Symptoms of a First Voyage 1822

Curator: "Symptoms of a First Voyage," an aquatint and drawing created in 1822 by Henry Thomas Alken. It's a wonderfully quirky narrative print currently residing here at the Met. I'm immediately drawn to the overall lighthearted mood. Editor: Absolutely. It’s fascinating how Alken uses what we might call "genre painting," almost like a series of comic panels, to depict the stages of a sea voyage—and the associated anxieties of empire. Curator: You see, there’s a kind of charming anxiety radiating from this image. Look at the delicate coloring of the faces, ranging from rosy to a rather queasy green. Someone’s really not having a good time! It feels a little cruel but funny at the same time. Editor: The "symptoms" are so class-based, aren't they? Note the distinct clothing. We have those preparing for “home station” versus "foreign station", suggesting this voyage as part of military or colonial endeavors. The act of 'taking wine in the trouble’ versus being forcibly bled highlight disparate experiences within the same venture. Curator: Exactly. What fascinates me most is how much unspoken narrative resides in this print. Alken implies more than he states, creating a dialogue, a play between what’s seen and what we can imagine. The postures are particularly vivid—the awkward stance, the desperate clutching—I mean it could all be a little performance! Editor: I agree. Considering the context of British colonialism, these exaggerated expressions perhaps indicate broader anxieties and satirical critiques of the imperial project, the human costs involved, or perhaps even highlighting gendered expectations of how people 'should' behave when facing hardship. Curator: Well, I appreciate how you tied the images of potential discomfort to the historical backdrop of Britain's colonial project; food for thought. I can imagine my ancestors getting seasick—but probably on the way *from* some colonial endeavor! Editor: Yes, that brings a needed level of contemporary intersectional consideration. Ultimately, pieces like Alken's push us to confront difficult histories—with some levity. A good reminder that comedy and social critique aren't mutually exclusive.