The Grip cartoons: vols. I & II, May 1873 to May 1874 — A Closer Reading

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Bengough, J. W. (John Wilson), 1851-1923 Project Gutenberg 2023 Not confirmed
Canadian wit and humor, Pictorial; Canada -- Politics and government -- 1867-1914 -- Caricatures and cartoons Readers of public-domain and historical texts
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Edition facts

Words 8,410
Reading time 37 min
Text sections 54

Before opening The Grip cartoons: vols. I & II, May 1873 to May 1874 — A Closer Reading, the edition data offers a quick orientation: 8,410 words, 37 min estimated reading time, and 54 detected text sections.

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J. W. Bengough's 1875 collection of political cartoons from the Canadian magazine Grip, covering May 1873 to May 1874, with satirical commentary on the Pacific Scandal and other issues, accompanied by explanatory notes.
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efore it. The motive imputed to him by the Conservative Press for this refusal was fear, and in the eyes of his partizans Sir John sustained the attitude represented in the Cartoon.

“_Wanted, a Good Stout Boy._”

There were those, of course, who saw an evidence of weakness in the Governor-General’s use of his prerogative of prorogation in accordance with the advice of the accused Ministers. But perhaps a “stouter boy” would have done little better in that difficult and delicate case, and certainly few “boys” could have done the work of the “place” generally so as to secure more of the peoples’ respect and admiration than Lord Dufferin enjoys.

“_The Irrepressible Showman._”

Apropos of the visit to Canada of Barnum, the Showman, during the Pacific Scandal “fever.”

SEPTEMBER 13th, 1873.

“_Blackwash and Whitewash._”

“Illustrating,” as the legend goes on to say, “the recent great opposition speeches, and the doings of the jolly Royal Commission.” The Reformers, of course, lost no opportunity of painting Sir John in grimy colours; while it was generally acknowledged that the Royal Commissioners and the Conservative press did little more during the excitement than “whitewash” him.

SEPTEMBER 20th, 1873.

“_We in Canada seem to have lost all idea of justice, honour and integrity._”

So said the _Mail_, the leading Conservative organ, on September 26th. _Grip_ sought to point this lugubrious confession with an illustration drawn from the topic of the hour.

SEPTEMBER 27th, 1873.

“_Progressing Favourably._”

A Peep into the hearts of the Reform Leaders during the interesting period of Sir John Macdonald’s political “indisposition.” The “Poor Dear Premier” may be seen, if the reader will take the trouble to peer into the bed-room.

“_Rehearsing for the 23rd._”

Representing the spirit in which the Leaders of the Respective Parties approached what was expected to be the decisive date.

“_Will he get Through?_”

The question which was on all lips during the interim between the prorogation of the House of Commons on the 13th of August and the day fixed for its re-assembling, October 23rd. The prophecy conveyed in the unreasonable smallness of the hoop in the clowns hand, was duly realized.

“_A Case of Riel Distress._”

The murder of Thomas Scott, at Fort Garry, during the Red River Rebellion, naturally excited great indignation throughout the Dominion, and a universal demand was made for the apprehension and punishment of Louis Riel, the leader of the malcontents, at whose instigation the deed was committed. This righteous sentiment, however, ultimately resolved itself into mere political “claptrap,” and the action of the Conservative Government, then in power, was hypocritical throughout, they having secretly promised the rebels an amnesty, while publicly professing an anxious desire to “catch him.”

“Of comfort no man speak; Let’s talk of graves and worms and epitaphs!”—SHAKESPEARE.

Typical of the overwhelming grief which seized the Conservative Party on being turned out of office, after a reign of nearly twenty years.

“_Miss Canada’s School._”

Being a word of advice to the new Premier. The persons represented in the cartoon, are, commencing at the head of the “class,” Hon. A. Mackenzie, Hon. Edward Blake, Hon. Geo. Brown, Hon. E. B. Wood, Louis Riel (who had been elected M. P. for Provencher, Manitoba), Hon. M. Langevin, James Beaty, Esq., M. P., T. C. Patteson, Esq., manager of _The Mail_, Sir Francis Hincks, and Sir John Macdonald. Monitor, His Excellency, Earl Dufferin, Gov. General.

“_The Political Mother Hubbard._”

It had been currently reported in the newspapers that the dignity of the Lieut. Governorship of Ontario was to have been bestowed on the Hon. George Brown, immediately on the accession to power of the Reform Government. The new ministers discovered, however, that Sir John Macdonald, had, in the last gasp of his official life, appointed one of his own colleagues, (the Hon. John Crawford) to the position in question, besides disposing of ninety-nine other “places” in the gift of the First Minister.

