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diff --git a/old/69107-0.txt b/old/69107-0.txt deleted file mode 100644 index e274082..0000000 --- a/old/69107-0.txt +++ /dev/null @@ -1,1535 +0,0 @@ -The Project Gutenberg eBook of International cartoons of the War, by -H. Pearl Adam - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: International cartoons of the War - -Editor: H. Pearl Adam - -Release Date: October 7, 2022 [eBook #69107] - -Language: English - -Produced by: Brian Coe, Brian Wilsden and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The - Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK INTERNATIONAL CARTOONS OF THE -WAR *** - - Transcriber's Note: Italic text is denoted by _underscores_. - - - - - INTERNATIONAL CARTOONS - OF THE WAR - - - - -[Illustration: PUNCH, OR THE LONDON CHARIVARI.—AUGUST 12, 1914. - - BRAVO, BELGIUM!] - - - - - INTERNATIONAL CARTOONS - OF THE WAR - - SELECTED WITH AN INTRODUCTION - - _by_ H. PEARL ADAM - - [Illustration] - - E. P. DUTTON & CO. - 681 FIFTH AVENUE - NEW YORK - - - - - The design on the Cover is reproduced from the Colour-Plate—Rheims - Cathedral—by Marcel Gaillard. That on the Title-page is reprinted by - permission from _Le Mot_, Paris. - - - - - International Cartoons of the War - - - - - INTRODUCTION - - -THE HISTORIAN who, a couple of centuries hence, tries to get at the -real kernel of the great War, will find himself overwhelmed with -material, buried under evidence, like the great authority on Penguinia. -Every doubtful point will be clearly and irrefutably decided for him -in at least seven different ways. A burning sense of conviction may -be his, but he will not be sure which conviction it is. The lot of -the historian has changed for the worse since the days of Herodotus. -It no longer suffices for an account of a battle to be possible if -not probable, marvellous if not possible, for it to rank as history; -mankind chose to start on the thorny quest of Truth, and is now -beginning to see that in every affair there are exactly as many Truths -as there are actors. - -When the war broke out in August, 1914, the curious art of conveying -a knowledge of thoughts and fact between two or more human organisms, -the only art or appliance which man has really invented without -referring to Nature—the art of writing—was resorted to on every -hand. An unprecedented crop of war books began to sprout from the -blood-fertilized fields of Flanders. Men might safely exclaim: "Mine -enemy hath written a book"; they had perforce to add: "And so hath -each of my friends." They poured from the Press, little books and big, -sober and hysterical, speculative and emotional. After them came the -sedate polychromatic procession of Government literature. Along with -them flowed the swift and multitudinous efforts of journalism. And in -a very short time began those strange enterprises, at once droll and -portentous, the Serial Histories of the War. - -What the great historian will make of all this when his time comes to -correlate it, it is difficult to say. If he feel conscientiously bound -to consult contemporary evidence, there is little hope for him, unless -he takes the bold step of writing a historical novel out of his inner -consciousness instead. - -But there will be at least one unfailing guide for him. The very -increase in mechanical processes which contributes to his undoing in -the matter of books, will come to his aid with regard to pictures. -Every great event since the invention of mechanical reproductive -processes has produced its due reflection in the mirror of the artist. -The crude old broadsheets told their tale of the Napoleonic wars -more vividly than any historian could; and the present struggle, -while it slew nearly every other art for the time being, worked up to -fever-pitch the output of pictorial comment. In France, where this -form of expression has always been popular, an unexampled flood of -cartoon and caricature poured from artists both celebrated and unknown. -Other countries followed suit, in proportion to their national liking -for prints; and the evidence supplied by this mass of international -material is as direct and reliable as anyone need demand. - - - II. - -THE VALUE of the contemporary cartoon is very great; for it deals -almost entirely with what people are feeling, in distinction to what -they are doing. It uses their deeds as a mere background to their -emotions, and it is only the emotions which count. What the soldier -feels, the sailor, the mother at home, the man in the street—these -are the really important things, for it is these things which are the -causes of events. If enough ordinary people want peace at any price, -the Governments of all the States in the world will be powerless to -wage war one moment longer; if enough ordinary people consider their -honour involved in fighting to a finish, emperors and kings and -presidents and trade unions and the N.C.C. will united be unable to -break the smallest twig from the olive. - -The material of the cartoonist is drawn from sources useless to the -writer, or at best, of only ephemeral utility. A chance-heard remark, -the expression