Critique of the American Approach
Ben Zheng
In 1846, Commodore James Biddle led the first official American mission to Japan in an effort to open new trade lines. Unfortunately, he was ultimately unsuccessful in his endeavor and quickly returned to the United States to assist in the Mexican-American War after his requests were turned down. In 1848, John Eastly presented Biddle’s ships in Edo Bay in his sketch “The U.S.S. Columbus and Vincennes in Japan” as part of a series of lithographic prints.[1] As lithography was originally created to inexpensively produce large numbers of images, Eastly’s portrayals were likely addressed towards a greater American audience, one which was eager to learn of news abroad. Thus an analysis of Eastly’s interpretation of Biddle’s experiences in Japan reveals influences on popular sentiment towards Japan at the time, translating to an overall Western attitude about the Japanese based on given information.
Upon first glance of the illustration, both of the American ships appear extremely large and well-detailed compared to the other boats in the bay. The Japanese fleet is numerous in size, yet all of the vessels appear weak and primitive in nature, with both the shape of the boat and crew taking on an increasingly generic look as the drawings move on into the distance. Biddle’s ships did not match up to the “powerful squadron” described by President Millard Fillmore that Commodore Matthew Perry would direct some years later, yet the image’s message of American naval superiority is clear.[2]
Despite the militaristic advantage portrayed by the illustration, however, the text accompanying the image describes Biddle as “not wishing to give offense”. In addition, the Japanese are presented as “warlike” but also “polite” and “amiable”. Though “no person was allowed to land”, they are keen to attend to the wants of all of Biddle’s men, “and that done they were desired to leave and never return again”. It is apparent that the attitude of the Japanese towards the Americans according to the lithograph is one of formal rejection: the sailors’ needs are fully addressed and they are visited by “hundreds of Japanese” eager to meet their exotic visitors, yet the text concludes with the locals “rejoicing” over their successful dealings, shut-out and sendoff of the Western “Barbarians”.
From Eastly’s perspective, the Japanese are represented as non-violent, technologically inferior and even simple-minded natives. Nevertheless, Biddle’s passivity leads to a failed journey: instead of opening trade, he merely enjoys his time in the harbor for a few days and then leaves. Ultimately, the lithograph questions his approach towards securing free trade. Perry’s later successful mission would emphasize the American imperialist ideal that modern analysts have described as “buoyed by a moral certitude and expansive reach that did not take no for an answer” over nonaggressive diplomacy.[3] Thus, by publishing his work (especially if it appeared in a newspaper or pictorial), Eastly arouses the Western imperialist spirit in his readers – the American public – and emphasizes the ease of coercing or even conquering the weaker eastern nations if more aggression is added to negotiations. Similar contemporary portrayals of Biddle’s fleet or critiques, indirect or direct, of his actions in Japan would serve to add more perspectives on the matter and potentially act as further evidence of the growing sense of American power and strength in “grim determination”.
[1] Based on sketches by John Eastly, “The U.S.S. Columbus and Vincennes in Japan,” Japan's Samurai Revolution, accessed September 28, 2014, https://samurairevolution.omeka.net/items/show/5.
[2] Fillmore, Millard. “Letter from U.S. Pres. Millard Fillmore to the Emperor of Japan Requesting a Japan – U.S. Agreement.” 1853. TS.
[3] Gordon, Andrew. A Modern History of Japan. New York, NY: Oxford University Press, 2014. Print.