Memoirs of Extraordinary Popular Delusions and the Madness of Crowds
By Charles Mackay
Charles Mackay, Scottish poet, journalist, and editor was best known in his day for his verses, some of which were set to music. His book, Memoirs of Extraordinary Popular Delusions, was first published in 1841 (London: Richard Bentley, New Burlington Street, Publisher in Ordinary to Her Majesty), with a promise of additional material “should these be favorably received.” Apparently the work was indeed favorably received, resulting in a substantially revised, two-volume second edition being published in 1852 (London, Office of the National Illustrated Library, 227 Strand). The book has been reprinted often since.We present the second edition (1852) here. The two-volume set did not number the chapters. Volume I covered the present Chapters 1-8; Volume II began with “The Crusades.”Minor editorial modifications are: removing periods after the roman numerals designating kings and modifying some short abbreviations such as 2d to 2nd. Occasional typos are corrected, and a few corrections are made for consistency. Periods after subtitles are dropped.Lauren Landsburg
Editor, Library of Economics and Liberty
First Pub. Date
London: Office of the National Illustrated Library
The text of this edition is in the public domain.
- Ch.1, Money Mania--The Mississippi Scheme
- Ch.2, The South-Sea Bubble
- Ch.3, The Tulipomania
- Ch.4, The Alchymists, (file a.)
- Ch.5, Modern Prophecies
- Ch.6, Fortune-Telling
- Ch.7, The Magnetisers
- Ch.8, Hair and Beard
- Ch.9, The Crusades
- Ch.10, The Witch Mania
- Ch.11, The Slow Poisoners
- Ch.12, Haunted Houses
- Ch.13, Popular Follies of Great Cities
- Ch.14, Popular Admiration of Great Thieves
- Ch.15, Duels and Ordeals
- Ch.16, Relics
Popular Follies of Great Cities
La faridondaine—la faridondon,
Vive la faridondaine!—BERANGER.
The popular humours of a great city are a never-failing source of amusement to the man whose sympathies are hospitable enough to embrace all his kind, and who, refined though he may be himself, will not sneer at the humble wit or grotesque peculiarities of the boozing mechanic, the squalid beggar, the vicious urchin, and all the motley group of the idle, the reckless, and the imitative that swarm in the alleys and broadways of a metropolis. He who walks through a great city to find subjects for weeping, may, God knows, find plenty at every corner to wring his heart; but let such a man walk on his course, and enjoy his grief alone — we are not of those who would accompany him. The miseries of us poor earthdwellers gain no alleviation from the sympathy of those who merely hunt them out to be pathetic over them. The weeping philosopher too often impairs his eyesight by his woe, and becomes unable from his tears to see the remedies for the evils which he deplores. Thus it will often be found that the man of no tears is the truest philanthropist, as he is the best physician who wears a cheerful face, even in the worst of cases.
So many pens have been employed to point out the miseries, and so many to condemn the crimes and vices, and more serious follies of the multitude, that our’s shall not increase the number, at least in this chapter. Our present task shall be less ungracious, and wandering through the busy haunts of great cities, we shall seek only for amusement, and note as we pass a few of the harmless follies and whimsies of the poor.
And, first of all, walk where we will, we cannot help hearing from every side a phrase repeated with delight, and received with laughter, by men with hard hands and dirty faces — by saucy butcher lads and errand-boys — by loose women — by hackney coachmen, cabriolet drivers, and idle fellows who loiter at the corners of streets. Not one utters this phrase without producing a laugh from all within hearing. It seems applicable to every circumstance, and is the universal answer to every question; in short, it is the favourite slang phrase of the day, a phrase that, while its brief season of popularity lasts, throws a dash of fun and frolicsomeness over the existence of squalid poverty and ill-requited labour, and gives them reason to laugh as well as their more fortunate fellows in a higher stage of society.
London is peculiarly fertile in this sort of phrases, which spring up suddenly, no one knows exactly in what spot, and pervade the whole population in a few hours, no one knows how. Many years ago the favourite phrase (for, though but a monosyllable, it was a phrase in itself) was QUOZ. This odd word took the fancy of the multitude in an extraordinary degree, and very soon acquired an almost boundless meaning. When vulgar wit wished to mark its incredulity and raise a laugh at the same time, there was no resource so sure as this popular piece of slang. When a man was asked a favour which he did not choose to grant, he marked his sense of the suitor’s unparalleled presumption by exclaiming
Quoz! When a mischievous urchin wished to annoy a passenger, and create mirth for his chums, he looked him in the face, and cried out
Quoz! and the exclamation never failed in its object. When a disputant was desirous of throwing a doubt upon the veracity of his opponent, and getting summarily rid of an argument which he could not overturn, he uttered the word
Quoz, with a contemptuous curl of his lip and an impatient shrug of his shoulders. The universal monosyllable conveyed all his meaning, and not only told his opponent that he lied, but that he erred egregiously if he thought that any one was such a nincompoop as to believe him. Every alehouse resounded with
Quoz; every street corner was noisy with it, and every wall for miles around was chalked with it.
