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Dame Democracy, labeled with “obstruction” tugs the coattails of Uncle Sam who has begun to set off towards Panama carrying a shovel, pickax, and suitcase.
Library of Congress Manuscript Division
1903-11-17
“Miss Democracy Select School” over doorway. Theodore Roosevelt is challenging a group of Democrats. Hill, Olney, Davis, Parker, and others, are in front of the school house.
Library of Congress Prints and Photographs
1904-06-24
An old woman with a traveling bag labeled “Miss Democracy” sits alone by the side of a road. The United States Capitol is in the background, flying a flag that states “March 4th.”
Library of Congress Prints and Photographs
1897-03-03
A chariot race is underway, with “Miss Democracy” driving a team of donkeys labeled “Dem. Congressional Campaign” and President “Taft” driving a team of white horses labeled “Rep. Congressional Campaign.” A chariot labeled “Payne-Aldrich Tariff Mess,” driven by Nelson W. Aldrich, has crashed in front of Taft, possibly derailing the Republican campaign in the upcoming Congressional election. Uncle Sam, a woman wearing a red liberty cap, and Puck, among others, watch from a platform in the center of the racetrack.
Library of Congress Prints and Photographs
1910-08-24
Uncle Sam and Dame Democracy ride in a horse-drawn carriage through a forest where 21 or 22 faces of presidential hopefuls can be seen in the trees, rocks, and grasses, and have spooked the horses at the approach to a bridge. Samuel J. Tilden, not a candidate in 1884, is the only person depicted full-length.
Library of Congress Prints and Photographs
1884-05-28
“Miss Democracy” lies on a donkey-skin rug before a fireplace in her boudoir or bedroom, as William Jennings Bryan, carrying a bouquet, enters through curtains in the background.
It is hard to imagine a more derisive and dismissive depiction of William Jennings Bryan as an aging lothario; the desirability of the Democratic Party’s nomination (an ugly old maid); or the party itself, shown as a ratty throw-rug. BIt is the political cartoonist’s prerogative to have fun with his art, even at the expense of his own political party.
Bryan, the once and future presidential candidate, was a natural foil for cartoonists; and so too, in this era, was the frustrated Democratic Party. Futility would be its lot in the upcoming election too.
Miss Democracy wakes up startled, in bed, on Christmas day. Her bedroom is filled with presents, everything bearing the countenance of William Jennings Bryan: the ornaments on the Christmas tree, the face on the grandfather clock, the handle on an umbrella, the inside of the horn on a gramophone, as well as Bryan portraits, busts, pillows, and dolls, and a copy of “Bryanecdotes.”
The issue of Puck dated Christmas Day 1907 contained a center-spread drawing at once a great political cartoon, and greatly funny — a humorous commentary. The subject was the imminent presidential campaign the following year.
“Same Old Presents” might have tempted Keppler to substitute with “Know All Men By These Presents” — for Puck‘s cartoonists seldom were beneath punning (“these presents” literally referring to details of a legal announcement) — but the variety of items adorned with the likeness of William Jennings Bryan is clever and humorous.
At a wedding ceremony, William Jennings Bryan is marrying “Miss Democracy.” The “Best Man,” both “Usher[s],” the “Bride’s Pa,” the “Maid of Honor,” both bridesmaids, and the priest all have the face of Bryan. Caption: “What therefore destiny hath joined together, let not man put asunder.”
Only five weeks earlier, Udo J. Keppler drew a cartoon, since iconic to Theodore Roosevelt followers and in history books, of Roosevelt portrayed as all three members of the legendary Yankee Doodle fife and drum marchers. This center-spread cartoon from Puck makes a similar point, but about the Democrats’ answer to Roosevelt, William Jennings Bryan.
On the other hand, Bryan only partly dominated his party for a dozen years according to his ideas and his personality. His Populist agenda fused two movements (the Peoples’ Party and traditional Democrats) and generally moved American political discourse to the left — or, as terms become malleable over time, more radical in some ways. However, except for Bryan, the Democratic party in the late 1890s and ’00s produced few leaders of substantial ideas or personalities. Presidential aspirants and congressional leaders were either holdovers from the Cleveland years, or political lightweights and the merely ambitious.
