Leslie Illingworth (Daily Mail), 17th November 1939:‘What me? I never touch goldfish!’
Introduction
What we have here is a cartoon by Leslie Illingworth published in the Daily Mail, on 17 th
November 1939 and entitled ‘What me? I never touch goldfish!’ The date of the cartoon is
obviously significant: Britain had been at war with Germany since September 3 rd, and, while
nothing much was happening on the Home Front yet (it was the beginning of what has been
called ‘the Phony War’), public opinion was preoccupied with the international situation,
namely the fate of Europe and the next move of the two dictators pictured here, i.e. Hitler and
Stalin.
To sum up the political and military situation, the Balkans had become the theatre of war since
the Spring of 1939. It started with Fascist Italy annexing Albania in April 1939, followed by
the invasion of Poland by both Hitler and Stalin on 1 st September 1939. By October 1st,
Poland had been completely overrun, and the Polish Government and remaining troops had
sought refuge in neighbouring Rumania. According to their non-aggression treaty (known as
the Hitler-Stalin Pact) signed in Moscow on August 23 rd 1939, the two dictators aimed at
dividing Europe into territorial and political spheres of influence. According to a secret
protocol, independent (neutral) countries, namely Finland, Estonia, Latvia, Lithuania, Poland
and Rumania were to be divided into spheres of interest for the two countries.
Britain and France had pledged to safeguard the independence of Poland, to no avail, but also
of Rumania, whose fate did not sound much more secure by November 1939…
Now that we have replaced the cartoon in its historical and political context, let us make a
thorough description of it in order to pinpoint the objectives of the cartoonist and effects he
wanted to make.
Description
The main elements drawn here are two cats with the recognisable human heads of Hitler and
Stalin, sitting on a table around a goldfish bowl in which 4 fish, each bearing the name of a
country are swimming. On the top of the bowl we can read the word BALKANS and on the
fish, Greece, Bulgaria, Rumania and Jugo-Slavia.
The cats are lying on the table in typical cat-like positions. If we look at the one on the left, we
can easily recognise the features of the Nazi dictator. It has been pictured with clearly visible
swastikas on the inside of its ears, a tiny black moustache and an equally black lock of hair
brushed to the side, all of which clearly point to the typical physical features of Hitler. We can
also notice two pointed tufts of hairs on top of its head and an apparently swishing tail (there
are lines suggesting movements). Interestingly, the Hitler-like cat has its front paws tucked up
underneath its body. Another striking feature is that its eyes are half-closed, as if it/he was
sleeping. It looks quite content, and one may imagine that it is purring. Somehow, the
impression given is that it is looking at the other cat while remaining close to the bowl.
The Stalin-like cat is in a similar position (albeit even closer to the bowl), with its tail
swishing, its eyes half-closed, its face easily recognisable with its slit eyes, big eyebrows, high
cheekbones, receding hair and large pointed moustache. Its ears are noticeably pointed and its
front paws are showing, as if it was ready to pounce. It has the added feature of a pretty bow
tied up round its neck.
Behind them on the table are a flowerpot and an open box of matches.
In front of them, in the foreground is a round bowl fish in which startled- or sad-looking fish
are swimming around, with no possibility of escape, of course, and at the mercy of the praying
cats. Finally, we may add that the caption, ‘What me? I never touch goldfish!’ is not
specifically attributed to either of them, and is therefore applicable to both. It obviously
indicated that, contrary to appearances, these cats are not sleeping; they are only pretending
and might suddenly come to life (as is they wont).
Analysis
Which takes us to our second part : what is the cartoonist trying to say, how does he say it and
on what tone?
This cartoon is obviously a caricature, with the two dictators being brought down to the level
of animals. The cats here are meant to be sneaky liars. They pretending to be asleep and not to
touch fish when they are in fact lying in wait as their swishing tails suggest (especially Stalin
in his ready-to-pounce position) and leering at the poor little fish, which are trapped in the
bowl and have no way of escaping. Indeed, they are easy preys for cats, which are well known
to eat goldfish. The image is an apt one to make a political statement on the nature of the two
dictators, just waiting to engulf small neighbouring countries, while pretending to be innocent
and peaceful.
What is more, the devilish horns that have been drawn on both of them clearly express their
evil nature. They are two of a kind, really, and cannot be trusted. Significantly, the
openbox of matches at the back suggest that they are going to set fire to the Balkans and
the little fishes will be helpless to prevent them from doing so.