of a face seen in the street, the glances turned on a -wounded man as he hobbles by on his stick, the ineptitude of a comment -on the day's news—these are the media by which the cartoonist conveys -his view of what his country feels. And he has this advantage over the -writer—that a well-done drawing is a volume in itself; in one glance -the eye has absorbed the background which a tedious explanation is -necessary to convey in words, and is free to take in the essential -meaning of the drawing. A picture appeals as directly to the eye as -does a sunset, or as food to the stomach, or a soft bed to the tired -body. It uses a natural sense, not a cultivated faculty. - -Cartoons are meant for the man in the street; they are meant to tell -a story, to convey some feeling or idea rather than to be an artistic -rendering of an object or collection of objects. Therefore artistic -canons apply to them in this limited sense—that while the great -cartoonist may and must be as big an artist as he can, he must first -of all remember that he has to explain himself and his subjects, or -he ceases to be a cartoonist at all. A Futurist Forain, a Cubist -Raemaekers, are inconceivable because they would be quite useless as -cartoonists, whatever they were as artists. - -The artistic value of the cartoons issued in all countries—and in -some cases it is very great—is a matter for future discussion. It is -of no present importance. What is of some actual value is a comparison -between the cartoons of the various countries, for they show with -unfailing accuracy the trend of public opinion. From the human point of -view this comparison is invaluable to the student of humanity in the -present upheaval. From the cheap postcard to the twopenny broadsheet, -from the most commonplace poster to the finest lithograph, each has -its place. To collect these things is not only very interesting, but -most enlightening; the national spirit and the national moods of each -country are unmistakably portrayed, and the crudest production takes -rank with the best as a human document. - - - III. - -THE GOOD cause has always produced the good cartoonist—witness the -Napoleonic wars, when England rejoiced in Gillray and Rowlandson, while -France had no topical draughtsman of any outstanding merit. So far -as one can tell, this is very much the case with the present war. At -any rate, the good cause has produced its good men, and, judging by -what one can manage to see of German caricature, they have no mind of -any large calibre at work on cartoons. This is, perhaps, because the -greater part of the German drawings I have seen are intended to rouse -hatred, scorn, and anger. Clever they certainly are, but too many of -them are spiritually debased. The best are those directed against -England, which are dedicated to hatred, a passion greater than scorn or -anger, and consequently more elevating in its effects. Otherwise the -German cartoonist has not distinguished himself, in the sense that the -war has not raised him above himself. - -This can certainly not be said of France, where a crowd of new men have -appeared, and where the well-known draughtsmen of pre-war days have -been roused to unprecedented excellence by their emotions. At least -one of them, M. Forain, has made history with his pencil. There came -a time, when the first excitement had died away, when the victory of -the Marne had for months been followed by stagnation—stagnation in -victory, progress in casualties—a time when no news ever came, when -Paris was left in a kind of twilight of suspense and endurance, when -the economic pinch began to be acutely felt, when bereaved wives and -mothers were told in the morning that their loved ones "were gloriously -dead for their country," and read at night that "there is nothing to -report on the front; the night was calm." And for just a moment the -human need and sorrow of the individual cried louder than the pride -of country. "It's very long, this war!" "What I want to know is, how -much more do they expect us to endure?" "Could defeat be worse than -war?" and even the sinister "if we win," were phrases that crept into -conversation. It was hardly to be wondered at. France had expended so -much energy on her magnificent effort in August, '14, when her very -babies bore themselves proudly and with self-control, that she was -bound to feel the reaction. - -It did not last long, and it was Forain who swept it away by a dose -of strong tonic. He drew two French privates in a trench, snow and -hail and shrapnel raining round them, in conditions as bad as the -most anxious mother's nightmare could have pictured them. And one -says: "If only they hold out!" The other, with a look of great -surprise, enquires: "Who?" "Those civilians!" In a week that drawing -was historic, and civilian France, with a blush and a laugh, had -pulled herself together. M. Forain does not care to have his drawings -reproduced, or this famous cartoon would have been included in this -book. - -Nor, unfortunately, will M. Jean Véber have his cartoons reproduced -till after the war, which deprives us of that Napoleon of his, standing -on his own tomb and