An anti-McClellan broadside, contrasting Republican candidate Abraham Lincoln's advocacy of equality and free labor in the North to Democratic opponent McClellan's alleged support of the Southern slave system. The comparison is made in two scenes, "Union and Liberty" (left) and "Union and Slavery" (right). In the first, Lincoln shakes the hand of a bearded man wearing a square paper labor cap, while black and white school children issue from a schoolhouse flying the American flag in the background. On the right McClellan, in military uniform, shakes the hand of Confederate president Jefferson Davis, as a slave auction takes place behind them.|Published by M.W. Siebert, Printer, 28 Centre Street, Corner Reade, N.Y.|Title appears as it is written on the item.|Lorant, p. 264.|Weitenkampf, p. 143.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-27.

An abolitionist print possibly engraved in 1830, but undocumented aside from the letterpress text which appears on an accompanying sheet. The text reads: "United States' slave trade, 1830. The Copper Plate from which the above picture has just been engraved, was found many years ago by workmen engaged in removing the ruins of Anti-Slavery Hall, in Philadelphia, which was burned by a mob in 1838. No previous impression of the Plate is known to its present owner. A scene in the inter-State Slave trade is represented." The writer goes on to describe the scene as a group of slaves in chains, with a mother "fastened to her children," being sold by a trader on horseback to another. "Both dealers have whips in their hands. A ship and a boat, each loaded with slaves, are seen on the left. In the background, slaves are working in gangs, and one man is being flogged. The United States Capitol, surmounted by its flag, overlooks the scene in the distance. The engraving....is an interesting contribution to American History. Price 20 cents." |The author suggests that this impression was printed some years after 1838. The author's use of "engraved" is evidently being a misnomer for "printed," since he mentions later in the same text the absence of earlier impression.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1830-1.

The first of two prints formerly thought to be anti-Jackson satires, but actually dealing with the sensational trial of Methodist minister Ephraim K. Avery in May 1833 for the murder of Sarah Maria Cornell. (See also "A Minister Extraordinary...," no. 1833-14). Miss Cornell, a young and pregnant factory girl, was beaten and strangled, and left tied to a post on a remote Massachusetts farm in December 1832. Avery was tried in May 1833 and despite considerable evidence against him (reported at length in the press) was acquitted on June 5. The artist's portrayal here appears to be based on published testimony from the trial. Avery, wearing green spectacles, is shown in the act of tying the young woman by the neck to a post before a haystack. Her shoes and kerchief lie on the ground at left, Avery's walking stick on the ground at right. An owl (the crime occurred at night) perches on one of the posts, and on and about the hut are demons, who speak: "Do you see what is going on here." "I never sleep on such occasions." "How will this be managed if it should go to a jury." "A Jury ye young fools is nothing. what's to be done with Public Opinion."|New York. Published by Henry Robinson & Company.|The print was deposited for copyright on July 18, 1833 by New York publisher Henry Robinson & Company. It was followed on August 14 by a sequel, another Robinson copyright "A Minister Extraordinary Taking Passage..." (no. 1833-14).|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1833-13.

A representation of an enormous illuminated transparency displayed on thefacade of the federal recruiting office for Negro troops on Chestnut Street in Philadelphia on November 1, 1864. The display celebrated the emancipationof slaves in Maryland through the state's new constitution, adopted onOctober 13 of the same year. At the top of the transparency is a bell draped with bunting and surmountedby an American flag. On each side of it is a lit oil lamp. Beneath the bell,in bold letters, are the words "God Save the Republic." Immediately below this is a large battle scene where black troops storm anenemy redoubt, with the commentary, "Never in field or tent scorn a blackregiment." Below the scene are quotations from George Washington, ThomasJefferson, and Patrick Henry, affirming the ideal of emancipation. Foursmaller scenes appear at right and left of a central panel (clockwise fromupper left): 1. "Before Fort Wagner, July 11th, 1863," where a dying black Unionstandard-bearer gives up the flag to another, saying, "Boys!! I never once letthe old flag touch the ground." 2. "Struggle for a Rebel battle flag at New Market Heights, Near Richmond,Sept. 29th, 1864.--Maj. Genl. Butler," in which a black soldier bayonets aConfederate, saying, "Sic semper tyrannis." 3. "In St. Mary's County, Maryland," showing a black woman pointing out aschoolhouse to two black children saying, "Tis education forms the CommonMind." A subtitle reads, "12,000 colored soldiers from Maryland now at thefront fighting for the Union." 4. A slave auction, with the note that thousands of women and children were sold to the far South annually under Maryland's old constitution. A quote attributed to Homer above the scene reads, "God fixed it certain that whatever day / Makes man a slave takes half his worth away." In the center of the transparency is an arch composed of blocks with thenames of various virtues, supported by two columns, the one on the rightlabeled "Faith." The keystone of the arch is Justice. Above it are AndrewJackson's famous words, "The Union must and shall be preserved." Various textsexemplifying Maryland's tradition of religious and personal freedom appearinside the arch. Below are portraits of Abraham Lincoln and an unidentified man.|Ringwalt & Brown Prs. 111 & 113 South 4th St. Phila.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-44.

