progressivism+political+cartoons

__[]__ AMB-- This cartoon was drawn by Clifford K. Berryman, and published in the Washington Star (presumably, since that was the newspaper he worked for when Roosevelt was running for a third term). He enjoyed cartooning any and all political parties, and did it relatively equally. This was produced in either the Washington Star or Washington Post (but more likely Washington Star) when Theodore Roosevelt was running for reelection, which would have affected the meaning of the material because whether or not Roosevelt should be allowed to run for a third term was a major issue in Washington at the time. It addresses the larger historical issue of the two-term precedent set by George Washington. In order to further understand the material, one would have to understand Washington’s two-term precedent, and how by willingly stepping down from office after two terms, he differentiated the United States Presidency from the monarchies of Europe in that one ruler did not have an indefinite reign which could be passed down to his heirs. By ignoring this unspoken rule of serving for no more than two terms as president, Roosevelt was making an extreme statement of power and control. The major symbol that stands out that affirms this information is the large figure of George Washington labeled “Anti Third-Term Principle.” He is standing in a tall, upright position which suggests dominance, which could mean that his power actually lay in the fact that he stepped down from the presidency rather than attempted to keep control of the country. This work was produced for people who perhaps did not understand politics so well, and needed visual depictions in order to see exactly what was going on in the government. The cartoon does not exactly favor one side or the other, but paints a picture of what the problem was with Roosevelt’s potential reelection. The relative lack of bias makes it a more reliable source, which did not mean to influence the audience’s opinions, but rather to inform. As aforesaid, this political cartoon addresses a potential third presidential term for Theodore Roosevelt versus the two-term precedent set by George Washington. In the cartoon, Roosevelt is cowering beneath Washington’s hand, which is pointing at him, as if calling him out on trying to sneak around the two-term tradition. Some political bias comes into play at this point, for Roosevelt is portrayed as sneaky and attempting an underhand method of gaining control (anything going against the father of the country could potentially be seen as underhanded or dishonest due to his legacy). This is reinforced by the paper in his hand which reads “MY policies, MY platforms, MY issues,” also portraying him as someone who is looking to get power simply for his own sake rather than the good of the country. This is symbolic in another way, as Washington was and is known for working for the good of the country. The main point that the cartoon is trying to convey is that Roosevelt tried to run again for a third term to pursue his political goals, but was taken to task by Washington’s legacy of serving no more than two terms. This material is important because it shows that even a hundred years later, the United States government still looked towards Washington as an example of what the president should be, and that a bid for extended power was highly debated, even though the politician in question was generally well-liked and popular. Overall, it shows that the original ideals of the presidency had not diminished by this time, and that too much power was a threat that government officials as well as the public feared and distrusted.

NDH- In this Progressive Era cartoon, the difference is shown between high and low level thieves. On the top, Boss Tweed is being saluted by the New York police as he walks out of a bank, while on the bottom, a random thief is beaten by the police for stealing bread. In the upper portion, the high end thieves are being saluted for their work. This insinuated that what they're doing has the approval of the city. Also, the people watching in the background look humbled and respectful of the men, which says that what the thieves are doing is viewed as good by society. The men look extremely wealthy judging by what they're wearing and the looks on their faces. This stands in opposition to the man in the bottom cartoon. He is alone, unlike the group of wealthy merchants, and he very clearly has nothing. He needs only food, but the man who owns the shop clearly wont allow him to have any. The people around him look scared, though also poor, much like they were about to do the same thing or were maybe related to him. The policemen all look unalarmed but still hateful, showing that they've seen this before but still wont stand for it. This all comes together to show that people at this time are okay with big businessmen stealing from them, but aren't okay with people stealing from businessmen. The author most likely doesn't like this since political cartoons are typically satirical in nature, and the man speaking to Boss Tweed looks rather suspicious- as though he may be guiling the Boss to look decent-which even further speaks to the cartoons satirical nature. Writing that the cartoon is wholesale versus retail is simply to put the size of the thievery into perspective, more as an analogy than a direct description. 10/31

