Friday, May 7, 2010

the needle-women of London


From Friedrich Engels' The Condition of the Working Class in England in 1844:

With the same cruelty, though somewhat more indirectly, the rest of the needle-women of London are exploited. The girls employed in stay-making have a hard, wearing occupation, trying to the eyes. And what wages do they get? I do not know; but this I know, that the middleman who has to give security for the material delivered, and who distributes the work among the needle-women, receives 1 1/2d. per piece. From this he deducts his own pay, at least 1/2d., so that 1d. at most reaches the pocket of the girl. The girls who sew neckties must bind themselves to work sixteen hours a day, and receive 4 1/2s. a week. But the shirt- makers' lot is the worst. They receive for an ordinary shirt 1 1/2d., formerly 2d.-3d.; but since the workhouse of St. Pancras, which is administered by a Radical board of guardians, began to undertake work at 1 1/2d., the poor women outside have been compelled to do the same. For fine, fancy shirts, which can be made in one day of eighteen hours, 6d. is paid. The weekly wage of these sewing- women according to this and according to testimony from many sides, including both needle-women and employers, is 2s. 6d. to 3s. for most strained work continued far into the night. And what crowns this shameful barbarism is the fact that the women must give a money deposit for a part of the materials entrusted to them, which they naturally cannot do unless they pawn a part of them (as the employers very well know), redeeming them at a loss; or if they cannot redeem the materials, they must appear before a Justice of the Peace, as happened to a sewing-woman in November, 1843. A poor girl who got into this strait and did not know what to do next, drowned herself in a canal in 1844. These women usually live in little garret rooms in the utmost distress, where as many crowd together as the space can possibly admit, and where, in winter, the animal warmth of the workers is the only heat obtainable. Here they sit bent over their work, sewing from four or five in the morning until midnight, destroying their health in a year or two and ending in an early grave; without being able to obtain the poorest necessities of life meanwhile. [2] And below them roll the brilliant equipages of the upper bourgeoisie, and perhaps ten steps away some pitiable dandy loses more money in one evening at faro than they can earn in a year.

**

2. Thomas Hood, the most talented of all the English humorists now living, and, like all humorists, full of human feeling, but wanting in mental energy, published at the beginning of 1844 a beautiful poem, The Song of the Shirt, which drew sympathetic but unavailing tears from the eyes of the daughters of the bourgeoisie. Originally published in Punch, it made the round of all the papers. As discussions of the condition of the sewing-women filled all the papers at the time, special extracts are needless.-- Note by Engels.

From Wikipedia:
The Song of the Shirt is a poem written by Thomas Hood in 1843.
It was written in honour of a Mrs. Biddell, a Lambeth widow and seamstress living in wretched conditions. In what was, at that time, common practice, Mrs. Biddell sewed pants and shirts in her home using materials given to her by her employer for which she was forced to give a £2 deposit. In a desperate attempt to feed her starving infants, Mrs. Biddell pawned the clothing she had made, thus accruing a debt she could not pay. Mrs. Biddell, whose first name has not been recorded, was sent to a workhouse, and her ultimate fate is unknown; however, her story became a catalyst for those who actively opposed the wretched conditions of England’s working poor, who often spent seven days a week labouring under inhuman conditions, barely managing to survive and with no prospect for relief.
The poem was published anonymously in the Christmas edition of Punch in 1843 and quickly became a phenomenon, centering people’s attention not only on Mrs. Biddell's case, but on the conditions of workers in general. Though Hood was not politically radical, his work, like that of Charles Dickens, contributed to the general awareness of the condition of the working class which fed the popularity of trade unionism and the push for stricter labour laws.
Following is the first stanza of the poem; for the complete text, see the external link below.
With fingers weary and worn,
With eyelids heavy and red,
A woman sat in unwomanly rags,
Plying her needle and thread –
Stitch! Stitch! Stitch!
In poverty, hunger, and dirt,
And still with a voice of dolorous pitch
She sang ‘The Song of the Shirt!’
External links