This subpage of the Virtual Arabic blog offers realia material (realia is real life material meant to be used to aid language study in classroom situations) regarding culture and social material. The material listed on this subpage include social movement campaigns, aspects of everyday Arabic culture, and political cartoons. Material is available in picture, video, and text format.

A satire on the Whig party's anti-annexation platform. The question of whether or not to annex Texas was a large issue separating candidates in the 1844 campaign. Annexation's serious implications for the future of slavery in the United States polarized voters between Polk, who supported it, and Clay, who opposed it. Texas, personified as an elegant and beautiful young woman holding a cornucopia filled with flowers, stands between presidential candidates Clay and Polk. Polk (left) doffs his hat and takes her hand saying, "Welcome, sister, Your Valor has won you liberty and independence, and you have fairly won the right to be identified with 'the land of the brave, and the home of the free.'" She replies, "Shall the slanders that have been urged against your sister, sever those whose blood flows from the same fountain?" George M. Dallas, standing to the left of Polk, comments, "Slandered as she is, let him that is without sin, cast the first stone at her!" Clay (at right, arms folded) piously says, "Stand back, Madam Texas! for we are more holy than thou! Do you think we will have anything to do with gamblers, horse-racers, and licentious profligates?" A Quaker (and possibly an abolitionist) taps Clay on the shoulder and reminds him, "Softly, Softly, friend Harry. Thou hast mentioned the very reason that we cannot Vote for thee!" |Entered . . . 1844 by James Baillie.|Lith & pub. by James Baillie 33 Spruce St. N.Y.|Signed: H. Bucholzer.|The Library's impression was deposited for copyright on June 26, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 78.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1844-27.

A crudely drawn but bitter attack on Andrew Jackson's veto of the re-charter of the Bank of the United States and his subsequent campaign to destroy the Bank. Jackson (right) is a king fiddling on his throne as the Capitol burns in the background. He is attended by Jack Downing, while Vice-President Martin Van Buren peeps out from behind a curtain. Downing: "Jineral jest put a letel more Veto Rosin on your bow and you'ill give us a rale Nero-Doodle of a tune. That are fiddle jineral sound like your intarpitation of the Constitution. you can play ener most any tune you like on it." Jackson: "D-mn the Constitution Major. It is where it ought to be, Under my Feet." Van Buren: "Safety Fun." Before him is a strong chest labelled "30,000,000 Crowns" Beside it kneel three men, the "Reptiles that crawl through their own Slime to the Throne of Power." Beside them is a headstone inscribed "Sacred to the Memory of Dame Freedom, born July 4, 1776 and departed this life Oct.1 1833 A.E [sic]. . ." A crowd of "Kitchen Scullions & Pat-riots" with asses' ears mill about in the background, cheering for Jackson. They represent Jackson's close circle of advisors, the so-called "Kitchen Cabinet," and his lower-class and often unruly Irish immigrant (ergo "Pat-riots") supporters. At lower left stands John Bull, who says, "Ha-ha Brother Jonathan might as well hang up his fiddle, and not go bragging all over the world about his Freedom." A text below is a mock report of the murder of Dame Freedom by "Andrew Veto" and the "Color Presses," (i.e. "collar presses" or pro-Jackson newspapers) including the "Globe, Albany Argus, Richmond Enquirer," and others, and the robbery of the earnings of the "Sons of Freedom." |Entered . . . 1834 by E. Bisbee.|From Jineral Jackson's big picter, draw'd off from nater by Zek Downing, Historical Painter to Uncle Jack & Jineral Jackson.|Published by E. Bisbee, 95 Canal St. New-York.|The print was deposited by Bisbee for copyright on February 1, 1834, along with a later version of "Troubled Treasures" (no. 1833-5). Both prints bear a close resemblance in style to "The Political Barbecue" (no. 1834-9), and were probably drawn by the same hand.|Title appears as it is written on the item.|Weitenkampf, p. 35-36.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1834-8.

