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The Image of the Jewish Street Seller in Nineteenth Century London
A somewhat different approach to Disraeli’s Jewishness is presented in an earlier
cartoon by Thomas McLean, entitled “The New Christo-Judean Creed,” (ill. 176)”
from 1844 (catalog number: C 2005.5).
When this caricature was first printed, Disraeli had already been a member
of parliament (but would not become the prime minister for another twenty-four
years) and had stood in opposition to Sir Robert Peel’s government.”® The caption
under the picture reads: “The Ultimate or Crowning Triumph of the new Christo¬
Judean creed (of the pure Caucasian race) Intended for special edification of Young
England.” The picture as well as the caption can be analyzed in many ways, none of
which would be actually flattering to the future prime minister.
Young England was a political group formed by former students of Eton and
Cambridge, sharing school memories and ideas on questions related to the state and
the church. Most of all they stood for more state independence from the church
and for restoration of the position of nobility and gentry. They felt antipathy toward
the middle class and recognized it as a group that should be under the control and
protection of the higher social classes (Monypenny 1912: 162-165). Disraeli became
a member of Young England and, eventually, its leader, though he had never gradu¬
ated from Eton or Cambridge.
‘The picture shows Disraeli seated in a throne-like armchair, dressed in clothes
similar to ones worn by high church authorities, with three hats on his head and
a white handkerchief. Another man is kneeling in front of him, kissing his right
boot. The picture has many features and interpretations—most important are
the pose and clothes, all together suggesting Disraeli’s desire to make decisions
about things that he (according to the caricaturist’s opinion) should not be in¬
volved in. The hats are similar to ones noticeable in other cartoons. They sym¬
bolize the need for acceptance and the willingness to become an equal member
of the society, in this case a political one. They may also indicate that Disraeli
did not actually belong to the world of which he wished to be a part of, in terms
of religion, politics, and even educational background. The handkerchief is as¬
sociated with the highest classes, such as the nobility. The man kissing Disraeli’s
foot symbolizes the politicians who had tried to create a coalition with Young
England’s members of Parliament. Many of Young England’s members had man¬
aged to become members of Parliament still maintaining their views and ideol¬
ogy. For years their role in Parliament was limited to coalitions and temporary
agreements with other politicians, just for a few votes, over issues important to
themselves.
Another figure that is often shown in nineteenth-century British caricatures is
27 http://www.jewishmuseum.org.uk/?location_id=429 (accessed 04. 07. 2012).
28 In 1841, Sir Robert Peel, head of the Conservative Party (Prime Minister 1835-1841 and 1841¬
1846) passed over Disraeli during the forming of his cabinet. Disraeli, hurt by that, became his sharp
and devoted opponent. The antipathy was most noticeable during the dispute over the repeal of the
Corn Laws in 1846 (for more information see Trevelyan 1963: 759-767).
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