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Taro Katsura reports that the Treaty of Peace has been signed by Japan and Russia, ratified, and come into full force.
Library of Congress Manuscript Division
1905-10-16
Ambassador Meyer met with Nicholas II, Emperor of Russia, who refuses to pay war indemnities to Japan. The Emperor would prefer to lose part of Sakhalin rather than pay any money to Japan. William II, German Emperor, is encouraging the Emperor to make peace.
Library of Congress Manuscript Division
1905-08-24
George von Lengerke Meyer met with Czar Nicholas II, who refuses to pay indemnities to Japan.
Library of Congress Manuscript Division
1905-08-24
George von Lengerke Meyer, Ambassador to Germany, writes about his success in following President Roosevelt’s agenda. The agenda involved finding out how the German Emperor felt about the United States’ neutrality and the territorial integrity of China with respect to Russia and Japan. The Emperor expressed his firm commitment to the agreement and to supporting the United States. The Emperor also warned the Americans to keep an eye on French Foreign Minister Théophile Delcassé.
Library of Congress Manuscript Division
1905-03-05
Nicholas II, Emperor of Russia, sits on a throne, wearing a large skull topped with a cross as a crown. A Japanese man offers him papers labeled “Peace ‘with Honor’,” and a Jewish man, holding bags labeled “Jewish Loans,” stands in a palace doorway in the background. A basket overflowing with papers labeled “Jewish Petition [and] Protest against Kishineff Massacres” is on the floor. A paper on a desk states “Cost of War to Russia $1,042,500,000.”
The bleak twin situations of the St. Petersburg court are laid bare in this stark double-page cartoon by Joseph Keppler, Junior. Even before its disastrous war with Japan in the Far East, Czar Nicholas’s Russia was crumbling in virtually all ways possible. It was nearly bankrupt, losing control of its client states and border peoples, beset by protests from serfs and the bourgeoisie, facing assassination attempts and intrigues among underground Socialist, Communist, and Anarchist groups, and worldwide condemnation over Czarist suppression of religious and Jewish minorities.
Czar Nicholas II of Russia clutches against his chest a doll that is wearing a crown labeled “Autocracy” as he races through the woods in a troika pursued by a pack of angry, ravenous wolves.
Keppler’s cartoon is a simple depiction of a simple situation, or, in the eyes of the Czar and his dwindling number of supporters, a complicated situation.
Meiji, the Emperor of Japan, peers over the top of a large globe from the east toward Europe where the rulers of several nations stand with Nicholas II, the wounded and crippled emperor of Russia. There is concern among the European leaders about where Japan will turn after defeating Russia.
“When?” The answer is 1941, as everybody knows. Or 1931, when the Japanese invaded Manchuria and established the puppet Manchukuo government. Or 1937, when the “Second” Sino-Japanese War was begun by the Japanese. There was the troublesome Japanese “sphere of influence” ongoing claim over Korea. And, in the 1930s, its military moves into Southeast Asia, then called Indo-China, over which it claimed hegemonic rights.
Nicholas II, Emperor of Russia, sits on his throne. At his feet are an orb, a broken scepter, and a cleft shield showing St. George and the dragon. He is recoiling in horror at being mocked by a gathering of ghosts of the oppressed from ages past, while behind him anarchists with weapons, one about to throw a bomb, are preparing to strike.
Czar Nicholas II, on his throne in late 1905 was more than a decade from being forced to assuage his restive peoples with meaningless reforms, to abdicate, and to have himself and his family lived as peasants before being brutally murdered. This was in the future, as history knows, yet Carl Hassmann’s chilling portrayal of the Czar’s real position was true and prescient.
A diminutive Nicholas II, Emperor of Russia, wearing a fur robe, courts Medusa who is hiding behind the mask of a beautiful young woman. On the left, as if issuing from Medusa, storm clouds labeled “Chaos” are brewing over a Russian city. A more modestly-dressed woman stands on the right pointing toward a temple labeled “Progress” at the top of a hill.
The years 1904 and 1905 were hard years in the autocratic rule of Czar Nicholas II. The ancient empire had become inefficient and corrupt. It was top-heavy with bureaucrats and sycophants in its courts, and losing the respect and command of peoples, provinces, and principalities on its borders. Internally there were healthy revolts of peasants, serfs and former serfs, and religious and ethnic minorities.
