Political interpretations of The Wonderful Wizard of Oz

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Most readers in 1900 read The Wonderful Wizard of Oz as a fairy tale, but cartoonists recognized that Baum and Denslow were using images that editorial cartoonists had long used to portray American politicians.

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Political interpretations of The Wonderful Wizard of Oz study the influences of the modern fairy tale written by L. Frank Baum and illustrated by W.W. Denslow, first published in 1900. Many scholars have interpreted the book as an allegory or metaphor for the political, economic and social events of America of the 1890s.

Both Baum and Denslow had been actively involved in politics in the 1890s. Baum never said that the original story was an allegory for politics, although he did not have occasion to deny the notion. In fact, Baum himself states in his introduction to the book to have written The Wonderful Wizard of Oz "solely to please children of today":

[T]he old time fairy tale, having served for generations, may now be classed as "historical" in the children's library; for the time has come for a series of newer "wonder tales" in which the stereotyped genie, dwarf and fairy are eliminated, together with all the horrible and blood-curdling incidents devised by their authors to point a fearsome moral to each tale. Modern education includes morality; therefore the modern child seeks only entertainment in its wonder tales and gladly dispenses with all disagreeable incident. Having this thought in mind, the story of 'The Wonderful Wizard of Oz' was written solely to please children of today. It aspires to being a modernized fairy tale, in which the wonderment and joy are retained and the heartaches and nightmares are left out.¹ (Emphasis added.)

Sources

Some scholars^{[attribution needed]} have asserted that the images and characters used by Baum and Denslow closely resembled political images that were well known in the 1890s. They believe that Baum and Denslow did not invent the Lion, Tin Man, Scarecrow, Yellow Brick Road, Silver Slippers, cyclone, monkeys, Emerald City, little people, Uncle Henry, passenger balloons, witches and the wizard. These were all common themes in the editorial cartoons of the previous decade. Baum and Denslow built a story around them, added Dorothy, and added a series of lessons to the effect that everyone possesses the resources they need if only they had self-confidence. Positive thinking was a prevalent trend in this period, and Dorothy ultimately gets herself home. Baum may also have been influenced by the elaborate Christmas displays in Chicago and Saint Louis.

Political sources

Many of the events and characters of the book resemble the actual political personalities, events and ideas of the 1890s.^[1] The 1902 stage adaptation mentioned, by name, President Theodore Roosevelt, oil magnate John D. Rockefeller, and other political celebrities.^[1] (No real people are mentioned by name in the book.) Even the title has been interpreted as alluding to a political reality: oz. is an abbreviation for ounce, a unit familiar to those who fought for a 16 to 1 ounce ratio of silver to gold in the name of bimetallism, though Baum stated he got the name from a file cabinet labeled A-N and O-Z. It should also be noted, however, that in later books Baum mentions contemporary figures by name and takes blatantly political stances without the benefit of allegory including a condemnation in no uncertain terms of Standard Oil. The book opens not in an imaginary place but in real life Kansas, which, in the 1890s as well as today, was well known for the hardships of rural life, and for destructive tornadoes. The Panic of 1893 caused widespread distress in rural America. Dorothy is swept away to a colorful land of unlimited resources that nevertheless has serious political problems.^[1] This utopia is ruled in part by people designated as wicked. Dorothy and her cyclone kill the Wicked Witch of the East. The Witch had previously controlled the all-powerful silver slippers (which were changed to ruby in the 1939 film). The slippers will in the end liberate Dorothy but first she must walk in them down the golden yellow brick road, i.e. she must take silver down the path of gold, the path of free coinage. Following the road of gold leads eventually only to the Emerald City, which may symbolize the fraudulent world of greenback paper money that only pretends to have value, or may symbolize the greenback value that is placed on gold (and for silver, possibly).^[1] Other allegorical devices of the book include:

