Douglas William Jerrold

Douglas William Jerrold – Life, Career, and Famous Quotes

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Discover the life, humor, drama, and legacy of Douglas William Jerrold (1803–1857), the English dramatist, journalist, wit, and satirist. Dive into his works, style, social engagements, and memorable sayings.

Introduction

Douglas William Jerrold (3 January 1803 – 8 June 1857) was a prolific English dramatist, journalist, humorist, and social commentator whose sharp wit, satirical voice, and theatrical flair made him one of the better-known literary figures of Victorian London.

Jerrold’s fame rests not only on the stage but also in the pages of periodicals, where his satire, social criticism, and aphorisms resonated with Victorian readers. He contributed incisively to Punch magazine, developed popular plays and melodramas, and engaged ardently in social causes. Yet over time, much of his fame has dimmed—though his life and works still offer insight into Victorian culture, humor, and the position of writers in society.

In this article, we explore Jerrold’s early life, career, literary style, key works, social engagement, lasting influence, and a selection of his famous quotes.

Early Life and Family

Douglas Jerrold was born in London on 3 January 1803. Samuel Jerrold, an actor and proprietor/manager of small theatres (e.g. the Wilsby theatre in Kent)

In 1807, the Jerrold family moved to Sheerness, a naval dockyard town, where Douglas spent much of his childhood.

As a child, Jerrold occasionally appeared on stage in minor roles under his father’s management, but he reportedly did not find the theatrical profession deeply attractive for its own sake.

When Jerrold was around ten years old (in December 1813), he entered naval service as a volunteer midshipman aboard the guardship Namur, where his captain was Charles Austen—brother of novelist Jane Austen.

After 1815, his family returned to London amid financial difficulties (his father’s loss of income), and Douglas began an apprenticeship as a printer’s apprentice around 1816. Sunday Monitor.

From early adolescence, Jerrold had a habit of writing short pieces, reviewing operas and plays (for example, a critique of Der Freischütz) and submitting them to periodicals. This gradually launched him into journalism and literary work.

In 1824, he married Mary Ann Swan (or Swann) in London, and they began their family life.

Jerrold’s son William Blanchard Jerrold grew to become a journalist and author.

Youth, Education, and Formative Influences

Jerrold did not receive an extensive formal education; much of his learning came through practical apprenticeship, reading, observation, and self-education.

His early naval experience, even if limited in active combat, left him with maritime impressions and sympathies that he could later weave into his dramas and dialogue.

His proximity to theatre life via his father, and participation in small roles, gave him exposure to dramatic structure, performance, and the expectations of audiences.

Thus, by his early twenties, Jerrold was already combining skills in printing, criticism, journalism, and dramatic writing—a hybrid foundation for his literary career.

Career and Achievements

Jerrold’s career was multi-faceted: dramatist, journalist, humorist, editor, and social commentator.

Dramatic & Theatrical Works

Jerrold began writing drama at an early age. At about age 14, a comedy he composed, More Frightened than Hurt, was staged at Sadler’s Wells.

His breakthrough came in 1829 with Black-Eyed Susan; or, All in the Downs, a nautical melodrama staged at the Surrey Theatre under manager Robert William Elliston.

Following that, he wrote The Mutiny at the Nore (1830), The Rent Day (1832), and many others.

In 1836, he became co-manager of the Strand Theatre with his brother-in-law W. J. Hammond, writing works for it and sometimes acting. That venture was not ultimately successful, and the partnership was dissolved. The Painter of Ghent, in which he also acted. That experiment was less well-received.

Jerrold continued writing comedies through 1854, his last play being The Heart of Gold.

While many of his plays are little performed today, in his time he was a notable voice in the theatre, particularly for infusing social commentary and wit into popular drama.

Journalism, Humor, and Satire

Parallel to his theatrical work, Jerrold established a strong presence in the world of periodicals and satire. He contributed to Monthly Magazine, Blackwood’s Magazine, The Athenaeum, New Monthly Magazine, and others.

Most notably, from its second issue in 1841 until close to his death, Jerrold wrote regularly for Punch—one of the most influential satirical magazines of the era.

He also edited or founded publications such as The Illuminated Magazine, Jerrold’s Shilling Magazine, and Douglas Jerrold’s Weekly Newspaper. Lloyd’s Weekly Newspaper grew significantly in circulation—reportedly rising to 182,000.

His satirical voice was both biting and playful; his short essays, dialogues, and sketches often combined social critique with humorous observation.

Social Engagement and Advocacy

Jerrold was not merely a humorist: he was socially and politically minded. He held liberal sympathies and was supportive of reform causes. In his writings and public positions, he railed against war, capital punishment, clerical excess, and inequality.

