A Brief History of Surrealist Art: From the Bible and Ancient Egypt to Salvador Dalí’s Dream Worlds

The term sur­re­al­ism — or rather, sur­réal­isme — orig­i­nates from the French words for “beyond real­i­ty.” That’s a zone, we may assume, reach­able by only dar­ing, and pos­si­bly unhinged, artis­tic minds. But in fact, even the most down-to-earth among us go beyond real­i­ty on a night­ly basis. We do so in our dreams, where the accept­ed mechan­ics of space and time, life and death, and cause and effect do not apply. Or rather, they’re replaced by anoth­er set of rules entire­ly, which feels per­fect­ly con­sis­tent and con­vinc­ing to us in the moment. Such “dream log­ic” may frus­trate the friends and fam­i­ly we attempt to regale with tales of our night visions, but as the sur­re­al­ists found, it could also be put to the ser­vice of endur­ing art.

In the Hochela­ga video above, that chan­nel’s cre­ator Tom­mie Trelawny pro­vides a long his­to­ry of sur­re­al­ism in a short run­ning time. Trac­ing that move­men­t’s roots, he goes all the way back to the ancient cul­ture of the Aus­tralian Abo­rig­i­nals, for whom the con­cept of the “dream­time” still plays an impor­tant role — and has inspired “pos­si­bly the old­est unbro­ken artis­tic tra­di­tion in the world.”

In oth­er places and oth­er eras of antiq­ui­ty, dreams were also con­sid­ered “a bridge for the spir­it world and the phys­i­cal one.” For the Egyp­tians, “these night­time voy­ages were a chance to see real­i­ty more clear­ly,” as evi­denced by resut, their word for “dream,” which also means “awak­en­ing.” Unsur­pris­ing­ly for reg­u­lar Hochela­ga view­ers, Trelawny also finds dreams in the Bible, “a book full of visions of the divine and glimpses into the cos­mic unknown.”

In every peri­od between antiq­ui­ty and now, art — includ­ing the work of Hierony­mus Bosch, Albrecht Dur­er, and Edvard Munch, as well as Japan­ese wood­block prints — has attempt­ed to cap­ture the sort of expe­ri­ences and imagery encoun­tered only in dreams, and indeed night­mares. But it was only in the wake of Sig­mund Freud’s The Inter­pre­ta­tion of Dreams, first pub­lished in 1899, that sur­re­al­ism could take shape, inspired by the ques­tion, “If the mind can reveal itself through dreams, what if it could reveal itself through art?” Après Freud came the uncon­scious­ness-inspired paint­ings of Gior­gio de Chiri­co, René Magritte, and of course Sal­vador Dalí. Yet none of them could have fore­seen the tru­ly sur­re­al­is­tic déluge that arti­fi­cial intel­li­gence has brought us. If AI reveals to us some­thing of how we think, its hal­lu­ci­na­tions reveal to us even more about how we dream.

Relat­ed Con­tent:

An Intro­duc­tion to Sur­re­al­ism: The Big Aes­thet­ic Ideas Pre­sent­ed in Three Videos

What Makes Sal­vador Dalí’s Icon­ic Sur­re­al­ist Paint­ing The Per­sis­tence of Mem­o­ry a Great Work of Art

Watch Dreams That Mon­ey Can Buy, a Sur­re­al­ist Film by Man Ray, Mar­cel Duchamp, Alexan­der Calder, Fer­nand Léger & Hans Richter

Europe After the Rain: Watch the Vin­tage Doc­u­men­tary on the Two Great Art Move­ments, Dada & Sur­re­al­ism (1978)

David Lynch Presents the His­to­ry of Sur­re­al­ist Film (1987)

The Fan­tas­tic Women Of Sur­re­al­ism: An Intro­duc­tion

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Dictionary of the Oldest Written Language–It Took 90 Years to Complete, and It’s Now Free Online

It took 90 years to com­plete. But, in 2011, schol­ars at the Uni­ver­si­ty of Chica­go final­ly pub­lished a 21-vol­ume dic­tio­nary of Akka­di­an, the lan­guage used in ancient Mesopotamia. Unspo­ken for 2,000 years, Akka­di­an was pre­served on clay tablets and in stone inscrip­tions until schol­ars deci­phered it dur­ing the last two cen­turies.

