THE EVOLUTION OF AMERICAN CARICATURE
During the period covered by the present chapter the foundation of the
two leading American comic weeklies, _Puck_ and _Judge_, the former in
1877 and the latter in 1881, led to a distinct advance in political
caricature in this country. It also made it possible for the first
time to draw an intelligent comparison between the tendencies of
caricature in England and in America. No one can look over the early
files of _Puck_ and _Judge_ and compare them with _Punch_ for the
corresponding years without being struck with the contrast, not merely
in methods of drawing and printing, but in the whole underlying
spirit. For the past half century _Punch_ has adhered faithfully to
its original attitude of neutrality upon questions of party politics.
Its aim has been to represent the weight of public opinion in a sober
and conservative spirit; to discountenance and rebuke the excesses of
whichever party is in power; to commemorate the great national
calamities, as well as the occasions of national rejoicings. If it
somewhat overstepped its established bounds in its repeated attacks
upon Lord Beaconsfield because his foreign policy was regarded with
distrust, it made amends with an eloquent tribute at the time of that
statesman's death. And if on one occasion it cartooned him in the
guise of the melancholy Dane, with broad impartiality it travestied
his great rival, Gladstone, a month or two later, in precisely the
same character. Taken as a whole, the English cartoons are not so
distinctly popular in tone as those in this country. The underlying
thought is apt to be more cultured, more bookish, so to speak; to take
the form of parodies upon Shakspere and Dante, Dickens and Scott. And
yet, taking them all in all, it would be difficult to point out any
parallel series of cartoons which, after the lapse of years, require
so little explanation to make them intelligible, or which cover in so
comprehensive a manner the current history of the world.
[Illustration: Caran d'Ache.]
[Illustration: Gulliver Crispi.
_From "Il Papagallo" (Rome)._]
On the other hand, the typical American cartoon of a generation ago
concerned itself but little with questions of international interest,
while in its treatment of domestic affairs it was largely lacking in
the dignity and restraint which characterized the British school.
Being founded upon party politics, its purpose was primarily not to
reflect public opinion, but to mold it; to make political capital; to
win votes by fair means, if possible, but to win them. From their very
inception _Puck_ and _Judge_, as the mouthpieces of their respective
parties, have exerted a formidable power, whose far-reaching influence
it would be impossible to gauge, especially during the febrile periods
of the Presidential campaigns. At these times the animosity shown in
some of the cartoons seems rather surprising, when looked at from the
sober vantage ground of later years. Political molehills were
exaggerated into mountains, and even those elements of vulgar
vituperation and cheap personal abuse--features of political campaigns
which we are happily outgrowing--were eagerly seized upon for the
purpose of pictorial satire. The peculiar bitterness which marked the
memorable campaign between Mr. Cleveland and Mr. Blaine in 1884 was
strongly mirrored in the political caricature of the time. It marked
the highwater line of the element of purely personal abuse in comic
art. In the end the extreme measures to which each of the rival
parties resorted during that year had very beneficial effects, for
after the election the nation, in calmer mood, grew ashamed at the
thought of its violence and bitterness, and subsequent campaigns have
consequently been much more free from these objectionable features.
Mr. Harrison, Mr. Bryan, Mr. McKinley, and Mr. Roosevelt have all been
assailed from many different points. But we are no longer in the mood
to tolerate attempts to rake up alleged personal scandals and to use
them in the pamphlet and the cartoon. Enough of this was done by both
parties in 1884 to last us for at least a generation. There are
cartoons which appeared in _Puck_ and _Judge_ which even at this day
we should not think of reprinting, and which the publications
containing them and the artists who drew them would probably like to
forget.
[Illustration: Fig. 291. Caricature de Gill. (_Eclipse_, 19 octobre
1873.)]
Nevertheless, to the close student of political history there is in
the American cartoon of this period, with all its flamboyant
colorings, its reckless exaggeration, its puerile animosity, material
which the more sober and dignified British cartoon does not offer. It
does not sum up so adequately the sober second thought of the nation,
but it does keep us in touch with the changing mood of popular
opinion, its varying pulse-beat from hour to hour. To glance over the
old files throughout any one of the Presidential campaigns is the next
best thing to living them over again, listening once more to the daily
heated arguments, the inflammable stump speeches, the rancorous
vituperation which meant so much at the time, and which seemed so
idle the day after the election.