SW - “Progressive Fallacies” was created by Clifford Kennedy Berryman. He had commonly drawn Theodore Roosevelt, as in this political cartoon, and was the originator of the Teddy Bear. He drew cartoons for the Washington Post and for the Washington Star, which were both big newspapers that received a lot of attention. The big topic before them was the Election of 1912. This cartoon was made right before the election. The purpose was to address the candidates running for office. Theodore Roosevelt is a recognizable symbol in the cartoon. The woman playing the piano is labeled as Miss Insurgency. This addresses the idea that Roosevelt made a third party, called the Progressive Party, and that he was doing better than Robert Lafollette. Lafollette sulks in the background while the woman says that Roosevelt has better ideas than Lafollette. The audience for this cartoon was the voters and the purpose was to show the success of Roosevelt. Before the election Roosevelt said that he would serve no more than two terms. This left the election between Taft and Lafollette. If Roosevelt had not joined the election Lafollette would be the obvious leader. But when Roosevelt did run for office many of Lafollette’s proponents deserted him and supported Roosevelt instead. The cartoon shows Lafollette’s rejection and the success of Roosevelt. This cartoon encouraged voters to support Roosevelt and made fun of Lafollette.

(If, by an error, the cartoon does not display, it can be retrieved from [].)

AVG – This cartoon, “The President’s Dream of a Successful Hunt,” was created by cartoonist Clifford Kennedy Berryman in 1907. Berryman was a famous cartoonist who later won the Pulitzer Prize for his work in 1944, and he was the first to draw a teddy bear to represent the bear Roosevelt spared on a hunting trip, illustrating Berryman’s admiration of the benevolent aspects of Roosevelt’s personality.

This cartoon demonstrates that Roosevelt distinguished between “good trusts,” which were properly restrained by the government, and “bad trusts,” which abused their power and therefore must be destroyed for the good of society. The harness around the “good trusts” represents government regulation to prevent corporations from dominating the market, and the White House in the back represents the government’s power over corporations. Roosevelt’s gun and his foot stamping on the dead bear in the center represent his willingness to exercise his power over bad trusts. According to Richard Hofstadter in “Theodore Roosevelt: The Conservative as Progressive,” Roosevelt became the first president to exercise his powers under the Sherman Anti-Trust Act by destroying the Northern Securities Company in 1902, but he believed that trusts were not inherently harmful and therefore spared any trust that did not threaten society. Roosevelt’s subsequent prosecution of trusts was not as significant as the dissolution of the Northern Securities Company, but Americans would have been focused on economic issues because of the Panic of 1907, so a cartoon on Roosevelt’s economic position would have been relevant.

According to Richard Hofstadter in “Theodore Roosevelt: The Conservative as Progressive,” Roosevelt’s most famous anti-trust prosecution was against the Northern Securities Company in 1902, five years before the publication of this cartoon. However, Roosevelt did prosecute some trusts throughout his second term. Roosevelt repeatedly said that he had no opposition to big businesses as long as they did not harm society; thus, the bear representing good trusts is allowed to live but is restrained by a harness. In contrast, Roosevelt was the first president to use the government’s power (represented by the White House in the background) against “bad trusts” that threatened the interests of society. Before and during the Progressive Era, many Americans suffered from monopolies and oligopolies: farmers were overcharged by railroads, and small businesses were often mercilessly driven bankrupt by monopolies who wanted to destroy them. Thus, many Americans would have welcomed a leader who took action against these “bad trusts,” and Berryman portrayal of Roosevelt as a “trustbuster” likely gained Roosevelt support. However, Roosevelt’s opponents may have disagreed with Berryman’s generalizations: Roosevelt spared many monopolistic corporations, including Standard Oil, and he was reliant on the support of big businesses for campaign contributions. Nevertheless, Roosevelt set an important precedent, and his successor William Taft destroyed even more trusts than Roosevelt did.