In the past, we’ve pub­lished audio that lets you hear the recon­struct­ed sounds of Akka­di­an (Hear The Epic of Gil­gamesh Read in the Orig­i­nal Akka­di­an and Enjoy the Sounds of Mesopotamia). Now, should you wish, you can down­load PDFs of U. Chicago’s Akka­di­an dic­tio­nary for free. All 21 vol­umes would cost well over $1,945 if pur­chased in hard copy. But the PDFs, they won’t run you a dime.

Relat­ed Con­tent:

The Largest His­tor­i­cal Dic­tio­nary of Eng­lish Slang Now Free Online: Cov­ers 500 Years of the “Vul­gar Tongue”

Learn Ancient Greek in 64 Free Lessons: A Free Online Course from Bran­deis & Har­vard

Who Decides What Words Get Into the Dic­tio­nary?

Lis­ten to The Epic of Gil­gamesh Being Read in its Orig­i­nal Ancient Lan­guage, Akka­di­an

The Greek Mythology Family Tree: A Visual Guide Shows How Zeus, Athena, and the Ancient Gods Are Related

It was long ago that poly­the­ism, as the sto­ry comes down to us, gave way to monothe­ism. Human­i­ty used to have many gods, and now almost every reli­gious believ­er acknowl­edges just one — though which god, exact­ly, does vary. Some pop­u­lar the­o­ries of “big his­to­ry” hold that, as the scale of a soci­ety grows larg­er, the num­ber of deities pro­posed by its faiths gets small­er. In that scheme, it makes sense that the grow­ing Roman Empire would even­tu­al­ly adopt Chris­tian­i­ty, and also that the gods it first inher­it­ed from the city-states of ancient Greece would be so numer­ous. Through our mod­ern eyes, the var­i­ous immor­tals invoked so read­i­ly by the Greeks look less like holy fig­ures than a cast of char­ac­ters in a long-run­ning tele­vi­sion dra­ma.

Or maybe it would have to be a soap opera, giv­en that most of them belong to one big, often trou­bled clan. Hence the struc­ture of Use­fulCharts’ Greek Mythol­o­gy Fam­i­ly Tree, explained in the video above. Also avail­able for pur­chase in poster form, it clear­ly dia­grams the rela­tion­ships between every­one in the Greek pan­theon, from the high­est “pri­mor­dial gods” like Eros Elder and Gaia down to the chil­dren of Zeus and Posei­don.

How­ev­er pow­er­ful they could be — and some were pow­er­ful indeed — none of these gods act­ed like the infal­li­ble, omni­scient enti­ties of the major reli­gions we know today. They could act capri­cious­ly, venge­ful­ly and even non­sen­si­cal­ly, a reflec­tion of the often capricious‑, vengeful‑, and non­sen­si­cal-seem­ing nature of life in the ancient world.

For the Greeks them­selves, these myth­i­cal gods and mon­sters offered not just an explana­to­ry mech­a­nism, but also a form of enter­tain­ment, giv­en that noth­ing could go on in their ele­vat­ed world with­out high dra­ma. For us, they remain present in leg­ends from which we still draw inspi­ra­tion for our own larg­er-than-life sto­ries of hero­ism and vil­lainy, but also in our very lan­guage. Con­sid­er the ways in which we con­tin­ue to evoke the likes of the time-rul­ing Chronos, the love-bring­ing Cupid, the androg­y­nous Her­maph­ro­di­tus, or the mul­ti-head­ed Hydra in every­day speech. Though we may no longer need them to orga­nize our soci­eties, some of them have kept play­ing roles in the age of monothe­ism — which, what­ev­er its oth­er advan­tages, does­n’t require us to con­sult dia­grams to know who’s who.

