In his essay on American keywords, Nikhil Pal Singh identified the literal use of “liberal” to “free men” and use of the colloquial of the term as one of the “foundational intellectual discourses of political modernity.”
In the twenty first century, one identified as “liberal” is often pitted against its counterpart “conservative” with each position slinging the other term as an insult. For conservatives, Singh suggests that describing one as a “liberal” infers that person has a “reckless disregard for traditional values and moral virtue.”
Singh points out that many versions of term exist and interpretations are highly uneven. For certain, the word’s roots come to mean a certain proponent of liberation or freedom.
In Nast’s time and politics, “liberal” was closely related to “radical” and used in his own political faction, “Radical Republicanism.” Singh asks a question that Nast and his progressive Republicans may have continually wrestled with; “How to combine an expansive, even utopian, defense of individual freedom with a stable and cohesive structure of social organization.”
Nast may have agreed with John Locke, who Singh reminds us, envisioned liberalism as a state where individuals enjoy a “natural liberty” and enter into a “social contract” in order to establish a government where life, liberty, and property can be secured (Singh).
Nast historian Morton Keller describes Nast’s Radical Republicanism as more than simply a party affiliation. “It rested on a set of social values that induced him to comment on a wide range of American public issues” (105).
Abolition and civil rights for African Americans, particularly the right to vote, Keller says, represented the “touchstone” of Radical Republicanism. Even after the war, when Negrohobia “prevailed” Radical Republicans believed in a nation of equality. But the rights of African Americans were a priority.
“Nast’s sensitivity to the rights of minority Americans extended to others besides embattled freedmen,” (Keller 107). His vision of America included all minorities – in public schools – at the voting booth and allegorically, at the Thanksgiving table. “The Chinese and the Indians in particular came under his protective wing” (107).
After the Civil War, the preeminent Radial Republican leaders in the nation were Thaddeus Stevens and Charles Sumner (Foner 229). With ideals originating in New England constituencies, the movement was strong in both small towns and family farms – where free labor was self-evident (Foner 228).
Radical ideology embraced the utopian vision of a nation whose “citizens enjoyed equality of civil and political rights, secured by a powerful and beneficent national state” (Foner 230).
After the Civil War, those leaders affiliated with Radical Republicanism “hoped to reshape Southern society in the image of he small-scale competitive capitalism of the North” (Foner 235),
After Lincoln’s death, Radical Republicans placed considerable hope in Andrew Johnson and the promise of northern-led reform. Johnson did not live up to these expectations. Increasingly, Johnson unveiled “an emerging image of the white South’s champion (Foner 190). Radical Republicans felt disillusioned with the Johnson administration and with the president as an individual leader. This reality bitterly disappointed Radical Republicans and especially Nast, who took his angst out in the form of satire and caricature. With Johnson as his subject, Nast embarked on a new phase of his artistic career – personal political cartoon satire.
Nast’ most recent biographer (2012) Fiona Deans Halloran attributes Nast’s German origins and the German community in New York as key in shaping the young artist’s liberal philosophy. Germans in New York especially focused on local political corruption and the national struggle over slavery” (29). As German Forty-Eighters, the community in New York City keenly followed the social movements in Europe. “The fundamental principle of Liberalism was the idea that human history was a story of progress” (29).
This cartoon, published on July 16, 1870, is one of the more curious of Nast’s Chinese pieces. The cartoon addresses the issue of using Chinese labor as an efficient, lower cost labor, thus blurring the definition of contract or forced slave labor known as “coolie” labor. For a nation still coming to terms with the issue of slavery and slave labor, “coolie” labor was viewed as suspect, and a threat to replace free white labor for the betterment of capitalist or business interests. For another perspective click here.
Two Chinese workers stand behind a shoe cobbler. They carry sabers marked “Cheap Labor” on the blades. The cobbler is St. Crispin, the patron saint of leather workers. The cobbler’s hair is styled in a tonsure and a halo hovers over his head. Whether intentional or not, the cobbler bears a strong resemblance to Nast’s hero, Abraham Lincoln. He concentrates on his work and appears to be unaware of his Chinese visitors lurking behind with their swords raised. A violent attack is eminent.
The Chinese man at the far left has an abnormally elongated face and slanted eyes that upturn at an unnatural angle. He clenches two weapons, but he has yet to lunge toward St. Crispin.