Meiji, Emperor of Japan, and Nicholas II of Russia, kneel before the female figure of “Peace.” Caption: When, your Majesties?
Given the exigencies of magazine production — writing and drawing, editing, printing and distribution — we cannot be certain whether the events of Russia’s “Bloody Sunday,” the suppression of protesters on January 9, little more than a week of this cartoon’s cover date, prompted Nankivell’s cartoon. A crowd of petitioners, led by an Orthodox monk, were brutally massacred. The world, and much of Russia, reacted with revulsion, and the Revolution of 1905 began. It was ultimately unsuccessful, but formed a direct line to the Bolshevik Revolution a dozen years later.
The ghost of Louis XVI of France warns Nicholas II of Russia to not make a hasty decision regarding the “Petition” presented by a crowd at the Winter Palace, which was met by police gunfire and the deaths of many in what became known as Bloody Sunday. Caption: Shade of Louis. — Warily, Brother.
Frank Nankivell’s front-cover cartoon on the February 8, 1905 issue of Puck was remarkably prescient in its portrayal of a current event in the news, and coldly prophetic — it was printed a dozen years before the ultimate revolution and murder of Czar Nicolas II.
At center a valentine card features President Roosevelt as Cupid. Around the outside are other valentines featuring two European leaders, American industrial and political figures, a Russian admiral, a writer identified only as “Tom,” and a Wall Street con artist.
Whether it was a cartoonist’s creative crutch every year, or readers’ happy expectations, the easy formula of imaginary Valentine’s Day cards for political figures was a frequent feature in Puck and other satirical weeklies of the day. Frederick Burr Opper drew many of these over his years at Puck in the 1880s and ’90s.
Nicholas II, wearing crown and royal robe, draws the drapes over the window to shut out the sun labeled “Progress,” as three ghouls clutch at him from behind.
The “Emperor of All Russia,” Czar Nicholas II, in 1905 sustained a restive population, revolution in border states seeking independence, international condemnation for social and religious repression, palace intrigue, a disastrous war against Japan in the Far East, and a weak will that could not rebuke the waves.
In a classroom, the rulers of several countries are the students. Most are identified by country and showing the attributes of their leaders, including, in the back row, “Russia” (Nicholas II), “Germany” (William II), and England (John Bull), and in the front row, “Austria” (Franz Joseph I), “France” (Emile Loubet), Uncle Sam, Japan (Meiji, Emperor of Japan), and Italy (Victor Emmanuel III). On the far left, sitting on a stool, is “Turkey” wearing a “Dunce” cap. The teacher labeled “Diplomacy,” at the front of the room, points to a blackboard on which is written “If the Boer War cost Great Britain $825,000,000 what would a world’s war cost?” While most of the leaders ponder this question, Russia and Japan glare at each other. There are three wastebaskets filled with weapons.
“Coming Events Cast Their Shadows Before.”
Nicholas II, Emperor of Russia, kneels on one knee before a pillow on which rests a scroll of papers labeled “Ukase civil and religious reforms.” Rays of light labeled “Enlightenment” beam down illuminating Nicholas II.
The ukase, or edict, issued by Czar Nicholas the month before this cartoon ran, granted religious freedom (restrictions lifted in worship in other than Orthodox houses) and other reforms. There were celebrations noted throughout Russia, perhaps the happiest since the last wave of Romanoff reforms, the emancipation of serfs in 1861. History still debates whether the Czar felt revolution nipping at his heels (there would be a major revolt and bloody suppression two years later; and then his overthrow and execution in 1917), or whether reforms were liberal-minded and sincere. Cartoonist Keppler accorded the Czar the benefit of the doubt.
John Bull, representing “England,” and a line of European rulers with the attributes of Nicholas II “Russia,” William II “Germany,” Franz Joseph I “Austria,” Emile Loubet “France,” Victor Emmanuel III “Italy,” and Alfonso XIII “Spain,” each with a broom, stand on a beach trying to sweep back the wave of “American Commerce” about to crash on their shores.