Relat­ed Con­tent:

Mythos: An Ani­ma­tion Retells Time­less Greek Myths with Abstract Mod­ern Designs

Mythol­o­gy Expert Reviews Depic­tions of Greek & Roman Myths in Pop­u­lar Movies and TV Shows

How the Ancient Greeks Built Their Mag­nif­i­cent Tem­ples: The Art of Ancient Engi­neer­ing

18 Clas­sic Myths Explained with Ani­ma­tion: Pandora’s Box, Sisy­phus & More

Con­cepts of the Hero in Greek Civ­i­liza­tion (A Free Har­vard Course)

A Visu­al Time­line of World His­to­ry: Watch the Rise & Fall of Civ­i­liza­tions Over 5,000 Years

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

The Birth of Espresso: The Story Behind the Coffee Shots That Fuel Modern Life

Espres­so is nei­ther bean nor roast.

It is a method of pres­sur­ized cof­fee brew­ing that ensures speedy deliv­ery, and it has birthed a whole cul­ture.

Amer­i­cans may be accus­tomed to camp­ing out in cafes with their lap­tops for hours, but Ital­ian cof­fee bars are fast-paced envi­ron­ments where cus­tomers buzz in for a quick pick-me-up, then head right back out, no seat required.

It’s the sort of effi­cien­cy the Father of the Mod­ern Adver­tis­ing Poster, Leonet­to Cap­piel­lo, allud­ed to in his famous 1922 image for the Vic­to­ria Arduino machine (below).

Let 21st-cen­tu­ry cof­fee afi­ciona­dos cul­ti­vate their Zen-like patience with slow pourovers. A hun­dred years ago, the goal was a qual­i­ty prod­uct that the suc­cess­ful busi­nessper­son could enjoy with­out break­ing stride.

As cof­fee expert James Hoff­mann, author of The World Atlas of Cof­fee points out in the above video, the Steam Age was on the way out, but Cappiello’s image is “absolute­ly lever­ag­ing the idea that steam equals speed.”

That had been the goal since 1884, when inven­tor Ange­lo Morion­do patent­ed the first espres­so machine (see below).

The bulk brew­er caused a stir at the Turin Gen­er­al Expo­si­tion. Speed wise, it was a great improve­ment over the old method, in which indi­vid­ual cups were brewed in the Turk­ish style, requir­ing five min­utes per order.

This “new steam machin­ery for the eco­nom­ic and instan­ta­neous con­fec­tion of cof­fee bev­er­age” fea­tured a gas or wood burn­er at the bot­tom of an upright boil­er, and two sight glass­es that the oper­a­tor could mon­i­tor to get a feel for when to open the var­i­ous taps, to yield a large quan­ti­ty of fil­tered cof­fee. It was fast, but demand­ed some skill on the part of its human oper­a­tor.

As Jim­my Stamp explains in a Smith­son­ian arti­cle on the his­to­ry of the espres­so machine, there were  also a few bugs to work out.

Ear­ly machines’ hand-oper­at­ed pres­sure valves posed a risk to work­ers, and the cof­fee itself had a burnt taste.

Milanese café own­er Achille Gag­gia cracked the code after WWII, with a small, steam­less lever-dri­ven machine that upped the pres­sure to pro­duce the con­cen­trat­ed brew that is what we now think of as espres­so.

Stamp describes how Gaggia’s machine also stan­dard­ized the size of the espres­so, giv­ing rise to some now-famil­iar cof­fee­house vocab­u­lary:

The cylin­der on lever groups could only hold an ounce of water, lim­it­ing the vol­ume that could be used to pre­pare an espres­so. With the lever machines also came some new jar­gon: baris­tas oper­at­ing Gaggia’s spring-loaded levers coined the term “pulling a shot” of espres­so. But per­haps most impor­tant­ly, with the inven­tion of the high-pres­sure lever machine came the dis­cov­ery of cre­ma – the foam float­ing over the cof­fee liq­uid that is the defin­ing char­ac­ter­is­tic of a qual­i­ty espres­so. A his­tor­i­cal anec­dote claims that ear­ly con­sumers were dubi­ous of this “scum” float­ing over their cof­fee until Gag­gia began refer­ring to it as “caffe creme,“ sug­gest­ing that the cof­fee was of such qual­i­ty that it pro­duced its own creme.