KEO- This cartoon was drawn by Udo J. Keppler and it was published in //Puck// magazine in January 1904. Keppler’s father was the creator of //Puck// and his purpose in creating it was to satirize political issues and represent what he considered to be the good and bad aspects of the American government. It was known for its scathing portrayal of controversial issues and this cartoon was no exception. It is based off the story of Jack and the Beanstalk in which Jack confronts and defeats an evil giant; in this case, Jack represents President Theodore Roosevelt and the evil giants represent corporate leaders and perceived robber barons J. J. Hill, Jay Gould, John D. Rockefeller, JP Morgan, and Oxnard. It reflects the revived interest in social reform that came as a response to the new urban-industrial order that had developed into a dominant aspect of American society in the early twentieth century. One of the major concerns of the middle class citizens who led the reform movements during the Progressive Era was the domination of the economy by large corporate leaders. Small businesses were being pushed aside and politics were largely dominated by trusts. President Roosevelt was quick to gain the support of the middle and working class by addressing these concerns. The actions that he took to renew the Sherman anti-Trust Act and break up trusts such as Northern Securities and Standard Oil, as well as his support of the workers in the United Mine Workers Union, likely contributed to Keppler’s decision to portray him as a defender of the public good. The Progressive Era was the first time in which the government was used as a welfare agency to promote public interest and this idea is evident in the inscription on Roosevelt’s sword which reads, “public service.” Roosevelt is preparing to defeat the robber barons in the name of what is best for society, which is the main idea that Keppler is trying to express. Through this illustration, Keppler represents the general sentiments of middle class reformers and workers toward big business and appeals to their concerns by showing what Roosevelt was doing to help. While providing insight into the mindset of progressive reformers, Keppler also touched on an issue that would become a critical part of American society. The divisions between the rich and poor and the supposed corruption of the political and economic systems were dominant themes in the Progressive Era, and are still significant in society today. Roosevelt’s sentiments and his actions to put a stop to the power of monopolies, as demonstrated by Keppler’s illustration, were an important part of the American political system in 1904 and would still be significant in generations to come.



J.R.C.- “How They’re Acting” was a political cartoon drawn by Pulitzer Prize winning cartoonist, Clifford K. Berryman. Berryman was primarily a cartoonist for the Washington Star newspaper, but after his forty-two year long career, he began producing cartoons for the Washington Post. Berryman’s point of view seemed to be very objective with this cartoon, demonstrating the three Presidential candidates on the eve of the upcoming 1912 election: Theodore Roosevelt, Woodrow Wilson, and William Howard Taft. The Washington Post was the present employer of Berryman upon the creation of this cartoon. This newspaper is one of the biggest newspaper publishers of the time and in modern day. Though a daily print is not shipped worldwide, this newspaper distinguished itself through its political reporting on the various aspects of the United States government. Upon realizing the political prominence of the Washington Post, one simultaneously understands the environment in which the cartoon was published and created. This cartoon was produced prior to the contentious election of 1912. The timely manner at which the material produced truly complements the meaning of the cartoon, because it influenced the voter’s opinions on the confidence the candidates that were nominated contained. Most readers encountered this material in the newspaper, seeing how it was the only place where it was published. This cartoon represented the larger idea of the common campaigning discrepancies the Progressive, Republican, and Democrat parties faced prior to the election. The election of 1912 was a four-way battle between Woodrow Wilson, Theodore Roosevelt, William Howard Taft, and Eugene Victor Debs. The outcome of this election had absolutely no expected outcome, often causing dismay and intense campaigning efforts. Understanding this unpredictable situation causes a greater understanding of what the cartoon depicts. Despite the fact that Eugene was not portrayed in this cartoon, the fake personality and the hot-pressed faces the candidates manufactured while performing said intense acts happened to be portrayed as “how they’re acting” in comparison to “how they’re feeling”. The depiction of how the candidates were truly feeling in comparison to the depiction of how they acted reflected the dismay caused by the unpredictable nature of the election. A notable symbol found in this cartoon is simply the eager and pensive expressions on all three candidates. This symbol epitomized their uneasy thoughts and the emotions that followed prior to the election. This cartoon representation was produced to show the true feelings of dismay underneath the fabricated sense of confidence that all of the candidates had, intending on changing the public opinion of these three men. This material does not necessarily inspire or invoke any messages of values, ways of life, or how things should be done; rather, it inspires a different perspective of the presidents of this time, and in modern day as well. Essentially, this cartoon is trying to convey the idea that presidents are as competitive and inspired as anybody else in the face of a contest or, in their case, election. This material is very important because it was one of the first depictions that challenged the fabricated personalities the three candidates often portrayed. This cartoon had a minimal effect on the voters’ opinions, but the victory ultimately went to Woodrow Wilson, due to the split of the Republican Party, which caused Close Friends, Taft and Roosevelt, to turn against each other.

