The Project Gutenberg EBook of Punch, or the London Charivari, Vol.
98, 1890.05.10, by Various
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: Punch, or the London Charivari, Vol. 98, 1890.05.10
Author: Various
Editor: F. C. (Francis Cowley) Burnand
Release Date: December 17, 2009 [EBook #30694]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK PUNCH ***
Produced by Neville Allen, Malcolm Farmer and the Online
Distributed Proofreading Team at http://www.pgdp.net
PUNCH,
OR, THE LONDON CHARIVARI.
VOLUME 98.
MAY 10, 1890.
* * * * *
EIGHT HOURS ONLY.
(_A Fancy Sketch of the Possible._)
It was the first day under the operation of the new Act. Everyone was a
little nervous about the outcome, and JOHN JONES, the Barrister, was no
exception to the general rule. At three o'clock he was in the full swing
of an impassioned appeal to the Jury.
"I beg your pardon, Mr. JONES," said the Judge, glancing at the clock,
"but I am afraid I must interrupt you. I cannot hear you any longer."
"But, my Lord, I have not touched upon a third of the case. I can assure
you my remarks shall be as brief as possible."
"That is not the point, Mr. JONES," replied his Lordship. "I am
following your argument with the liveliest interest, and I am sure that
all you would wish to say would be of the greatest possible service to
your client; but unfortunately I happen to know that you prepare your
cases in the early hours of the morning. Now, you know the law as well I
do. If you have not been at work to-day for eight hours, of course I
shall be happy to hear; but if you have----"
"As your Lordship pleases," said poor JONES, and he gathered up his
papers, and left the Court.
"Just in time, Sir," observed the attendant in the robing-room, as he
put the Barrister's wig in its box, and assisted him to divest himself
of his gown. "Had you come five minutes later, we should have gone."
"Really! How would that have suited silk and stuff?"
"Caused a fearful row, I am afraid, Sir. But we daren't exceed the eight
hours' limit, and we must keep two or three of them for some work we
have in the evening."
When JONES found himself in the Strand he noticed that the traffic was
considerably less than usual. The omnibuses were few and far between,
and he did not see a cab in any direction.
"Yes, Sir," replied a policeman, who was removing his band of office,
preparatory to going home; "you won't find many. Eight hours' limit,
Sir. Good-day, Sir. I am off myself."
The boats had ceased running; there were no trams. To pass the time he
thought he would call upon the Editor, whose rooms were in Fleet Street.
"I hope I am not interrupting you," he said, as he entered the sanctum.
"Interrupting me! Why, I am delighted to see you. We have nothing to do.
Mustn't exceed the eight hours, and they were up at two o'clock. But how
did you get in?"
"Oh, the Publisher opened the door, and then returned to a rubber of
whist he was playing with the Reader, the Manager, and the Head of the
Advertisement Department. I was introduced to them all. Then I watched a
tug of war going on in the composing-room between the Compositors on the
one side, and the Machinists and Foundry-men on the other, and came up
here."
"Very glad to see you, my dear fellow!" and the Editor once again shook
hands.
A little later JONES entered a restaurant, but he was refused dinner.
The eight hours' limit had cleared off the cooks and the waiters.
Half-starving, he purchased a stall for the theatre. For a while his
thoughts were distracted by the excellence of the performance. Suddenly,
in the most interesting part of the play, the curtain was prematurely
dropped.
"Very sorry," said the Stage Manager, addressing the audience from
behind the footlights, "but, Ladies and Gentlemen, we have no option. We
had a rehearsal this morning of the new piece, and, taking this into
consideration, our limit is reached. I may seize this opportunity for
regretfully announcing that as two performances take more than eight
hours, the customary Saturday _Matinée_ will for the future be
discontinued."
The orchestra played a few bars of the National Anthem, and the theatre
cleared. JONES strolled on to the Embankment, and, the evening being
pleasant, took a seat. Beside him was a student reading for examination,
a clergyman thinking out a sermon, and an artist taking a rough sketch.
JONES took out a brief himself and opened it.
"It's no business of mine," said a policeman off duty, who happened to
be passing, "but you gents will get yourselves into trouble if you
exceed the limit."
"I will go home," exclaimed JONES; and he walked to his suburban villa.
But the place was locked up, and the servants did not dare to open the
door to him, as they had finished their legal spell of labour hours
before.
"Don't feel well," he murmured. "Will call upon my Doctor."
"Now, my dear Sir," said the medical man, as JONES appeared before him,
"you know I must not prescribe for you. The eight hours' limit was
reached at four."
"Then, I suppose I must die. Will the Act allow me to do _that_?"
"You, as a Barrister, ought to know best, my dear Sir. What is _your_
idea?"
"My idea?" echoed the considering JONES. "Well, I should say----But,
stay; I am not entitled to give a professional opinion until to-morrow
morning! Still, offhand I may observe, that such an illegal death would
savour of positive suicide; but it would not matter very much, as under
existing circumstances suicide in some form or other seems to me
inevitable!" And JONES was right!
* * * * *
[Illustration: MAXIMS FOR THE BAR. NO. V.
"A Curate may be cross-examined with comparative safety."]
* * * * *
IN THE KNOW.
