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

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.