The one on the right raises his hands, as if applying for consideration. In front of that billboard stand two Chinese men. To the right, Nast identifies the area as “The Sand – Lot Theatre” The placard announces Kearney as Caesar, but has a question mark by the character Brutus. Nast saw Kearney’s behavior as theatrics. He also took his message across country, but his lectures “seemed to convince many national politicians that Chinese exclusion had broad and fierce support among American workers” (Meagher 272-273). Kearney’s efforts influenced the passage of anti-Chinese legislation in California, ultimately leading to the passage of the federal Chinese Exclusion Act in 1882. Kearney, a charismatic speaker, organized the Workingmen’s Party, a labor movement that accumulated significant political power in California. Kearney, “in 1877, on the open sand lot fronting the new City Hall in San Francisco, started a general war-cry, “The Chinese Must Go!”” (Paine 412). Kearney, an Irishman born in Cork in 1847, became a central figure in California politics, and in San Francisco especially, where he rallied public opinion against the Chinese. Kearney dons a sandwich board and walks outside to advertise for an actor to play the role of Brutus, Caesar’s assassin. This exposure gave Nast many references and models for his caricatures (Adler 24). He often accompanied his father, Joseph, a musician for the Philharmonic Society. Nast was exposed to many Shakespearean plays as a child. Nast casts Kearney in the title role of the upcoming theatrical production of Julius Caesar by William Shakespeare. He is the leading man in this Shakespearean production. Kearney’s expression is serious, resolute and attractive. Clearly Nast wishes the subject of piece to be recognized. It is not known if the cartoon took the lead on addressing the issue or if the reverse is true.ĭenis Kearney is shown at the center – his physical attributes drawn accurately and not caricatured in any manner. Curtis) that both tears down and defends the Chinese. As a cover it is accompanied by a long, unsigned essay (likely Harper’s Managing Editor George W. This 1880 cover is a curious cartoon for Nast on many levels. “Ides of March” 20 March 1880 by Thomas Nast for Harper’s Weekly.
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