hastings’ circle and Sir William Jones’s Asiatick Society, born in India in another continent, living in Hastings’ former house at Alipore with his sisters and retired father when he returned to the subcontinent to work for Wellesley, D’Oyly was fully between places and consciously alien to both.</span></p> <p><span style="font-family: georgia, palatino, serif;">D’Oyly’s satire in <em>Tom Raw</em> equivocates and slips between the slapstick and sometimes uncomfortably raw to a complex and overarching irony for the circumstances that give rise to it. Stereotypes are the stock-in-trade of satirists, and D’Oyly does not spare his targets as he depicts new and innocent Tom Raw’s first encounters of stiff-lipped British officials, over-decorated generals, erudite and otherworldly Indian scholars, aging and sherry-soaked “European” adventurers who have “gone native,” middling officers’ wives feathered in ostrich plumes and full of new propriety, British house-traders of dubious origin and more dubious intent, and Indian shills and tricksters eager to enrich themselves and sell their birthright. In his illustrative drawings D’Oyly often depicts the clash of cultures with double vision: when Tom fearfully mistakes a feather-hatted French milliner for a Hindu goddess, or when he affronts a formally-robed Indian prince for what he thinks is an inappropriate greeting, we see in the onlookers astonishment and horror manifestations of their respective (and stereotypical) cultural expectations. British imperial vanity is depicted with swift ridicule: Calcutta’s Palladian-style white palaces built by Wellesley, for example, are shown as constructed of composite plaster and wood, not marble, with the showpiece of New Government House shedding chunam (whitewash paint) and sporting a seemingly crooked, falsely silver dome. Moral earnestness can suddenly replace light satire when D’Oyly portrays the profound displacement of new and deeply committed civil servants and their too-well laid (and doomed) plans for ordering the sub-continent; or when he portrays the pathos of nameless young men, like Tom, eager for adventure in serving their country, wounded in opportunist wars in Nepal and the Northwest, rewarded with a desk job in British Calcutta or abandoned on the battlefield; or when he describes the camp-followers of British military excursions—nameless local militia, orderlies, and their dependent families—who serve in support of conquest and in their own imminent displacement. To echo Byron in <em>Don Juan</em> after the Battle of Ismail, D’Oyly and we laugh that we may not weep.</span></p> <p><span style="font-family: georgia, palatino, serif;">This new edition of <em>Tom Raw, the Griffin</em> is an elegant, useable, fully annotated, and contextualized book, with the poem itself reset in modern type. The 32 colour illustrations include 7 related and significant watercolor drawings by D’Oyly which Akermann prudently chose to not insert in the 1828 edition. Each of the poem’s episodes and accompanying illustrations carry line annotations and specific contextualizing commentary. The extended Introduction is subdivided into sections: on D’Oyly’s biography; on the Patna circle and the political context of the work; on the poem’s antecedents and the characteristics that distinguish it from other works of the period; on the collaborative influence of D’Oyly’s friends and the possible source-influences in Indian art; and on the opportunities for research and prospects for study that the new edition provides, from specific topics to broad-based angles on genres and periods. A glossary of Anglo-Indian terms and a select bibliography of useful studies close the edition.</span></p> <hr /> <p class="bookdesc"><span style="font-family: georgia, palatino, serif;"><strong>Hermione de Almeida</strong> is the co-author of <em>Indian Renaissance: British Romantic Art and the Prospect of India</em> (2006; 2016), winner of the Historians of British Art 2007 Book Prize. She is also the author of <em>Romantic Medicine and John Keats</em> (1991) and <em>Byron and Joyce through Homer: ‘Don Juan’ and ‘Ulysses’</em> (1981), and editor of essay collections on John Keats (1990), Romantic science (2004), and Romantic culture <em>(Nature, Politics, and the Arts</em>, 2015). She received her doctorate from Columbia University and is a Fellow of the American Council of Learned Societies, the National Endowment for the Humanities, the National Humanities Center, and the Woodrow Wilson Center in Washington.</span></p> <p class="bookdesc"><span style="font-family: georgia, palatino, serif;"><strong>George H. Gilpin</strong> is the co-author of <em>Indian Renaissance: British Romantic Art and the Prospect of India</em> (2006; 2016), winner of the Historians of British Art 2007 Book Prize. He is also the author of <em>The Art of Contemporary English Culture</em> (1991), “1898-1945: Hardy to Auden” in <em>The Columbia History of British Poetry</em> (1993), “Patricia Avis and Philip Larkin” in <em>Philip Larkin: New Larkins for Old</em> (1999), and “Thomas Cole and the Wild American Sublime” in <em>Nature, Politics, and the Arts</em> (2015). He has edited <em>Critical Essays on William Wordsworth</em> (1990). With Hermione de Almeida, he edited the 1963 novel by Patricia Avis, Playing the Harlot; or, Mostly Coffee (1996). He received his doctorate from Rice University, USA, and, as Provost of the University of Tulsa, spearheaded the acquisition of the manuscript archives of V. S. Naipaul, Richard Murphy, and other writers.</span></p> <hr /> <p><span style="font-family: georgia, palatino, serif;"><img src="https://www.cambridgescholars.com/uploads/sbpub_sub/BiF%20Landing%20Page/(7)%20June%202023/9781527598119.jpg" width="214" height="300" style="display: block; margin-left: auto; margin-right: auto;" caption="false" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino, serif;"><b><i><a href="https://www.cambridgescholars.com/product/978-1-5275-5702-4">Charles D'Oyly's Lost Satire of British India: Tom Raw, the Griffin, 1828</a> </i></b>is available now in paperback at a 25% discount. 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