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Juggling

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Overestimating his ability

Overestimating his ability

Arthur P. Gorman attempts to have one foot on the “Dem. nomination” donkey and the other on the “democracy” donkey as he attempts to juggle several balls and knives: “shrewdness,” “canal opposition,” “leadership,” “Negro question,” “popularity,” and “influence.” Caption: Signor Gormani in his astounding act of trying to bring two mules together going in opposite directions whilst performing a dangerous piece of juggling.

Collection

Library of Congress Manuscript Division

Creation Date

1903-12

“How the diabolo can I keep this going till nomination day?”

“How the diabolo can I keep this going till nomination day?”

Theodore Roosevelt, perspiring profusely, tries to keep a spinning William H. Taft labeled “Taft Boom” aloft with a “Diabolo,” by catching him on a string strung between two sticks and tossing him up again.

comments and context

Comments and Context

Humor, hilarity, and ridicule can supplement and reinforce a stark political observation; they can meet, and work well, in a good cartoon. And in this cartoon by Udo J. Keppler the juggling or circus toy derived from the Chinese yo-yo, called a “diabolo,” is the flimsy device by which an exhausted Theodore Roosevelt keeps the corpulent William H. Taft spinning in the air. And he must do so into the middle of 1908.

The greatest juggling act on earth

The greatest juggling act on earth

A four-headed, eight-armed monster, formed out of the upper torsos of James J. Hill, Edward Henry Harriman, J. Pierpont Morgan, and George Jay Gould, juggles New York State and municipal services and federal influence in Congress, while stepping on a red liberty cap. Three diminutive figures stand in the left foreground: the center figure represents Theodore Roosevelt, the one on the left is labeled “You,” and the one on the right is labeled “Me.” Caption: Messrs. Hill, Harriman, Morgan and Gould, sole managers and proprietors.

comments and context

Comments and Context

Udo J. Keppler’s center-spread drawing in Puck is a rare example of the magazine presenting a political cartoon not on a specific issue or policy debate. As a generic observation of the “current situation,” it speaks to history as an iconic representation of the truth, and not merely a cartoonist’s truth.