A complete issue · 16 pages · 1893
Judge — September 23, 1893
# Political Cartoon Analysis: "Don't" This Judge magazine cover (September 23, 1893) satirizes Democratic interference with the tariff issue. The "Buzz Saw" labeled "TARIFF" represents the dangerous machinery of tariff policy. Monkeys—a common period caricature for politicians acting foolishly—are "monkeying with" this dangerous saw, with one figure appearing to represent a Democratic politician marked "DEMOCRAT." The warning sign reads: "WARNING! MONKEYING WITH THE BUZZ SAW IS DANGEROUS!" The cartoon warns against Democratic tampering with tariff legislation, suggesting such interference risks serious economic harm. This reflects 1890s political debates over protective tariffs, where the cartoon's creator views Democratic intervention as recklessly dangerous "monkey business" that could injure the nation's economic machinery.
# Analysis of Judge Magazine Page This page combines political commentary with social satire typical of early 20th-century Judge magazine. The main illustration depicts what appears to be a cyclone or natural disaster, accompanying an article titled "THE CYCLONE ORATORS" that criticizes Emma Goldman and her supporters for using free speech to promote dangerous ideas. The text suggests Goldman and her associates are blamed for inciting violence and worker unrest. The page also contains brief political jabs at figures like Secretary Gresham, Senator Stewart, and references to prohibitionists and various political debates of the era. The overall tone is conservative, opposing radical activism, labor agitation, and what the editors view as irresponsible public speech that endangers social order.
# Analysis of Judge Magazine Page 179 This page contains several unrelated humorous sketches typical of Judge magazine's format: **"Not Ready-Made"** mocks a servant's poor dining service through dialogue. **"Very Warm"** jokes about a man who placed a pickled object in a soup tureen as a prank. **"Appropriate"** satirizes a center-fielder singing while running—presented as fitting behavior for him. **"Instructions"** depicts a brief theatrical exchange between author and manager. **"They Come High"** shows a man trying to sell a painting to someone claiming ownership. The remaining sketches ("Couldn't Tell the Difference," "That's Different," "The Only One He Knew," "Accounted For," "On the Rialto," and "Remorse") are separate domestic or social humor comics with no apparent political content. This appears to be general entertainment/humor content rather than political satire.