• Dorothy, naïve, young and simple, represents the American people. She is Everyman, led astray and who seeks the way back home.^[1] She resembles the young hero of Coin's financial school, a very popular political pamphlet of 1893. Another interpretation holds that she is a representation of Theodore Roosevelt: note that the syllables "Dor-o-thy" are the reverse of the syllables "The-o-dore."
• The cyclone was used in the 1890s as a metaphor for a political revolution that would transform the drab country into a land of color and unlimited prosperity. The cyclone was used by editorial cartoonists of the 1890s to represent political upheaval.^[1]
• Historians and economists who read the original 1900 book as a political allegory interpret the Tin Woodman as the dehumanized industrial worker, badly mistreated by the Wicked Witch of the East who rules Munchkin Country before the cyclone creates a political revolution and kills her. The Woodman is rusted and helpless—ineffective until he starts to work together with the Scarecrow (the farmer), in a Farmer-Labor coalition that was much discussed in the 1890s, which culminated in the successful Farmer-Labor Party in Minnesota and its eventual merger with the Minnesota Democratic Party to form the Minnesota Democratic-Farmer-Labor Party in 1944.
• The Munchkins are the little people—ordinary citizens. This 1897 Judge cartoon shows famous politicians as little people after they were on the losing side in the election. However, in Oz the Munchkins are all dressed similarly in blue, unlike these caricatures.

Cyclone as metaphor for political revolution; the Aunt-Em-type farm woman is labelled 'Democratic Party'; Puck 1894

Denslow's drawing of scarecrow hung up on pole and helpless, from 1st edition of book, 1900

July 1896 Puck cartoon shows farmer hung up on pole and helpless.

Munchkins are the Little People as shown in this 1896 Judge cartoon; the Yellow Kid (center) was one the first color comic strip characters.

Historian approach to the book

Among those historians and economists who support the approach that The Wizard of Oz is based on political symbolism of the 1890s the most widely accepted approach was published in 1964, when a high school history teacher named Henry Littlefield used the characters and events of The Wizard of Oz as metaphors to teach historical concepts. Together with his students, Littlefield drew parallels between historical events and events in the book, and eventually published these parallels in an article in the 1964 American Quarterly scholarly journal. Over the years, the idea captured the attention of many cartoonists, editorial writers, scholars, historians, economists, writers and journalists. Several writers expanded upon Littlefield's parallels, and soon the allegory was being analyzed in scholarly articles and textbooks in economics and history. The cartoons shown in this article prove that political cartoonists before 1900 used cyclones, farm wives, witches, scarecrows, dogs, lions and monkeys, etc. as political allegories. Baum and Denslow had recently seen these—Puck and Judge were the most popular cartoon magazines of the day—and it seems likely they drew their inspiration from them. Editorial cartoonists have made heavy use of Oz imagery in political cartoons, as the Rogers 1906 cartoon of Hearst, and the 1947 Berryman editorial cartoon proves.

Cartoonist Rogers in 1906 sees the political uses of Oz: he depicts William Randolph Hearst as Scarecrow stuck in his own Ooze in Harper's Weekly

