Join or Die: History of American Political Cartoons

American political cartoons and war posters have a special place in the nation’s history. Starting with Benjamin Franklin’s “Join or Die” cartoon of 1754 that stressed the importance of colonial unity in the face of adversity, political cartoons have since been a popular element of political discourse and critique in American media and culture. Paul Revere’s depiction of the Boston Massacre in the prelude to the American Revolution, Thomas Nast’s “Emancipation” and “Merry Old Santa Claus” during the Civil War Era, and Herb Block’s “National Security Blanket” of 1973 are all key examples of the ways in which political cartoons have reflected important themes in American political discourse.

In 1754, Benjamin Franklin published the famous “Join or Die” political cartoon that depicted the British colonies as a snake, broken apart into different segments that represented the different colonial governments. At this time, the colonial governments were largely independent of each other and, in the face of large-scale war with the French and their Native American allies, there was a growing need for cooperation between the colonial forces. Franklin chose the snake “because of the myth that snake that had been cut into pieces would come back to life” if the sections were put back together, thereby representing the disparate, but resilient and unbreakable bond that the colonial governments all shared (Bryant, 58). Popular from its inception and spread widely, the “Join or Die” cartoon would become a staple of American political cartoons. The cause of colonial unity represented by Franklin’s work, moreover, would ahead rear its head in the 1760s with the controversy over the Stamp Act. In the subsequent debates over the nature of colonial rule in North America, this particular cartoon would take on the cause of independence and colonial unity in the face of the perceived British oppression. Though British Loyalists in the colonies would make quite a fuss over the “biblical associations of the snake with treachery and deceit”, the cartoon would rapidly become ingrained in American political media.

Political cartoons reflect the internal biases and views of their authors, and Paul Revere’s impression of the Boston Massacre of 1770 is a fascinating example of this. Indeed, “Revere’s depiction [of the Massacre] portrayed British soldiers as cold-hearted killers”, when the truth of the matter is that the British soldiers were “provoked into violence” by a hostile and dangerous crowd (Katz, 44). In this case, Revere’s print was used to inspire public opinion against British rule and spurred unrest and tensions with the colonial overlords. In addition, other propaganda in print media used “sensationalist text and vivid imagery” in order to rouse American anger the British government stationed in the colonies (44). Revere’s depiction of the Massacre, moreover, is reflective of the ways in which facts can be twisted to meet an author’s bias- the engraving itself is widely inaccurate with regards to its portrayal of the actual situation, even going so far as to change the race of a man killed from black to white. Thus, Revere’s engraving helped to foment revolutionary fervor and push the colonies towards war.

Thomas Nast’s “Emancipation” was published in the opening days of 1863, at the height of the American Civil War. Nast created a cartoon that celebrated the Emancipation Proclamation made by President Abraham Lincoln. Nast, by this time, was a “household name during the war for his weekly diatribes against Confederate perfidy” (Katz, 45). “Emancipation” merged the idea of emancipation which, though popular in the North, was hardly accepted as a universal good, with the idea of American patriotism. The cartoon itself features happy and cheerful former black slaves working as laborers for a now-humble plantation owner, and promotes a view of an America where racism is supplanted with an appreciation of one’s work ethic. Though the author is aware of the impact of depictions of Southern brutality when it comes to the treatment of slaves, he is keen to portray Southern slave owners as completely redeemable-in one part of the image, a white plantation owner tips his hat in respect to his freedmen workers. Thus, Nast is arguing for a society where slavery and racism have died, yet agricultural work proceeds with a new social contract between the two races.

Not all political cartoons need be incredibly controversial or reflective of the divided nature of American government. His “Merry Old Santa Claus”, published for the first time in 1881, gave birth to the modern interpretation of Santa Claus. Nast understood the importance that Christmas and the holiday season could have on revitalizing Union spirits during the harsh winters of the American Civil War, and published his first concept of the modern Santa Claus in 1862. This Santa Claus was based on the German legacy of Saint Nicholas. Saint Nicholas, in Christian tradition, is a bishop characterized by generosity, gift-giving, and acts of renewal (Gopnik, 84). In the winter of 1862, a cheerful Santa Claus bringing gifts was exactly the sort of message troubled Union families needed. It was not until 1881, however, that Nast conceived of a Santa Claus that truly adheres to all the modern conceptions of the myth. Nast’s “Merry Old Santa Claus” is a prime example of a political cartoon that, while somewhat significant in terms of its impact on the domestic commitment of the Union cause, is far more important with regards to the ways in which a single cartoon can forever define an entire culture’s perception of a holiday legend. Nast, then, had a lasting impact on American culture and society as a whole, and accomplished it all with a few prints in his newspaper.

Richard Nixon, during his time in office from 1969 to 1974, would spend much of his administration frustrated by the efforts of Herbert Block (known as “Herblock”), the famous American cartoonist. Block published many cartoons poking fun at the President, though his “National Security Blanket” is one of the most significant and powerful (Astor, 29). Nixon had recently admitted to hiding information about the Watergate incident; this mean that Herblock had all the ammunition he needed to wage an incredible media critique of the besieged President. In the cartoon, Herblock portrays a troubled Nixon, cowering under an American flag, with remnants of the President’s failed illegal domestic and foreign policies in the background. The background includes mentions of “stolen files”, “forged letters” and “faked cables”, referencing Nixon’s Watergate involvement and foreign policy fumbles (Gill, 16). Herblock’s cartoon, then, is a brilliant example of the ways in which political cartoons can take on specific issues and even target specific individuals; moreover, Nixon would be the target for extreme caricatures and other political cartoons harshly critiquing his dismal performance in the Watergate era.

American political cartoons present a very unique and fantastic way of viewing changes in American history. Major political issues, such as the matter of colonial independence and the emancipation of black slaves, could be addressed through the powerful, yet simple medium of graphic art. At the same time, political cartoons are not limited to purely controversial or divisive issues; instead, Nast’s “Merry Old Santa Claus” is a fine example of a political cartoon that, while still somewhat politically orientated, is nonetheless known for its impact on popular culture. In the end, however, the most powerful political cartoons, such as Herblock’s “National Security Blanket”, Revere’s depiction of the Boston Massacre, and Benjamin Franklin’s “Join or Die” are strong indicators of important political discussions, controversies, and debates within American culture, society, and government.

Works Cited

Astor, Dave. "Herblock's Legacy: A Firm Foundation." Editor & Publisher 136.10 (2003): 29.Academic Search Complete.

Bryant, Mark. "The First American Political Cartoon." History Today 57.12 (2007): 58-59. Academic Search Complete.

Gill, David. "Treasuring Herblock." American Journalism Review 29.3 (2007): 16-17. AcademicSearch Complete.

Gopnik, Adam. "The Man Who Invented Santa Claus." New Yorker 73.39 (1997): 84. AcademicSearch Complete.

Katz, Harry. "An Historic Look at Political Cartoons." Nieman Reports 58.4 (2004): 44-46.Academic Search Complete.