(_By Mr. Punch's Own Prophet._)
Those who have carefully read the remarks which I have thought it my
duty to make in these columns from time to time, must have reaped a
golden harvest at Newmarket last week. It is not easy, of course, in
these milk-and-water days to say what one means in sufficiently plain
words. Personally, I have always been mild in my language, and have
often been reproached on this score. But I have always found it
possible, without using vulgar and exaggerated abuse, to express the
contempt which, in common with every right-minded man, I feel for the
grovelling herd of incompetent boobies, whose minds are as muddy as the
Rowley Mile after a thunderstorm. _Surefoot_ was always a favourite of
mine. Two months ago I said, "if _Surefoot_ can only face the starter
for the Two Thousand firmly, he will probably get off well, and ought
not to be far behind the first six at the finish. As to _Le Nord_,
though he is not my colour, he is not likely to be last." Only a
mooncalf, with a porridge-bowl instead of a head, could have mistaken
these remarks.
So Sir THOMAS CHUCKS has joined the ranks of aristocratic owners. Here
is a chance for the dilly-dallying professors of humbug to distinguish
themselves. What can be expected from a stable which always runs its
trials at one o'clock in the morning, with nobody but Mr. JEREMY to look
on? No doubt we shall hear all about it in the columns which Mr. J.
devotes to the edification of dough-faced, gruel-brained noodles who
accept him as their prophet.
_Catawampus_ ran well last week. With two stone less and a Calyx-eyed
saddle-bar, he would have shown up even better. Whenever the barometer
goes up two points _Catawampus_ must be remembered. He was foaled in a
ditch on the old North Road, somewhere between London and York, and
having remained there or thereabouts for a month, may be considered a
good stayer.
* * * * *
THE EMPIRE IN THE TIME OF SEVERUS.--Wonderful Juggler at the Empire,
with a name that's not to be trifled with, SEVERUS. Some nights he may
be better than on others, but you'll be delighted if you just catch him
in the Juggler vein.
* * * * *
The Over-rated Rate-payers who fear the rising of the Rates more than
almost any other rising, express a hope that the L. C. C. will be
economical, and that FARRER may be "Nearer."
* * * * *
[Illustration: UNCERTAINTIES OF ARITHMETIC.
_Schoolmaster._ "YES; BUT LOOK HERE, MY BOY. SUPPOSE I WERE TO LEND YOUR
FATHER _FIVE HUNDRED POUNDS_, LET US SAY,--WITHOUT INTEREST,--BUT ON
CONDITION THAT HE SHOULD PAY ME TEN POUNDS A WEEK. HOW MUCH WOULD HE
STILL OWE ME IN TWO MONTHS?"
_New Boy._ "FIVE HUNDRED POUNDS, SIR!"
_Schoolmaster._ "TUT! TUT! MY BOY, YOU DON'T KNOW THE FIRST PRINCIPLES
OF ARITHMETIC!"
_New Boy._ "_YOU_ DON'T KNOW _MY FATHER_, SIR!"]
* * * * *
PRIMROSE'S PEEP-SHOW.
(_Vide Lord Rosebery's resumé of the year's work of the London County
Council._)
MASTER BULL _loquitur_:--
Humph! Show is very passable, no doubt;
And as you pull the strings, my clever Showman,
'Tis clear that _you_ know what you are about,
Sense's sworn friend, and babbling folly's foeman.
The slides, as worked by you, seem mighty fine,
A trifle vague, perhaps, in composition,
Sloppy in colouring, and weak in line,
As is the civic peep-show's old tradition;
Still there is graphic vigour here and there,
Perspective, and a general sense of "movement."
On the old "Shirker" Show, 'tis only fair
To own, it evidences some improvement.
Plenty of slides! there is no doubt of _that_;
In fact one questions if there are too many.
Yes, I shall find when you pass round the hat,
The price is more than the old-fashioned Penny.
I pay my money and I take my--choice?
Well no, it won't quite fit, that fine old patter.
Still, if your Show proves good, I shall rejoice;
A trifling rise in fee won't greatly matter,
If 'tis not too "progressive" (as you say).
To stump up for sound work I'm always willing;
But though, of course, a Penny may not pay,
One wants a first-class Peep-Show for a Shilling!
Some of your novel slides are rather nice,
Some of them, on the other hand, look funny.
I felt grave doubts about 'em once or twice.
I don't want muddlers to absorb my money.
However, as I said, 'tis very clear
As puller of the strings you yield to no man.
The Show seems promising, if rather dear,
But anyhow it has a first-rate Showman!
* * * * *
"So Engelish you know!" exclaims the BARON DE B. W., on seeing the
advertisement of Dr. LOUIS ENGEL's new book from _Handel to Hallé_. "It
will be interesting," says the Baron, "to note how much of HANDEL's
popularity was due to that particular inspiration of genius which caused
him to use the name of the future composer and pianist in one of his
greatest works, namely, the celebrated '_Hallelujah Chorus_.' For this
magnificent effort would have been only half the chorus it is without
'HALLÉ' to commence it."
* * * * *
GRANDOLPH GOODFELLOW;
OR, PUCK AT THE SPIGOT.
(_Shakspeare adapted to the situation_)
_Bung._ Either I mistake your shape and making quite,
Or else you are that shrewd and knavish sprite
Called GRANDOLPH GOODFELLOW. Are you not he
That did your best to spill Lord S-L-SB-RY?