SFH - This cartoon entitled “Uncle Sam Walks the Plank” by C. Gordon Moffat was published in 1899 in The Verdict. Before and during the progressive era many American consumers suffered from the high prices, lack of product variety, and many American businessmen were forced into bankruptcy due to the powerful monopolies. By limiting the number of competitors trusts created oligopolies, where limited number of sellers could greatly influence market conditions. Americans were fearful of complete obliteration of competition especially after the government in an attempt to ameliorate the trust situation reorganized the Standard Oil trusts in to a holding company, which inevitably brought increased profits to Standard Oil. Industrialist’s rapacious tactics, semi-monopolistic control, and sky-high earnings provoked public outcry. This created the grounds for which C. Gordon Moffat was to illustrate “Uncle Sam Walks the Plank”. The cartoon shows Uncle Sam on the brink of death due to big business (the pirates) taking over America; the caption below the cartoon reads ‘One sees his finish unless good government retakes the ship”. We also see the American flag on the deck being stomped on and replaced with the TRUSTS skull and t-bones flag. The caption below the cartoon and the replacement of the American flag exemplifies the fear in Americans as to the direction of their nation. Although the replacement of the American flag may have been an exaggeration as to the true intentions of the wealthy industrialists, Moffat was intending to illicit fear in his audience and (especially to those who could not read) this symbol would be extremely poignant.

MRL -

The political cartoon //Hands Off!//, published in __Puck__ magazine, drawn by Udo Joseph Keppler, jr. and printed by Halrymple Chromo Lithos company, parodies "Roosevelt's Corollary", which was Theodore Roosevelt's enforcement and interpretation of the Monroe Doctrine. The cartoon was drawn in 1905 for the American edition of __Puck__. Since the magazine was published across the United States, it can be speculated that the intended audience of this cartoon encompassed the majority of U.S. citizens interested in politics. Despite being created in 1823, the Monroe Doctrine did not have a significant effect on international affairs until Theodore Roosevelt's presidency. Although the original intention of the Monroe Doctrine was to prevent any European countries from directly ruling independent countries in the Western hemisphere, Theodore Roosevelt twisted the meaning of the Doctrine in order to reinforce his claims that America had the right to intervene in affairs dealing with countries south of the United States. This was known as "Roosevelt's Corollary", and was considered highly contradictory and hypocritical at the time. Roosevelt argued that the Monroe Doctrine, which was intended to stop all interference with countries of the Western hemisphere, only restricted European rulers, yet the U.S. interference in these small, powerless countries, was in fact justified. This spurred the creation of //Hands Off!// in order to make Americans realize the contradictory nature of Roosevelt's claims. The cartoon depicts Theodore Roosevelt "defending" the Carribean country of Santo Domingo from a European monarch through the use of the Monroe Doctrine, but in reality the overwhelming force Roosevelt exerts to fend off the European showed the President's interest in American influence and control of the smaller countries of the Western hemisphere. Thus, this cartoon reveals the contradictory nature of how Roosevelt used the Monroe Doctrine to stop European influence in the Americas not for the protection of independence but the protection of his own interests.