An illustrated cover for a patriotic song sheet. The iconography of the illustration, like the song, has militaristic overtones. On a large shield in the center of the composition perches an eagle. Rays of light and several flags radiating from behind. Cannonballs, sabers, a drum, bugles, banners, and a soldier's pack and satchel, lies on the ground before it.|Entered . . . 1859 by Firth, Pond & Co.|Lith. by Sarony, Major & Knapp, 449 Broadway N.Y.|New York. Published by Firth, Pond & Co. 547 Broadway.|The Library's impression of the cover was deposited for copyright on June 10, 1859.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1859-1.

A satire on Southern recruitment efforts during the early part of the Civil War. In a scene before a Confederate encampment, a reluctant civilian (center) is presented with a musket and military coat by two veteran soldiers, one wearing an absurdly tall fur hat. The recruit is restrained from behind by another officer. In the background left a troop of recruits drill; on the right two blacks soldiers, one with rolled pantlegs and military coat, look on with amusement. |Printed and copyrighted by Ehrgott & Forbriger, Cincinnati.|The Library's impression of the print was deposited for copyright on July 8, 1861, by the Cincinnati lithographic firm of Ehrgott & Forbriger. It is clearly by the same unidentified artist as two other prints by Ehrgott & Forbriger, "Strayed" and "Ye Conference" (nos. 1861-31 and 1861-32). Two additional prints, not owned by the Library but cited by Weitenkampf, are also listed in the copyright records as Ehrgott & Forbriger registrations. They are "That Feed Won't Do" and ""Wait 'Till the War Is Over."" The copyright imprint, which appears on an impression of "Volunteering Down Dixie" cited by Weitenkampf, appears to have been rubbed or scraped from the Library's impression.|Title appears as it is written on the item.|Weitenkampf, p. 132.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-33.

A scornful portrayal of the poor caliber of American volunteers for the Mexican War. The print evidently appeared at the outset of the conflict, as the Library's impression was deposited for copyright on May 13, the day on which President Polk signed the proclamation of war. News of Gen. Zachary Taylor's initial engagement with enemy troops near the Rio Grande River first reached Washington on Saturday, May 9, prompting mass enlistments for the popular cause of protecting the newly annexed Texas territory. A large percentage of the enlistees were Irish immigrants, most of them inexperienced militarily. The artist shows an awkward group of volunteers standing at attention before a young, chinless, and obviously untested officer who regards them through a monocle. The officer is dressed in a neat uniform, while all but one of the volunteers wear civilian clothes. The sole enlistee in uniform holds a parasol instead of a musket.|Entered . . . 1846 by Thomas Odham.|Lith. F. & S. Palmer 45 Ann Street, N.Y.|Signed with monogram: FP (Frances Palmer).|Title appears as it is written on the item.|Weitenkampf, p. 88.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1846-5.

An illustrated sheet music cover, which protests the inequities of the draft or proscription system enacted under the Enrollment Act of 1863. The act allowed drafted men to purchase an exemption or to furnish a surrogate or "substitute" in lieu of their own service. The unfairness of the measure to the economically disadvantaged is dramatized in the illustration to this piece, showing the bust portrait of one man, "I'm drafted," in contrast to that of an obviously more well-to-do young man, "I aint."|Boston. Copyrighted by Oliver Ditson & Co.|The Library's impression of the cover was deposited for copyright on September 29, 1863.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1863-13.