Gave the Old Tory party quite a turn,
And office with snug perquisites did spurn?
And now you'd make Strong Drink to bear no barm
(Or proper profit.) You would do us harm.
Those that Hobgoblin call you, and sly PUCK,
Are right; you always bring your friends bad luck.
Are you not he?
_Puck._ By Jove, thou speak'st aright;
I am that merry wanderer full of spite.
I jest unto the Plebs and make it smile.
Old, fat, and bean-fed Tories I beguile,
And lead them to a Democratic goal.
Now I am "going for" the flowing bowl.
E'en W-LFR-D owns I am "upon the job".
I mean to save the workman many a "bob".
But, lessening his chance of toping ale,
The Witler tells his pals the saddest tale.
Bacchus for his true friend mistaketh me,
Then step I from his side, down topples he,
And "Traitor!" cries, and swears I did but chaff,
And the Teetotallers hold their sides and laugh,
And chortle in their joy, and shout, and swear
That GRANDOLPH GOODFELLOW's a spirit rare.
But room, old boy, the Second Reading's on.
_Bung._ He is a trickster:--Would that he were gone!
* * * * *
MR. PUNCH'S DICTIONARY OF PHRASES.
SOCIAL.
"_Dear me, how surprisingly your voice has strengthened since I last
heard you sing_;" _i.e._, "Roars like a town-bull, and fancies himself a
LABLACHE!"
"_I saw quite a ring round your picture at the Academy to-day_;" _i.e._,
"If only he had heard them laugh!"
"_Won't you stop and have some lunch?_" _i.e._, "Couldn't help asking
him, as the confounded luncheon-bell rang a peal; but if he has any
manners or consideration he'll say, 'No, thank you,' and go."
"_I know your face so well--but I am such a bad hand at names_;" _i.e._,
"Never saw him before in my life!"
"_Pray allow me to get it_;" _i.e._, "Catch me moving!"
"_You know you can trust me implicitly_;" _i.e.,_ "May be a good story
to tell."
"_He has such wonderful wit_;" _i.e._, "An unfailing flow of rudeness
which he calls repartee."
"_Rather satirical, yes: but she has marvellous insight into
character_;" _i.e._, "She has been complimenting _me_."
PLATFORMULARS.
"_These, then, are the arguments_;" _i.e._, "They're all yawning--must
end somehow."
"_A crushing reply_;" _i.e._, a retort discourteous, in which all the
points of the attack are adroitly evaded.
"_After the magnificent oration to which we have just listened with so
much delight, I feel that anything that I can say must be in the nature
of an anti-climax_;" _i.e._, "Confound him! Why will he take all the
'fat' to himself, and cut the ground from under a fellow's feet?"
"_I have the greatest possible pleasure in presiding over this
magnificent assembly on this memorable occasion_;" _i.e._, "Place is
like a malodorous oven, and I wish to goodness it were all over."
PARLIAMENTARY.
"_I appeal to that consideration which the House always extends to a new
Member, &c._;" _i.e._, "Mean to make them sit up a bit, but _must_ come
the conventional modest."
"_The Honourable and Gallant Gentleman has fulfilled his task with all
the ability that might naturally be expected_;" _i.e._, "With none worth
mentioning."
"_I rise to order_;" _i.e._, "To raise _dis_order."
EPISTOLATORY.
"_Let me be the first, dear, to congratulate you on your well-merited
good fortune_;" _i.e._, "She has the deuce's own luck, and doesn't
deserve it."
"_Thank you so much for your beautiful present, which I shall value for
its own sake as well as for the giver's_;" _i.e._, "Wouldn't give
twopence for the two of 'em."
"_So good of you to send me your new book. I shall lose no time in
reading it_;" _i.e._, "No; not a single second."
AT A DANCE.
"_So you prefer to stand out of this dance, dear?_" _i.e._, "Trust her
for being a _willing_ 'Wallflower.'"
"_Shall we sit this out on the stairs?_" _i.e._, "I don't want to dance,
and I _do_ want to spoon."
A LITTLE MUSIC.
"_Well, dear, the only song I can remember, without music, is
'Gasping'--but I'll try that, if you like_;" _i.e._, "_Her_ great song,
which she has been grinding up to sing to--or rather _at_--young
FITZ-FLOSS. _Won't_ she be wild?"
"_Well, your Beethoven bits are lovely, dear, we know; but suppose you
give us something lighter, for once_;" _i.e._, "BEETHOVEN, indeed!
BESSIE BELLWOOD is more _her_ style."
CHANNEL PASSAGE.
"_Well, it may be a bit lively when we get out_;" _i.e._, "You won't
know whether you are on your head or your heels in ten minutes."
CURIOMANIA.
"_I've never seen such a collection of curios in my life!_" _i.e._,
"Hope I never may again!"
"_I'm no great judge of such things, but I should say this specimen is
unique_;" _i.e._, "It is to be _hoped_ so!"
"Ex-_qui-site_!!!" _i.e._, "Rubbish!"
RAILROAD AMENITIES.
"_Awfully noisy carriages on this line_;" _i.e._, "Thank goodness! The
clatter has tired even _his_ stentor throat."