== EMB—America’s first successful political and social humor magazine //Puck// was started by Austrian cartoonist Joseph Ferdinand Keppler in 1871 and published in both German and English until its production ceased in 1918. This particular cartoon appeared in 1917 from the magazine’s headquarters in New York City. New York City was growing quickly as a center for the women’s rights movement during the Progressive Era; thus the cartoon reflects the views from which it came. It is easy to recognize what the cartoon's subject was because the writing on the wall begins with the "woman’s sphere.” I’ve learned prior to viewing this cartoon that back before and during this time period, the woman’s sphere was considered the household and nothing but. Also, the woman depicted is the focus of the cartoon and thus it is assumable that the purpose is to address the women’s rights movement. The audience this cartoon was aimed at includes women who were not participating in the movement quite yet and men who were opposed to it. Women were more likely to be influenced by the cartoon because it made them contemplate their role and to what extent they wanted their role expanded. Men of the time period would react negatively toward the cartoon unless they were of the small number of men who supported the women’s right movement. The Progressive Era is noted for the increase of just what it was named for, progress. The women’s rights movement increased its activity during this period and thus this article was published at an opportune time when it would impact readers of //Puck// the most. Due to this movement being so established in the magazine’s central location, it was inevitable that it would be addressed within the magazine. This cartoon showed that women wanted their right to participate in all aspects of American society and pushed for the women’s rights movement as it does not ridicule the focal female character in any identifiable way. The cartoon ultimately advertises the movement and pushes for its continuation during and throughout the Progressive Era.

ADB - 

If for whatever reason this cartoon is unable to be viewed, it can be found here: [] This cartoon, “An American __Sham__-Rock”, was created by Emil Flohri for the March 14th (Saint Patrick’s Day), 1908 edition of //Judge//. It depicts Democratic candidate William Jennings Bryan, the face of the Democratic Party (that is, the most popular candidate), during the election year 1908, and Bryan’s third attempt at the presidency. In the 1896 election Bryan had advocated for “free silver” (changing from the gold standard to the silver standard) in America, which would multiply a person’s monetary assets by 16. The resulting inflation would allow farmers and other persons to pay off their debts with much less difficulty (which had previously proven difficult as a result of the Panic of 1893 coupled with the gold standard). In his second run at the presidency in 1900, Bryan advocated for free silver as well as anti-imperialism, the second point directed primarily at McKinley’s ongoing war against the Filipinos which had begun the previous year.

In the cartoon, Bryan is depicted, in true St. Patrick’s Day fashion, as a shamrock. He was an Irish Catholic, and had gained a large vote from that particular group. The overall purpose for this cartoon was, of course, to discredit Bryan with blatant propaganda by the Republican Party. This cartoon was simply one of scores, which underlines his effects on the Republicans, whether it was amusement or fear. The emphasized “sham” in shamrock in the cartoon’s title is most likely a reference to the previous election, to remind readers that Bryan waffled on issues, and was a fraud; this refers to his anti-imperialism claims in 1900, when he had allied himself with millionaires like Andrew Carnegie. The irony of this is that anti-trust and anti-monopoly politicians would have pointed straight to these individuals as imperialists at home. The “another nomination” subtitle on Bryan’s face is the diction that basically explains why his face is a wide shamrock: he was a very “cheeky” (pun intended) man (even the face he’s given has a mischievous look upon it), and the Republican audience (the primary audience of this depiction), also known as the readers of //Judge//, were supposed to feel appalled by the gall that Bryan had in running a third time. “Destroy vested wealth” is most likely a Republican shot at Bryan’s advocacy of the inflationary free silver concept, since it would cheapen the value of American wealth, even if their bill amounts would increase. “Bust the trusts” refers to his opposition in the 1908 election to the existing monopolies in American society; this seems the weakest shot at Bryan, since Republican Teddy Roosevelt, the previous president, was also a trust-buster (though in Roosevelt's case he had the power to shut them down). Overall, this cartoon seeks to put William Jennings Bryan in a negative light, making him out to be an impudent destroyer of wealth and prosperity in America.