At center and directly behind the cobbler is another Chinese man. His facial features are more normal and do not appear exaggerated. His look is intent on what he is about to do. With a two-handed grip, he hurls his “Cheap Labor” blade high over his head, ready to strike the first blow upon cobbler oblivious to the danger.
Nast identifies this as a “New Issue – The Chinese – American Question” and that question is how to reconcile the Chinese into the labor force.
The next issue of Harper’s Weekly reported on an uprising that may have been breaking at the time Nast executed his drawing. In that issue, Harper’s reported on Mr. Sampson, owner of a New England shoe factory. Experiencing financial difficulties, Sampson sought wage concessions from his factory’s labor force. They agreed to consider his request provided Sampson open his books to make sure the owner had done all he could and operated his business above board. Sampson refused this request and instead arranged to recruit Chinese workers from San Francisco. The article makes an explicit distinction that Sampson recruited Chinese workers already in the U.S., unlike that of an individual by the distinctive name of Mr. Koopmanschoop, a labor broker, and capitalist who dealt directly with China for his labor force. The article infers that the methods to import Chinese labor from China were nothing more than disguised slavery. Coolie labor became a subject of everyday discussion and concern, but Harper’s argues, Mr. Sampson was well within his rights to seek out cheaper labor to save his business.
The Harper’s Weekly article takes a favorable view of the Chinese workers. “Since their arrival…their deportment has been excellent, and the prejudice at first existing against them is said to be gradually giving away” (Harper’s Weekly, 23 July 1870). The article included two large illustrations, not drawn by Nast, showing where the factory was situated, and an interior scene of Chinese men working inside the factory without incident. The scene was clean, peaceful and unremarkable.
Presumably, as news of Chinese workers entering American factories in New England reached New Yorkers, Nast quickly created this small cartoon, placed near the back of the issue in the advertisement section. Cartoons of this size, roughly 5 inches by 5 inches, were typically nestled near the advertisements. This section of the magazine may have been blocked out, ready to receive a quick image for breaking news. This would explain why there is no article in the paper about Chinese shoemakers that week, but appeared in the next issue.
The pro-capitalist position of Harper’s Weekly does not describe the Chinese as strike breakers, but according to John Kuo Wei Tchen, this maneuver in Massachusetts and a similar one in New Jersey was a deliberate attempt to break a strike of the shoe labor union known as the Knights of St. Crispin. “The Crispins were one of the largest trade unions in the country, claiming some forty thousand members in Massachusetts alone.” Using Chinese labor in such a manner made national news, and reinforced the perception of the Chinese as cheap, possibly indentured or forced labor. Willingly or not, by undercutting the price of white labor, and working to the satisfaction of employers, the manipulation of Chinese labor played a crucial role in how their racial identities were formed within a Euro-centric America (Tchen 175-176).
As a Radical Republican, Nast believed in the capitalist point of view that saw a benefit by adding Chinese labor to industry. Yet, Nast drew an unflattering portrait of Chinese labor with this cartoon. As John Kuo Wei Tchen notes, “Chinese cheap labor” had become a “war cry” and that was reflected in cartoons and in contemporary poetry, such as Bret Harte’s “Plain Language from Truthful James.” The poem depicts a Chinese character, Ah Sin, as a cunning heathen. Nast would revive Ah Sin nine years later, but this 1870 cartoon reflects the idea infused in the poem that allowing the Chinese to have “unfettered entry” into America was dangerous (Tchen 196). Nast would also play on the poem’s title with his pro-Chinese cartoon “Blaine Language” one of many cartoons which criticized U.S. Senator James G. Blaine for his anti-Chinese positions.
Whether Nast believed in the danger or merely reflected what was discussed on the street—as a topic for conversation— is unknown. The cartoon is inconsistent with the majority of his Chinese cartoons. The figures, however, closely resemble the Chinese men who taunt Denis Kearney in Nast’s 1880 cartoon, Ides of March.
John Kuo Wei Tchen speculates that Nast likely did not have any real knowledge or exposure to the Chinese in New York, and adds that his cartoons “indicate familiarity with the representational conventions of Chinese in literature and on stage, but not much other knowledge” (211). Tchen’s assessment makes sense. The question remains, does that excuse Nast from drawing images like this – or was characterizations like this one purposeful because Nast was simply incorporating the popular view?
This is Nast’s first cartoon of a Chinese immigrant or sojourner in the West Coast. The cartoon establishes Nast’s sympathies toward the Chinese.