"_Good-bye! So sorry we don't travel farther together_;" _i.e._,
"Hooray! Now for feet up and forty winks!"
PREPARING FOR PRIVATE THEATRICALS.
"_I'm sure you will be a great acquisition to my little company_;"
_i.e._, "Awful stick, but a _pis aller_ I'm afraid."
"_Now if there's_ anything _you notice not_ quite _the thing_, pray
_mention it_. I'm _not above taking a hint_;" _i.e._, "Nor _you_ up to
giving one--of any value."
"_Oh, no doubt you're right, though it's not the way_ CHARLES MATHEWS
_did it_;" _i.e._, "That's a nasty one for you, Mr. MEDDLER."
"_Ah, yes, I was a little off colour, perhaps; but I shall be all right
on the night, you bet!_" _i.e._, "Not going to be dictated to by _you_
anyhow."
* * * * *
"STANDS SCOTLAND (YARD) WHERE IT DID?"--Yes; only more so. And how kind
and thoughtful of the Government to order that the materials for
building the new Police Offices should be found and fashioned by the
Dartmore convicts. Quite a labour of love!
* * * * *
Correspondent, in _Times_ of Saturday, showed that, in Spite of increase
of population, there has been a decrease of drunkenness. In 1884-85
there were 183,221 drunken Police-court cases; but in 1887-88 only
166,366. Anti-temperance persons will look upon this as "a Drop too
much."
* * * * *
PICTURES OF THE YEAR THAT NO PATRON OF ART CAN POSSIBLY OVERLOOK.--Those
that are sky'd.
* * * * *
"SCOTS, WHA HAE."
(_New Version. Sung at the Opening of the Edinburgh International
Exhibition, May 1._)
[Illustration]
Scots, wha hae at Paris bled,
Scots, wham COOK hath aften led,
Welcome to the white, green, red,
Of your ain Great Exhibition.
Now's the day and now's the hour;
Though you have no Eiffel Tower!
See the bawbees pile and pour;
All the world shall crowd to see!
Wha will want to pinch and save?
Wha to see it will not crave?
Wha will not declare it brave?
Far from Edinbro' let him flee!
Wha will wish to see the sight
Of the graund electric light,
And the "Kiowatt" of might?
Caledonian! on wi' me!
Ninety acres on the plain!
Almost apes the Show by Seine.
Won't folk flock by tram and train
To our International Show.
Let the Incandescents glow,
Sixteen thousand, row on row!
SANDY all the world will show
He will beat the best--or die!
* * * * *
MODERN TYPES.
(_By Mr. Punch's Own Type-Writer._)
No. XI.--THE YOUNG GUARDSMAN.
[Illustration]
The Young Guardsman believes himself to be not only the backbone of the
British Army, its vital centre and support, but also its decorative
master-piece. Other officers, of whom the Guardsman is wont to speak
with a vague pity as belonging to "some line regiment," are not apt to
sympathise with him in this exalted estimate of his military position
and functions. They are accustomed to urge, that he is to the general
body of officers as gold lace is to the uniform he wears, a gaudy
ornament fashioned for show and useless for the practical work of the
military profession. Doubtless "these are the forgeries of jealousy,"
or, if true at all, they are true only for that limited period of the
Guardsman's existence, during which he pays more attention to his own
dressing than to that of his men, and imagines that the serious objects
of life are attained when he has raised the height of his collar by half
an inch, or invented a new fashion of transfixing a silk scarf with a
diamond pin. In fact it is during the first flush of his youth that he
displays those characteristics which have specialised the Guardsman
amongst the golden lads who afterwards come to the dust of middle-age
and a colonelcy.
It is by no means necessary that the Young Guardsman should enjoy an
aristocratic parentage, provided it be a wealthy one; nor is it
essential that he should have made his mark at school as a scholar, an
athlete, or a social success. Indeed, nothing is more common than to
hear a former school-fellow express himself in terms of derisive
amazement when he is informed that So-and-So is now in the Guards.
"What, _that_ scug?" he will observe with immeasurable contempt, and
will proceed to express his surprise how one who neither played cricket,
nor football, nor rowed to any purpose can possibly add distinction to
Her Majesty's Brigade of Guards. These observations, it should be said,
however disrespectful they may be towards a particular individual,
undoubtedly show a strong feeling of veneration for the repute of the
Guards in general. It must be added too that on his side the Young
Guardsman is not slow to repay, and in doing so to aggravate, the
contempt of the burly athlete who may have kicked him at school, and
towards whom he now assumes a lordly air of irritating patronage hardly
endurable, but not easily to be resented, by one who feels it to be
totally unwarranted.
The Guardsman, then, will have passed through school without emerging in
any way from the common ruck of ordinary boys. He will have left at a
comparatively early age in order that his education may no longer be
neglected, and will have betaken himself to the fostering care of one of
the numerous establishments which exist to prove that the private coach
_Codlin_ is superior to the public school _Short_. Hence, if his
abilities are exceptionally brilliant, he will have passed into
Sandhurst. Failing this, however, the Militia is a refuge and a
stepping-stone. In any case he will find himself in due time the owner
of Her Majesty's Commission and the largest head-dress in the British
Army. In short he will become a Guardsman in full bloom.