“_The Irrepressible Jack._”

The circumstance under which Sir John Macdonald was deposed from power seemed to warrant the assumption of the Reformers that he was “done for.” But on the contrary it only seemed the signal for additional honours to be heaped upon him by the Conservative Party, who unhesitatingly chose him leader of the opposition, and nominated him as member for Kingston, West Toronto, &c., not to mention banquets, and other species of emphasis.

“_The Premier’s Model._”

In an address to the electors of Lambton, soon after the accession to power of the Reform Party, Mr. Mackenzie declared the cardinal points of the policy he would inaugurate, as leader, to be “Electoral Purity” and “the Independence of Parliament.” (Before entering political life, Mr. Mackenzie followed the vocation of stone-mason.)

“_The Liberal Programme._”

The introductory note sets a defiant, self-deprecating tone: Bengough addresses the public as "O Public!" and claims the work is "above criticism." He explains that the cartoons were originally lithographed and each erased from the stone, so he re-drew them for this edition. The voice is playful—he calls himself a "humble Raven" and signs off as "Grip." This framing invites readers to treat the cartoons as both political record and personal performance.

The Cartoonist’s Persona and the Public

Bengough’s introductory note reveals a calculated relationship with his audience. He writes that the public "clamored" for a re-issue, which spares him "the usual editorial humiliation of an introductory apology." The boast that the work is "above criticism" is undercut by his invitation to critics to visit him at No. 2 Toronto Street, where he "croak[s] ‘Never Say Die’" weekly. This blend of arrogance and self-mockery establishes Grip as a character—a raven who is both insider and outsider. Readers should note how this persona colors every cartoon: the satire is personal, aimed at named politicians, yet wrapped in a jester’s license.

The Pacific Scandal as Narrative Spine

The cartoons trace a clear political arc: the fall of the Conservative government over the "Pacific Scandal." Cartoon No. 33, titled "Never Out," uses a cricket metaphor, with an umpire deciding a disputed ball. The explanatory note confirms the scandal was the "text" for the election. No. 34, "The New Heathen Chinee," compares new Premier Mackenzie to Bret Harte’s Ah Sin, emphasizing his "winning hand" of cards. The note clarifies that the cartoon was misunderstood as impugning honesty, so Bengough adds context. These entries show how the collection functions as a running commentary, with each cartoon assuming knowledge of unfolding events.

Recurring Visual and Verbal Motifs

Several cartoons employ theatrical or musical metaphors. No. 40, "The Opposition Quartette," depicts four Conservative MPPs performing an "aggravating air" called "Public Accounts." No. 35, "Political Pastimes," compares political sport to a game. The captions often include direct speech in quotation marks, as in No. 36, where Canada says to Mackenzie: "Here’s our Johnny for you again... he’s full of mischief!" This device gives the cartoons a dialogic quality, as if the figures are on stage. Bengough’s notes frequently explain allusions (e.g., to Bret Harte) that might be lost on later readers, making the collection partly a historical primer.

The Explanatory Notes as a Second Layer

Each cartoon is accompanied by a prose note that often does more than describe the image. For No. 38, "The New Departure," the note explains Edward Blake’s withdrawal from the new government and calls it "an unpleasant sensation." The caption shows "Spouse B—e" saying farewell to "the girls" to manage the house. The note thus fills in political context that the cartoon alone might not convey. Readers should treat the notes as integral: they reveal Bengough’s editorial stance, correct misunderstandings (as in No. 34), and sometimes add a second punchline. The combination of image and text creates a layered satire that rewards careful reading.

To read these cartoons effectively, start with the introductory note to absorb Bengough’s tone, then examine each cartoon’s caption and note together. The notes often clarify who is depicted and what event is referenced—essential for a modern reader unfamiliar with 1870s Canadian politics. Pay attention to recurring symbols (e.g., the raven Grip, cricket, cards) and the way Bengough shifts between mockery and genuine praise. The collection is best approached as a serialized political drama, not a random assortment of jokes.

I’ve watched The Grip Cartoons sit on the shelf for decades, its sharp ink still scolding old scandals. Somehow, it always reminds me of those presidential addresses—two lonely voices, each certain their moment mattered. They never meet, yet share a quiet patience: the knowing that every fury and proclamation will one day be just a page someone turns. Presidential addresses and state papers, Volume 3 (of 7) — Reading Companion waits too, unbothered by time.

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