But, like all other earthly things,
Quoz had its season, and passed away as suddenly as it arose, never again to be the pet and the idol of the populace. A new claimant drove it from its place, and held undisputed sway till, in its turn, it was hurled from its pre-eminence, and a successor appointed in its stead.
What a shocking bad hat!” was the phrase that was next in vogue. No sooner had it become universal, than thousands of idle but sharp eyes were on the watch for the passenger whose hat showed any signs, however slight, of ancient service. Immediately the cry arose, and, like the what-whoop of the Indians, was repeated by a hundred discordant throats. He was a wise man who, finding himself under these circumstances “the observed of all observers,” bore his honours meekly. He who showed symptoms of ill-feeling at the imputations cast upon his hat, only brought upon himself redoubled notice. The mob soon perceive whether a man is irritable, and, if of their own class, they love to make sport of him. When such a man, and with such a hat, passed in those days through a crowded neighbourhood, he might think himself fortunate if his annoyances were confined to the shouts and cries of the populace. The obnoxious hat was often snatched from his head, and thrown into the gutter by some practical joker, and then raised, covered with mud, upon the end of a stick, for the admiration of the spectators, who held their sides with laughter, and exclaimed in the pauses of their mirth, “
Oh! what a shocking bad hat!” “What a shocking bad hat!” Many a nervous, poor man, whose purse could but ill spare the outlay, doubtless purchased a new hat before the time, in order to avoid exposure in this manner.
The origin of this singular saying, which made fun for the metropolis for months, is not involved in the same obscurity as that which shrouds the origin of
Quoz and some others. There had been a hotly-contested election for the borough of Southwark, and one of the candidates was an eminent hatter. This gentleman, in canvassing the electors, adopted a somewhat professional mode of conciliating their good-will, and of bribing them without letting them perceive that they were bribed. Whenever he called upon or met a voter whose hat was not of the best material, or, being so, had seen its best days, he invariably said,
“What a shocking bad hat you have got; call at my warehouse, and you shall have a new one!” Upon the day of election this circumstance was remembered, and his opponents made the most of it, by inciting the crowd to keep up an incessant cry of
“What a shocking bad hat!” all the time the honourable candidate was addressing them. From Southwark the phrase spread over all London, and reigned, for a time, the supreme slang of the season.
Hookey Walker, derived from the chorus of a popular ballad, was also high in favour at one time, and served, like its predecessor,
Quoz, to answer all questions. In the course of time the latter word alone became the favourite, and was uttered with a peculiar drawl upon the first syllable, and a sharp turn upon the last. If a lively servant girl was importuned for a kiss by a fellow she did not care about, she cocked her little nose, and cried
“Walker!” If a dustman asked his friend for the loan of a shilling, and his friend was either unable or unwilling to accommodate him, the probable answer he would receive was
“Walker!” If a drunken man was reeling along the streets, and a boy pulled his coat-tails, or a man knocked his hat over his eyes to make fun of him, the joke was always accompanied by the same exclamation. This lasted for two or three months, and
“Walker!” walked off the stage, never more to be revived for the entertainment of that or any future generation.
The next phrase was a most preposterous one. Who invented it, how it arose, or where it was first heard, are alike unknown. Nothing about it is certain, but that for months it was the slang
par excellence of the Londoners, and afforded them a vast gratification.
“There he goes with his eye out!” or “There she goes with her eye out!” as the sex of the party alluded to might be, was in the mouth of everybody who knew the town. The sober part of the community were as much puzzled by this unaccountable saying as the vulgar were delighted with it. The wise thought it very foolish, but the many thought it very funny, and the idle amused themselves by chalking it upon walls, or scribbling it upon monuments. But, “all that’s bright must fade,” even in slang. The people grew tired of their hobby, and
“There he goes with his eye out!” was heard no more in its accustomed haunts.