This cartoon seems to depict old ladies duplicating the futile resolution of legendary King Canute, who attempted to command ocean waves to recede. In fact the women, representing leaders of world trade, with their brooms and mops, were familiar as “Mrs Partingtons” to readers in 1902. Lost in obscurity today, Mrs. Partington was a comic figure in text humor created by Benjamin Penshallow Shillaber of the Boston Post, and in reprint books. Allegedly his character was inspired by an invented character of the British critic Sydney Smith about a self-absorbed busybody who attempted to mop the Atlantic Ocean from her door during a storm. In Shillaber’s hands, Mrs. Partington became known for silly aphorisms, malaprops, and semi-logical pronouncements. When Shillaber died in 1890, his very famous character died with him, but eulogists declared they would live forever in American culture. The necessity of this explanation suggests the contrary. The main point of Pughe’s cartoon is that by 1902 the United States has become the world’s largest trading nation.
Uncle Sam sits at a table with 10 figures, three of which are unidentified, the others showing the attributes of the rulers of Russia (Nicholas II), England (Edward VII), Germany (William II), Japan (Meiji, Emperor of Japan), Italy (Victor Emmanuel III), Austria (Franz Joseph I), and France (Emile Loubet), representing the eight nation alliance. A large tray of fruit labeled “Chinese Indemnity” is on the table. Hanging above the table by a thin string is an enormous sword labeled “Awakening of China.”
The world powers who suffered financial, diplomatic, personnel, and moral setbacks at the hands of the Boxer movement in China, withdrew from activism in China around the time of this cartoon. In formal terms, the combined troops of colonial powers defeated Boxer elements, but the truth is represented by the fact that these powers virtually abandoned their positions in the Celestial City and throughout the country. A “face saving” aspect against China was the demand for indemnities for the losses sustained by the allied powers. This cartoon presents a new spin on the “Sword of Damocles” hanging over world politics by the awakening of a sleeping giant, China.
The emperors of Russia, Japan, and Germany, and the king of Great Britain each hold a balance scale, and all but “Japan” hold a paper that states their country’s “claim for indemnity.” They are confronting a kneeling, shocked Chinese man labeled “China.” In the background, on the right, Puck is handing a cap and gown to Uncle Sam, suggesting that he play the role of “Portia” and outwit the “Shylocks.” Caption: Puck (to Uncle Sam). — That poor fellow needs a Portia. Why don’t you take the part?
In a somewhat inverted depiction of the actual situation in China as the Boxer Rebellion reached its most dangerous threats to colonial powers, the cowering Chinese figure is being pressured to deliver multiple pounds of flesh, in the cartoon’s reference point: Shakespeare’s Merchant of Venice. Also unique to cartoonist Pughe’s point of view is that Uncle Sam (the United States) was acting differently than the other colonial nations, which was not quite true.
Uncle Sam leads John Bull and a group of other world leaders down the center aisle between an exhibition of suffragettes and feminists on pedestals. Among the figures are “Mrs. Faith Healer,” “Woman Evangelist,” “Mrs. Lease” holding a large rake, and an elderly woman wearing a crown labeled “Queen of Holland Dames,” as well as one woman labeled “D.A.R.” Those identified are: “Dr. Mary Walker,” “Belva Lockwood,” “Susan B. Anthony,” “E. Cady Stanton,” “Mrs. Eddy Christian Scientist,” and “Carrie Nation of Kansas” holding a large ax.
In this drawing, cartoonist Dalrymple takes aim at early feminists, temperance crusaders, and suffragettes, using the upcoming World Exposition at Buffalo as a setting. Five months later at this expo, President William McKinley was assassinated.
The rulers of “Russia,” “Germany,” “Italy,” “Austria,” “France,” and “England” are chickens trying to hatch a large egg labeled “China.” A chicken labeled “Japan” stands in the background with Uncle Sam, also as a chicken, perched on a fence in the rear.
This is one of dozens of cartoons published during the Boxer Rebellion that depicts the conflict as merely intractable or challenging rather than as an insoluble crisis. The cartoonist also perpetuates the situation as being one where the United States (Uncle Sam) is nothing more than an observer. In truth, U. S. Marines played a major role in defending the besieged legations and defeating the Chinese insurgents.