Part 12 (2/2)
[Ill.u.s.tration: The Radical Party on a Heavy Grade.
_From the collection of the New York Historical Society._]
CHAPTER XXVII
THE AMERICAN POLITICAL CAMPAIGNS OF 1880 AND 1884
Probably no cartoon dealing with the Garfield-Hanc.o.c.k campaign of 1880 was more widely discussed than that called ”Forbidding the Banns,”
drawn for _Puck_ by Keppler. It was a cartoon which an American comic paper would publish to-day only after considerable hesitation, for there was in it the spirit of a less delicate age, a coa.r.s.eness which was pardonable only when the genuine strength and humor of the complete work are taken into consideration. ”Forbidding the Banns”
shows a political wedding party at the altar with Uncle Sam as the reluctant and uncomfortable groom, General Garfield as the eager bride, and the figure of the ballot box as the officiating clergyman.
The bridesmaids are Mr. Whitelaw Reid and Carl Schurz, with Murat Halstead bringing up the rear. The ceremony is well along and the contracting parties are about to be united when W. H. Barnum, the chairman of the Democratic National Committee, rushes in shouting, ”I forbid the banns!” and waving frantically the figure of a little baby marked ”Credit Mobilier.” The faces of all the bridal party show consternation at the unexpected interruption, while the bride protests coyly: ”But it was such a little one.”
[Ill.u.s.tration: ”Forbidding the Banns.” A Famous Cartoon of the Garfield-Hanc.o.c.k Campaign.
_By courtesy of the Puck Company._]
The defeat of General Hanc.o.c.k in 1880 was commemorated by Keppler in _Puck_ with the cartoon called ”The Wake over the Remains of the Democratic Party.” The ludicrous corpse of the defunct is stretched on a rough board and covered with a loose sheet. The lighted candles at the four corners protrude from the necks of bottles, and the mourners are indulging in a protracted carouse which seems destined to end in a free fight. In the center of the picture Kelly, with Ben Butler as a partner, is doing a dance in the most approved manner of Donnybrook Fair. All about there is the general atmosphere of turmoil and unnatural excitement, but the figures of Hewitt, Davis, Belmont, and English are stretched out in a manner indicating that the festivities of the night have proved too much for them.
As has already been pointed out, the political caricature commemorating the Cleveland-Blaine campaign of 1884 was chiefly remarkable for its extraordinary rancor. There was little, if any, really good-natured satire underlying these cartoons; they were designed and executed vindictively, and their main object was to hurt.
Mr. Cleveland's official record in Buffalo, and as Governor of New York, had been such as to cause many of the more liberal Republicans to support his candidacy and offered little to the political cartoonist, so the opponents of Republican caricature found it expedient to base their attacks on matters of purely personal nature.
[Ill.u.s.tration: The Wake over the Remains of the Democratic Party after the Election of 1880.
_By courtesy of the Puck Company._]
Even in later years the cartoonist did not entirely refrain from this method of belittling Mr. Cleveland's capabilities. It was sneeringly said that much of the success of his administration was due to the charm, the tact, and the personal magnetism of Mrs. Cleveland, and this idea was the inspiration of a number of cartoons which were far from being in the best of taste. One of these which was not particularly offensive was that ent.i.tled ”Mr. Cleveland's Best Card.”
It was simply a huge playing card bearing the picture of Mrs.
Cleveland. Another much more obnoxious was a curious imitation of the famous French cartoon ”Partant pour la Syrie,” which was published in Paris after the flight of the Empress Eugenie.
[Ill.u.s.tration: A Common Sorrow.]
The Democratic cartoonists, besides their use of the Tattooed Man idea and the alleged scandals in Mr. Blaine's political career, made a strong point of the soundness and cleanness of Mr. Cleveland's official record. A typical caricature of this nature was that drawn by Gillam called ”Why They Dislike Him.” It represents Mr. Cleveland as a lion lying on the rock of Civil Service Reform. Perched on the limb of a tree overhead are a group of chattering monkeys, his political enemies, who are hurling at him imprecations and abuse because he will not consent to serve as the cats-paw to pluck the chestnuts for them out of the political fire. Familiar faces among the group of noisy bandar-log are those of Croker, Butler, and Dana. Prostrate and helpless under the paw of the lion is a monkey with the face of Grady.
[Ill.u.s.tration: Why They dislike Him.
_By courtesy of the Puck Company._]
[Ill.u.s.tration: The First ”Tattooed Man” Cartoon.
_By courtesy of the Puck Company._]
The most terrible and effective series of cartoons published during the Cleveland-Blaine campaign was that in which the Republican candidate appeared as the Tattooed Man in the political show. For many weeks during the summer and autumn of 1884 Mr. Blaine was a.s.sailed through this figure in the pages of _Puck_. The story of the origin of this historic cartoon is as follows: Mr. Bernard Gillam, the artist, had conceived the idea of a cartoon in which each of the Presidential possibilities should appear as some sort of freak in a political side-show. One of these freaks was to be the Tattooed Man, but Mr.
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