Excerpt from A History of American Graphic Humor, Vol. 1: 1747-1865

Not only to the historian but to the philosopher this book will be of deep interest. Surely it would serve as a basis for an inquiry into the special qualities of American mirth. Mr. Murrell traces the development from the days of Ben Franklin and Paul Revere, from those antique engravings crowded with allegory and explanatory remarks, through the evident influences of Row landsom, Cruikshank and Daumier, to such pencils of real genius as William Charles, Darley, Volck and Nast. It was not until commercial lithography became available about 1822 that the comic artist in America really had his large opportunity - though Mr. Murrell admits the uncertainty whether it was the new process or the controversial excitements of Jackson's presidency that accounted for the increased flood of pictorial satire about 1830. But one thought that must come even to the most casual turner of these leaves is the amount of strong flexible talent shown. And also, the amount of bitterness. All the powers of crude satire and grotesque insult are represented. In a History of Humor, what we usually imply by that term is singularly scarce. It is almost a History of Ill Humor. A Visitor from another planet, scanning this book in search of the American Spirit, would be forced to conclude (what philosophers have often suggested) that we are at heart a morose, unhappy people. It is true that the jokes which lend themselves to illustration are neces sarily the simpler and coarser kind. It is also true that in these earlier days the comic artist dealt with the Violent themes of politics rather than with the kindlier absurdities of social moeury. But make what deductions you please, there is a vein of ferocity in this first century of American caricature for which we have hardly any counterpart today. It will be fascinating to see what contrasts and new dexterities Mr. Murrell will reveal when he brings his purview down toward our own time and our immediate memories.

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