JT The artist who created this political cartoon was clearly a republican who supported Theodore Roosevelt’s presidency from 1901-1909. This material was produced during the presidency in order to rally support for the president who is encircled evils he wishes to destroy such as trusts and destruction of forests. American citizens would have encountered this material when reading newspapers. The lions represent the challenges that Roosevelt tackled. The image shows him whipping them into submission, which he did with the disintegration of many trusts such as Standard Oil, and the creation of national parks. All of Theodore Roosevelt’s intentions were centered on a progressive standpoint that big business needed to be controlled and that the middle-class should be respected. The intended audience of this cartoon would be fellow republicans who could see the picture and feel pride for their brave and successful president. Democrats, on the other hand, may have disagreed with the cartoon and preferred to see the lions dominating Roosevelt, not the other way around. At the time, Roosevelt was considered the people’s president, and was loved and supported by most. This cartoon is a tribute to all the obstacles he tackled and the good he did in settling America’s lions such as J.P. Morgan. This material is important because it reflects the reverence that Americans felt towards Roosevelt and his reforms, both of which helped to define to Progressive Era.

EMB—“I Believe in Giving Every Man a Square Deal” is a political cartoon that was drawn by Edward Windsor Kemble to appear in Harper’s Weekly on March 9 of 1912. Harper’s Weekly was a political magazine started by James, John, Fletcher and Wesley Harper; it was published between 1857 and 1916 in New York City. During the Progressive Movement, the magazine focused mainly on political and social issues of the time period. This specific cartoon was produced several months before the Presidential Election of 1912 and depicts Theodore Roosevelt scheming to steal the Republican nomination from William H. Taft. During the time of which this cartoon was released, the public was in knowledge of Roosevelt looking to resume another term as a result of his opposition of his former friend Taft. The cartoon suggests that Taft is doing right by running again while Roosevelt is trying to “mug” him of the opportunity. Prior to seeing this cartoon, I was already aware of the Taft versus Roosevelt candidacy conflict. I was also aware of the “square deal” Roosevelt had proposed during his term in office which promised fair settlement between laborers and heads of business. The cartoon is mocking Roosevelt’s policies and making him out as stubborn while blinded by rage against Taft to the point where he is making a fool of himself and out of his policies. American voters who saw this cartoon were forced to look at the highly esteemed Theodore Roosevelt in a different perspective, resulting in them holding him in contempt. This was exactly the purpose of the cartoon though; Kemble was aiming to put Roosevelt in the wrong and to make Taft look like he deserved the candidacy more just by following the road he was already on.

checked 11/7



NDH- This cartoon of unknown origins was likely in a newspaper run mostly by women, as it is very clearly pro-women. It is a simple picture depicting the difference between what America was like and it what women predicted it would be like if they could vote. On the left of the huge vote, there is your standard progressive era city in the dark, which could represent that it was in the dark ages or that it was clouded from seeing the light of women’s voting. There are people rioting the giant vote, either trying to eliminate it or get through it. All of the rioters appear to be men, as women would already be on the other side of the sign. The waterfall coming out of the city and into the abyss below represents the city plummeting into darkness. There is no life other than rioters, there is smog everywhere, and things just look dark; all of this to make city life look bad. On the right side of vote, we see a prominent change of everything. For starters, the sun is shining in bright, indicating that those on that side have seen the light. The people are not rioting, for they like what they have. There are trees everywhere and things look more natural and happy. You can tell this side represents the side with women’s voting because the script and the woman’s hand are on this side. The right side not only looks happier, but also very much like the standard depiction of ancient Rome, which was extremely prosperous. This was likely done intentionally to make the right side seem more appealing yet again. Overall, the side with women’s voting, or moreover, after at least one woman’s vote, is made to look significantly better. This image is extremely pro-women’s voting and was drawn to make others see how much better the world would be with it.

