✑I confess myself somewhat at a loss to account for the origin of the surprise symbol which consists of the violent unsettling of the hat from its normal position on the top of the head. Is it the cartoonist's idea that the hair rises as forcibly as all that, or is it that the start of astonishment is so cataclysmic as to cause all loosely attached portions of one's habiliment inevitably to separate from one's person?
|I still don't know who this Canadian cartoonist was.|
|"Baron Bean" by George Herriman|
Cartoonists who have a little more patience have devised somewhat subtler symbols than these. The face is, after all, the instrument upon which surprise is most commonly registered. But for some reason or other, the face of the ordinary comic character is not readily subject to exaggeration in this respect. That is why, perhaps, the cartoonists contrive so often to eliminate the face of an astonished character altogether.
|[I already posted the article's illustration of a surprised Jeff last week. My bad. Here's a surprised Mutt.]|
Mr. Sterrett's Pa Perkins is almost as good as Jeff. The single hair rising on end, the helplessly rubbed baldness around it, the wide open eyes, the wrinkled old forehead have infinite symbolic value, but lack the simplicity that Mr. Fisher has achieved. . . .
|"Polly and Her Pals" by Cliff Sterrett|
|"Krazy Kat" by George Herriman|
|"Petey Dink" by C.A. Voight|
Poor Petey! He is ever doomed to the shocks of disillusionment. Of course, he had been leaning back in his chair . . . [sic] but still! Mr. Voight deserves congratulations for this bit of work.