Uncle Sam, as a rooster crowing, stands next to Dame Democracy as the hen that laid the egg which has just hatched, producing a chick labeled “Wilson.” Caption: After twenty years of unproductive eggs.
Library of Congress Prints and Photographs
1912-11-06
William Jennings Bryan, as Romeo, hangs off a balcony, speaking to an old woman labeled “Democracy” as Juliet, with “Nurse Grover” Cleveland standing behind her. The full moon in the upper left is labeled “Free Silver.” Standing in the bushes below is William Randolph Hearst. Caption: Romeo — Lady, by yonder blessed moon I swear, that tips with silver all these fruit-tree tops- / Juliet — Oh, swear not by the moon, that twice inconstant moon! / Romeo — All right, I’ll cut it out! It’s a dead one anyway!
A sign of more literate times is this Puck cartoon based on Shakespeare’s Romeo and Juliet. More than a riff on “Wherefore art thou, Romeo?” cartoonist Udo J. Keppler assumes readers’ familiarity with other characters from the play, as well as current politics.
William Jennings Bryan had been on a world tour tour through 1905-06, visiting many cities of the world and meeting notables in government and culture. There was intense speculation in the United States about whether the Democratic Party would turn to him a third time to ruin for president; or whether he actually was interested. There were very few fresh faces among Democratic aspirants, but more than a few old-timers and former Populists. Almost by default the yellow journalist William Randolph Hearst, then a radical and a two-term congressman with open presidential ambitions, was available to fill the vacuum.
Democrats and Republicans, capitalists, social reformers, political symbols, and others enjoy a summer outing at a park.
Library of Congress Prints and Photographs
1904-08-17
An old woman labeled “Miss Democracy” rides on the Democratic donkey along a dirt road labeled “Political Pike.” A banner labeled “S and S” (Safe and Sane) hangs from the donkey’s neck. In the background, the Republican elephant labeled “G.O.P.”, ridden by George B. Cortelyou, is leaning against a tree. Caption: The Elephant — Well, gee whiz! Who’d have thought it?!
Cartoonist Pughe’s depiction of the Democratic Party’s happiness, and Puck‘s own confidence, over the transformation of Populist ideology and return of conservative values, reflected facts, but the reality was short-lived as well as futile. Theodore Roosevelt’s Republican Party was moving closer to reform views first advanced by William Jennings Bryan (the Democratic presidential candidate in 1896 and 1900) and, overall, was overwhelmingly popular with citizens.
The mustachioed figure on the bewildered Republican elephant is not Roosevelt but Party Chairman George B. Cortelyou. He was a figure whose importance to Roosevelt, his administration, and the country in general, has been overlooked. Cortelyou was a worker in the Department of the Treasury who rose through the ranks of the Cleveland administration; Grover Cleveland recommended to his successor William McKinley that Cortelyou would make a superb personal secretary.
William Jennings Bryan, as a parrot, chatters at an old woman labeled “Democratic Party.” He is perched on a stand labeled “Dead Issues” with a food dish labeled “Populism,” and squawking “The Moral Issue!! Free Silver!! Kansas City Platform!! [and] 16 to 1.”
The clear message of this cartoon by Pughe, Puck‘s go-to animal artist in most cases, is that William Jennings Bryan, Populist firebrand who stormed the Democrat Party in 1896 and held it in thrall for eight years, had clearly worn out his welcome, especially after two failed presidential runs.
The telling aspect of the cartoon’s construction, however, is not only that Bryan continually harped on the same few issues, but rather the nature of Puck’s critique. In 1896, when Bryan’s Populism dominated the Democrat convention and platform, the vast majority of American newspapers and magazines — even traditionally Democrat organs, like Puck — opposed Bryan in the extreme. Many cartoons, in fact, depicted Bryan in one of several ways: unstable; immature; crazed; as a dangerous anarchist or revolutionary.