crying "Vive l'Angleterre," which created such a -stir on both sides of the Channel. "La Brûte est Lâchée," by the same -artist, is one of the most impressive drawings France has produced -since the war. Published so early as September, '14, it represents the -Prussian monster, madness and fury in his face, starting out like an -unleashed animal on his career of destruction. - -This print was the first to indicate the enormous boom in war-drawings -which has characterized Paris. Published at 5 francs, it was within a -few months unobtainable under 500. Collectors took the hint, and the -drawings of Forain, Steinlen, and other well-known artists were eagerly -sought after, and rose to very high premiums. The character of the -prints changed; with the exception of M. Véber's series, the greater -part of the drawings published outside magazines and newspapers had -been cheap, ranging from threepence to two francs each, and including -some publications of deliberately naïve construction and crude colours, -others which achieved without deliberation a startling likeness to the -old broadsheets with their childlike simplicity. Postcards and prints -fairly flooded Paris in the first few months of the war, but since the -collector appeared on the scene in his dozens the cheaper publications -have been displaced by more ambitious works that range up to a hundred -francs each, and have crowded out the smaller artist, the smaller -print-seller, and the smaller collector. - -This variety of output has been increased by the publication of -many illustrated war-papers in Paris, such as _Le Mot_, _l'Europe -Anti-Prussienne_, _l'Anti-Boche_, _A la Baïonnette_, war editions of -already established papers, and a crop of crude halfpenny papers, -printed after the Epinal manner, and greatly used by children and the -very low classes. A coloured history of the war, of extraordinary -naïveté, issued in penny sheets, was intended for use in schools, but -achieved an additional success in hospitals, where the thin sheet was -easily held and folded, and the incidents depicted roused the liveliest -interest among the wounded. - -In the whole of this output it is difficult to find any sign of -wavering in the national spirit of France. Once the civilians had -decided to hold out, there could be no other stumbling-block. -Naturally, in such a range of drawings, there are many that drop into -brutality on the one hand, vulgarity on the other; but the overwhelming -majority breathe a spirit of calm, determined endurance, with a ready -laugh for hardships, a sly dig at politicians, and no little irony at -the expense of their own weaknesses and foibles. Very often, so often -as to set the key for the whole, the note is heroic, sometimes grimly -so. There is none of the splenetic fury of the German drawings about -the majority of the French ones; the Germans are ridiculed and hated, -it is true, but the spirit is more steady and less spiteful—it rests -on an emotion which for forty-five years has been a religion to the -Frenchman. - -The English cartoons are as different as possible from both the French -and the German. We have no separately published prints, our postcards -have been few, vulgar, and negligible; our cartoonists are really -only offered the pages of newspapers and magazines in which to exert -their influence over us. And there cannot be two questions as to that -influence—it is the influence of good humour. The French mistake it -sometimes for indifference, but the English know better. The Germans -say they mistake it for frivolity, but they so foam at the mouth about -it that one suspects them of glimpsing the spirit behind the smile. The -grim note of Steinlen and Forain is almost wholly wanting from English -cartoons. The Kaiser, who is a devil in France, is merely making an -unholy fool of himself in England; the Crown-Prince, a mass of vice in -Paris, is "an awful silly blighter" in London. Will Dyson, the young -artist of whom Australia has such reason to be proud, is our grimmest -product, and even he lets the Prussian off more easily than do the -French artists. Because, after all, don't you know, we're going to -thrash the brutes, but there's no need to make a fuss about it, hang it -all. Let us have our pipe and our grin, and let us keep to those till -the end. For the Lord's sake don't let us have any heroics—those are -for doing, not for showing. That is the attitude which one finds over -and over again in English drawings; not contempt of danger, so much as -a serene determination to grin at it and have no fuss. - -_Punch_ has come out brilliantly in this particular. Allowed by -tradition to have two heroic cartoons a week, the rest of his pages -are dedicated to the god of laughter. Germany reads _Punch_ with -stupefaction. What, we not only laugh at the Germans, we laugh more -at the English! Extraordinary, sinister, effete, degenerate race! It -is true, we laugh at ourselves far more than at anybody else—and -very often it is for that painful but cogent reason, that we may not -weep. Perhaps at the front they laugh wholeheartedly at _Punch_; at -home it is a different laugh that greets Tommy in his