And now he begins to reap a plentiful harvest of easy social
distinctions, in the sowing of which he himself has borne no part. He
may be, though to be sure he is not always, the feeblest and most vapid
of created beings, but he will be none the less courted and flattered by
the numerous band who fix their eyes and their hearts on social position
without any regard to the particular atom of humanity by which it may
chance to be filled. Hostesses shower invitations upon him, he slides
easily into the membership of many Clubs both social and sporting,
tradesmen and money-lenders solicit with humility the supreme honour of
being his creditors, and all the world, as he counts it, smiles upon him
and is ready to make much of him. A man would require to be made of
exceptionally stern stuff not to yield to many of the temptations thus
spread before him, and the Young Guardsman, although he is as martial as
the occasional wearing of his uniform can make him, is by no means
stern. He yields, however, with an admirable grace, and although his
nationality and his profession both forbid him to display an excess of
enthusiasm, it may be said of him that he tolerates his pleasures and
does not despise the amusements for which a musketry course at Hythe or
an occasional encampment at Pirbright seems to give him an additional
zest.
He is often to be seen at dances, and although he does not dance much
and is not much of a dancer, it is impossible to complain of any lack of
vigour in his steps as he tears round the room with his partner in
double-quick time. Having done this he will descend to supper with a
young married lady whom he is temporarily honouring with his attentions,
and will impress her with the maturity of his views of the world. He
will hint to her that, after all, there is more to be said for _Don
Juan_ than is commonly supposed, and that "by Gad, a feller who chucks
away his chances when there are no end of 'em runnin' after him is a
fool dontcherknow, and you may tell 'em I said so." After he has
imparted this information he will re-conduct her upstairs, and will then
leave in a hansom preceded by a tall cigar, for which he has paid
half-a-crown.
At Maidenhead, too, on Sundays during the summer the Young Guardsman is
a conspicuous object. Robed in spotless flannels, with the Brigade
Colours round his straw hat and his neck, he may be seen propelling a
punt with much perseverance and some accuracy to Boulter's Lock and
back. Afterwards he will dine with the comfortable conviction that he
has had very violent exercise.
Of the Young Guardsman's dress much might be said. It is spotless and
careful and is evidently the result of deep thought. Yet, if a fault may
be hinted, it errs like his cigar on the side of exaggeration. A
frock-coat should fit well, but his is too tight. Fashion no doubt
demands that in the daytime a cascade of silk or satin should pour
itself into a lake of shirt-front, but the cascade need not be a Niagara
nor the lake an Ontario. It is true of course that at night no young man
who respects himself and values the opinion of his friends would dream
of wearing a white tie of any but the butterfly pattern. Still there are
butterflies and butterflies, and the Young Guardsman's model would seem
to be rather one of the huge tropical varieties than any known to our
northern climate. These, however, are but trifling defects which
scarcely detract from the shining and ornamental completeness of his
appearance.
It is remarkable how readily the Young Guardsman imagines himself to be
an adept in the mysteries of the turf. With a light heart and a heavy
betting-book he faces the hoary sinners who lay the odds. Nor is it
until he has lost more money than his father can well afford that he
discovers that the raw inexperience even of a Young Guardsman is
unequally matched against the cool head, and the long purse, of the
professional book-maker. In vain does he call in the aid of the venal
tipster. The result is always the same, and he returns home from every
race-meeting without ever, to use his own phrase, "getting home" at all.
Indeed, if they may be believed, the subalterns of "the Brigade" never
vary from a condition which they always describe as stony-broke.
A little later in his career the Young Guardsman will find himself
temporarily on the staff of a General appointed to command a force of
Volunteers during some Easter man[oe]uvres. He will wear a white belt,
the frock-coat of his undress uniform and a cocked hat, and will believe
himself to be a Staff officer. He will perform his duties not without
efficiency, but will scarcely take enough trouble to remove from the
minds of the Volunteers to whom he issues orders, that idea of patronage
which is to a rightly constituted Volunteer what a red rag is said to be
to a bull. Soon after this, a war having broken out in Africa, he will
volunteer for active service and will be accepted. Being after all a
young man of pluck and spirit, he will pass with distinction through the
hardships and dangers of the campaign. Amid the stern realities of the
bivouac and the battlefield his swagger and his affectations will
vanish. Returning home in this altered condition it is as likely as not
that he will marry, and having served his Queen with solid credit for
many years, will eventually retire with the rank of General and the
well-earned respect of all who know him.
* * * * *
THE LAST OF THE BACILLI.
(_Feuilleton of the "Medical Record," April, 1900._)
In a gloomy and inaccessible cavity, situated in the diaphragm of the
human body in which he had made his home, stood the last of the Bacilli.
His friends and his brothers, the companions of his innocent childhood,
the associates of his boyish days, his fellow-adventurers in manhood's
prime--all, all had perished. Some had been ruthlessly hunted down by a
skilled body of German assassins; others had died under the cruel
attacks of the pestilent Frenchman. The Cholera Bacillus, the king of
them all, was the first to fall; typhoid and typhus, small-pox and
measles, fits of convulsions or of sneezing, coughs and catarrhs, had
all been deprived of Bacilli and slain. The Wart Bacillus had fought
hard and maintained himself for a long time on a precarious footing of
fingers and thumbs; but he too had been extirpated. The Thirst Bacillus
had given up the ghost yesterday, after keeping up for years a guerilla
warfare disguised either as a green rat or a striped snake. And now the
mighty Hunger Bacillus stood alone, gloomy and defiant. But he knew his
hour had come. "Better death," he shouted, "than the microscope!" and
with these words drew his sword and dashed forth into the darkness.