Note: An ear­li­er ver­sion of this post appeared on our site in 2021.

Relat­ed Con­tent:

Cof­fee Entre­pre­neur Rena­to Bialet­ti Gets Buried in the Espres­so Mak­er He Made Famous

The Life & Death of an Espres­so Shot in Super Slow Motion

The Bialet­ti Moka Express: The His­to­ry of Italy’s Icon­ic Cof­fee Mak­er, and How to Use It the Right Way

Every­thing You Ever Want­ed to Know about the Bialet­ti Moka Express: A Deep Dive Into Italy’s Most Pop­u­lar Cof­fee Mak­er

Ayun Hal­l­i­day is an author, illus­tra­tor, and the­ater mak­er in NYC.

The Mystery of How a Samurai Ended up in 17th Century Venice

It would­n’t sur­prise us to come across a Japan­ese per­son in Venice. Indeed, giv­en the glob­al touris­tic appeal of the place, we could hard­ly imag­ine a day there with­out a vis­i­tor from the Land of the Ris­ing Sun. But things were dif­fer­ent in 1873, just five years after the end of the sakoku pol­i­cy that all but closed Japan to the world for two and a half cen­turies. On a mis­sion to research the mod­ern ways of the new­ly acces­si­ble out­side world, a Japan­ese del­e­ga­tion arrived in Venice and found in the state archives two let­ters writ­ten in Latin by one of their coun­try­men, dat­ed 1615 and 1616. Its author seemed to have been an emis­sary of Ōto­mo Sōrin, a feu­dal lord who con­vert­ed to Chris­tian­i­ty and once sent a mis­sion of four teenagers to meet the Pope in Rome — a mis­sion that took place ear­li­er, in 1586.

So who could this undoc­u­ment­ed Japan­ese trav­el­er in the fif­teen-tens have been? That ques­tion lies at the heart of the sto­ry told by Evan “Nerd­writer” Puschak in his new video above. The let­ter’s sig­na­ture of Haseku­ra Roke­mon would’ve con­sti­tut­ed a major clue, but the name seems not to have rung a bell with any­one at the time.

“In 1873, there was like­ly no one on plan­et Earth who knew why Haseku­ra Roke­mon was in Venice in 1615,” says Puschak. The rea­sons have to do with the arrival of Chris­tian­i­ty in Japan — or at least the arrival of the first major Jesuit mis­sion­ary — in 1549. Not every ruler looked kind­ly on their work, and espe­cial­ly not Toy­oto­mi Hideyoshi, who ordered them removed from the coun­try in 1587 and lat­er had 26 Catholics cru­ci­fied in Nagasa­ki.

Hideyoshi was suc­ceed­ed by the more tol­er­ant Toku­gawa Ieya­su (1543–1616), dur­ing whose rule the Japan­ese-speak­ing Fran­cis­can fri­ar Luis Sote­lo arrived in Japan. Over the ensu­ing decade, he worked not just to spread his faith but also to build hos­pi­tals, one of which suc­cess­ful­ly treat­ed a Euro­pean con­cu­bine of the feu­dal lord Date Masamune. The two men got on, real­iz­ing the mutu­al ben­e­fit their rela­tion­ship could bring: per­haps Sote­lo could found a new dio­cese in Date’s north­ern ter­ri­to­ry, and per­haps Date could estab­lish links with the Span­ish empire. In order to accom­plish the lat­ter, he had a ship built and a team assem­bled for a mis­sion to Europe, includ­ing Sote­lo him­self. He sent with them a loy­al retain­er, a samu­rai by the name of Haseku­ra Roke­mon — or to use his full name, Haseku­ra Rokue­mon Tsune­na­ga, pre­vi­ous­ly fea­tured here on Open Cul­ture for his meet­ing with the pope and adop­tion of Roman cit­i­zen­ship. He may have been Japan­ese, but a mere tourist he cer­tain­ly was­n’t.

