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.
Nast draws a contrast from Pacific form of “chivalry” compared to from the respectful way Columbia introduces the Chinese to American society.
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).