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VB- The cartoon displayed above was created by Leonard Raven-Hill in May of 1912 in //Punch//, a weekly British magazine that was prominent in the United States for its satirical images. The author is most likely in support of Woodrow Wilson; however it is all possible he is a moderate because this is a foreign magazine. The author is satirizing how the great friendship between Roosevelt and Taft was broken apart over the election and displays Uncle Sam overlooking the two men fighting. In this cartoon Uncle Sam represents the voters in America witnessing the public dispute between the two men. Although this cartoon is displaying the decline of Roosevelt’s and Taft’s friendship it is discussing the upcoming 1912 election. The occasion of this cartoon is very important; this was published for the upcoming election when Theodore Roosevelt created the Bull-Moose party to run against William Howard Taft. These two men were good friends outside the political arena, however this cartoon shows them fighting due to the events that occurred during Taft’s term in office. This material was produced to help show the controversy that surrounded around the election of 1912. The art depicted would target American voters for the upcoming elections and might have resulted in voters rethinking their position in the upcoming election providing Woodrow Wilson with additional swing voters. Additionally, the text shown at the bottom “For Auld Lang Syne” is a well-known Scottish poem that is associated with an upcoming New Year. This represents the change this election could bring for America marking a new period of time if the dispute is not solved between the two men, resulting in a president from the Democratic Party. //Punch// magazine continued to publish similar cartoons like this one indicating a strong belief in this crucial election.

KBM-

KBM A surprising aspect of the times prior to the progressive era was how little the nation-wide public knew about corruption in many aspects of their lives. For those who were aware, there was little they could do about it except write and expose, which quickly became a common occurrence. Roosevelt was a progressive leader who coined the term "muckraking" within journalism. Muckraking journalists were generally the journalists who exposed the widely unknown corruption to the nation in order to get political progressive reaction and fix said problems. Prior to muckraking journalism, things such as corrupt political machines, unhealthy meat packing practices, and further corrupt business practices many times went overlooked or ignored by larger politicians. Muckraking journalism manages to expose the harmful effects, somewhat hyperbolically, so that they could no longer be overlooked. Roosevelt, as displayed in the cartoon, acted as a muckraker, responding to muckraking journalists’ cries and ‘cleaned up’ the senatorial corruption or ‘muck heap’. The popular indignation rose up and became a force that supported TR’s actions hence the cloud of Popular Indignation raining on the muck heap of senators. The progressive era emphasized the significance of the people as they began to further feel like they could make a difference through exposing corruption.



AJJ- Bernard Partridge, English cartoonist and chief illustrator of //Punch// published “The Rough Rider” on September 25 1901. Partridge, a noted Theodore Roosevelt supporter, portrayed Roosevelt in an extremely positive way. This picture, drawn in 1901 a few days after Roosevelt was inaugurated president, displays Partridge and //Punch//’s jubilation at seeing Roosevelt finally become president. The largely British audience is likely to approve of this cartoon which simply wishes luck to the new American leader. In the picture, Roosevelt is depicted as a “rough rider” as he rides a horse draped in the American flag. The ragged terrain appeals to the blue collar audience who can relate to the way Roosevelt is portrayed in this picture. The stern look on Roosevelt’s face makes Roosevelt look like a serious leader who is prepared to lead America to prosperity. This picture reveals Partridge’s views on life as he sees Roosevelt as the ideal man and leader. The overall point that is conveyed in this picture however, is that America should be proud of its new leader and the general English public should approve of his presidency. This material is important because it affected the English view of Roosevelt who wished him luck and were eager to see what he would do as president.

    Clifford K. Berryman drew this cartoon. He was a Pulitzer prize winning cartoonist. Worked for the Washington Post. The author seems to be looking down upon the idea of a third term for Roosevelt. The paper that paid for this cartoon was a very famous and well respected paper. This material was produced in the US in 1912This would be right around the time that Roosevelt would be running for another one. Audiences would generally encounter this material in their papers which are readily available. This material addresses the two term only policy by George Washington. It would be important to understand the public’s view of Theodore Roosevelt. The ghost of George Washington is both a figurative and literal representation of the two-term principle. This cartoon argues that presidents should only have two terms. This cartoon discusses a largely held belief by many Americans as to how long their president should preside. The main idea of this cartoon is that Theodore Roosevelt. checked 11/14