Another very odd phrase came into repute in a brief space afterwards, in the form of the impertinent and not universally apposite query,
“Has your mother sold her mangle?” But its popularity was not of that boisterous and cordial kind which ensures a long continuance of favour. What tended to impede its progress was, that it could not be well applied to the older portions of society. It consequently ran but a brief career, and then sank into oblivion. Its successor enjoyed a more extended fame, and laid its foundations so deep, that years and changing fashions have not sufficed to eradicate it. This phrase was
“Flare up!” and it is, even now, a colloquialism in common use. It took its rise in the time of the Reform riots, when Bristol was nearly half burned by the infuriated populace. The flames were said to have
flared up in the devoted city. Whether there was anything peculiarly captivating in the sound, or in the idea of these words, is hard to say; but whatever was the reason, it tickled the mob-fancy mightily, and drove all other slang out of the field before it. Nothing was to be heard all over London but
“flare up!” It answered all questions, settled all disputes, was applied to all persons, all things, and all circumstances, and became suddenly the most comprehensive phrase in the English language. The man who had overstepped the bounds of decorum in his speech was said to have
flared up; he who had paid visits too repeated to the gin-shop, and got damaged in consequence, had
flared up. To put one’s-self into a passion; to stroll out on a nocturnal frolic, and alarm a neighbourhood, or to create a disturbance in any shape, was to
flare up. A lovers’ quarrel was a fare up; so was a boxing-match between two blackguards in the streets, and the preachers of sedition and revolution recommended the English nation to
flare up, like the French. So great a favourite was the word, that people loved to repeat it for its very sound. They delighted apparently in hearing their own organs articulate it; and labouring men, when none who could respond to the call were within hearing, would often startle the aristocratic echoes of the West by the well-known slang phrase of the East. Even in the dead hours of the night, the ears of those who watched late, or who could not sleep, were saluted with the same sound. The drunkard reeling home showed that he was still a man and a citizen, by calling
“flare up” in the pauses of his hiccough. Drink had deprived him of the power of arranging all other ideas; his intellect was sunk to the level of the brute’s; but he clung to humanity by the one last link of the popular cry. While he could vociferate that sound, he had rights as an Englishman, and would not sleep in a gutter, like a dog! Onwards he went, disturbing quiet streets and comfortable people by his whoop, till exhausted nature could support him no more, and he rolled powerless into the road. When, in due time afterwards, the policeman stumbled upon him as he lay, that guardian of the peace turned the full light of his lantern on his face, and exclaimed, “Here’s a poor devil who’s been
flaring up!” Then came the stretcher, on which the victim of deep potations was carried to the watchhouse, and pitched into a dirty cell, among a score of wretches about as far gone as himself, who saluted their new comrade by a loud, long shout of
So universal was this phrase, and so enduring seemed its popularity, that a speculator, who knew not the evanescence of slang, established a weekly newspaper under its name. But he was like the man who built his house upon the sand; his foundation gave way under him, and the phrase and the newspaper were washed into the mighty sea of the things that were. The people grew at last weary of the monotony, and
“flare up” became vulgar even among them. Gradually it was left to little boys who did not know the world, and in process of time sank altogether into neglect. It is now heard no more as a piece of popular slang; but the words are still used to signify any sudden outburst either of fire, disturbance, or ill-nature.
The next phrase that enjoyed the favour of the million was less concise, and seems to have been originally aimed against precocious youths who gave themselves the airs of manhood before their time.
“Does your mother know you’re out?” was the provoking query addressed to young men of more than reasonable swagger, who smoked cigars in the streets, and wore false whiskers to look irresistible. We have seen many a conceited fellow who could not suffer a woman to pass him without staring her out of countenance, reduced at once into his natural insignificance by the mere utterance of this phrase. Apprentice lads and shopmen in their Sunday clothes held the words in abhorrence, and looked fierce when they were applied to them. Altogether the phrase had a very salutary effect, and in a thousand instances showed young Vanity, that it was not half so pretty and engaging as it thought itself. What rendered it so provoking was the doubt it implied as to the capability of self-guidance possessed by the individual to whom it was addressed.
“Does your mother know you’re out?” was a query of mock concern and solicitude, implying regret and concern that one so young and inexperienced in the ways of a great city should be allowed to wander abroad without the guidance of a parent. Hence the great wrath of those who verged on manhood, but had not reached it, whenever they were made the subject of it. Even older heads did not like it; and the heir of a ducal house, and inheritor of a warrior’s name, to whom they were applied by a cabriolet driver, who was ignorant of his rank, was so indignant at the affront, that he summoned the offender before the magisterial bench. The fellow had wished to impose upon his Lordship by asking double the fare he was entitled to, and when his Lordship resisted the demand, he was insultingly asked “if his mother knew he was out?” All the drivers on the stand joined in the query, and his Lordship was fain to escape their laughter by walking away with as much haste as his dignity would allow. The man pleaded ignorance that his customer was a Lord, but offended justice fined him for his mistake.
