Walking Corpses & Conscious Plants: Possibilist Ecologies in ...

Bingham 20
rather than show dialogue (Lyga & Lyga 161). This method of conveying information
was the dominant function of text in eighteenth century comics for a number of decades.
Hogarth had a vested interest in using his talents to communicate ideas about
social standings to the masses. In this group of paintings, there is a clearly identifiable
character and the inclusion of a setting which would be familiar to his intended audience.
Clearly, his intentions were to evoke an emotional response among viewers beyond pure
appreciation. Rather, the tragic series of events depicted seems to work to evoke
sympathy, empathy, and fear. From the perspective of an onlooker who would be
expected to interpret the work of the artist, it becomes evident quickly that there are ways
to prevent the ruin Moll experiences from befalling others. Beyond Moll's own failure to
avoid this fate, the concern and outreach of others who cared for her well-being would
have spared her suffering and bleak death. What Hogarth's work illustrates most clearly
is an impending and bleak future if similar conditions of exploitation are ignored,
encouraged, and not acted against by other individuals. Many of his other works
expressed this sentiment and helped draw audiences together by providing a point of
entry to begin discussion on the development and maintenance of community values.
James Gillray, considered by many to be the first political cartoonist, used
captions to satirically critique Britain's advances into war in John Bull's Progress. 1 First
published in 1793, this four panel series personifies the United Kingdom in the character
of John Bull. John and his family are first shown living comfortably before he leaves for
war; but this changes quickly though. His family is depicted suffering war's ravaging
effect after his departure. Ultimately, the once portly John Bull returns to a damaged
home as a gaunt, crippled amputee (Tabachnick 8).