Relat­ed Con­tent:

The 17th Cen­tu­ry Japan­ese Samu­rai Who Sailed to Europe, Met the Pope & Became a Roman Cit­i­zen

21 Rules for Liv­ing from Miyamo­to Musashi, Japan’s Samu­rai Philoso­pher (1584–1645)

A Mis­chie­vous Samu­rai Describes His Rough-and-Tum­ble Life in 19th Cen­tu­ry Japan

How to Be a Samu­rai: A 17th Cen­tu­ry Code for Life & War

Hand-Col­ored 1860s Pho­tographs Reveal the Last Days of Samu­rai Japan

Meet Yasuke, Japan’s First Black Samu­rai War­rior

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

How Far Back in History Can You Start to Understand English?

It’s easy to imag­ine the myr­i­ad dif­fi­cul­ties with which you’d be faced if you were sud­den­ly trans­port­ed a mil­len­ni­um back in time. But if you’re a native (or even pro­fi­cient) Eng­lish speak­er in an Eng­lish-speak­ing part of the world, the lan­guage, at least, sure­ly would­n’t be a prob­lem. Or so you’d think, until your first encounter with utter­ances like “þat troe is daed on gaerde” or “þa rokes for­leten urne tun.” Both of those sen­tences appear in the new video above from Simon Rop­er, in which he deliv­ers a mono­logue begin­ning in the Eng­lish of the fifth cen­tu­ry and end­ing in the Eng­lish of the end of the last mil­len­ni­um.

An Eng­lish­man spe­cial­iz­ing in videos about lin­guis­tics and anthro­pol­o­gy, Rop­er has pulled off this sort of feat before: we pre­vi­ous­ly fea­tured him here on Open Cul­ture for his per­for­mance of a Lon­don accent as it evolved through 660 years.

But writ­ing and deliv­er­ing a mono­logue that works its way through a mil­len­ni­um and a half of change in the Eng­lish lan­guage is obvi­ous­ly a thornier endeav­or, not least because it involves lit­er­al thorns — the þ char­ac­ters, that is, used in the Old Eng­lish Latin alpha­bet. They’re pro­nounced like th, which you can hear when Rop­er speaks the sen­tences quot­ed ear­li­er, which trans­late to “The tree is dead in the yard” and “The rooks aban­doned our town.”

The word trans­late should give us pause, since we’re only talk­ing about Eng­lish. But then, Eng­lish has under­gone such a dra­mat­ic evo­lu­tion that, at far enough of a remove, we might as well be talk­ing about dif­fer­ent lan­guages. What Rop­er empha­sizes is that the changes did­n’t hap­pen sud­den­ly. Non-Scan­di­na­vian lis­ten­ers may lack even an inkling that his farmer of the year 450 is talk­ing about sheep and pigs with the words skēpu and swīnu, but his final lines, in which he speaks of pos­sess­ing “all the hot cof­fee I need” and “friends I did­n’t have in New York” in the year 2000, will pose no dif­fi­cul­ty to Anglo­phones any­where in the world. Even his list of agri­cul­tur­al wealth around the ear­ly thir­teenth cen­tu­ry — “We habben an god hus, we habben mani felds” — could make you believe that a trip 600 years in the past would be, as they said in Mid­dle Eng­lish, no trou­ble.