There was a yell, followed by the sound of steel beaten against steel,
then a blood-curdling gurgle, and all grew still.
"He was a gallant scoundrel, but my quick _riposte_ confused him,"
observed Signor SUCCI, who entered the apartment, wiping his blade on
the advertisement of a new beef-essence, and taking copious draughts of
his elixir.
Thus died, as he had lived, dismal, desperate, degraded, the Hunger
Bacillus, the last of his race.
(_From another Column of the same Paper._)
We rejoice to hear that the Act for making Succination compulsory is to
be energetically enforced. Public Succinators have now been appointed to
every district, and every parent omitting to have the operation
performed upon his infant within two months after birth is to be
rigorously prosecuted. Henceforth, as we may remind our readers, anybody
"complaining of hunger shall be liable on conviction to be imprisoned
for not less than six calendar months, with or without hard labour." We
quote the words of clause 3 of the Act.
* * * * *
[Illustration: ALLOWED TO STARVE.
THE SUCCESSFUL FASTING-MAN.]
* * * * *
[Illustration: ONE OF THE SIX HUNDRED!!!]
* * * * *
OUR BOOKING-OFFICE.
Mr. JAMES PAYN has the peculiar gift of writing a novel as if he were
telling you a story _vivâ voce_ and interesting you in it, not only by
reason of its plot, but also by his way of narrating it. There is a
spontaneity about his style which to the Baron is most refreshing: it is
like listening to two clever men, one of whom is telling the story, and
the other is enlivening it with his sharp and appropriate comments,
always dropped in parenthetically. Mr. PAYN is a good hand at keeping a
secret, and it is not for the BARON DE B. W. to tell beforehand what the
novelist keeps as a little bit up his sleeve till the last moment. Why
call it _The Burnt Million_? To what tremendous conflagration involving
such a fearful loss of life does the title point? The story will
interest the Million and delight Thousands. Excellent as is the dialogue
generally, the Baron ventures to doubt whether any ordinary person (and
no one of these characters is a genius) ever begins a sentence with
"Nay." Anent _The Burnt Million_, the Baron's advice to persons in
search of a novel is, "_Tolle, lege!_" Also the Baron says, get _La
Revue de Famille_ at HACHETTE's. _Un Foyer de Théâtre_, by M. AUDEBRAND,
for all interested in the history of the French Drama, is delightful
reading. Don't miss _Causerie Littéraire_, by Mr. CHARLES BENOIST.
The Baroness says, read "Poor Mr. Carrington" in _Temple Bar_.
_Lippincott's Magazine_ this month is heartily welcome,--we should say,
BRET HARTE-ily welcome. Capital story, by B. H., "A Sappho of Green
Sprigs."
(_Signed_) BARON DE BOOK WORMS & CO.
* * * * *
ODDS ON THE BEDMAKERS.
[A proposal for the abolition of Bedmakers is being discussed in
Cambridge.]
_Chorus of Undergraduates:--_
There are things we could spare; we could watch without weeping
A Tutor's extinction, a Dean's disappearance.
And Professors who drone while their pupils are sleeping,
Though they went at a loss, we should welcome the clearance.
And Proctors who blandly demand six-and-eightpence,
And, while toiling themselves, send all petticoats spinning;
And Porters who tick off our names for our gate-pence;
And Bull-dogs who help to withhold us from sinning.
And the juvenile Don who thinks "Dons should be firmer,"
And the elderly Don who is painfully nervous--
We could see them depart without even a murmur,
So our Bedmakers stay to amuse and to serve us.
We have watched, while we trembled, the pomps and the maces,
Stern emblems of rule, with the Esquire Bedell come;
We have heard of the Senate, its edicts and graces,--
Take the lot, if you like, you may have them and welcome.
But the "Bedder"? No, no. Come, we offer a wager:
We will bet she survives who of beds is the maker!
Any answer? Not one; for, in spite of her age, her
Attractions are such that there isn't a taker.
* * * * *
MEASURES AND MEN.--M. JACQUES BERTILLON has been lecturing before the
Anthropological Society--(the only Society where _anthropoi_ are
logical)--on his method of "identifying criminals by comparing their
measures with those of convicted prisoners on the prison registers."
Ahem! How about novel Home Rule Measures compared with those of past
Kilmainhamites?
* * * * *
[Illustration: THE QUEEN'S SERVICE.
"I SEE YOUR SERVANTS WEAR COCKADES NOW, MISS SHODDSON."
"YES. PA'S JUST BECOME A MEMBER OF THE ARMY AND NAVY STORES."]
* * * * *
L'ENFANT TERRIBLE!
_Chorus of Passengers, expostulating:--_
Stop, WILLIAM, stop! Your game is not a game _we_ can enjoy!
Your father's son should not thus play the Little Vulgar Boy!
