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The Wake, or last appearance of Teddy O Rafferty, a scene in the Holy Land, from The English Spy, by Charles Molloy Westmacott (1788-1868) published London, 1825 (colour litho)
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The Wake, or last appearance of Teddy O Rafferty, a scene in the Holy Land, from The English Spy, by Charles Molloy Westmacott (1788-1868) published London, 1825 (colour litho)
STC255135 The Wake, or last appearance of Teddy O Rafferty, a scene in the Holy Land, from The English Spy, by Charles Molloy Westmacott (1788-1868) published London, 1825 (colour litho) by Cruikshank, Isaac Robert (1789-1856); Private Collection; The Stapleton Collection
Media ID 25462482
© The Stapleton Collection / Bridgeman Images
Bawdy Chaos Corpse Crucifix Deathbed Deceased Drank Drunk Drunken Drunkenness Kissing Mourners Regency Rowdy Taboo Brawl Brawling Disrespectful Dying Lovers Mourning Send Off
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The Wake, or last appearance of Teddy O Rafferty
EDITORS COMMENTS
is a captivating and controversial scene captured in this 1825 lithograph by Isaac Robert Cruikshank. Set in the Holy Land, the image depicts a chaotic and rowdy gathering that breaks all boundaries of decorum and respect. In this Georgian-era cartoon, mourners are seen engaging in inappropriate behavior such as brawling, breaking furniture, and indulging in excessive drinking. The satirical drawing highlights the taboo nature of their actions while poking fun at societal norms. The focal point of the print is Teddy O Rafferty's deceased body lying on a deathbed adorned with a crucifix. Surrounding him are his grieving family members who seem to have lost control amidst their sorrow. Lovers can be seen kissing passionately nearby, adding an element of scandal to an already tumultuous scene. Cruikshank's scathing satire aims to critique both Irish stereotypes and Regency society's penchant for excesses. Through his exaggerated caricatures and clever composition, he presents a biting commentary on drunkenness and unruly behavior during times of mourning. This satirical cartoon serves as a reminder that even in moments of grief, human folly knows no bounds. It challenges viewers to reflect on societal expectations surrounding death rituals while simultaneously providing entertainment through its humorous depiction of chaos and disorder.
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