Pacific Chivalry sets the western locale and places a central focus on the unique hairstyle or “queue” of Chinese men. During the Manchurian takeover of the Ming Dynasty, it was decreed that Chinese men shave their heads with the exception of a part of the back of the head where a long ponytail, often braided, would remain. In times of battle, the “queue” helped to distinguish Manchu warriors from the enemy. Chinese men faced execution if they did not grow a queue (Spence 38).
In the United States, the queue was a subject of fascination that added to the mystique and perceived feminization of Chinese men who were often “depicted as lacking virility.” In the male-dominated world of western gold mining “Chinese men became targets of white men’s fears of homosexuality or the objects of their desire” (Pfaelzer 13).
Unknown terror awaits this Chinese figure as he attempts to flee from a white aggressor. Wearing a hat that bears the name California, the white laborer bears his teeth in a determined grimace. In his right hand, he raises a whip – a variation of a cat-o-nine whip, believed to have originated to punish African slaves during the U.S. slave trade. He has lifted his left leg to counterbalance his swing and prepares to strike his Chinese victim. His left hand grips the Chinese queue and prevents the Chinese from escape. The force of pulling on the hair elongates the Chinese man’s head.
Shapes of skulls were thought to be indicative of intelligence and placement in an evolutionary hierarchy by stretching out the skull of a Chinese man, the perpetrator, and perhaps the artist offers the Chinese different than the standard perception for human normality. Though he is not drawn as overtly Irish, the working man fits the look that Nast establishes for white labor – gruff, bearded, burly and dominating. The look was repeated in The Chinese Question, 18 February 1871. and other cartoons. It should be noted that the Knights of Labor, an organization formed for white labor interests in western states and territories, and often the instigating agent for violence against the Chinese, did have a large Irish Catholic membership. (See Here’s a Pretty Mess).
The Chinese man is startled by his capture. His fearful expression further distorted by the pulling from the back of his scalp. His sun hat, the douli, has fallen to the ground and his hands are open in a defensive posture, though the threat has come from behind.
To the right, along the railroad tracks rests a small building on the edge of what resembles a small mining camp. The words on the building declare, “Courts of Justice Closed to Chinese. Extra Taxes to Yellow Jack.”
Nast, of course, is mocking California’s definition of justice and the battery of local laws passed by the new state to scare, threaten and restrict Chinese and opportunities in the gold mines, in society and in business.
What fate awaits this Chinese man is up to the reader to decide. Will he be beaten, robbed, driven out of the mining camp, out of town, or sexually abused is not known. With this image, Nast clearly asserts something terrible will occur. “Nast condemned this treatment as an affront to the values of an open society” (Keller 108).
Wood Cut. A form of relief engraving, where the parts of the image that are white or uncolored are carved away from the wood. An image is drawn directly onto a section of wood or on paper that is then transferred to a section of wood and carving is done parallel to the grain. If one thinks of a tree – it is cut lengthwise to form long planks. This would be the type of lumber used for a wood cut. Because of the direction of the grain, wood cuts did not hold up to modern printing presses and wood cuts could not be combined with metal or movable type in modern printing. Harper’s Weekly did not use wood cuts.
Wood Engraving: A relief printing process, like wood cuts. however wood engravings were carved from the cross-cut section of a hard wood tree trunk(boxwood was preferred). By carving on the end of the grain, the engraver enjoyed much more flexibility with tools and could exact very fine lines. By being perpendicular to the grain, cutting the wood in this manner, allowed the block to be inserted into the metal and movable types of the era. The compatibility of engraving and type made wood engraving the established printing process for nearly half a century. This was the image reproduction process used by Harper’s Weekly and the method by which Thomas Nast learned his trade. See a video demonstration of wood engraving here.
Lithography was the process of applying wax or grease onto a stone (less often a metal plate) and carving an image out of the surface application, and creating an image. A description below from the Philadelphia Print Shop, Ltd. :
The process is based on the principle that grease and water do not mix. To create a lithograph, the stone or plate is washed with water –which is repelled by the crayon– and then with ink –which is absorbed by the crayon. The image is printed onto the paper from the stone or plate, which can be re-inked many times without wear. A chromolithograph is a colored lithograph, with at least three colors, in which each color is printed from a separate stone and where the image is composed from those colors. A tinted lithograph is a lithograph whose image is printed from one stone and which has wash color for tinting applied from one or two other stones. Lithography is a planographic process and so no platemark is created when a lithograph is printed.
