This short film documents my collaboration with Phil Withington, other academics, and creative partners to explore the significance of intoxicants in Ben Jonson’s The New Inn, and its connections to Bolsover Castle. Jonson, author of Volpone and The Alchemist, produced the play at the start of 1629. It’s a romantic comedy set in The Light Heart, an inn where the Host – a nobleman in disguise – receives high-born revellers and their servants. Beer and wine flow as secrets and identities are revealed. The play appeared on the London stage soon after Jonson’s patron William Cavendish was made an Earl, and his mother became a Baroness. The family had also just begun an impressive extension to Bolsover Castle, their sumptuous pleasure house in Derbyshire, creating a palatial venue for feasting. Was The New Inn intended for a celebratory event featuring wine, the famous Derbyshire ale, and lavish amounts of sugar?
The word ‘intoxicant’ has a central place in this project, as in wider scholarship. But what does the term really mean, and why do historians use it so regularly? Intoxicant is mainly used mainly to describe products which intoxicate – that ‘fuddle or make drunk’, or that artificially alter one’s physiological or neurological state. As Phil Withington and others have argued, whereas alternative words like ‘drugs’ possess strong ideological connotations pertaining to modern society and are more limited in what they evoke (mainly classified substances), intoxicant is a broadly encompassing neutral term, making it useful for describing and investigating a host of present-day consumables in different historical contexts. Usually, as in the Intoxicating Spaces project, scholars who talk about intoxicants refer to a familiar range of narcotics such as alcohols, coffee, opium, tea, and tobacco. Most of these commodities became popular from the early seventeenth century onwards as a consequence of increasing global trade and colonialism.
After a long night of ‘frolicking’, which included plenty of drinking, the friends George Price and Samuel Plumpton continued their evening with a hot dish purchased from a stall. In many ways these actions seem familiar, almost like grabbing a coffee at the end of a night out. Yet the thick, creamy concoction they stopped for, saloop, is probably unfamiliar. Originally made from powdered orchid roots, the dish was imported from the Ottoman Empire, arrived in the late seventeenth century, and flourished on London’s streets at the turn of the eighteenth century. However, by the late nineteenth century, the drink had faded into obscurity, forgotten from history books, and often discussed as no more than a passing fad. Yet despite its brief lifecycle, saloop provides unique insights into the relationship between the consumption of new exotic goods and the space and routines of the early modern metropolis.
Intoxicating substances are part of everyday life, especially during social interactions. At the same time, pressure on space in urban regions and cities is great; not only today, but also in the past. How do cities and urban populations past and present accommodate drug consumption and negotiate public space use? Whose voices are heard when it comes to policymaking about public space and substance use? Moreover, what happens when you bring historians, criminologists, political scientists, anthropologists, and practitioners from drug work together to discuss these questions? Back in October we gave it a try and invited experts from different backgrounds to join in a horizon-widening discussion based upon the fast-talk method, a focused and time-limited discussion designed to generate policy-relevant information.
This month and next, The Historical Journal will be publishing a special issue dedicated to examining the relationship between ‘Intoxicants and Early Modern European Globalization’. Co-edited by me and Kathryn James, the open access volume consists of an introduction and eleven case studies unpacking the spaces, practices, and material culture that characterised the production and consumption of intoxicants in Europe, the Atlantic, and South Asia between the sixteenth and eighteenth centuries.
A new article on The Conversation, which seems to have gained quite a lot of traction, argues that the modern iconography of witchcraft – namely pointed hats, cauldrons, broomsticks, and cats – can be traced to the commercial practices of, and patriarchal smear campaigns against, the female ale brewers of the late medieval and early modern periods. This is not a new contention, but one that hasbeencirculatingonlinewithincreasingfrequencyoverthelastfewyears. It’s an appealing thesis that accurately captures the domination of household ale brewing by singlewomen, wives, and widows before the Black Death (one third of women brewed regularly or occasionally in the towns and villages of the early fourteenth century); their increasing marginalisation from the trade as it expanded, capitalised, centralised, and professionalised from the 1350s (accelerated by the arrival and assimilation of a new intoxicant, hopped beer); and the overwhelmingly pejorative cultural construction of female brewers. However, the narrative is also misleading and simplistic, and elides the more subtle and interesting ways in which witchcraft and the manufacture and retail of intoxicants were conceptually intertwined in the medieval and early modern eras.
It was an honour for the Wellcome Collection to join Intoxicating Spaces and a group of eminent scholars for an online workshop that took place on 21–22 January 2021 on Modes of Persuasion: Humour and the Promotion and Control of Intoxicants Past and Present. The workshop was originally suggested by Angela McShane while she was head of Research Development at Wellcome Collection. It was a good choice of subject, as the humorous treatment of stimulants and narcotics by promoters and controllers is a significant theme in the Wellcome collections. The main aim of the event was to show how playfulness, levity, satire, and wit have historically been used to inform campaigns and communications around licit and illicit drugs.
This spooky season, while holed up in an isolated farmhouse in deepest North Yorkshire, I’ve been thinking about the connections between intoxicants and ghosts, which haven’t been fully explored in the extensive academic literatures around either topic, but which seem to be many and various.
In this brief vlog I discuss how we have responded as a research group to the challenges posed by COVID-19 and lockdown, and reflect on the historical relationship between pandemic, intoxicants, and public spaces. The film was shot in a safe and socially distanced manner on Devonshire Green and Division Street in Sheffield, and at Holy Cross Old Church in Whorlton, North Yorkshire.
One of the most challenging aspects of the lockdown and social distancing measures necessitated by COVID–19 are the restrictions placed on the intoxicating spaces of everyday life. The inability to visit coffee shops, pubs, restaurants, and tea bars is for me and many others one of the most difficult psychological features of the current situation, and the forlorn sight of my favourite Sheffield haunts – many of which have played a smallroleintheproject – standing abandoned like so many urban Mary Celestes is distressing (the UK hospitality sector, like many others, is facing an ‘existential crisis’ as a result of the pandemic). In the context of coronavirus and the new world it’s shaping it seems strange, then, that the growth of coffeehouses in London in the 1660s coincided with the devastating outbreak of bubonic plague that swept the city in 1665. The last and most severe of seven such epidemics that visited the metropolis over the early modern period, and with a fatality rate of around 80%, it ravaged all but four of London’s 130 parishes, killing an estimated 100,000 people in total (roughly a quarter of its population). Like us, early modern Londoners for the most part ate, drank, socialised, and worked outside of their homes; what did the plague and the measures taken to control it mean for their daily experience of the urban environment in general and its intoxicating spaces in particular?
A key part of the Intoxicating Spaces project is our work with schools in the UK, Germany, the Netherlands, and Sweden. Back in October, a group of 30 pupils from our Stockholm partner school Nacka Gymnasium joined our Swedish research team at Nordiska Museet, Sweden’s largest museum of cultural history, for a day among their intoxicant-related holdings. Here, the pupils share their favourite discoveries…
One of the central and most rewarding aspects of the Intoxicating Spaces project is our work with sixth formers from schools in Utrecht, Oldenburg, Sheffield, and Stockholm. We’re all film-lovers, so Stephen suggested we assemble for our participating pupils a ‘must-watch’ list of family-friendly movies that deal with drugs and intoxicants in time and space at various points in history. We’re pretty pleased with the resulting roster, so, with the holiday season looming and sofas and widescreens poised for action, we thought we’d share it on the blog as well! Let us know if we’ve missed anything…