Louis Dalrymple, the American cartoonist famous for his sharp illustrations featured in publications like Puck, portrays the atmosphere of 1899 in “The School Begins.” This was the era of a lingering Spanish-American war leading to the acquisition of territories like Puerto Rico, Guam, and The Philippines. This satirical piece written by a genius incorporates Uncle Sam as a potent figure for the United States. In particular, “The School Begins” addresses these historical events through Dalrymple’s sharp observations and artistic abilities. It is symbolic and delivers its commentary excitingly. Consequently, the introduction of “The School Begins” explores how Dalrymple depicted and criticized the critical developments of a period when the country experienced an unprecedented revolution.
Visual Analysis
With characteristic colors, Uncle Sam is the figure in charge of “The School Begins, “an uncompromising teacher before the symbolic classroom. In this vivid portrayal, Uncle Sam represents the United States as a stern teacher who clearly knows what he wants from his pupils (Dalrymple). There is deliberate imagery and symbolism when Uncle Sam points, and a book entitled “U.S. First Lessons in Self-Government” signifies the educational theme and broader narrative of assimilation. The title “U.S. First Lessons in Self-Government” implies that America is being a good parent, teaching its children what self-rule entails. It portrays the spirit of the time, characterized by aspirations to imperialize and civilize the people living in these lands (School Begins: Identify the Character in the Cartoon | Ipl.org, n.d.). Via the visual narrative, as Dalrymple critiques the imperialistic subtext of the American expansion, he asks about the honesty of the educational mission and the inherent power relations underpinning such assimilation. The stern-looking Uncle Sam and the authoritative pose give the impression that an iron fist was to be used (Dalrymple). This leaves the viewers wondering about the complexities of American expansionism and assimilation under the guise of education and self-governance. Dalrymple effectively depicts the complexities of the time in this visual commentary, prompting viewers to consider the ramifications of the United States as a dominant international power in the latter 19th century.
Louis Dalrymple presents a complex tableau in “The School Begins,” where Uncle Sam, representing the United States, opposes a group of students representing the newly acquired territories of Cuba, Puerto Rico, Hawaii, and the Philippines. They all have different faces; they are the best depictions of the mixed and even controversial American expansion at that time (School Begins: Identify the Character in the Cartoon | Ipl.org, n.d.). The students’ diverse expressions of surprise, confusion, shock, and curiosity reflect the complexities of imperialism. Other students showcase fears, being cautious about uncommon instruction forced on them. Some have been perplexed, while others express confusion as they are exposed to a new system of education and politics. Some of these are obvious; for instance, one can see resentment on some faces; this indicates dissension and disunity that characterized the incorporation of these territories into the American empire.
To further enrich the story, these specific territories, such as Cuba, Puerto Rico, Hawaii, and the Philippines, are included in the narrative, considering the complex geopolitical landscape of that time. The students represent different cultural and historical backgrounds, highlighting the difficulties in the assimilation process (School Begins: Identify the Character in the Cartoon | Ipl.org, n.d.). In a more complex manner, the depiction portrays the ethical aspects of American expansionism. It makes people ponder the motive behind the educational mission and the consequences of imperialistic endeavors on the original people. Dalrymple effectively portrays this tension through the varied expressions of the students, reflecting the complex and multifaceted responses of the newly annexed territories and providing a profound insight into a significant moment in American history.
Louis Dalrymple subtly introduces marginalized individuals, thereby highlighting the nature of American expansionism. The marginalized in America are represented by an African American boy destined to clean windows and a Native American boy battling an upside-down “ABC” outside the classroom. In essence, this raises crucial inquiries concerning the so-called “self-government” lessons, revealing the contrast between the purported enrichment and real experiences of historically sidelined communities. Dalrymple’s astute inclusion forces viewers to deal with the oxymorons of American principles and the lingering inequalities within the fever of expansionism in the late 19th century (School Begins: Identify the Character in the Cartoon | Ipl.org, n.d.). “The School Begins” presents the image of a Chinese boy standing reluctantly at the door as a touching symbol of the immigration debate in the late 19th century. His presence indicates there is still potential for more inclusion and assimilation into the American fold. The boy’s staidness brings about doubts about inclusivity and acceptance, which are the broader societal questions of that time. This figure adds a complexity dimension to the narrative in the context of Uncle Sam’s educational mission, highlighting the unresolved policy tensions and evolving concept of American identity in this period of transformation.
Interpretation and Significance
In a satirical tone, “The School Begins” by Louis Dalrymple exposes American imperialism and mocks the promises of self-government extended to colonized territories. The imagery, with Uncle Sam as the stern teacher, bearing the symbols of authority, signifies a coerced assimilation rather than a voluntary Americanization. The students’ expressions and the marginalized figures indicate that inequality pervades this educational endeavor (Drouhot et al. 179)). However, Dalrymple skillfully demonstrates the irony of asserting self-governance while submitting these territories to a process that culminates in strengthening the same old power dynamics. This cartoon is one of the solid social commentaries that cause people to think about the actual price of American expansionism. This visual narrative is highly provocative on the issues of exploitation and cultural erasure, and it raises some fundamental questions regarding the enduring specter of inequality in the face of imperial ambitions. The cartoon shows marginalized figures and a hesitant Chinese boy who becomes a nuanced critique of the impact of expansion on diverse communities and encourages the viewers to think about the moral dimensions of their national ambitions abroad. As a historical artifact, “The School Begins” encapsulates the spirit of a turning point in American history. Dalrymple’s cartoon captures the fears and complexities of expansion as the nation acquired more territories and asserted its presence in global affairs.
Works Cited
Dalrymple, Louis. “School begins.” Chromolithograph. Published by New York: Keppler and Schwarzmann (1899). https://www.loc.gov/resource/ppmsca.28668/
Drouhot, Lucas G., and Victor Nee. “Assimilation and the second generation in Europe and America: Blending and segregating social dynamics between immigrants and natives.” Annual Review of Sociology 45 (2019): 177-199. https://doi.org/10.1146/annurev-soc-073117-041335
School Begins: Identify The Character In The Cartoon | ipl.org. (n.d.). Www.ipl.org. Retrieved December 15, 2023, from https://www.ipl.org/essay/School-Begins-Identify-The-Character-In-The-P3TTP9QBUXFT
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