This is not Margate, WILLIAM mine, and ours is not a crew
Of ordinary trippers, packed aboard the _Lively Loo_
For a shillingsworth of suffering on a wild and wobbling sea.
Stop, WILLIAM! You'll upset the boat! Why can't you let it be?
Our boat has braved a many storms. It's old and may be crank;
But though it sometimes sprang a leak, it never wholly sank.
We are not packed so close to-day as we have oft been packed.
Against some stiffer gales than this we've weathered and we've tacked;
But, WILLIAM, though our craft tossed wild, though loud the winds have
roared,
We've never, never had so bad a boy as _you_ on board!
Sit down, now do, you pickle, you! Don't dance upon that thwart,
And see-saw in that sort of way. We want to get to port,
Not Davy Jones's Locker, Sir. "These roarers" are wild things,
As SHAKSPEARE in _The Tempest_ says, and do not care for Kings;
To keep them down and bale them out has always been our aim;
But you, you just play larks with them. What _is_ your little game?
You, young, the latest chap on board, but of a sound old stock
Of Royal navigators, do you think it right to mock
All nautical traditions in this reckless kind of way,
And greet these waves, as BYRON did, as though with them you'd _play_?
They're dangerous playfellows, boy; tiger-cubs hardly in it
For riskiness! I say, do stop! You'll swamp us in a minute.
Look at your Crown! Such head-gear, boy, is seldom a tight fit,
And oscillations sometimes act as Notices to Quit!
What would your grandfather have said to see you sway and prance?
Sit still, lad, you alarm us all. Just look at Madame FRANCE!
She's thought a fairish sailor, and has doffed her Crown, but see,
She's clutching at the gunwale, too, as nervous as can be.
Whilst, as for dear Señora SPAIN and her poor little charge,
I guess she wishes this same tub were CLEOPATRA's barge,
Or something broad and beamy that won't easily capsize.
AUSTRIA's staring with a look of agonized surprise.
And ITALY's dumfoundered. Sit down, boy! you're tempting fate.
These days are trying ones, for _us_, 'tis worse than Forty-Eight.
Then there were winds and whirlpools, but no Socialistic Sea
Sweeping all shores, and threatening International anarchy.
And with _its_ waves you're wantoning, and wobbling up and down,
Indifferent to our stomachs,--as regardless of your Crown.
Upon my honour it's too bad. _Noblesse oblige_, you know,
'Tis not a Hohenzollern we'd expect to serve us so.
You've sacked our safest Pilot, who objected to your pranks,
And now you are coquetting with mad mutiny in the ranks,
Eh? You'll suppress it when you please, you'll smash up all your foes?
'Tis a new game, for Royalty, and risky, goodness knows.
Meanwhile, _don't_ sway the boat like that, into the sea you'll fall;
Or, what's more likely, just capsize the craft and drown us all!
* * *
[Illustration: L'ENFANT TERRIBLE!
CHORUS IN THE STERN. "DON'T GO ON LIKE THAT--OR YOU'LL UPSET US ALL!!"]
* * * * *
THE ROYAL ACADEMY BANQUET.
Exceptionally good in food for body and mind. "First person present in
indicative mood" is Sir FREDERICK, the courteous President, pointing out
to Royal Highnesses the beauties of Burlington House. Stars, ribands,
and garters everywhere. Exceptionally distinguished personages come in
with invitations only, and no orders. Pretty to see Cardinal MANNING's
bright scarlet scull-cap, quite eclipsing RUSTEM PASHA's fez. Cardinal
distinctly observed to smile during MARKISS's humorous observations.
"MARKISS is ready," sounds like twin phrase to "Barkis is willin'."
H.R.H.'s speech shorter than ever. Wonderful, too, how eloquent Sir
FREDERICK contrives to spread fresh butter on dry old toasts, so that
everyone relishes them as choice morsels. All speeches shorter, except
Admiralty Lord's, who, being among portrait-painters, goes in for
figures. But where is--"Mr. STANLEY, I presume?" Not here. Invited, but
perhaps exploring neighbourhood, and unable to discover Burlington
House. Altogether an exceptionally brilliant evening.
* * * * *
[Illustration: AT A HORSE FAIR.
Dealer. "NOW, GUV'NOR, SAY YOU'LL 'AVE 'IM FOR THIRTY-FIVE BOB. YOU
CAN'T GET A GOOD SOUND YOUNG 'OSS LIKE 'IM FOR LESS!"]
* * * * *
TO THE NEW SCRIBE AND POET.
AIR--"_O Ruddier than the Cherry!_"
O RUDYARD, in this sherry,
I drink your very, very
Good health. I would
That write I could
Like KIPLING, sad or merry.
(_Signed)_ INVIDIUS NASO.
* * * * *
THE NELL OF CHELSEA.
(_A Legend of the Opening of the Royal Military Exhibition._)
The Lady got out of her picture in the Morning Room, and glanced at
herself in the Club glass. She had been painted by Sir PETER LELY, and
consequently was scarcely in a costume suitable to a May Day at the
close of the Nineteenth Century.
"I' faith," said the Lady, "but I must get me a cloak to cover me,
otherwise I shall have a crowd a following me."