When this phrase had numbered its appointed days, it died away, like its predecessors, and
“Who are you?” reigned in its stead. This new favourite, like a mushroom, seems to have sprung up in a night, or, like a frog in Cheapside, to have come down in a sudden shower. One day it was unheard, unknown, uninvented; the next it pervaded London; every alley resounded with it; every highway was musical with it,
“And street to street, and lane to lane flung back
The one unvarying cry.”
The phrase was uttered quickly, and with a sharp sound upon the first and last words, leaving the middle one little more than an aspiration. Like all its compeers which had been extensively popular, it was applicable to almost every variety of circumstance. The lovers of a plain answer to a plain question did not like it at all. Insolence made use of it to give offence; ignorance, to avoid exposing itself; and waggery, to create laughter. Every new comer into an alehouse tap-room was asked unceremoniously,
“Who are you?” and if he looked foolish, scratched his head, and did not know what to reply, shouts of boisterous merriment resounded on every side. An authoritative disputant was not unfrequently put down, and presumption of every kind checked by the same query. When its popularity was at its height, a gentleman, feeling the hand of a thief in his pocket, turned suddenly round, and caught him in the act, exclaiming,
“Who are you?” The mob which gathered round applauded to the very echo, and thought it the most capital joke they had ever heard — the very acme of wit — the very essence of humour. Another circumstance, of a similar kind, gave an additional fillip to the phrase, and infused new life and vigour into it, just as it was dying away. The scene occurred in the chief criminal court of the kingdom. A prisoner stood at the bar; the offence with which he had been charged was clearly proved against him; his counsel had been heard, not in his defence, but in extenuation, insisting upon his previous good life and character, as reasons for the lenity of the court. “And where are your witnesses?” inquired the learned judge who presided. “Please you, my Lord, I knows the prisoner at the bar, and a more honester feller never breathed,” said a rough voice in the gallery. The officers of the court looked aghast, and the strangers tittered with ill-suppressed laughter.
“Who are you?” said the Judge, looking suddenly up, but with imperturbable gravity. The court was convulsed; the titter broke out into a laugh, and it was several minutes before silence and decorum could be restored. When the Ushers recovered their self-possession, they made diligent search for the profane transgressor; but he was not to be found. Nobody knew him; nobody had seen him. After a while the business of the court again proceeded. The next prisoner brought up for trial augured favourably of his prospects when he learned that the solemn lips of the representative of justice had uttered the popular phrase as if he felt and appreciated it. There was no fear that such a judge would use undue severity; his heart was with the people; he understood their language and their manners, and would make allowances for the temptations which drove them into crime. So thought many of the prisoners, if we may infer it from the fact, that the learned judge suddenly acquired an immense increase of popularity. The praise of his wit was in every mouth, and
“Who are you?” renewed its lease, and remained in possession of public favour for another term in consequence.
But it must not be supposed that there were no interregni between the dominion of one slang phrase and another. They did not arise in one long line of unbroken succession, but shared with song the possession of popular favour. Thus, when the people were in the mood for music, slang advanced its claims to no purpose, and, when they were inclined for slang, the sweet voice of music wooed them in vain. About twenty years ago London resounded with one chorus, with the love of which everybody seemed to be smitten. Girls and boys, young men and old, maidens and wives, and widows, were all alike musical. There was an absolute mania for singing, and the worst of it was, that, like good Father Philip, in the romance of
“The Monastery,” they seemed utterly unable to change their tune. “Cherry ripe!” “Cherry ripe!” was the universal cry of all the idle in the town. Every unmelodious voice gave utterance to it; every crazy fiddle, every cracked flute, every wheezy pipe, every street organ was heard in the same strain, until studious and quiet men stopped their ears in desperation, or fled miles away into the fields or woodlands, to be at peace. This plague lasted for a twelvemonth, until the very name of cherries became an abomination in the land. At last the excitement wore itself away, and the tide of favour set in a new direction. Whether it was another song or a slang phrase, is difficult to determine at this distance of time; but certain it is, that very shortly afterwards, people went mad upon a dramatic subject, and nothing was to be heard of but
“Tom and Jerry.” Verbal wit had amused the multitude long enough, and they became more practical in their recreation. Every youth on the town was seized with the fierce desire of distinguishing himself, by knocking down the
“charlies,” being locked up all night in a watchhouse, or kicking up a row among loose women and blackguard men in the low dens of St. Giles’s. Imitative boys vied with their elders in similar exploits, until this unworthy passion, for such it was, had lasted, like other follies, its appointed time, and the town became merry after another fashion. It was next thought the height of vulgar wit to answer all questions by placing the point of the thumb upon the tip of the nose, and twirling the fingers in the air. If one man wished to insult or annoy another, he had only to make use of this cabalistic sign in his face, and his object was accomplished. At every street corner where a group was assem- bled, the spectator who was curious enough to observe their movements, would be sure to see the fingers of some of them at their noses, either as a mark of incredulity, surprise, refusal, or mockery, before he had watched two minutes. There is some remnant of this absurd custom to be seen to this day; but it is thought low, even among the vulgar.