U.S. monetary policy references

From 1880 to 1896, the price level in the U.S. economy fell by 23% (deflation). Farmers suffered because the prices they received for their produce declined while their debts grew. This fueled vigorous political debate between those who supported a move to a gold standard and supporters of the existing system of bimetalism - where the value of the dollar was tied to both gold and silver in a fixed ratio. Democratic presidential nominee William Jennings Bryan supported bimetalism, summarized in his Cross of Gold speech. However, Republican William McKinley won the presidency and the gold standard was introduced. Historian Hugh Rockoff interprets the story of the The Wonderful Wizard of Oz, in the Journal of Political Economy: Dorothy: traditional American values
Toto: Prohibitionist party (also called Teetotalers)
Scarecrow: western farmers
Tin Woodsman: industrial workers
Cowardly Lion: William Jennings Bryan
Munchkins: citizens of the East
The Lollipop Guild: child labor [NB: be careful here. The Lollipop Guild does not appear in the book (see Chapter 2: The Council with Munchkins), only the 1939 movie by MGM.]
Wicked Witch of the East: Eastern business and financial interests, Grover Cleveland
Wicked Witch of the West: William McKinley, the harsh weather of the west, or the railroad monopolies with their high shipping rates
Wizard: Mark Hanna (chairman of the Republican party), or William Mckinley
Oz: abbreviation for ounce of gold
Yellow Brick Road: gold standard
Cyclone: the free silver movement
Emerald City: Washington D.C., paper money
Emerald Palace: the White House
Silver Slippers: the free coinage of silver
Monkeys: The Native Americans - monkeys lived off the Witch, Native Americans lived off the land At the end of the story, Dorothy finds her way home, but it is not by just following the Yellow Brick Road. After her journey, Dorothy finds that the Wizard is incapable of helping her or her friends. In the end, she finds that the magical powers of her silver slippers help her. Since the silver slippers are the vote, she realizes that she had the power to fix the problems all along. It should be noted, however, that the historian David Parker, in an article referenced in this article, cites evidence that Baum was in fact an 1896 McKinley supporter who opposed "silverism" as undermining business confidence and believed that the answer to America's economic problems lay in the Republican policy of "sound money" and protective tariffs.

Additional sources

• The Tin Man was a common feature in political cartoons and in advertisements in the 1890s. Indeed, he had been part of European folk art for 300 years.

1899 soap ad shows Tin Man

• The oil needed by the Tin Woodman had a political dimension at the time because Rockefeller's Standard Oil Company stood accused of being a monopoly (which was later ruled correct in a lawsuit brought by the federal government, and ultimately affirmed by the US Supreme Court.) In the 1902 stage adaptation the Tin Woodman wonders what he would do if he ran out of oil. "You wouldn't be as badly off as John D. Rockefeller," the Scarecrow responds, "He'd lose six thousand dollars a minute if that happened." (Swartz, Oz p 34).
• The lion that Dorothy, Scarecrow and Tin-Man encounter in the enchanted forest may be a reference to William Jennings Bryan, the Democratic candidate for president in 1896. Cartoons often portrayed leading politicians as lions, and Bryan was described as having a great roar with no bite. People asked in early 1900, when the book was written, if he had the courage to oppose the McKinley Administration.
• The Wicked Witch of the East could be a reference to bankers and brokers on Wall Street; Baum's depiction of them is that they were ruthless, savage capitalists whose sole interest was to disown the yeomanry of their land. In turn, the wicked witch of the west may be a reference to the west-coast counterpart or (as was more likely the case) the consistent drought that plagued land out west in the 1890s, since all that is needed to quell her is water. The good witches of the south and north likely represent the southern and northern electoral mandate; that is, Baum's desire to see the agrarian south and the industrial north vote in harmony (i.e. for William Jennings Bryan) and drive out President William McKinley.
• The Good Witch of the North and the Good Witch of the South could be references to the factory workers of the North and the farmers of the South, in contrast to the (wicked) industrialists of the East and rail barons of the West.
• In 1900 by far the most famous farmer in America was Henry Cantwell Wallace, editor of the leading farm magazine. Everyone called him "Uncle Henry."
• Aunt Em is a matter of some dispute. Baum's mother-in-law was named Matilda Joslyn Gage, and might have been "Aunt M" to some. She was a leader of the woman suffrage movement, but nothing about the book's character suggests suffrage interests.
• The Emerald City looks like a greenback version of the national capital, and is modeled after the Chicago World's Fair of 1893, officially named World's Columbian Exposition, which dazzled millions as "The Great White City." It is "emerald" only because those in it wear green glasses and hence think it is made of a green jewel; just as paper greenbacks have value only because people pretend that it has value. The poppies which surround the Emerald City are likely a reference to the opium poppies and the Boxer Rebellion of 1899.