Politically, the cartoon is quite potent : although there is nothing violent about the tone, the
message is quite clear and the danger looks imminent. In November 1939, the reader of the
Daily Mail would not have smiled at this (as we might with hindsight), as the danger was quite
real on the international scene. The prospect of war spreading to the whole of Europe was
indeed a potential reality, and Leslie Illingworth’s cartoon was remarkably prophetic in that
respect. Indeed, Rumania was soon to be invaded by the Soviet Union (interestingly, we notice
that the Romanian fish is looking towards the right, on the side of the Stalin cat), and Hitler
was to invade the other three.
More precisely, although France and Great Britain had pledged to ensure the independence of
Rumania, the Soviet Union was to annex Bessarabia from Rumania in June 1940. The country
remained neutral until then but entered the war on the side of the Axis powers in 1941.
Bulgaria and Yugoslavia were also to be invaded and occupied in 1941 and became allied with
the Axis powers. As for Greece, it was invaded by Fascist Italy in October 1940, but Greek
resistance was eventually to lead Germany to intervene in the Spring of 1941 in an attempt to
control that country also.
Conclusion
All in all, therefore, the artist here gives the readers a picture of the current situation and of the
future as he sees it. With hindsight, as we have seen, it was an incredibly prophetic one.
Moreover, the caricature, albeit of a mild nature, is nevertheless a strong indictment of the two
dictators: not only of their broken pledges, which was a recurrent theme in the cartoons of the
time, but also of their evil nature, which was to be depicted on more serious modes in the
months to come. We must point out, however, that the comic tone was a characteristic of
British cartoons throughout the war, and the subject illustrated here is a good example of that.
After the period of Appeasement, the British public did not yet feel that they were at war, but
they were beginning to realise that indeed, the war would not ‘be over by Christmas’. Here,
Leslie Illingworth gives them confirmation that, according to him, the international situation
was one of ominous uncertainty. Events were to prove him right.
‘All behind you, Winston’, by David Low, Evening Standard, 14 May 1940.
This is an example of confidence-building propaganda based on the central figure of the leader.
A multitude of men are pictured, all dressed the same, with black trousers, black ties, and white shirts, like
three-piece suits, only without the jacket. All the faces are different : some are long, some round; some have
dark hair, others seem to be blond, some have moustaches, others, not. Three are wearing glasses, the others are
not. Some of these men are tall and gaunt, others short and stout, some are old, some younger (especially at the
back). All in all, we notice a great variety and great numbers (the ones at the back are hardly visible, and the
queue seems to be endless. It is a great mass of men moving forwards in the same direction, with their left leg
striding on decidedly. The same determination can be noticed on all the faces. Some jaws are clearly set
forwards, too, and most faces wear a frown to indicate their determination. The men at the front (in the
foreground) seem to be leading the way and are seen to be rolling up their sleeves in an extremely resolute
fashion, with, in addition, their fists closed tightly.
Thus, the main impression given is one of numbers as well as variety of character, but, at the same time, they
have the same determination in common, as evidenced by the look on their faces and their general attitude.
Naturally, the men at the front stand out as being the leaders. We may imagine that the crowds on the inside are
also rolling up their sleeves, but we notice the ones at the front and on the side especially. They are middle-aged
men, with the front three older than the others. Any British viewer would recognise the members of their new
Government, of course, with Prime Minister Winston Churchill leading the way. He and Bevin (walking
slightly behind on Churchill’s left and positioned in the middle of the page) look particularly strong and
especially determined.
The caption reads ‘All behind you, Winston’, and as is often the case, the drawing is an illustration of this : the
crowd is indeed following the members of the Government. It sounds as if they are all saying this and, of
course, the viewer is invited to do the same.
The message is perfectly clear : everybody is already following the Prime Minister and everybody is full of
determination. They are going forward and nothing can stop them. Where are they heading cannot be seen, but
it is quite obvious in the situation of May 1940 : they are rolling up their sleeves to work for victory. What is
given here is the impetus and the desire to follow. Winston Churchill had only just become Prime Minister,
following the resignation of his predecessor Neville Chamberlain, who had lost a vote of confidence in the
House of Commons on the way he was leading the country in the war against Nazi Germany. Interestingly,
Chamberlain is also pictured here, only he is walking aside on the right. The fact that the new Government was
a coalition Government, naturally entailed unity of diverse people belonging to diverse political Parties. It is
what we have here : a distinct impression of unity behind the chief. Unity also implies trust, and there is no
doubt here, given the mass of people following, that they all trust the Prime Minister to lead them, regardless of
what lies ahead.
