The History of the Nineteenth Century in Caricature Part 6

An American Cartoon on the Crimean War.

_From the collection of the New York Historical Society._]

Among the crude American lithographs of this period the Crimean War was not forgotten. A rather rare cartoon, ent.i.tled "Turkey, John Bull and M. Frog-Eater in a Bad Fix," is especially interesting as an evidence that American sympathy during the war was in a measure on the Russian side. The Russian General Menshikoff is standing on the heights of Sebastopol looking down smilingly and serenely on the discomfited allies, saying: "How do you do, gentlemen? Very happy to see you. You must be tired. Won't you walk in and take something?"

John Bull, seriously wounded, is lying prostrate, bawling out: "Come, come, Turk, no dodging. Hulloa there! Is that the way you stick to your friends? The coat of my stomach is ruined, my wind nearly gone. I won't be able to blow for a month. Pull me out of this at any price!

The devil take one party and his dam the other. I am getting sick of this business." By his side is the figure of a Frenchman just hit by a cannon-ball from one of the Russian guns, and crying out: "O! By d.a.m.n!

I not like such treat. I come tousand mile and spend ver much money to take someting from wid you, and you treat me as I vas van Villin!

Scoundrel! Robbare!!"

In closing the subject of the Crimean War, it is worth while to call attention to one curious phase of the war as contained in the programme of a theatrical entertainment given by the French soldiers in the trenches of Sebastopol, December 23, 1855. The programme is headed "The Little Comic Review of the Crimea." It contains the announcement of the Tchernaia Theater, which four days later is to present three dramatic pieces. The drawing is by Lucien Salmont.

[Ill.u.s.tration: Programme of a Theatrical Performance given by the French Soldiers in the Trenches before Sebastopol.]

[Ill.u.s.tration: The British Lion's Vengeance on the Bengal Tiger.]

One final echo of the struggle in the Crimea is found in another of Tenniel's graphic animal pictures, "The British Lion Smells a Rat,"

which depicts an angry lion sniffing suspiciously at the crack of a door, behind which is being held the conference which followed the fall of Sebastopol. But by far the most famous instance of Tenniel's work is his series of Cawnpore cartoons, the series bearing upon the Indian mutiny of 1857; and one of the finest, if not the very finest, of them all is that ent.i.tled "The British Lion's Vengeance on the Bengal Tiger." It represents in the life work of Tenniel what "General Fevrier Turned Traitor" stands for in the life work of John Leech. The subject was suggested to Tenniel by Shirley Brooks. It summed up all the horror and thirst for revenge which animated England when the news came of the treacherous atrocities of the Sepoy rebels. The Cawnpore ma.s.sacre of women and children ordered by the infamous Nana Sahib had taken place in June, and when this cartoon appeared in _Punch_, August 22, 1857, England had just sent thirty thousand troops to India. In the picture the British lion is springing at the throat of the Bengal tiger, which is standing over the prostrate bodies of a woman and a child. The tiger, fearful of being robbed of its prey, is snarling at the avenging lion. Another of the famous Cawnpore cartoons of Tenniel is descriptive of British vengeance on the Sepoy mutineers. The English troops were simply wild for revenge when the stories came to them of the atrocities which had been perpetrated on English women and children, and their vengeance knew no bounds. The Sepoys were blown from the mouths of the English cannon. It was the custom of the English soldiers to pile up a heap of Sepoys, dead or wounded, pour oil over them, and then set fire to the pile. The Tenniel cartoon, ent.i.tled "Justice," published September 12, 1857, shows the figure of Justice with sword and shield cutting down the mutineers, while behind her are the British troops working destruction with their bayonets.

[Ill.u.s.tration: The French Porcupine.

He may be an Inoffensive Animal, but he Don't Look like it.]