imperturbable -good-humour. In the midst of a hell of fire, Tommy says that what with -the beastly Belgian tobacco and the blooming French matches, this'll -be the death of him. Sitting on the edge of a trench which consists of -nothing but mud and water, in a fearful downpour, he remarks that he -pities the poor fellows at home—the London streets must be something -awful! And on a dozen other occasions he has expressed that cheery soul -of his, in a way as charming as it is moving. - -As for the Germans, perhaps Mr. Punch reached his happiest moment when -he gave us the German family "enjoying its morning hate." A French -paper copied that with enjoyment tinged with bewilderment, since the -idiomatic "morning hate" was beyond the French editor, who published it -merely as "a study of a German family at breakfast time". The Germans -have not published it at all. - -Nothing more light-hearted and good-humoured than Mr. Heath Robinson's -fantastic inventions (such as the Tatcho bomb) could be found—unless -perhaps, in the inimitable "Big and Little Willie" of Mr. Haselden, -which have given pleasure to countless people, at the front and at -home, and have caused howls of Majestätsbeleidigungisch laughter in -German trenches, when Tommy has been so kind as to throw a copy over. - -England has never taken cartoons so seriously as has France, nor has -she a public for separate topical prints; but she has done as much as -she can, for her war cartoons accurately express her mind, and that is -their real function and constitutes their real value. - -Neutral countries have had to be careful in some ways; it is difficult -to find any interesting war-prints or postcards on sale there. What -there are are rather insipid, at any rate to the Allied mind. But in -individual newspapers and periodicals the struggle has raged fiercely -by pen and pencil, pro-Ally or pro-German. Mr. Robert Carter, for -instance, in his drawings in the _New York Evening Sun_, has spoken -with no uncertain voice, as one of his cartoons in this book will -witness. Spain has had more pro-Ally cartoons than one might have -expected, Scandinavia has been very discreet—Italy never was, even -before she came in. - -Holland remains, and well has she shown that she still possesses -that spirit of resistance to the oppressor which dictated the pages -of her superb history. Small in size, in a geographical position of -great danger, her economic interests very largely identified with the -welfare of Germany, Holland might have been excused for holding her -peace. Everyone knew that German influence was, and is, very important -in Holland; that the Netherlands reek with German espionage, and that -method of commercial penetration which is one of Prussia's most valued -weapons. Yet none of these things sufficed to silence the Dutch love of -liberty and hatred of oppression. A band of Dutch cartoonists, hot with -indignation, took the bit between their teeth, and ran away with their -pencils, their papers, their public, and, if their startled Government -is right, very nearly with Dutch neutrality. Anyone who has watched -Dutch drawings must have been impressed by the fire of the pro-Ally -artists, Braakensiek, Albert Hahn, Peter van den Hem, and Lazrom. -Neutrality is too pale for them. - -And, of course, there is Louis Raemaekers. Only a neutral could have -done what he has done; but it might not have been done at all had not -Raemaekers arisen with his accusing pencil. In his work the war takes -on its right colour, as something far above international hatreds or -the struggle of policies, far above even a battle for the welfare of -peoples whose interests are opposed. It appears in its right aspect, -as a spiritual conflict, more deadly, more earnest, more vital, than -any revolution or reformation or war since that struggle in which -proud Lucifer fell. This is every man's war, the world's war, the -war of God and devil. And, taking this heroic view of it, Raemaekers -has stepped into the rôle of Tragedy, which is "to arouse pity and -terror, and the noble movements of the soul." His "Prisoners" and -"Barbed Wire" (Plates XXII. and XXIII.) show well his detached, tragic -quality. There are many of his drawings which are too dreadful to be -contemplated for long—"Slow Gas Poisoning," the German thief trampling -in blood that drops from his heavy sack, the professor and the devil -leering delightedly into each other's eyes. But after such horrors -one comes always back to the exquisite tenderness which is the real -distinguishing characteristic of Raemaekers. The young German soldier -who writes home that "our cemeteries now stretch nearly to the sea" -is as tenderly drawn as are the widows of Belgium. The tenderness of -strength is the heart of the tragic spirit, the heart that bleeds for -suffering and weakness, the heart that grows hot for injustice and -wrong. It is this spirit, with its heart of tenderness, that has made -the fame of Raemaekers. It is not comfortable nor pleasant to be roused -to the tragic sentiments, but it is right that we should; and had the -Allies needed any reassurance as to the nature of the reason for which -they fight, Raemaekers' work would have supplied it. The good cause -has found its good artist, and he is all the stronger because he is a -neutral. Like Truth in the cartoon with which this book closes, he has -held up the mirror to the Prussian, and we can see, Germany can see, -the whole world can see, what kind of soul is reflected therein. - - - - - ENGLISH CARTOONS - - -I. The famous cartoon by F. H. Townsend, "Bravo Belgium," fitly - appears as the frontispiece to this book. It is reprinted from _Punch_ - by permission of the Proprietors. - - -II. REHABILITATED! - - Germany (to her Professor): - - "What if we do not fulfil our promises—the whole world must now - admiringly confess we are men of honour—we fulfil our threats!" - - By Will Dyson. First published in _The Nation_, May 15, 1915. - -[Illustration: II.] - - -III. AUDIENCE. - - _Prussianism._ "... And Poets, Professors, Instructors of the Young, - let it be Your divine labour to quicken our Germany with a hate of - England so vast, so holy, so unappeasable, that WE need fear no more - the danger of her hating US." - - By Will Dyson. First published in _The Nation_, May 8, 1915. - -[Illustration: III.] - - -IV. THE BAFFLED BURGLAR. - - _The Burglar_: "I've got the swag, but strafe that copper! I can't get - away with it, and there's no food in that beastly cupboard!" - - By "F. C. G." First published in the _Westminster Gazette_, February - 11, 1916. - -[Illustration: IV.] - - -V. This very Haseldenian page speaks for itself. - - By permission of the Editor of the _Daily Mirror_. - -[Illustration: - "I'M AN EAGLE!" - - "I SAY I'M AN EAGLE!" - - "DOES ANYONE DARE TO CONTRADICT ME?" - - "I AM AN EAGLE!" - - "I WILL BE AN EAGLE!" - - "AREN'T I AN EAGLE?" - - V.] - - -VI. IMPERIALISMUS. - - Under this laconic title Mr. E. J. Sullivan shows us a museum specimen - of that extinct monster "The German Eagle." - - Reproduced from "The Kaiser's Garland," by permission of Mr. William - Heinemann. - -[Illustration: VI.] - - -VII. Mr. W. Heath Robinson's well-known series entitled "Rejected by - the Inventions Board," is typical of the irresponsible sense of fun - which English People seem able to retain even in war-time. Here we - see an excellent idea put into action: "The Armoured Corn-Crusher for - treading on the Enemy's Toes." - - Reproduced from _The Sketch_ of Jan. 5, 1916. - -[Illustration: VII.] - - - - - A NEW ZEALAND CARTOON - - -VIII. This is what the _Auckland Observer_ thought of floating mines, - in the first few months of the war. Those were the days before - submarine warfare put even mines in the shade for wanton cruelty and - stupid destructiveness. - -[Illustration: VIII.] - - - - - ITALIAN CARTOONS - - -IX. There were few pro-German cartoons in Italy, even before she - came in with the Allies. Now and then her artists took a cynical and - detached attitude towards the awful struggle in the north, but for the - most part their drawings left no doubt as to where their sympathies - lay, as may be judged by this and the two following cartoons. This - first is from the Turin _Numero_. Musini shows the Germans paving the - ruined streets of Flanders with the material most plentifully to hand. - -[Illustration: IX.] - - -X. & XI. In these allegorical sketches, published by _l'Uomo di - Pietra_, of Milan, the artist pictures the results to Europe should - Germany and should the Allies win. Under the Prussian sword and helmet - the whole continent lies burning and bleeding; around the Phrygian cap - of liberty her merry and obviously well-nourished children play over - her prosperous lands, amid commerce-laden seas. - -[Illustration: X.] - -[Illustration: XI.] - - - - - TWO ARGENTINE DRAWINGS - -XII. & XIII. The Argentine is a long way off—further than - Washington—and might have been pardoned if she had looked with - detached philosophy upon the deeds of Germany. Her attitude, however, - leaves much to be desired from the point of view of Berlin. Whether as - a rat coveting the good Dutch cheese, or as "the Monster" taking what - he wants from helpless Belgium, the German does not cut a good figure - in the _Critica_, of Buenos-Ayres. - -[Illustration: XII.] - -[Illustration: XIII.] - - - - - AMERICAN CARTOONS - - -XIV. The neutrality of these three drawings is distinctly open to - question. "The Order of the Iron Cross" is from _Life_, of New York. - -[Illustration: XIV.] - - -XV. "The Hand of God," by Nelson Greene. One of the best known - American cartoons since the war. - - From _Puck_, of New York. - -[Illustration: XV.] - - -XVI. Mr. Robert Carter's drawings for the New York _Evening Sun_ have - acquired a reputation in Europe since the war. This is one of the - best, which appeared on January 18, 1916. - - The Bear: "Glad to see you out again." - Kaiser: "I feel better myself!" - -[Illustration: XVI.] - - - - - A JAPANESE CARTOON - - -XVII. "The Austro-German Alliance," as seen by an artist of the _Jiji - Shimpo_ of Tokio. - -[Illustration: XVII.] - - - - - DUTCH CARTOONS - - -XVIII. THE GAME OF CHESS. - - "He alone can decide how the game shall end." - - (_De Roskam_, of Maëstricht). - -[Illustration: XVIII.] - - -XIX. IN