Lithography was invented by Alois Senefelder in 1798 but didn’t come into general use until the 1820s. After that time lithography quickly replaced intaglio processes for most illustrative and commercial applications, for the design was easier to apply to the stone or plate, it was much easier to rework or correct a design, and many more images could be produced without loss of quality than in any of the intaglio processes.
Lithographs and Chromolithographs were used to print the cartoons and colored cartoons for The San Francisco Illustrated Wasp, and its artist George F. Keller. Their experience with this form of printmaking originated from making cigar box labels.
For an excellent series on the history of printmaking, which includes details and examples of all these processes, I highly recommend viewing Richard Benson’s excellent videos for the MOMA. The videos are available in abbreviated segments (highlights), following the progressive history of printmaking, or you may view the eight-hour comprehensive look (which is broken up into segments for more defined viewing). The technique of Thomas Nast is explained at the 17-minute mark.
One of Thomas Nast’s last cartoons featuring the Chinese was published in the fall of 1885 as a reaction to the Rocks Springs Massacre of Chinese miners, “one of the most violent racial episodes in the history of the West” (Pfaelzer 209).
Harper’s Weekly addressed the massacre in two separate issues, each with an illustration and unsigned editorial commentary (likely by George W. Curtis). While Nast contributed full-sized images on other topics, his sole cartoon on the massacre was a quarter-page-sized image near the back of the issue.
The cartoon lacks the passion and sophistication one would expect from Nast in reaction to the largest racial attack in U.S. history. Perhaps the cartoon was hastily drawn as events became known. The image may have replaced another cartoon slated for the spot – the advertising section always blocked out the area for one or two small cartoons.
Nast’s image may provoke different reactions from those who view it. One common reaction is that the cartoon adopts a pro-Chinese stance, but depicts a sarcastic Chinese tone or voice – one which emphasizes Chinese civility over Western “enlightenment.”
Two Chinese diplomats stand upon higher ground and overlook a scene of mayhem below. They witness the Rock Creek massacre in progress. An assortment of white laborers are pummeling Chinese laborers whom Nast identifies with long hair queue.
The primary Chinese figures are styled in the same manner as the “John Confucius/John Chinaman” diplomat, however, one holds a fan in front of his face. One diplomat stands in profile and faces the massacre directly, the other crouches behind his colleague and appears to whisper in his ear. The fan emphasizes the secret nature of their conversation.
The detail of the cartoon is centered on the Chinese men, and not on the violence below, which is more crudely drawn. Of all Nast’s images of the Chinese, this depiction, particularly of the Chinese man in profile, are strongly feminized. With some minor costume details, these men could be women. This is an unusual tact for Nast to adopt.
It is the caption, and not the image, which drives the satire and ironic definition of civility. White America repeatedly favored the term “barbarian” in describing the Chinese. The caption reads, “Chinese Satirical Diplomat.”There’s no doubt of the United States being at the head of enlightened nations!””
At first glance, the contrast is quite clear. Who are these white people calling the Chinese heathens, barbarians and a race unfit for American citizenship? Look at how Americans behave! This is quite a spectacle of enlightened behavior. On this score, the cartoon is successful.
With a deeper look, the viewer may realize that these Chinese diplomats do nothing but observe the melee. They watch as their countrymen are murdered and driven out. The Chinese are denied the right to earn an honest living – a living they were recruited for by American business and invited to participate in.
One might interpret the Chinese men are gleeful for this opportunity to make a cultural comparison between East and West. Does Nast suggest the massacre serves a higher purpose – an occasion upon which the diplomats can prove their superiority? If so, they make their point at the expense of their countrymen. Still, Nast portrays the two men as inactive. Shock is absent. They feel no outrage by what they witness. Neither is Nast.
Nast chose the cartoon to be sardonic and sarcastic – and on one level, he succeeds in showing his viewers who the real barbarians are. But Nast could have made his point and at the same time, infuse his Chinese observers with a sense of sorrow or anger. Why did Nast not weigh in on the moral argument, as he had done many times before, by simply adding Columbia to the scene? By standing alongside her Chinese guests, shedding tears, Columbia her fist raised in defiance, the maternal icon of American morality might elicit sympathy from the viewers.