1885 Puck shows President Cleveland as Lion, and shows other politicians as (flying?) monkeys.

• Monkeys were used in cartoons to ridicule politicians. The Winged Monkeys may play a role similar to the hired Pinkerton agents who worked for the Trusts and hounded labor unions. Alternatively, if the Wicked Witch of the West is thought of as the actual American West, monkeys could represent another western danger: Native Americans. Baum even displayed an early sympathy for native Americans of the plains, symbolized in the story of the Winged monkeys in the West, whose leader tells Dorothy, "Once..we were a free people, living happily in the great forest, flying from tree to tree, eating nuts and fruit and doing just as we pleased without calling anybody master... This was many years ago, before Oz came out of the clouds to rule over this land.")^[2] Another interpretation of the mokeys is that they represent the Chinese workers on the cross country railroad project. They came from the west therefore are minions of the wicked Witch of the West, linking the manufacturing East to the raw products in the West.

• Politicians of the era often talked about wizards. For example, one senator debating the gold and silver issue in early 1900 said, “We all know of the performances of the world’s magicians, but it has remained for the Wizard of Missouri [Senator Cockrell] to wave his magic wand or his magic head and double the price of the silver of the world.” [New York Times February 16, 1900 p 1] Baum may have turned the Wizard of Missouri into the Wizard of Oz, who frightened people with his giant magic head.

1897 JUDGE cartoon shows McKinley as a Witch/Mother Hubbard, and little Toto-like dog as Uncle Sam.

• President McKinley was often called a "wizard" for his political skills. The Wizard of Oz seems to be the president of the Land of Oz. The "man behind the curtain" could be a reference to automated store window displays of the sort famous at Christmas season in big city department stores; many people watching the fancy clockwork motions of animals and manikins thought there must be an operator behind the curtain pulling the levers to make them move. (Baum was the editor of the trade magazine read by window dressers.)
• Dogs were often used in political cartoons to represent politicians or parties. Perhaps “Toto” is a play on the word teetotaler, and represents the Prohibitionists of the era, who were aligned with William Jennings Bryan in the 1896 and 1900 elections.
• In some instances Theodore Roosevelt was thought of as the Wizard.
• A 1997 essay in The Washington Post recast the story as an exercise in Machiavellianism, showing how the supposed "Good Witch Glinda" used an innocent, ignorant patsy (Dorothy) to overthrow both her own sister witch (Witch West) and the Wizard of Oz, leaving herself as undisputed master of all four corners of Oz: North, East, West and (presumably Oz being) South. "She even showed her truest macheavellian genius by allowing the story to be entitled after the weakest of her three opponents."

Further reading

• A history of the debate
• David Parker's article "The Rise and Fall of The Wonderful Wizard of Oz as a 'Parable on Populism'"; also in the Journal of the Georgia Association of Historians, vol. 15 (1994), pp. 49-63
• Littlefield's 1992 article on the subject
• Collection of material relating to Oz as a political allegory
• Humbug: The Most Destructive Film in History by Paul Niquette
• The Fable of the Allegory: The Wizard of Oz in Economics, 2002 Review of the above and the academic context from the Journal of Economic Education.
• Oz as a spiritual allegory
• Why Oz is China: A Political Allegory
• [1] Rockoff, Hugh. "The 'Wizard of Oz' as a Monetary Allegory," Journal of Political Economy 98 (1990): 739-60.

For an exploration of the allegories in the book see the full-length scholarly book by an economics professor: The Historian's Wizard of Oz — Reading L. Frank Baum's Classic as a Political and Monetary Allegory, edited by Ranjit S. Dighe, Praeger Publishers, Westport, Pennsylvania 2002.

