William Blake and smallpox : the disease in Blake’s London and in Blake’s art

Smallpox was the single most lethal disease in eighteenth-century Britain, accounting for more deaths than any other infectious disease, even plague and cholera. In London, Europe’s largest city by 1700, smallpox increased from 4-6% of all burials in the mid-seventeenth century to over 10% in the third quarter of the eighteenth century, and the frequency of epidemics increased from roughly four-yearly to a biennial cycle over the same period.

Smallpox was an acute, highly contagious, and frequently fatal disease (killing one-seventh to one-quarter of its victims) but conferring lifelong immunity on survivors. It appeared initially as an infrequent epidemic disease affecting all ages, but as the frequency of epidemics increased, a growing proportion of the adult population acquired immunity to the disease, and smallpox was clearly a childhood disease in the London-born population of the eighteenth century, with children under five the main victims. Among those who survived it, morbidity from smallpox was severe in many cases; victims could be left blind or disfigured for life. Few native Londoners would have survived to adulthood without encountering smallpox.

[Indeed, are there any depictions of smallpox in Blake’s work?]

William Hayley and Smallpox

William Hayley (1745-1820) is remembered today chiefly as the much-derided Felpham Billy, the Bard of Sussex, the friend or enemy of William Blake. But he was a generous and effective patron and friend to Cowper, Romney, Flaxman, and Blake, as well as many others; and it is perhaps unjust that his name should chiefly live in the spiky epigrams which Blake jotted down in his notebook

Thy Friendship oft has made my heart to ake
Do be my Enemy for Friendships sake.

In his lifetime, Hayley was an acclaimed poet, a scholar who achieved both commercial and critical success before, towards the end of his life, his work fell out of fashion. He was the first person to publish a substantial extract of Dante’s Divine Comedy in English translation, declined the offer of the poet laureateship (partly for political reasons), and, in his biographical writings, often explored issues of mental health. His literary efforts extended to drama, biographies of Milton and Cowper, an essay on sculpture, and endless epitaphs (many of them accompanying monuments in Chichester cathedral). He was also an amateur physician, treating himself, his household, and the villagers of Felpham with the then-fashionable electrical cure.

Despite having written a bestselling and highly influential book advising young women on how to attract and keep a husband (The Triumphs of Temper, 1781, and innumerable subsequent editions), Hayley’s own romantic life was a failure, with two disastrous marriages.

Blakespotting

Visitors to the Tate Britain William Blake exhibition of 11 September 2019—2 February 2020, were met by a sign reading

CONTENT WARNING

The art of William Blake contains

strong and sometimes challenging

imagery, including some depictions

of violence and suffering.

Please ask a member of the staff if

you would like more information.

I thought this a reasonable warning to any parent taking a child to the exhibition. But a handful of journalists reporting on the exhibition tried to make hay out of this sign, claiming that it was tantamount to censoring Blake, seemingly unaware of Blake’s Stedman engravings and the horrors they depict in such careful detail.