Nast followers knew what Columbia meant in his cartoons. Nast chose not to take her to Wyoming. He did not employ her as a moral agent. Columbia’s values and message are absent in this composition. Nast also refused to demonize or detail reports of a predominately Irish-labor mob as the perpetrators of the massacre. While his drawing depicts white upon Chinese violence, Nast chose not to exploit the Irish nature of the mob. Nast’s infamous Irish ape is not present as instigators at this scene.
In reality, response to the massacre by the Chinese government was immediate and persistent as they complained to Secretary of State Thomas Bayard, and argued for prosecution of the murderers and reparations (Pfaelzer 211-214).
Harper’s Weekly’s brief editorial commented on the outrage, expressed in part:
The massacre of the Chinese laborers in Wyoming is one of the crimes which disgrace a people, because it is due to the jealousy and hatred of a race. In excluding the Chinese from the country by law we have especially stigmatized them, and common decency and humanity should lead us to protect those of them who unfortunately happen to be among us, and whom the law shows that we wish were somewhere else.
Perhaps Nast’s state of mind had grown tired of an issue on which he and the progressive Republican base had repeatedly experienced defeat. As Morton Keller has surmised, Nast’s passions were linked to the utopian principles of the Radical Republicanism he championed. “When that spirit faded, so did the force and fire of Nast’s art” (Keller viii).
In the next issue Harper’s Weekly published a full-page engraving based on a photograph taken at the scene of the massacre. Nast had no part in the illustration.
Nast contributed a full-paged cartoon in the same issue, but it did not address the massacre. Commentary on the massacre was left to others. Nast’s career at Harper’s Weekly was coming to a close.
Historical background on the Rock Creek Massacre
In 1862, the United States Congress authorized an act to construct railroad and telegraph lines connecting East and West. The Central Pacific Rail Road (CPRR) was in charge of construction from Sacramento, California to the East. In order to fulfill the enormous labor demands and meet financial incentives offered by the federal government, Chinese labor was recruited. The principals of the CPPR were known as the “Big Four” Leland Stanford, president; C.P. Huntington, vice president; Mark Hopkins, treasurer and Charles Crocker, engineer (Storti 10).
Despite early reluctance from his partners, Crocker recruited thousands of Chinese as railroad laborers, and due to their experience as miners, hired them as coal miners to support the fuel needed for the rail effort. “Crocker brought them in by the trainload” and by 1868, the Chinese “made up 80 percent of the Central Pacific’s work force.” Crocker happily called them “the best road builders in the world.” They were known derisively as “Crocker’s pets” (Storti 12).
Rock Springs was located along Bitter Creek tributary and in an area rich with coal. The path of the Union Pacific Railroad was slated to go right through the coal-rich area. Coal was “a discovery of almost incalculable value to the company” (Storti 34). On the surface, the land, which the Indians had negotiated away seemed inarable and desolate – the poorest tract of land in Wyoming. What lay underneath the soil made it valuable. Rudimentary mining towns quickly sprang up in the area and by 1871 Rock Springs had become central headquarters to the Wyoming Coal and Mining Company (Storti 54).
The year 1873 began a sustained era of severe economic depression which affected the railroad, and other supporting industries including coal mining towns like Rock Creek.
A Wall Street investor, Jay Gould, “had his hands in virtually every major business undertaking of the day” and this included the coal mines at Rock Springs. Gould ordered a series of wage cuts for coal miners in the region. Various labor organizations and miner’s associations threatened and carried out sporadic strikes across many mining camps in the country that supported the transatlantic railroad effort. As these strike continued to percolate on and off, Chinese miners were used as strike breakers or “scabs.”
In 1875, 150 Chinese workers reported for duty as strikebreakers, under the protection of U.S. troops (Storti 71).
Coal mining was “astonishingly dangerous work.” Storti’s book on the Rock Creek massacre provides valuable insight into the details and dangers of the coal miner’s (or colliers as they were known) exhaustive toils. Storti describes it as a “tightly knit brotherhood” of men who risked their lives – rarely saw daylight or breathed in clean air. They were protective of each other and of their wages. They knew the risks they undertook and expected to be paid well for that sacrifice.
Nevertheless, Storti explains, labor management wanted profits to increase and did not think twice about humiliating their labor force. When Chinese miners arrived, they “were routinely given the most productive rooms and were always allowed first choice of rooms when a new entry was opened” (Storti 83). The Chinese were not above flaunting their privileged position, deepening further resentment and competition.
As in other locations where the Chinese gathered to work, a supporting society was quickly established. A Chinatown near Rock Springs flourished.