No sooner had the English-French alliance against Russia come to an end than _Punch_ once more began to give expression to his disapproval of Napoleon. A hostile spirit toward Frenchmen was ingrained in the very nature of John Leech, and he vented it freely in such cartoons as his celebrated "c.o.c.k-a-doodle-doo!" in which the French c.o.c.k, clad in the uniform of a colonel, is crowing l.u.s.tily over the results of a war of which Great Britain had borne the brunt. Or again, in "Some Foreign Produce that Mr. Bull can very well Spare," a cut which includes French conspirators, vile Frenchwomen, organ-grinders (Mr. Leech was abnormally sensitive to street noises), and other objectionable foreign refuse. It is interesting in this connection to note that Leech's hostility to Louis Napoleon was the direct cause of Thackeray's resignation from the staff of _Punch_ in the winter of 1854. In the letter written in the following March, Thackeray explains that he had had some serious differences regarding the editorial policy of _Punch_, and more specifically about the abuse of Louis Napoleon which, he says, "I think and thought was writing unjustly at that time, and dangerously for the welfare and peace of the country:" and he then adds the specific instance which prompted him to sever his connections: "Coming from Edinburgh, I bought a _Punch_ containing a picture of a beggar on horseback, in which the emperor was represented galloping to h.e.l.l with a sword reeking with blood. As soon as ever I could, after my return, I went to Bouverie Street and gave in my resignation." Thackeray's act had no influence upon the policy of _Punch_. Leech's cartoons grew steadily more incisive in character. One of the most extraordinary is that known as "The French Porcupine." It represents Napoleon III. as a porcupine, bristling with French bayonets in place of quills. One of Napoleon's favorite sayings was "_L'Empire c'est la paix._" But this saying was very often contradicted by events, and the first ten years of his occupation of the French throne showed France embroiled in the Crimean War and the war with Austria. In preparation for the latter conflict a large increase was being made in the French military armament; and Leech seized upon the emperor's dictum only to express his skepticism.

The cartoon appeared in March, 1859. As a matter of fact, the idea in this cartoon had previously been used in another called "The Puppet Show," published in June, 1854, depicting the Czar Nicholas in a manner closely similar; yet Mr. Spielmann, who notes this fact, adds that Mr. Leech had probably never seen, or else had forgotten, the earlier caricature. This "French Porcupine" is cited as an instance of Leech's extraordinary speed in executing a cartoon directly upon the wooden block. The regular _Punch_ dinner had that week been held a day late. "Every moment was precious, and Leech proposed the idea for the cartoon, drew it in two hours, and caught his midday train on the following day, speeding away into the country with John Tenniel for their usual Sat.u.r.day hunt." It was during this same year, 1859, at the close of the war which humbled Austria and forced her to surrender Venetia to Sardinia, that Leech voiced the suspicion that Louis was casting longing eyes upon Italian territory in a cartoon ent.i.tled "A Scene from the New Pantomime." Napoleon III, here figures as a clown, a revolver in his hand, a goose labeled Italy protruding from his capacious pocket. He is earnestly a.s.suring Britannia, represented as a stout, elderly woman, eyeing him suspiciously, that his intentions are strictly honorable.

PART III

_THE CIVIL AND FRANCO-PRUSSIAN WARS_

CHAPTER XVI

THE MEXICAN WAR AND SLAVERY

In this country the political cartoon, which practically began with William Charles's parodies upon Gillray, developed in a fitful and spasmodic fashion until about the middle of the century. Their basis was the Gillray group of many figures, and they had also much of the Gillray coa.r.s.eness and indecency, with a minimum of artistic skill.

They were mostly lithographs of the crudest sort, designed to pa.s.s from hand to hand, or to be tacked up on the wall. It was not until the first administration of Andrew Jackson that a school of distinctly American political caricature can be said to have existed. It was in 1848 that the firm of Currier & Ives, with an office in Na.s.sau Street, in New York City, began the publication of a series of campaign caricatures of sufficient merit to have been a serious factor in influencing public opinion. Crude as they are, these lithographs are exceedingly interesting to study in detail. They tell their story very plainly, even apart from the legends inclosed in the huge balloon-like loops issuing from the lips of each member of the group--loops that suggest a grotesque resemblance to a soap-bubble party on a large scale. There is an amusing stiffness about the figures. They stand in such painfully precise att.i.tudes that at a little distance they might readily be mistaken for some antiquated fashion plates. The faces, however, are in most cases excellent likenesses; they are neither distorted nor exaggerated. The artists, while sadly behind the times in retaining the use of the loop which Continental cartoonists discarded much earlier, were in other respects quite up-to-date, especially in adopting the method of the elder Doyle, whose great contribution to caricature was that of drawing absolutely faithful likenesses of the statesmen he wished to ridicule, relying for the humor of the cartoon upon the situation in which he placed them. It was only natural that the events of the Mexican War should have inspired a number of cartoons. One of these is ent.i.tled "Uncle Sam's Taylorifics," and shows a complacent Yankee coolly snipping a Mexican in two with a huge pair of shears. One blade bears the inscription "Volunteers," and the other "General Taylor." The Yankee's left arm is labeled "Eastern States," the tail of his coat "Oregon,"

his belt "Union," his left leg "Western States," and his right leg, which he is using vigorously on the Mexican, "Southern States," and the boot "Texas." Below the discomfited Mexican yawns the Rio Grande.