THE SUBMARINE. - -[Illustration: XIX.] - - -XX. "TWENTIETH CENTURY MONUMENTAL STYLE." - - Suggestion by M. Albert Hahn, in _De Notenkraker_, of Amsterdam, for - the rebuilding of Rheims Cathedral after the war, in a style more - conformable to Kultur than the Gothic. - -[Illustration: XX.] - - -XXI. "KREUZLAND! KREUZLAND ÜBER ALLES!" - - By Louis Raemaekers. - - This is the third and last of a powerful series of three drawings - of the sorrows of Belgium—"The Mothers," "The Widows," and "The - Children." This and the three following drawings were among those - which appeared in the Amsterdam _Telegraaf_, and carried the fame - of M. Raemaekers almost instantaneously over the world. They are - reproduced here by permission of the Proprietors of _Land and Water_. - -[Illustration: XXI.] - - -XXII. PRISONERS. "HUNGER AND MISERY." - - By Louis Raemaekers. - -[Illustration: XXII.] - - -XXIII. "BARBED WIRE." - - By Louis Raemaekers. - - Barbed wire figures in both these drawings, widely-different as they - are. It has a special significance, used as a background to two such - contrasting aspects of war. - -[Illustration: XXIII.] - - -XXIV. "OUR FATHER WHICH ART IN HEAVEN." - - By Louis Raemaekers. - -[Illustration: XXIV.] - - - - - TWO RUSSIAN CARTOONS - - _from the Petrograd "Loukomorye"_ - - -XXV. Franz Joseph departs to the Front to cheer his Troops. But will - he get there? - -[Illustration: XXV.] - - -XXVI. "THE WEAKLING." - - Nobody could congratulate Mother Turk and Father Ferdinand on the - son (Turco-Bulgar Agreement) Doctor Kaiser has just helped into the - world. It would hardly be tactful for the closest friend to hazard a - statement that it favoured either parent. - -[Illustration: XXVI.] - - - - - A POLISH CARTOONIST - - -XXVII. M. d'Ostoya, the well-known Polish artist, has published in - Paris, during the war, a very strong series of drawings, both in - colour and in black. Of this series the two shown here are among the - best-contrasted. - - Says the Prussian Officer: "Who is it who commands here? You, a simple - little Jew, or I—who have thirteen quarterings of nobility?" - -[Illustration: - Gott mit uns! - - Qui est-ce qui commande ici, toi qui n'es qu'un - simple petit juif ou moi qui possède treize quartiers de noblesse? - XXVII.] - - -XXVIII. A DINNER AT HEADQUARTERS. - - "A pig's head was also served, ornamented with laurel-leaves—for in - Germany it is customary to crown pigs with laurel." - - Heinrich Heine, _Germania_. - -[Illustration: - Un diner au Quartier Général - - ... On servit aussi une tête de porc ornée de feuilles de - laurier, car en Allemagne on a l'habitude de couronner - de laurier le front des cochons - - Henri Heine, Germania - XXVIII.] - - - - - FRENCH CARTOONS - - -XXIX. Poulbot is the interpreter of French childhood, and in that - capacity his pencil, before August 1914, had given infinite pleasure. - But pleasure ceased to be a very important pre-occupation in August, - 1914, and even Poulbot's sympathetic pencil lent itself to horror as - easily as to mirth. - - This drawing appeared in _l'Anti-Boche_, of Paris. - - "Don't be frightened, kill her—I've got hold of her," runs the legend. - -[Illustration: —N'aie pas peur, tue-la, j'la tiens. - - XXIX.] - - -XXX. When the Zeppelins first came to Paris, public interest was - immense, and children were wakened that they might not miss the sight. - This drawing by Baldo from _l'Anti-Boche_, is not at all exaggerated. - - "It looks like a sausage!" - - "Oh, no!" cries the child, "if it had been a sausage the Boches would - have eaten it long ago." - -[Illustration: XXX.] - - -XXXI. THE GERMAN ATROCITIES. - - This was one of the earliest coloured prints published in Paris during - the war, and formed part of a cheap series, issued at a few sous each, - and printed in colours the most brilliant and most naïve. The little - boy of seven who was shot for levelling his wooden gun in play at the - German invaders was a very favourite theme with all French artists, - from Véber downwards. The incident is alleged to have taken place in - the village of Magny, Alsace. - -[Illustration: LES ATROCITÉS ALLEMANDES - - LES ALLEMANDS TUENT UN ENFANT DE 7 ANS QUI LES AVAIT MIS EN JOUE AVEC - SON FUSIL DE BOIS - - En passant à Magny (Haute-Alsace) des fantassins allemands aperçorvent - un enfant de sept ans qui s'amusait à les mettre en joue avec un fusil - de bois, au canon de fer blanc!... Un feu de salve tiré par les brutes - renversa le pauvre petit qui s'escroula dans une mare de sang!... Il - était mort!... Nous autions souri, les Allemands ont tué. - XXXI.] - - -XXXII. A drawing by Armengol, from _Le Rire Rouge_, Paris. "Retreat - from the Front" (Le Front se Degarnit). - -[Illustration: XXXII.] - - -XXXIII. IN THE BAGNIO. - - By Gallo. - - "What did you do?" - "I killed my mother. And you?" - "I was Emperor of Germany." - - (Reproduction of a drawing in _A la Baïonnette_, Paris.) - -[Illustration: XXXIII.] - - -XXXIV. THE CONSULTATION ON THE KAISER. - - _Dr. George_: It is astonishing how effective are the "75" pills of - Dr. Poincaré. - - _Dr. Albert_: Yes, I agree with you; the treatment should be - continued. - -[Illustration: - Dr. GEORGE—C'est etonnant comme les pilules 75 du Dr. Poincaré lui - font de l'effect. - Dr. ALBERT—Oui, je suis de votre avis, il faudrait - continuer avec ce traitment. - XXXIV.] - - -XXXV. "THE SACRED UNION." - - By Garcia Benito. - - _The Marchioness_: "Dear me—in uniform one can't tell mine from - yours!" - -[Illustration: XXXV.] - - -XXXVI. "THE SILENT ONE"—JOFFRE. - - By Leandre, the allegorical cartoonist, in _Le Rire Rouge_, Paris. - - The reputation for silence enjoyed by General Joffre is better-founded - than is always the case with the reputed characteristics of great men. - In the course of being shaved at a Paris barber's recently, an English - client was told that General Joffre had for fifteen years been a - regular customer at the shop. "And what sort of person is he really?" - "I don't know, sir—he never said anything!" - -[Illustration: XXXVI]. - - -XXXVII. French satire has not devoted itself entirely to our enemies, - but has been frequently turned on France. There are comedy and irony, - perhaps even pathos, in Albert Guillaume's cartoon in_ Le Rire Rouge_ - of the fair and probably frail lady who replies to the Sister of - Mercy's request for clothes for the refugees: "Certainly, Sister. - Françoise, bring me my pink dress with silver sequins. Do you mind - it's being slit up at one side, Sister? It does rather date it." - -[Illustration: XXXVII.] - - -XXXVIII. THE SICK MAN'S BURDEN. - - The Two-Hunned Camel [Le Chameau à Deux Boches]. - - From _Le Rire Rouge_. - -[Illustration: XXXVIII.] - - -XXXIX. AT THE GATES OF THE VATICAN. - - "Open! Open! It is unhappy Belgium!" - - The Pope's neutrality was not popular in France, even before he - refused to pronounce an opinion on the violation of Belgium, as "that - had happened in his predecessor's time." Many people consider that by - this attitude the Vatican lost a priceless opportunity of re-capturing - France. It is significant that this moving cartoon, from _Le Rire - Rouge_, is signed: "A. Willette, Catholique." - -[Illustration: XXXIX.] - - -XL. "The Pope says...." - - By Grandjouan (_Le Rire Rouge_). - -[Illustration: XL.] - - -XLI. GOTT MIT UNS. - - "What would they have left Him if He had not been with them?" - - _Le Rire Rouge._ - -[Illustration: XLI.] - - -XLII. & XLIII. Steinlen was once known best for his black cats—thin, - rather wicked cats, prowling and hungry, and with inscrutable thoughts - of their own. His fame grew, his scope widened and deepened, but never - had he probed so deep nor risen so high as he has done since the war - took him from his observation of social traits and concentrated him - on the nobler aspects of mankind—and especially womankind. These two - drawings are from a series which they worthily represent: "National - Aid" and "Glory." - -[Illustration: XLII.] - -[Illustration: XLIII.] - - -XLIV. KAISER BONNOT, by H. A. Ibels. - - The war has not obliterated so completely the life that went before - it, that we have forgotten the Motor Bandits, headed by Bonnot, who - terrorised Paris by their audacity for many weeks. Had this drawing - not been a likeness of the Kaiser it would still have been a wonderful - delineation of the apache, his reckless soul showing through every - inch of his stealthy body. - -[Illustration: XLIV. - Kaiser - Bonnot - XLIV.] - -XLV. DAVID AND GOLIATH, by Paul Iribe. - - This drawing formed the cover of the first number of _Le Mot_, a - short-lived but most interesting penny paper published in Paris during - the war. - -[Illustration: XLV. David et Goliath] - - -XLVI. THE FAILURE, by Sem. - - "After the Battle of the Marne, more than 50,000 German corpses were - counted"—(The Papers). - - _Le Mot._ - -[Illustration: LE RATÉ. - après la bataille de la Marne on a compté plus de - 80.000 cadavres allemands... - (LES JOURNAUX). - XLVI.] - - - (A Franco-Russian Drawing.) - -XLVII. This drawing by Bakst, which appeared in _Le Mot_, bears the - following legend: - - "Leon Bakst, the great Russian painter, promises very soon, he says: - From the Carpathians to Berlin a bound in the style of the Russian - ballets, to the great stupefaction of those hounds of Germans and - Austrians." - -[Illustration: - _Leon Bakst, le grand peintre russe, nous promet pour - bientôt, dit-il: "Des Karpathes a Berlin, un bond dans le style des - Ballets Russes, a la grande stupeur de ces chiens d'Allemands et - d'Autrichiens."