AS TO CARTOONING
I WISH that the American artists whose lot is cast in the pleasant domain of caricature would learn something of the charm of moderation and the strength of restraint. Their “cartoons” yell; one looks at them with one’s fingers in one’s ears.
Did you ever observe and consider the dragon in Chinese art? With what an awful ferocity it is endowed by its creator—the expanded mouth with its furniture of curling tongue and impossible teeth, its big, fiery eyes, scaly body, huge claws and spiny back! All the horrible qualities the artist knows he lavishes upon this pet of his imagination. The result is an animal which one rather wishes to meet and would not hesitate to cuff. Unrestricted exaggeration has defeated its own purpose and made ludicrous what was meant to be terrible. That is, the artist has lacked the strength of restraint. A true artistcould so represent the common domestic bear, or the snake of the field, as to smite the spectator with a nameless dread. He could do so by merely giving to the creature’s eye an expression of malevolence which would need no assistance from claw, fang or posture.
The American newspaper cartoonist errs in an infantile way similar to that of the Chinese; by intemperate exaggeration he fails of his effect. His men are not men at all, so it is impossible either to respect or detest them, or to feel toward them any sentiment whatever. As well try to evoke a feeling for or against a wooden Indian, a butcher’s-block, or a young lady’s favorite character in fiction. His deformed and distorted creations are entirely outside the range of human sympathy, antipathy, or interest. They are not even amusing. They are disgusting and, as in the case of foul names, the object of the disgust which they inspire is not the person vilified, but the person vilifying.
Perhaps I am not the average reader, but it is a fact that I frequently read an entire newspaper page of which one of these cartoons is the most conspicuous object, without once glancing at the picture’s title or observing what it is all about. I have the same unconsciousreluctance to see it that I have to see anything else offensive.
I once sat reading a Republican newspaper. The whole upper half of the page consisted of a cartoon by a well-known artist. It represented Mr. Bryan, the Democratic candidate for the Presidency, standing on his head in a crowd (which I think he would do if it would make him President, and I don’t know that it would not) but I did not then observe it. The artist himself sat near by, narrowly watching me, which I did observe. A little while after I had laid down the paper he said carelessly: “O, by the way, what do you think of my cartoon of Bryan with his heels in the air?” And—Heaven help me!—I replied that I had been a week out of town and had not seen the newspapers!
A peculiarity of American caricature is that few of its “masters” know how to draw. They are like our great “humorists,” who are nearly all men of little education and meagre reading. As soon as they have prospered, got a little polish and some knowledge of books, they cease to be “humorists.”
One of the most popular of the “cartoonists” knows so little of anatomy that in most of his work the human arm is a fourth tooshort, and seems to be rapidly dwindling to a pimple; and so little of perspective that in a certain cartoon one of his figures was leaning indolently against a column about ten feet from where he stood.
A fashion has recently come in among the comic artists of getting great fun out of the lower forms of life. They have discovered and developed a mine of humor in the beasts and the birds, the reptiles, fishes and insects. Some of the things they make them say and do are really amusing. But here is where they all go wrong and spoil their work: they put upon these creatures some article of human attire—boots, a coat or a hat. They make them carry umbrellas and walking-sticks. They put a lightning rod on a bird’s nest, a latch on a squirrel-hole in a tree, and supply a beehive with a stovepipe. Why? They don’t know why; they have a vague feeling that incongruity is witty, or that to outfit an animal with human appurtenances brings it, somehow, closer to one’s bosom and business. The effect is otherwise.
When you have drawn your cow with a skirt she has not become a woman, and is no longer a cow. She is nothing that a sane taste can feel an interest in. An animal, orany living thing, in its natural state—is always interesting. Some animals we know to have the sense of humor and all probably have language; so in making them do and say funny things, even if their speech has to be translated into ours, there is nothing unnatural, incongruous or offensive. But a cat in a shirtwaist, a rabbit with a gun—ah, me!
Obviously it is futile to say anything to those “dragons of the prime” who draw the combination map-and-picture—the map whereon cities are represented by clusters of buildings, each cluster extending half way to the next. It would be useless to protest that these horrible things are neither useful as maps nor pleasing as pictures. They are—well, to put it quite plainly, they sicken. Sometimes the savages who draw them sketch-in a regiment or so of soldiers—this in “war-maps” of course—whose height is about five miles each, except that of the commander, which is ten. And if there is a bit of sea the villain who draws it will show us a ship two hundred miles long, commonly sailing up hill or down. It is useless to remonstrate against this kind of thing. The men guilty of it are little further advanced intellectually than the worthy cave-dwellerwho has left us his masterpieces scratched on rocks and the shoulder blades of victims of his appetite—the illustrious inventor of the six-legged mammoth and the feathered pig.
When in the course of human events I shall have been duly instated as head of the art department of an American newspaper, a decent respect for the principles of my trade will compel me to convene my cartoonists and utter the hortatory remarks here following:
“Gentlemen, you will be pleased to understand some of the limitations of your art, for therein lies the secret of efficiency. To know and respect one’s limitations, not seeking to transcend them, but ever to occupy the entire area of activity which they bound—that is to accomplish all that it is given to man to do. Your limitations are of two kinds: those inconsiderable ones imposed by nature, and the less negligible ones for which you will have to thank the tyrant that has the honor to address you.
“Your first and highest duty, of course, is to afflict the Eminent Unworthy. To the service of that high purpose I invite you witheffusion, but shall limit you to a single method—ridicule. You may not do more than make them absurd. Happily that is the sharpest affliction that Heaven has given them the sensibility to feel. When one is conscious of being ridiculous one experiences an incomparable and immedicable woe. Ridicule is the capital punishment of the unwritten law.
“I shall not raise the question of your natural ability to make an offender hateful, but only say that it is not permitted to you to do so in this paper. The reason should be obvious: you can not make him hateful without making a hateful picture, and a paper with hateful pictures is a hateful paper. Some of you, I am desolated to point out, have at times sinned so grievously as to make the victim—or attempt to make him—not only hateful but offensive, not only offensive but loathsome. Result: hateful, offensive, loathsome cartoons, imparting their unpleasant character to the paper containing them; for the contents of a paper are the paper.
“And, after all, this folly fails of its purpose—does not make its subject offensive. An eminently unworthy person—a political ‘boss,’ a ‘king of finance,’ or a ‘gray wolf of the Senate’—is a man of normal appearance;his face, his figure, his postures, are those of the ordinary human being. In the attempt to make him offensive the caricaturist’s art of exaggeration is carried to such an extreme as to remove the victim from the domain of human interest. The loathing inspired by the impossible creation is not transferred to the person so candidly misrepresented; the picture is made offensive, but its subject is untouched. As well try to hate a faulty triangle, a house upside down, a vacuum, or an abracadabra. Let there be surcease of so mischievous work; it is not desired that this paper shall be prosperous in spite of its artists, but partly because of them.
“True, to make a man ridiculous you must make a ridiculous picture, but a ridiculous picture is not displeasing. If well done, with only the needful, that is to say artistic, exaggeration, it is pleasing. We like to laugh, but we do not like—pardon me—to retch. The only person pleased by an offensive cartoon is its author; the only person pained by a ridiculous one is its victim.”
1900.