About sixteen years ago, London became again most preposterously musical. The
vox populi wore itself hoarse by singing the praises of “The Sea, the Sea!” If a stranger (and a philosopher) had walked through London, and listened to the universal chorus, he might have constructed a very pretty theory upon the love of the English for the sea-service, and our acknowledged superiority over all other nations upon that element. “No wonder,” he might have said, “that this people is invincible upon the ocean. The love of it mixes with their daily thoughts: they celebrate it even in the market-place: their street-minstrels excite charity by it; and high and low, young and old, male and female, chant
Io pœans in its praise. Love is not honoured in the national songs of this warlike race — Bacchus is no god to them; they are men of sterner mould, and think only of ‘the Sea, the Sea!’ and the means of conquering upon it.”
Such would, doubtless, have been his impression if he had taken the evidence only of his ears. Alas! in those days for the refined ears that
were musical! great was their torture when discord, with its thousand diversities of tone, struck up this appalling anthem — there was no escape from it. The migratory minstrels of Savoy caught the strain, and pealed it down the long vistas of quiet streets, till their innermost and snuggest apartments re-echoed with the sound. Men were obliged to endure this crying evil for full six months, wearied to desperation, and made
sea-sick on the dry land.
Several other songs sprang up in due succession afterwards, but none of them, with the exception of one, entitled “All round my Hat,” enjoyed any extraordinary share of favour, until an American actor introduced a vile song called “Jim Crow.” The singer sang his verses in appropriate costume, with grotesque gesticulations, and a sudden whirl of his body at the close of each verse. It took the taste of the town immediately, and for months the ears of orderly people were stunned by the senseless chorus-
“Turn about and wheel about,
And do just so—
Turn about and wheel about,
And jump, Jim Crow!”
Street-minstrels blackened their faces in order to give proper effect to the verses; and fatherless urchins, who had to choose between thieving and singing for their livelihood, took the latter course, as likely to be the more profitable, as long as the public taste remained in that direction. The uncouth dance, its accompaniment, might be seen in its full perfection on market nights in any great thoroughfare; and the words of the song might be heard, piercing above all the din and buzz of the ever-moving multitude. He, the calm observer, who during the hey-day popularity of this doggrel,
“Sate beside the public way,
Thick strewn with summer dust, and saw the stream
Of people there was hurrying to and fro,
Numerous as gnats upon the evening gleam,”
might have exclaimed with Shelley, whose fine lines we quote, that
“The million, with fierce song and maniac dance,
Did rage around.”
The philosophic theorist we have already supposed soliloquising upon the English character, and forming his opinion of it from their exceeding love for a sea-song, might, if he had again dropped suddenly into London, have formed another very plausible theory to account for our unremitting efforts for the abolition of the Slave Trade. “Benevolent people!” he might have said, “how unbounded are your sympathies! Your unhappy brethren of Africa, differing from you only in the colour of their skins, are so dear to you, and you begrudge so little the twenty millions you have paid on their behalf, that you love to have a memento of them continually in your sight. Jim Crow is the representative of that injured race, and as such is the idol of your populace! See how they all sing his praises! — how they imitate his peculiarities! — how they repeat his name in their moments of leisure and relaxation! They even carve images of him to adorn their hearths, that his cause and his sufferings may never be forgotten ! Oh, philanthropic England! — oh, vanguard of civilization!”
Such are a few of the peculiarities of the London multitude, when no riot, no execution, no murder, no balloon, disturbs the even current of their thoughts. These are the whimseys of the mass – the harmless follies by which they unconsciously endeavour to lighten the load of care which presses upon their existence. The wise man, even though he smile at them, will not altogether withhold his sympathy, and will say, “Let them enjoy their slang phrases and their choruses if they will; and if they cannot be happy, at least let them be merry.” To the Englishman, as well as to the Frenchman of whom Beranger sings, there may be some comfort in so small a thing as a song, and we may, own with him that
“Au peuple attriste
Ce qui rendra la gaîté,
C’est la GAUDRIOLE!
C’est la GAUDRIOLE!”