This unsigned Harper's Weekly cartoon honors the service
and recognizes the equal manhood of the black and white soldiers who had
served the Union cause during the Civil War.
Although black men volunteered to serve in the Union armed forces as
soon as the Civil War began, their service was rejected, ostensibly
because of a federal law which prohibited blacks from bearing arms in
the United States military. (Although the law was enacted in 1792,
blacks had served during the War of 1812.) Both the eagerness of
black volunteers and the refusal to enlist them were based significantly
on the assumption that their military service would foster emancipation of the
slaves.
At the beginning of the Civil War, President Abraham Lincoln realized
the dire necessity of keeping the border states (slave states which did
not secede) in the Union, and so he initially rejected attempts to arm
blacks or emancipate slaves. That situation had changed by the
summer of 1862 as the number of white volunteers dwindled, the number
of contrabands (escaped slaves under Union military protection) rose,
and the border states became more secure for the Union. In July 1862, Congress authorized the use of black men in
the Union military, and President Lincoln informed his cabinet that he
would soon proclaim the emancipation of slaves in Confederate territory.
The use of black servicemen, like the Emancipation Proclamation
(January 1, 1863), stirred considerable opposition throughout the Union
states because of racial prejudice. Black
servicemen were segregated from whites in special "colored"
units under the leadership of white officers, such as Colonel Robert
Gould Shaw of the 54th Massachusetts Colored Infantry. (The United
States armed forces were not desegregated until the
1950s.)
At first, black servicemen were also paid less than their white
counterparts of equal rank; a net pay of $7 per month versus $13. Harper's Weekly editor George William Curtis
wrote editorials and joined Colonel Shaw, his brother-in-law, to lobby Congress for the equalization of wages.
Congress finally complied in June 1864 with an equal pay act, which was
made retroactive to cover the previous years of service as well.
A more severe problem was the Confederate policy of treating captured
black servicemen and their white commanders more harshly than captured
white troops. This prompted President Lincoln's threat of reprisals
against Confederate prisoners of war. It may have constrained some of
the more outrageous behavior by the Confederates, but the unequal
treatment of black servicemen continued. The Confederacy's
refusal to acknowledge captured
black servicemen as legitimate prisoners of war undermined prisoner-of-war exchanges.
Almost 200,000 black men
served as soldiers, sailors, or laborers for the Union forces during the
Civil War. Racial prejudice meant that black men were
underutilized in combat, but they still made major contributions in
battles such as Milliken's Bend and Port Hudson, Louisiana; Nashville,
Tennessee; and, Petersburg, Virginia. The unsuccessful but heroic
assault on Fort Wagner, South Carolina, by the 54th Massachusetts
Colored Infantry is memorialized in a monument at Boston Commons and the
1989 film Glory. Nearly 80 black men were commissioned as
officers during the Civil War, and 16 black soldiers were awarded the Medal of Honor.
Some black women, although not formally part of the armed forces,
assisted the Union cause as nurses, scouts, or spies, including Harriet
Tubman, a scout for the 2nd South Carolina Volunteers.
Throughout history, military service, especially in battle, was often
seen as a rite of passage that turned boys into men. Physical scarring
or maiming served as the visible symbol of manhood tested and earned
through combat. The message of this cartoon, appearing at the end of the
Civil War, is that white and black Union soldiers have made the same
sacrifice and are equal in their manhood. It can be inferred that, for
the artist, the equality of manhood encompasses the economic right to
work as free men and to provide for their families. The artist’s
intent on the more difficult questions of political and social equality
is uncertain, although such racial equality was advocated by Curtis on the
editorial page.
For more information on blacks and the Civil War, visit HarpWeek's
Website on Black American history.