Another cartoon relating to the dispute between the United States and Great Britain over the northern boundary of American territory in Oregon. Opinion was sharply divided between support for a compromise claim of territory as far north as the forty-ninth parallel, and those who went for the more expansive 4.40 boundary. Palmer has two Irish immigrants disputing the issue. Wearing overalls, suspenders, boots, and stovepipe hats, the characters stand outside the Bowery Theater. (The Bowery section of New York City was known for its concentration of working-class Irish.) The man on the left says, "Ike! say the 49th & let's settle it amercably." The other responds, "No Sir-ree I goes for the hull of Oregon or none--I do & don't do nor-thin else." In the background, a woman sells apples and what look like nuts at a table. Behind her the theater's billboard advertises "Great Attraction. Adelgis. J.R. Scott. Cony & Blanchard."|Entered . . . 1846 by Thomas Odham.|Lith. F. & S. Palmer - 43 Ann Street N. York|Signed: F.P. (Frances Palmer).|The Library's impression was deposited for copyright on April 25, 1846.|Title appears as it is written on the item.|Weitenkampf, p. 86.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1846-4.

Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Possibly by Henry Dacre.|Printed & published by H.R. Robinson, no. 52 Cortlandt St. N.Y.|Signed in plate: HD.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

An election-year cartoon satirizing disharmony within the Whig ranks on the bank issue. The artist suggests a division of opinion between New England's Daniel Webster and presidential nominee Henry Clay on the idea of a National Bank, embodied here by a giant whale. Clay strongly championed the bank idea throughout his senatorial career. On a stormy sea, the "coon barge" (named for Clay's campaign nickname "the Old Coon"), flying an inverted, tattered American flag from a broken mast, is steered by Daniel Webster. Webster's crew is in the act of heaving Henry Clay and his running-mate Theodore Frelinghuysen overboard. Frelinghuysen, "the Christian statesman" and president of the American Tract Society, wears a clerical robe. Webster enjoins them, "Throw 'em over, my Boys. It is better they should go than that the whole Whig party should perish!" Clay, looking down the throat of a whale labeled "Monster Bank," cries, "Oh! crackee! this is the worst suck in that even I knew of, Instead of being able to suck in the people. I am going to be sucked in myself!" Frelinghuysen exclaims, "Oh dear! I am going to be swallowed! I wish I had not given up psalm singing for Politics!"|Entered . . . 1844 by J. Baillie.|Litho. & pubd. by J Baillie 118 Nassau St. N.Y.|Probably drawn by Edward Williams Clay.|The print probably appeared late in the campaign, since the Library's impression was deposited for copyright on October 11, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 77.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1844-46.

Horace Greeley's famous and widely ridiculed 1871 pamphlet "What I Know of Farming" provided the pretext for the title here. With the tail and cloven hoof of a devil Greeley (center) leads a small band of Liberal Republicans in pursuit of incumbent President Ulysses S. Grant and his supporters. Greeley heralds "General Amnesty," echoing his campaign pledge of amnesty for former Confederates. He is followed by his running mate Benjamin Gratz Brown (with a long beard) who calls for "Reduction of Taxes." Next follows bespectacled Missouri Republican leader Carl Schurz, who carries a flag "Reconciliation," and Massachusetts senator and civil rights advocate Charles Sumner who demands "Equal Rights to All." Grant, holding a liquor bottle, and his three companions flee to the left. One of them is Benjamin F. Butler, who grasps three silver spoons. (For the significance of Butler's spoons, see "The Radical Party on a Heavy Grade," no. 1868-14.) The man at far left is probably former New York senator Roscoe Conkling, a zealous supporter of Grant's administration and programs. Grant cries, "Let us have Peace," an 1868 campaign slogan.|Entered . . . 1872 by Morton Toulmin.|Signed: "M.T." and "Fizzle Gig."|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1872-9.