_ - XLVII.] - - -XLVIII. The Empress Eugènie has turned her house into a military - hospital. - - "Do you know where we are, Jimmy?" - "The nurse told me that it's the house of a lady who has lost her son - in the war." - - From _Le Mot_. - -[Illustration: L'IMPERATRICE EUGENIE A TRANSFORME SA RESIDENCE DE -FARNBOROUGH HILL EN HOPITAL MILITAIRE. - - —Savez-vous chez qui nous sommes Jimmy? - —La nurse m'a dit que c'était chez une dame qui a perdu son fils à la - guerre. - XLVIII.] - - -XLIX. THE HOSTAGES, by A. Hermann-Paul. - - From a woodcut published by the - Librarie de l'Estampe, - 68 Chaussée d'Antin, Paris. - -[Illustration: XLIX.] - - - - -FOUR POSTCARDS - - -L. A Japanese postcard, on the resistance of Belgium to Germany. This - is a characteristic production, with the legend in Japanese, and was - not published for the Western market. The English names and number - were written on it by the purchaser in Japan. - -[Illustration: L.] - - -LI. This spirited and delightful postcard by Niké, one of a series - which foreran his book of soldiers (almost the only wholesome war-book - for children), was published as early as August, 1914, before the - victory of the Marne. Looking at its breezy outlines, and at the - merry colours of the original, it is difficult to believe that it was - drawn and printed at a time when all the printers were mobilised, and - makeshift workmen formed the only labour. - -[Illustration: - - the Cosack:... Can I give you a lift to Berlin?... - Le Cosaque:... Viens-tu á Berlin?...... - - LI.] - - -LII. THE BATTLE OF THE MARNE. - - "In a magnificent rush the German armies have _twice_ passed the - Marne. All goes well. The troops are fresh."—_Wolff._ - - Collection of 6 cards of the firm Bouveret, Le Mans. - -[Illustration: - - Dans un élan magnifique, les armées allemandes - ont passé deux fois la Marne. Tout va bien. - Les troupes sont fraîches. Agence Wolff. - LII.] - - -LIII. THE LAST TANGO. - - L. Dalvy, 50 Bd. de Strasbourg, Paris. - -[Illustration: LIII.] - -CONCERT EUROPÉEN EUROPEAN CONCERT -_LE DERNIER TANGO. ...!_ _THE LAST TANGO. ...!_ - LIII.] - - GERMAN CARTOONS - - - It is not easy to come by copies of the German papers, as the - Trade-with-the-Enemy Act frowns upon such commerce. Happily, there - are neutral countries, through whose agency something may be done. - This and the following six pages are devoted to German Cartoons, from - _Simplicissimus_, the famous Munich illustrated paper. They are very - clever, very mordant, very amusing, and always at their best when - directed against England. - - -LIV. THE LUSITANIA. - - "Isn't it madness, to take so many women and children in a munition - transport?" - "On the contrary; by this means, when the ship goes to the devil, the - world will be raging against Germany." - - And it was! - -[Illustration: LIV.] - - -LV. EARNEST TIMES IN WINDSOR CASTLE. - - "To the noisy applause of the Salvation Army, King George banishes the - Devil Alcohol." - - The castle is not very life-like, but the bottle is—the free - advertisement should be worth something, even in war-time. - -[Illustration: LV.] - - -LVI. D'Annunzio: "At any rate, I am sure of being immortal in the - heart of my creditors." - -[Illustration: LVI.] - - -LVII. WHEN BUDDHA WAKES. - - This is a typical example of the view taken of the British soldier - by the German artist—that he is extremely long, extremely thin, and - extremely ugly. He is not here, however, smoking the usual pipe. - -[Illustration: LVII.] - - -LVIII. APACHES IN THE TRENCHES. - - "Paris without light and without police! That does make a man - homesick!" - -[Illustration: LVIII.] - - -LIX. THE MOOD IN FRANCE. - - _(a)_ Behind the German lines. - - _(b)_ Behind the French lines. - -[Illustration: LIX.] - - -LX. THE MOOD IN FLANDERS. - - "Is that an enemy aeroplane, Madeleine?" - - "No, Fritz; it isn't an enemy, its a German!" - -[Illustration: LX.] - - -LXI. A ZEPPELIN OVER TRAFALGAR SQUARE. - - Free advertisement appears again here—Otherwise, the cab-horse and - King Charles are the striking features. - -[Illustration: LXI.] - - -LXII. SONNINO AND SALANDRA. - - "Now we've got the money, Herr Colleague, you can summon the Italian - people to its great historical mission." - -[Illustration: LXII.] - - -LXIII. KITCHENER AND FRANCE'S RECRUITS. - - "Only have patience, boys, and you shall yet fight for England. We - will keep the war on long enough for that." - -[Illustration: LXIII.] - - -LXIV. BRITANNIA THE HOUSEKEEPER, TO THE FLEET: - - "I must dust you nicely every week, so that you may be as good as new - when peace is concluded." - -[Illustration: LXIV.] - - -LXV. THE POOR LARK. - - "I give it up, trying to sing against the guns! I'm completely hoarse - already." - -[Illustration: LXV.] - - -LXVI. ENGLISH TACTICS. - - "Only two Dreadnoughts against one small cruiser—it will take a lot - to make the English attack!" - -[Illustration: LXVI.] - - -LXVII. LORD KITCHENER DISTORTS THE EVIDENCE. - - "This man says that the Germans treat their wounded prisoners well. - But you see, Sir, that they have tortured him so terribly that he has - lost his senses." - - Better caricatures than these one could not ask to see. Tommy comes - off worse than anyone else, and even for him his ear and his breeches - have been rendered characteristically. - -[Illustration: LXVII.] - - -LXVIII. THE TRUTH. - - By Louis Raemaekers. - - By permission of the proprietors of _Land and Water_. - -[Illustration: J'ACCUSE - LXVIII.] - - - - - PRINTED BY - THE STRAND ENGRAVING CO., LTD., - MARTLETT COURT, BOW STREET, - LONDON, W.C. - - - - -Transcriber's Notes. - -1. Introduction and Illustrations XXI to XXIV: The spelling of the name -"Louis Raemakers", corrected to "Louis Raemaekers". - -*** END OF THE PROJECT GUTENBERG EBOOK INTERNATIONAL CARTOONS OF THE -WAR *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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