The people’s trust in the Prime Minister’s ability to win the war was to waver only slightly in 1942, at a critical
moment in the war, when there was a succession of defeats and the outcome seemed uncertain. During most of
the war period, however, the people were indeed behind Winston Churchill and his popularity remained very
high. The idea of being united behind the leader and working as a team in the same direction proved to be
successful in the end, with propagandists constantly striving at achieving unity of effort in the population as a
whole.
In this now famous cartoon, David Low definitely managed to capture the mood of the country at this crucial
time of the war, when public opinion did need a new leader who would lead them to victory in a sturdy,
steadfast manner, never looking back, but walking and working doggedly on.
‘Go to it’, by Sidney Strube, Daily Express, 8 June 1940.
description
The document is a black & white cartoon picturing a 3 d map of Britain with a very large white bulldog
squatting on it, covering the whole of England & Wales; special features of the dog : has a human face with
pursed lips, strong chin, fixed, determined look; wears a tin hat on which the words GO TO IT can be read
(white capitals on black background). Hat firmly attached by a strap; half-human dog has a collar round neck
with a nb 10 medal attached to it. The dog is looking straight ahead of him in the direction of France, but the
look is an inwards look, so to speak. This impression is given by the hooded eyes. The whole thing stands out
on a white background. Very few elements, therefore, which make the reader concentrate more easily on them.
From the visual elements to the meaning:
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The white background and the 3 ‘d’ island give an impression of isolation. What we have here is definitely
an island. No sign of a trespasser, let alone an enemy, though.
The island is far from vulnerable, however. It is guarded (and well guarded, given the size of the dog and its
innate characteristic : a guard dog. The firmness of its stand and strength of its legs and body are obvious.
The dog is standing firmly and looks impressive. A clear expression of grit on its face. Whoever might want
to trespass will be met with stubborn determination.
The dog does not seem to be exactly waiting for anybody. it’s just guarding its territory. What’s more, its
head is protected by a tin hat, which suggests it might be expecting harm from above. But the hat is well
attached, as we said, and covers the head very well. Again, it suggests not only the island, but the dog itself
is well protected and ready for anybody.
The ‘Go to it’ message may sound strange in that respect, as the dog does not seem to be going anywhere;
on the contrary, it is rather static and unyielding. Could it be an invitation (albeit a vague one?).
Finally, the nb 10 suggests the dog belongs to someone just as it guards a particular territory. The sign of
Winston Churchill are quite obvious.
Putting the document back into context
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It clearly suggests that Britain, as an island, is isolated; stands alone.. Situation of 1940 given. In June
1940, GB is in danger. Most of the continent has been invaded and taken over by the Germans.
The message is clear : is they try to invaded this bulldog’s territory, they will be pushed back. The size,
determination and forbidding look of the dog is meant to signify that the defence of Britain will be assured,
and he’s the one who will ensure it. → by June 8th, Churchill had been P.M for almost a month and had put
into place a number of measure to ensure the defence of GB. Defence Regulations included ARP (gas
masks, black-out, A.A batteries) and the setting up of the Local Defence Volunteers, a Home Front army
who were supposed to push back any invader. Hitler had indeed planned to attack of Britain (‘Battle of
Britain’ to start the next month) followed by heavy bombing and invasion nicknamed ‘Sea-lion’.
The important point/message was also to implement a suitable psychological defence. Here, we have a
typical example (amongst many others) of confidence-building propaganda. The leader will protect you
with all his might. Trust in the P.M is thus quite clearly asserted through this cartoon.
Why, then the ‘Go to it’ message on the tin hat? Just as people would recognize Ch, the message on his tin
hat would be very familiar to them. It was invented by the MoI (explain) to enlist the population’s active
support. Although a bit vague, the message was supposed to give people some sort of impetus. (work/obey
instructions, defend your country etc.) cf. rather pitiful debuts of the MoI with its 999 staff. and empty
exhortations (most famous ‘your courage; your resolution will bring us victory’). 1940 : with Ch as a
mouthpiece, like here, follow-up was more likely.
→ Q : role of propa? exhortation vs.information; how best to galvanize/control opinion. role of cartoons/the
press & of the BBC; power of repetition; aura of the leader, and of W.C in particular; power of symbolism;
especially coupled with leitmotiv → powerful images to sustain the will to fight and notably here, to resist the
potential invader.