Behind the Yankee's back John Bull--a John Bull of the type introduced by William Charles during the War of 1812--is looking on enviously.

[Ill.u.s.tration: New Edition of Macbeth--Bank-Oh's Ghost! 1837.

One of the caricatures inspired by the United States Bank Case.

_From the collection of the New York Public Library._]

[Ill.u.s.tration: Balaam and Balaam's a.s.s.

One of the caricatures inspired by the United States Bank Case.

_From the collection of the New York Public Library._]

[Ill.u.s.tration: A New Map of the United States with the Additional Territories on an improved Plan.

1828.

_From the collection of the New York Public Library._]

[Ill.u.s.tration: The Great American Steeplechase for 1844.

Among the various candidates for the Presidency shown in this cartoon are General Scott, Henry Clay, John C. Calhoun, Daniel Webster, James Buchanan and Martin Van Buren.

_From the collection of the New York Public Library._]

American national feeling on the subject of the European Powers deriving benefit from the discovery of gold in California is ill.u.s.trated by a cartoon which shows the United States ready to defend her possessions by force of arms. The various Powers have crossed the sea and are very near to our coast. Queen Victoria, mounted on a bull, is in the lead. She is saying: "Oh, dear Albert, don't you cry for me.

I'm off for California with my shovel on my knee." Behind her is the figure of Russia, saying: "As something is Bruin, I'll put in my paw, while the nations around me are making a Jaw." Louis Napoleon, who at the time had just been elected President of the French, is drawn in the form of a bird. He is flying over the heads of Victoria and Russia, and singing: "As you have gold for all creation, den please give some to La Grand Nation. I have just become de President, and back I shall not like to went." In the distance may be seen Spain, and beyond the United States fleet. Along the sh.o.r.e stretch the tents of an American army. Ominously coiled up on the rocks is the American rattlesnake with the head of President Taylor. Back of the camp is a battery of American guns directed by the American eagle, which wears the head of General Scott, saying: "Retreat, you poor d----s! Nor a squabble engender, for our Gold unto you we will never surrender.

Right about face! Double quick to the rear! And back to your keepers all hands of you steer."

[Ill.u.s.tration: Uncle Sam's Taylorifics.]

[Ill.u.s.tration: The Mexican Commander enjoying the prospect opposite Matamoras.

Can I believe my spectacles? Dare these "Northern Barbarians" thus insult the "magnanimous Mexican Natian"? They have taken Texas--They grasp at Oregon--Now they lay their "rapacious hand" on Mexico! "G.o.d & Liberty!"--where is my friend, John Bull?

American cartoons of the war with Mexico.

_From the collection of the New York Historical Society._]

The Presidential election of 1852 was cartooned under the t.i.tle "Great Foot Race for the Presidential Purse ($100,000 and Pickings) Over the Union Course, 1852." The Whigs, encouraged by their success with General Taylor, put forth another military officer, General Scott, as their candidate, but in this cartoon Daniel Webster is shown to be well in the lead and receiving the plaudits of most of the spectators.

Behind him is Scott, and a little way back is Franklin Pierce, who proved the ultimate winner. "I can beat you both, and walk in at that, although you had a hundred yards the start of me," is Webster's conviction. "Confound Webster!" cries Scott. "What does he want to get right in my way for? If he don't give out, or Pierce don't faint, I shall be beaten." "No, no, old Fuss and Feathers," retorts Pierce, "you don't catch this child fainting now. I am going to make good time! Whether I win or not, Legs, do your duty."

[Ill.u.s.tration: Defence of the California Bank.

_From the collection of the New York Historical Society._]

[Ill.u.s.tration: Great Footrace for the Presidential Purse $100,000 and Pickings over the Union Course 1852.

_From the collection of the New York Historical Society._]

[Ill.u.s.tration: The Presidential Campaign of '56.

_From the collection of the New York Historical Society._]