One interesting anecdote: Jerrold is credited with coining the phrase “the palace of very crystal” in a satirical piece under a pseudonym about the Great Exhibition of 1851. That name was adopted and turned into The Crystal Palace, the famous glass structure built in Hyde Park.

At his death, his funeral was attended by prominent literary figures including Charles Dickens, who served as a pallbearer. The Frozen Deep) to raise money for Jerrold’s widow.

His reputation among his contemporaries placed him alongside Dickens and Thackeray in prestige; in Victorian London, the phrase “Dickens-Jerrold-Thackeray” was sometimes used to refer to the leading literary personalities of the day.

Literary Style and Themes

Jerrold’s style blends humor, satire, pathos, and moral indignation. Some of his characteristic features:

• Wit and epigram: Jerrold was adept at sharp sayings, paradoxes, and pithy observations.

• Social realism and the ordinary: He often turned his gaze to the lives of ordinary people, domestic scenes, and small social tensions, rather than only grand historical subjects.

• Satirical edge: Many of his essays and sketches target hypocrisy, institutional injustice, clergy, and social mores.

• Maritime themes: His early naval experience lent authenticity to his nautical melodramas and sea settings (e.g. Black-Eyed Susan, Mutiny at the Nore).

• Dialogue and character: In drama and sketches alike, Jerrold’s strength lay in creating vivid conversational voices and contrasting personalities.

Though many of his works are less performed today, his collected writings display a rich diversity: plays, short sketches, essays, dialogues, and satirical commentary.

Legacy and Influence

Jerrold’s fame has faded more than many of his Victorian contemporaries, but his contributions remain significant in several ways:

• Cultural memory: In his lifetime, he was a household name; alongside Dickens and Thackeray, he occupied a high place in Victorian public imagination.

• Satire and journalism: His work in Punch and periodicals shaped English humor, satire, and public commentary. His blending of social critique and wit influenced later satirists.

• Defender of native drama: Jerrold resisted the pressure to import or adapt so many French plays and sought to promote original English drama.

• Aphorisms and sayings: His succinct phrases and “bons mots” continue to be collected and cited in quotation anthologies.

• Historical anecdote: His naming of “The Crystal Palace” remains a curious footnote in the history of the Great Exhibition.

Though his plays are seldom staged today, scholars interested in Victorian theater, humor, or journalism continue to draw on Jerrold’s writings. Efforts to revive interest in him (such as Michael Slater’s biography Douglas Jerrold: A Life) have highlighted how quickly fame can fade.

Famous Quotes of Douglas William Jerrold

Here are some memorable sayings attributed to Jerrold, illustrating his wit and social insight:

“Happiness grows at our own firesides, and is not to be picked in strangers’ gardens.”

“Marriage is like wine. It is not to be properly judged until the second glass.”

“The surest way to hit a woman’s heart is to take aim kneeling.”

“The best thing I know between France and England is the sea.”

“We love peace, but not peace at any price.”

“Religion’s in the heart, not in the knees.”

“Some people are so fond of ill fate that they run half way to meet it.”

“In this world truth can wait; she is used to it.”

These quotes reflect Jerrold’s balance of humor, irony, moral reflection, and satire.

Lessons from Douglas Jerrold

From Jerrold’s life and work, several enduring lessons emerge:

1. Voice and courage matter
   Jerrold used satire to challenge social norms, hypocrisy, and injustice—without sacrificing entertainment or wit.

2. Versatility is strength
   He moved fluidly between journalism, theatre, satire, and social commentary—adapting to varied media and audiences.

3. Originality over imitation
   He refused to rely on adaptations or translations; he strove to produce original drama rooted in English life.

4. Humor as morality
   Satire can carry moral weight. Jerrold’s laughter often concealed sharp critique of institutions and society.

5. Fame is fragile
   His popularity in his lifetime was great; in our time, many of his works are obscure. The literary field is fickle.

6. Engagement in public life
   Even as a writer, Jerrold engaged in public causes, social reform, and used his pen to advocate for change.

Conclusion

Douglas William Jerrold was a vibrant presence in nineteenth-century English letters—a dramatist whose sea-flavored melodramas thrilled audiences, a journalist and humorist whose satire cut to social truths, and a writer whose pithy phrases still linger. Though many of his works have receded from stage and memory, his life provides a window into Victorian theatrical culture, the rise of literary journalism, and the interplay of wit and conscience.

Whether one studies Victorian drama, the history of Punch, or the trajectory of public satire, Jerrold’s example reminds us that a sharp pen, personal courage, and a readiness to speak truth with humor remain powerful tools for the writer in society.