With the help of Chinese labor, the Rock Springs mining camp tripled its coal production from 104,000 tons in 1875 to 302,000 tons in 1884.
In the fall of 1884 threats of strikes across the region were instigated by invigorated union interests and new pro-labor affiliations, such as the Knights of Labor. Rock Springs avoided these threats and colliers from Rock Springs did not partake in Knights of Labor meetings. But by the summer of 1885, Chinese -White labor tensions reached a breaking point regarding the continued preferential treatment of Chinese workers, with the Chinese gaining the most concessions.
When disputes arose, the Chinese stood their ground and offered no concessions. The confrontations, which took place deep inside the mines, came to blows. Word of the fights made their way to the surface as white laborers began to collect in the streets, “shouting anti-Chinese slogans” (Storti 108-113).
In the 1880s, the Knights of Labor stood as the most powerful labor union in the nation (Storti 103). The Knights of Labor were strong proponents of the Chinese Exclusion Act and their membership was predominately Catholic (Catholic University of America). The Knights of Labor organized 1886 events that led to the Chicago Haymarket demonstration and massacre, though violence was never planned and did not directly involve Chinese laborers.
The white miners had asked the Chinese to join them in a strike. Unwilling to strike, violence erupted. “A force of about 150 Irish-born miners marched to Chinatown armed with shotguns” (Pfaelzer 210).
The mob first fired into the air, demanding that the Chinese leave. As they began to do so, Chinese were shot at directly. Several homes and businesses in Chinatown were burned to the ground. An estimated 400 to 500 Chinese were forcibly driven out, many escaped to the outskirts of town without food, water or shelter where “about 50 died of exposure and starvation as they tried to reach the Green River and escape from the mine” (Pfaelzer 211). The final death toll was put at fifty-one, the highest ever for a race riot in American history” (Storti 142).
Nast drew this full-page cartoon at the height of his attacks on Tweed. Nast took exception to the Democratic politician’s granting of public funds to the New York Roman Catholic Church for the establishment of sectarian schools.
Nast strongly believed in the newly formed public school system and saw the institution as a utopian organ of education – a place where all religions, creeds, cultures, ethnicities and races could attend.
While not a Chinese cartoon per se, at the top and bottom panels, a Chinese child experiences differing educational possibilities and potential treatment that depend on whether or not public or sectarian schools are allowed to prevail. With the establishment of special treatment for Catholic schools, Nast predicts a domino effect that will result in mayhem and violence among New York City schoolchildren.
Still hopeful for an implementation of Radical Republicanism in the era of Reconstruction, in the top panel Nast includes a happy, Chinese boy, joining a multi-cultured group of children at play in front of the “Common School.” Racial stereotypes are applied to all the children in an effort to emphasize the diversity of the student body. The school and its playgrounds are “Free to All,” and “All Hands Round.” With his queue happily tossed in the wind, the young Chinese lad is but one of many that is enjoying play, each child drawn in an obvious way to represent his or her culture. It is the children’s version of Nast’s Uncle Sam’s Thanksgiving Dinner. In both cartoons, the theme and message are the same. The “Union in Strength.”
While this website does not focus on Nast and the public school issue (See Benjamin Justice’s fine article Thomas Nast and the Public School of the 1870s.) It would be negligent not to mention Lady Justice, a relative or incarnation of Columbia, who Nast draws for the first and only time as an Irish woman. Lady Justice may be blindfolded, but she has been bought off by the Irish Catholics, tipping the scales toward the source of the money – and in Nast’s opinion, the corruption. The Protestant side is shown defeated as “Death to Us” hovers over a dejected public school system. Their buildings crumble. Roman Catholics however are elated and exclaim “Fun For Us.” They enjoy the fruits of their influence on the education system and the fine institutions built with taxpayer money. The division of public funds is lopsided.
In the third panel, Nast presents the repercussions of a special school for each ethnicity or race, the consequences that began with Irish-Catholic special interests. Each building in the background brands its own school identity. Everyone places claim on their differences and these differences result in competition and bitterness. The play area is a battleground. Children do not hold hands. Chinese queues do not spin in merriment. The queue, once again has become a tool for oppression – a handle upon which to grip, restrain and torment.
In this scene, Nast shows another victim of oppression becoming the aggressor. An African American child has gripped the queue in his hands and prevents the Chinese child from heading toward his school.