President Roosevelt appears as a dog in the “Republican Kennels,” with his trainer Mark “Hanna.” In the “Democratic Kennels,” an old woman labeled “Dem. Party” pats Alton B. “Parker” on the head and offers him a biscuit labeled “Political Sanity.” Other Democratic dogs George “Gray,” Richard “Olney,” David B. “Hill,” and Arthur P. “Gorman” labeled “Senatorial Leadership” and “Panama Issue” are kenneled nearby. Hanging on the wall is a picture of “Cleveland” with ribbons labeled “1884” and “1892,” and in the lower left is a cage labeled “Distemper” with William Jennings Bryan as a dog bandaged with “1896” and “1900” sitting inside before a small dish labeled “Free Silver.” In the center is a small dog labeled “Yellow Journalism Willie Hearst.”
This cartoon appeared in Puck in the second week of February 1904 — five months before the actual Democrat Party presidential nominating convention. Pughe’s cartoon of a dog show mirrored Puck Magazine’s editorial desires, as per the depictions, dignified or mocking, of possibles candidates; and the nature of the labels. Also the expressions of the dogs in the kennel show reliably reflect the confidence of the various candidates. Further, the kind attentions to the otherwise obscure New York Judge Alton Brooks Parker — the eventual nominee, pushed by back-bench conservative Democrats — by the old spinster representing the Democratic Party, is prescient.
Pughe’s cartoon indicates that old-fashioned politics had that year’s presidential nomination foreordained.
Former president Grover Cleveland, as “Cincinnatus,” is working a field with a plow labeled “Domesticity.” An elderly woman labeled “Democracy” is standing in the field, holding a paper which states “Cleveland’s letter of retirement ‘Unalterable and Conclusive’.” She is perplexed as Cleveland gestures with his right hand for her not to approach him.
President Cleveland is depicted as Cincinnatus, the Roman citizen who yielded to pleas that he serve as leader during various crises, but always relinquished power and returned to his farm. George Washington is the American most frequently likened to Cincinnatus.
The Democratic Party, depicted once again by Puck as a lovelorn spinster desperate for a mate, approaches Cleveland as the one Democrat with a resume, leadership credentials, experience, and a national following in advance of the 1904 presidential contest. Most tellingly, he was not William Jennings Bryan, who after two failed runs and few new policies, was grating on party faithful.
An elderly woman labeled “Democracy” stands next to a trunk labeled “Old Issues” and with a tag that states “To the White House.” Standing at the curb are several cab drivers labeled “Parker, Olney, Johnson, Shepard, Gorman, [and] Watterson” hoping to pick up a fare, and two other drivers labeled “Cleveland” and “Bryan” sitting on their carriages. Cleveland does not appear interested, though Bryan, on his cab labeled “16 to 1,” holding up his hat, calls out above the others.
Political cartoons, when well designed, not only present issues and events clearly, but also convey subtexts, background information, and nuances that speak to readers of their time, and to subsequent students of history.
Puck‘s cartoons frequently checked all those boxes. This double-spread by Pughe can be read as a portrayal of the fact that several Democrats vied for the attention of the national party, and jockeyed for the presidential nomination in 1904. Just so.
Edward Morse Shepard, with papers extending from his back pocket labeled “Reform” and “Tammany,” stands in front of an old woman labeled “Democracy” who is holding a piece of paper labeled “Bryan’s Recommendation.” She is turning him down, just as the New York City voters did in the mayoral election. Caption: Miss Democracy — You must have a better reference than this, Mr. Shepard, if I’m to consider you.
Edward Morse Shepard, unfortunately, was typical of New York Democrats in the age of Tammany Hall, the pendulum-swings of reform and corruption, the internecine New York Democrat fights between rural and New York City factions, the influence of Bryanism on local loyalties, and such. Shepard was a reform Democrat from Brooklyn (and then New York City after consolidation in 1897) who occasionally allied himself with Citizens Union and Republican reformer Seth Low. Within New York Democracy (that is, the Democratic Party) in 1902 an endorsement from William Jennings Bryan was not necessarily a golden recommendation. Shepard never attained a major nomination for mayor or governor; he got closest in a gubernatorial convention in 1911. The Democrat convention was deadlocked for 74 days, after which a Shepard opponent was nominated. Shepard died a few weeks afterward.