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 coarseness and indecency, with a minimum of artistic skill. They were mostly lithographs of the crudest sort, designed to pass 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 Nassau 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 attitudes 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 entitled "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.

American national feeling on the subject of the European Powers deriving benefit from the discovery of gold in California is illustrated 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 shore 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."

The Presidential election of 1852 was cartooned under the title "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."

Caricature dealing with the Presidential campaign of 1856 is represented by the cartoon called "The Presidential Campaign of '56." Buchanan, who proved the successful candidate, is mounted on a hideous monster resembling a snake, and marked "Slavery." The monster is being wheeled along on a low, flat car drawn by Pierce, Douglas, and Cass. A star bearing the word "Kansas" is about to disappear down the monster's throat. In the distance Fremont, on horseback, is calling out: "Hold on! Take that animal back! We don't want it this side of the fence." Buchanan is saying, "Pull down that fence and make way for the Peculiar Institution." The fence in question is the Mason and Dixon's line. The faces of Cass, Douglas, and Pierce, who are drawing along the monster, are obliterated--they are absolutely formless.

The evils of slavery from a Northern point of view are shown in a cartoon called "No Higher Law." King Slavery is seated on his throne holding aloft a lash and a chain. Under his left elbow is the Fugitive Slave Bill, resting on three human skulls. Daniel Webster stands beside the throne, holding in his hand the scroll on which is printed, "I propose to support that bill to the fullest extent--to the fullest extent." A runaway slave is fighting off the bloodhounds that are worrying him, and in the distance, on a hill, the figure of Liberty is toppling from her pedestal.

The cartoon "Practical Illustration of the Fugitive Slave Law" sums up very completely Abolitionist sentiment on the subject. The slaveholder, with a noose in one hand and a chain in the other, a cigar in his mouth and his top-hat decorated with the single star, which was the sign of the Southern Confederacy, is astride of the back of Daniel Webster, who is crawling on all-fours. In Webster's left hand is the Constitution. "Don't back out, Webster," says the slaveholder. "If you do, we're ruined." The slave-woman who is being pursued has taken refuge with William Lloyd Garrison, of the Boston _Liberator_, who is saying: "Don't be alarmed, Susanna, you're safe enough." One of Garrison's arms is encircling the negress's waist, at the end of the other is a pistol. In the back of the picture is the Temple of Liberty, over which two flags are flying. On one flag we read: "All men are born free and equal;" on the other, "A day, an hour, of virtuous Liberty is worth an Age of servitude."