References

• Clanton, Gene. Populism: The Humane Preference in America, 1890-1900 (1991)
• Culver, Stuart. "Growing Up in Oz." American Literary History 4 (1992) 607-28. in JSTOR
• Culver, Stuart. "What Manikins Want: The Wonderful Wizard of Oz and The Art of Decorating Dry Goods Windows and Interiors", Representations, 21 (1988) 97-116.
• Dighe, Ranjit S. ed. The Historian's Wizard of Oz: Reading L. Frank Baum's Classic as a Political and Monetary Allegory (2002)
• Erisman, Fred. "L. Frank Baum and the Progressive Dilemma" in American Quarterly Vol. 20, No. 3 (Autumn, 1968), pp. 616-623 online at JSTOR
• Gardner, Todd. "Responses to Littlefield" (2004), online
• Geer, John G. and Thomas R. Rochon, "William Jennings Bryan on the Yellow Brick Road," Journal of American Culture (Winter, 1993)
• Gilead, Sarah. "Magic Abjured: Closure in Children's Fantasy Fiction" in PMLA Vol. 106, No. 2 (Mar., 1991), pp. 277-293 in JSTOR
• Hearn, Michael Patrick (ed). The Annotated Wizard of Oz. (2000, 1973)
• Jensen, Richard. The Winning of the Midwest: Social and Political Conflict, 1888-1896 (1971), ch. 10.
• Karp, Andrew. Utopian Tension in L. Frank Baum's Oz in Utopian Studies, 1998
• Kim, Helen M. "Strategic Credulity: Oz as Mass Cultural Parable" in Cultural Critique No. 33 (Spring, 1996), pp. 213-233 online at JSTOR
• Leach, William. Land of Desire: Merchants, Power, and the Rise of a New American Culture (1993), pp. 248-260.
• Littlefield, Henry. "The Wizard of Oz: Parable on Populism." American Quarterly. v. 16, 3, Spring 1964, 47-58. online version
• Littlefield, Henry M. "The Wizard of Oz: Parable on Populism" American Quarterly Vol. 16, No. 1 (Spring, 1964), pp. 47-58 in JSTOR
• Nesbet, Anne. "In Borrowed Balloons: The Wizard of Oz and the History of Soviet Aviation" in The Slavic and East European Journal> Vol. 45, No. 1 (Spring, 2001), pp. 80-95 online at JSTOR
• Riley, Michael O. (1997) Oz and Beyond: The Fantasy World of L. Frank Baum. University of Kansas Press ISBN 0-7006-0832-X
• Ritter, Gretchen. Goldbugs and Greenbacks: The Anti-Monopoly Tradition and the Politics of Finance in America (1997)
• Ritter, Gretchen. "Silver slippers and a golden cap: L. Frank Baum's The Wonderful Wizard of Oz and historical memory in American politics." Journal of American Studies (August 1997) vol. 31, no. 2, 171-203.
• Rockoff, Hugh. "The 'Wizard of Oz' as a Monetary Allegory," Journal of Political Economy 98 (1990): 739-60 online at JSTOR
• Swartz, Mark Evan. Oz Before the Rainbow: L. Frank Baum's "The Wonderful Wizard of Oz" on Stage and Screen to 1939 (2000).
• Velde, Francois R. "Following the Yellow Brick Road: How the United States Adopted the Gold Standard" Economic Perspectives. Volume: 26. Issue: 2. 2002. also online here
• Ziaukas, Tim. "100 Years of Oz: Baum's 'Wizard of Oz' as Gilded Age Public Relations" in Public Relations Quarterly, Fall 1998

External links

• The Wonderful Wizard of Oz, available at Project Gutenberg.
• Pros and cons of Oz as an allegory
• [2] copy of Hugh Rockoff, "The 'Wizard of Oz' as a Monetary Allegory," Journal of Political Economy 98 (1990): 739-60
• [3] David B. Parker, “The Rise and Fall of The Wonderful Wizard of Oz as a "Parable on Populism’” (1994)