I found this Slide Share on the Internet, likely made for a high school classroom. It has some interesting images (photographs and illustrations) by Nast (not sourced from this website) and other artists. Difficult to source who produced this slideshare.
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 pronounces, “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).
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).