Relat­ed Con­tent:

Trac­ing Eng­lish Back to Its Old­est Known Ances­tor: An Intro­duc­tion to Pro­to-Indo-Euro­pean

Hear the Evo­lu­tion of the Lon­don Accent Over 660 Years: From 1346 to 2006

What Shakespeare’s Eng­lish Sound­ed Like, and How We Know It

Where Did the Eng­lish Lan­guage Come From?: An Ani­mat­ed Intro­duc­tion

A Brief Tour of British & Irish Accents: 14 Ways to Speak Eng­lish in 84 Sec­onds

The Entire His­to­ry of Eng­lish in 22 Min­utes

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Discover the First Depiction of Santa Claus (and Its Origins in Civil War Propaganda)

It will no doubt come as a relief to many read­ers that San­ta Claus appears to have been a Union sup­port­er. We know this because he appears dis­trib­ut­ing gifts to sol­diers from that side of the Mason-Dixon in one of his ear­li­est depic­tions. That illus­tra­tion, “San­ta Claus in Camp” (above), first appeared in the Harper’s Week­ly Christ­mas issue of 1862, when the Amer­i­can Civ­il War was still tear­ing its way through the coun­try. Its artist, a Bavar­i­an immi­grant named Thomas Nast, is now remem­bered for hav­ing first drawn the Demo­c­ra­t­ic Par­ty as a don­key and the Repub­li­can Par­ty as an ele­phant, but he also did more than any­one else to cre­ate the image of San­ta Claus rec­og­nized around the world today: more than Nor­man Rock­well, and more, even, than the Coca-Cola Com­pa­ny.

San­ta Claus is an Angli­ciza­tion of Sin­terk­laas, a Dutch name for Saint Nicholas, who lived and died in what’s now Turkey in the third and fourth cen­turies, and who’s been remem­bered since for his kind­ness to chil­dren. Few of us would rec­og­nize him in his por­trait from 1294 that is includ­ed in the Pub­lic Domain Review’s pic­to­r­i­al his­to­ry of San­ta Claus, but with the pass­ing of the cen­turies, his images became mixed with those of oth­er fly­ing, win­ter-asso­ci­at­ed char­ac­ters from Ger­man­ic and Norse myth. In 1822, Clement Moore per­formed a defin­ing act of rhyming syn­the­sis with his poem “A Vis­it from St. Nicholas” (often called “ ‘Twas the Night Before Christ­mas”): in its vers­es we find the bun­dle of toys, the rosy cheeks, the white beard, the bel­ly shak­ing like a bowl full of jel­ly.

Nast clear­ly under­stood not just the appeal of Moore’s descrip­tion, but also the char­ac­ter’s pro­pa­gan­da val­ue. His very first ren­di­tions of San­ta Claus appear in the upper cor­ners of an 1862 Harper’s Week­ly illus­tra­tion of a pray­ing wife and her Yan­kee sol­dier hus­band. Near­ly two decades lat­er, Nast drew the car­toon “Mer­ry Old San­ta Claus” (imme­di­ate­ly above), whose cen­tral fig­ure remains imme­di­ate­ly rec­og­niz­able to us today, even as its moti­vat­ing polit­i­cal cause of high­er wages for the mil­i­tary has become obscure. In the twen­ti­eth cen­tu­ry, the icon­ic Father Christ­mas would be enlist­ed again to lend pub­lic sup­port to U.S. efforts in World War I and II, in the very decades when Rock­well was fur­ther refin­ing and cement­ing his image in pop­u­lar cul­ture. The once-unlike­ly result was an Amer­i­can San­ta Claus: “the sym­bol of our empire,” in the words of The New York­er’s Adam Gop­nik, “as much as Apol­lo was of the Hel­lenic one.”

