Artwork of Branwell Brontë’s letters: 'Alas! poor Caunt!'
The letters of Branwell Brontë
Branwell Brontë’s Life and Letters: 1842-1848
Artwork of Branwell Brontë’s letters: 'Resurgam'
Artwork of Branwell Brontë’s letters: 'Alas! poor Caunt!'
Artwork of Branwell Brontë’s letters: 'Our Lady of Grief'
Artwork of Branwell Brontë’s letters: 'Paradise and Purgatory'
Artwork of Branwell Brontë’s letters: 'Patrick Reid "turned off"' and 'The Rescue of the Punchbowl'
Correspondents in the letters of Branwell Brontë: Leyland
Correspondents in the letters of Branwell Brontë: Grundy and Brown
Letter 1: Letter from Branwell Brontë to Joseph Bentley Leyland, 15 May 1842 (BC MS 19c Brontë/02/01/01)
Letter 2: Letter from Branwell Brontë to Joseph Bentley Leyland, 29 June 1842 (BC MS 19c Brontë/02/01/02)
Letter 3: Letter from Branwell Brontë to Joseph Bentley Leyland, 12 July 1842 (BC MS 19c Brontë/02/01/03)
Letter 4: Letter from Branwell Brontë to Joseph Bentley Leyland, 10 August 1842 (BC MS 19c Brontë/02/01/04)
Letter 5: Letter from Branwell Brontë to Joseph Bentley Leyland, 22 July 1843 (BC MS 19c Brontë/02/01/05)
Letter 6: Letter from Branwell Brontë to Joseph Bentley Leyland, 4 August 1845 (BC MS 19c Brontë/02/01/06)
Letter 7: Letter from Branwell Brontë to Joseph Bentley Leyland, 19 August 1845 (BC MS 19c Brontë/02/01/07)
Letter 8: Letter from Branwell Brontë to Joseph Bentley Leyland, 10 September 1845 (BC MS 19c Brontë/02/01/08)
Letter 9: Letter from Branwell Brontë to Joseph Bentley Leyland, 25 November 1845 (BC MS 19c Brontë/02/01/09)
Letter 10: Letter from Branwell Brontë to Joseph Bentley Leyland, 28 April 1846 (BC MS 19c Brontë/02/01/10)
Letter 11: Letter from Branwell Brontë to Joseph Bentley Leyland, June 1846 (BC MS 19c Brontë/02/01/11)
Letter 12: Letter from Branwell Brontë to Joseph Bentley Leyland, c. June - July 1846 (BC MS 19c Brontë/02/01/12)
Letter 13: Letter from Branwell Brontë to Joseph Bentley Leyland, 2 July 1846 (BC MS 19c Brontë/02/01/13)
Letter 14: Letter from Branwell Brontë to Joseph Bentley Leyland, October 1846 (BC MS 19c Brontë/02/01/14)
Letter 15: Letter from Branwell Brontë to Joseph Bentley Leyland, c.1847 (BC MS 19c Brontë/02/01/15)
Letter 16: Letter from Branwell Brontë to Joseph Bentley Leyland, c. January 1847 (BC MS 19c Brontë/02/01/16)
'Northangerland' pen and ink sketch (BC MS 19c Brontë/02/01/17)
Letter 18: Letter from Branwell Brontë to Joseph Bentley Leyland, 24 January 1847 (BC MS 19c Brontë/02/01/18)
Letter 19: Letter from Branwell Brontë to Joseph Bentley Leyland, 16 July 1847 (BC MS 19c Brontë/02/01/19)
Letter 20: Letter from Branwell Brontë to Joseph Bentley Leyland, c.1848 (BC MS 19c Brontë/02/01/20)
Letter 21: Letter from Branwell Brontë to Joseph Bentley Leyland, January 1848 (BC MS 19c Brontë/02/01/21)
Letter 22: Letter from Branwell Brontë to an unknown correspondent, 22 May 1846 (BC MS 19c Brontë/02/01/22)
Letter 23: Letter from Branwell Brontë to Francis Henry Grundy, c. 1848 (BC MS 19c Brontë/02/01/23)
Letter 24: Letter from Branwell Brontë to John Brown, c. 1848 (BC MS 19c Brontë/02/01/24)
Bibliography and relevant literature
The second drawing, 'Alas! poor Caunt!' is found at the end of Letter 8: addressed to Leyland and dated 10 September 1845 (BC MS 19c Brontë/02/01/08).
The full note to the drawing begins: 'Bendigo "taking a sight"'.
William Thompson ('Bendigo', 1811-1880) and Ben Caunt (1815-1861) were well-known boxers whose final fight took place on 9th September 1845. Bendigo was declared the dubious winner after 93 rounds.
Branwell had experience of boxing and read the sporting papers, but Christopher Heywood, in his article 'Alas! Poor Caunt': Branwell's Emancipationist Cartoon, suggests this drawing is also inspired by the Brontës' interest in the Abolitionist and Emancipation movements.
Drawn in black ink and with his hands in chains, Caunt closely resembles Josiah Wedgwood's 'Kneeling Slave' (1787) - an emblem of Anti-Slavery campaigns in both Britain and the U.S. Although officially abolished in 1833 in the UK, slavery continued to be a current topic in Britain with condemnation over U.S. and British practices overseas.
Closer to Haworth, similar terminology was used to debate the conditions of mill-workers, in newspapers including the Leeds Mercury. During the 1840s campaigners for the 'ten hours bill'; (to reduce the length of shifts) drew comparisons with slavery to argue their position.
Heywood suggests that in Branwell's drawing slave and slave-driver are used to convey concerns about contemporary boxing. This was largely unregulated and another arena in which profit rather than human welfare was the primary concern.
'Alas! Poor Caunt!' refers to Hamlet's graveside speech which begins 'Alas, poor Yorick' (Hamlet, V, i, l. 178). In Letter 8, which the drawing accompanies, Branwell hopes that his new novel will 'unveil man's heart' as faithfully as Shakespeare.