The opposition of Northern abolitionists, churchmen, and political figures to enforcement of the Fugitive Slave Act of 1850 is criticized in this rare pro-Southern cartoon. In two panels artist Edward Williams Clay illustrates the abolitionist's invocation of a "higher law" against the claim of a slave owner, and the application of the same principle against the Northerner in a case of stolen textiles. In the left panel a slaveholder "Mr. Palmetto" and a federal marshal confront an abolitionist "Mr. Pumpkindoodle" and a garishly dressed, runaway slave "Pompey" in a warehouse or shop interior. On the counter is a copy of the newspaper the "Emancipator." Palmetto: ". . . I've come here to take that fugitive slave who belongs to me, according to the provisions of the U. S. law! Officer do your duty!" Pumpkindoodle (handing a pistol to the slave): "What! seize my African brother! never! I dont recognize any U.S. law! I have a higher law, a law of my own. here Pompey take this pistol and resist to the death! if he attempts to take you!" Pompey (trembling): "Ye yes sa! I'll try, cause brudders [antislavery senator from New York William H.] Seward and [abolitionist William Lloyd] Garrison says its all right; and so does Parson Squash! But I'm mighty feared." Federal marshal: "Whew! I think I'd better make myself scarce!" In the panel on the right, the same abolitionist approaches the seated slaveholder in the latter's shop. A sturdy slave "Cesar" and a grinning attendant stand by. On the counter are several bolts of fabric, labeled "Bay State Shawls," "Cotton Shirting," "Domestic Prints," "Amoskeag Ticks," "Lowels Negro Cloth" and "Hamilton Long Cloth." A copy of the "Charleston Mercury" lies open on Palmetto's lap. Pumpkindoodle: "Look here Mr. Palmetto them 'ere goods is mine! They've been stole from me, and if you dont give 'em up, I'll take the law of the land on you!" Palmetto: ". . . They are fugitives from you, are they? As to the law of the land, I have a higher law of my own, and possession is nine points in the law. I cant cotton to you. Kick out the abolitionist Cesar." Cesar: "Of course Massa. De dam Bobolitionist is the wus enemy we poor niggers have got." |Entered . . . 1851 by E.W. Clay . . . Southern District of N.Y.|Pub. at 152 Nassau St. corner of Spruce N.Y.|Signed with initials: E.W.C. (Edward Williams Clay).|The Library's impression of the print was deposited for copyright on January 22, 1851.|Title appears as it is written on the item.|Century, p. 70.|Weitenkampf, p. 103.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1851-5.

Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Publd. by H.R. Robinson, 52 Cortlandt St. N-York. Entered according to Act of Congress, in the year 1837 by H.R. Robinson, in the Clerks Office of the District Court of the United States, for the Southern District of New York.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A severe split within the Whig ranks, between partisans of Henry Clay and those of Zachary Taylor, preceded the party's convention in June 1848. Here Horace Greeley, one of Clay's most influential northern supporters, tries to drive the party wagon downhill toward "Salt River" (a contemporary idiom for political doom). At the same time, a Brother Jonathan or Uncle Sam figure steers in the opposite direction, toward the White House. Greeley whips his horse, a scrawny nag with the head of Henry Clay, with a switch or small branch; the uphill-bound horse has Taylor's head, and its driver wields a carriage whip. The cart is laden with papers marked "Tariff," "Bank," and "Internal Improvements," traditional catchwords of Whig politics. Greeley: "It's of no use to talk to me, for Mr. Clay says he would rather be right than to be President, and that is the policy I am adopting now." Brother Jonathan: "Do slack up a little there, Horace, till we get over a chock that some one has put before the wheel." The "chock" that the cart has run into is a rock marked "Wilmot Proviso," placed in the road by Congressman David Wilmot. The question of the validity of the proviso, an 1846 proposal to prohibit slavery in territories acquired during the Mexican War, became an important issue in the 1848 campaign, and a stumbling block to candidates like Taylor who courted Southern support. The proviso was never passed by the Senate.|Entered . . . 1848 by J. Baillie.|Published by James Baillie, 87th St. near 3rd Avenue, New York.|Signed in reverse: H.B. (H. Bucholzer).|Title appears as it is written on the item.|Lorant, p. 189.|Weitenkampf, p. 95.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1848-21.