Relat­ed Con­tent:

Watch San­ta Claus, the Ear­li­est Movie About San­ta in Exis­tence (1898)

Did San­ta Claus & His Rein­deers Begin with a Mush­room Trip?: Dis­cov­er the Psy­che­del­ic, Shaman­is­tic Side of Christ­mas

Hear “Twas The Night Before Christ­mas” Read by Stephen Fry & John Cleese

J. R. R. Tolkien Sent Illus­trat­ed Let­ters from Father Christ­mas to His Kids Every Year (1920–1943)

Bob Dylan Reads “ ‘Twas the Night Before Christ­mas” On His Hol­i­day Radio Show (2006)

Slavoj Žižek Answers the Ques­tion “Should We Teach Chil­dren to Believe in San­ta Claus?”

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Discover 20 Historical Christmas Recipes: Fruitcake, Gingerbread, Figgy Pudding & More

One can hard­ly con­sid­er the Christ­mas sea­son for long, at least in the Eng­lish-speak­ing world, with­out the work of Charles Dick­ens com­ing to mind. That owes for the most part, of course, to A Christ­mas Car­ol, the novel­la that revived the pub­lic cul­ture of a hol­i­day that had been falling into desue­tude by the mid-nine­teenth cen­tu­ry. What­ev­er its lit­er­ary short­com­ings, the book offers a host of mem­o­rable images, not least culi­nary ones: Mrs. Cratchit’s pud­ding, for instance, which Dick­ens likens to “a speck­led can­non-ball, so hard and firm, blaz­ing in half or half-a-quar­tern of ignit­ed brandy, and bedight with Christ­mas hol­ly stuck into the top.”

In the Tast­ing His­to­ry video at the top of the post, host Max Miller teach­es you how to make just such a hol­i­day pud­ding — and indeed a fig­gy one, a con­fec­tion whose name we all rec­og­nize from no less a stan­dard car­ol than “We Wish You a Mer­ry Christ­mas,” even if we don’t know that pud­ding, in the Vic­to­ri­an sense, refers to a kind of cake.

The fig­gy pud­ding Miller makes from an orig­i­nal 1845 recipe looks, and seems to taste, more like an alco­hol-soaked ver­sion of the fruit­cakes many of us still receive come Christ­mas­time. Despite its rep­u­ta­tion for lead­en unde­sir­abil­i­ty, rein­forced by decade after decade of John­ny Car­son gags, the fruit­cake has a rich his­to­ry, which Miller reveals in the video just above, and culi­nary strengths beyond its extreme shelf life.

This playlist of 20 Christ­mas-themed videos offers many more such delights: Turk­ish delight, for instance, as well as Vic­to­ri­an sug­ar plums, medieval gin­ger­bread, and his­tor­i­cal ver­sions of such still-com­mon com­forts and joys as eggnog and pump­kin pie. And if you’ve ever won­dered to what was­sail — as a noun or a verb — actu­al­ly refers, have a look at the video above, in which Miller explains it all while mak­ing a pot of the stuff, which turns out to be a kind of apple­sauce-enriched ale. Was­sail, too, is a favorite Dick­ens ref­er­ence, and not just in A Christ­mas Car­ol. His first nov­el The Pick­wick Paperincludes a Christ­mas feast with “a mighty bowl of was­sail, some­thing small­er than an ordi­nary wash-house cop­per, in which the hot apples were hiss­ing and bub­bling with a rich look, and a jol­ly sound, that were per­fect­ly irre­sistible”: the kind of image that, near­ly two cen­turies lat­er, still makes read­ers want to go a‑wassailing.

Relat­ed con­tent:

Eudo­ra Welty’s Hand­writ­ten Eggnog Recipe, and Charles Dick­ens’ Recipe for Hol­i­day Punch

Try George Orwell’s Recipe for Christ­mas Pud­ding, from His Essay “British Cook­ery” (1945)

Charles Min­gus’ “Top Secret” Eggnog Recipe Con­tains “Enough Alco­hol to Put Down an Ele­phant”

How Eat­ing Ken­tucky Fried Chick­en Became a Christ­mas Tra­di­tion in Japan

Tast­ing His­to­ry: A Hit YouTube Series Shows How to Cook the Foods of Ancient Greece & Rome, Medieval Europe, and Oth­er Places & Peri­ods

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

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