It will be seen from this observation that, although the Lady had
flourished (very considerably) in the time of CHARLES THE SECOND, she
had not kept up her Carolian English. It is possible that the chit-chat
under her frame by the fire-place had corrupted the purity of her--to an
antiquary--interesting lingo. Be this as it may, she glided down the
large and handsome staircase, and selecting the furred and hooded coat
of a member who had just returned from abroad, annexed it.
"This will do nicely," she murmured; "quite the mode," a remark which
proved that she had seen no fashion-plates lying on the Club table, and,
therefore, was entirely ignorant of the modern mysteries of ladies'
dress. However, she passed in the crowd--partly because no one appeared
to notice her. A Lady from a portrait by Sir PETER LELY without her
frame and background, after all, is rather a shadowy creation.
When she had turned from Garrick Street into St. Martin's Lane, she
looked about her in surprise. What had been fields when she was in the
flesh were now sites of houses. She glided along, perplexed to a degree,
until she got to Charing Cross; then she recognised the statue of
CHARLES THE FIRST, and what was standing of White Hall.
"By my troth, this is not an improvement! Houses, houses, nothing but
houses! I will e'en take the water to Chelsea, and see the hospital I
persuaded ROWLEY to give to his poor soldiers. There should be some
stairs hereabouts."
But if the Lady did not find stairs, she came across a landing-stage.
She got on to the Westminster Pier, and was soon aboard one of the best
vessels of the Victoria Steamboat Association, Limited. Within half an
hour or so she was landed opposite the building it had been her
privilege to secure for the benefit of the British Army. The place was
brave with bunting. There were enormous sheds full of battle pictures
and portraits, and in the grounds was an arena suitable for the holding
of military sports. Then there was a huge band-stand, and the electric
light was laid on with great liberality in the gardens.
"Gad'sooks!" exclaimed the Lady of the Picture; "and what are they doing
in the precincts of Chelsea Hospital?"
She was immediately supplied with information. A Military Exhibition was
being held in aid of the Church of England Institutes--establishments
(so she was told) of a strictly unsectarian character. The
entertainments would be of a most popular character,--weather
permitting, _al fresco_. The commissariat would be excellent. In one
place only temperance beverages would be served, but elsewhere there
would be--well--there would be drinks. At that very moment the
Exhibition was being opened by the Most Illustrious Gentleman in the
Land accompanied by H.R.H.'s most charming and most beautiful partner.
Would the Lady like to see the place?
"Another time," she replied. "Stay, I would like to see myself. Have you
a picture of me? I am Mistress NELLIE GWYNNE."
Her courteous informant bowed, and shook his head. He had heard it
suggested at the inaugural lunch that she should be represented, but
there were so many things to do--the Military Sports, the eating
and drinking, the Royal Patronage, and the Church of England
Institutes,--that, in point of fact, the matter had been overlooked.
"Well, never mind," said good-natured NELLIE, "I daresay you will get on
very well without me. But look to this, my master. Here we are very near
the site of old Cremorne, and a part of the grounds over yonder is
called Ranelagh. You have lights and bands, and subtle beverages, some
of which will cheer but not inebriate,--and others that may possibly
reverse the operation. Well, well, my portrait is not in your
collection,--the best I can wish you is that you may keep your night
_fêtes_ as select as your picture-gallery."
And with this the Lady returned to her frame beside the fire-place in
the Club Morning Room.
* * * * *
"NUTS" FOR THE COAL TRADE.
[Under the 29th Section of the Weights and Measures Act "the person
in charge of the vehicle," when coal-frauds are perpetrated, seems
to be alone punishable.]
Not a sack was full, not a weight was true,
As the coals to their cellar we hurried;
Not an eye could see were they many or few
In the crypt where our cobbles we buried.
We buried them gaily, at luncheon time,
All Acts of Parliament spurning;
There were "Kitchens," composed of slate and slime,
And Wallsend, "dimly burning."
No fussing servants surveyed our cart--
(If they had, we'd have kept them shivering)
--They were busy serving the family tart
At our chosen hour for delivering!
Few and brief the remarks we made;
Not of coals, but of beer, we chattered;
And we thought of the tricks of an opulent trade
As the coal-dust we liberally scattered.
We thought of our "dealer," our wealthy boss,
How he's spared by the law just created;
How we carmen are made to suffer the loss
When for fraud by a Court we are "slated."
Lightly they'll talk of his "ha'porth of sack,"
On his weights make unhandsome reflection;
But little he'll reck, as fines fall on our back,
And _he's_ "doubly-screened" from detection!
But half of our "heavy task" was done
When a spy of the Council--drat it!--
Came pushing his nose in our sacks, every one,
Tried our weights, and our bill--looked at it!
Slowly and sadly we slunk out of sight,
Objecting to get into hobbles;
We breathed no farewell, and we said no good-night,
But we left him alone with the cobbles!
* * * * *
LAST REPORT.--The Dean and Chapter of Westminster have discharged a
Canon. No one was seriously injured.
* * * * *
THE PICK OF THE PICTURES.--No. 1. ROYAL ACADEMY.
[Illustration: No. 1004. Tally Ho Ho Ho! Going over a Ha! Ha! Ha! Quite
the picture of the year, and will probably be presented by subscription
to Colney Hatch, Esq., Master of the Hanwell Hounds.]
[Illustration: No. 243. The Determined Bather. Temperature so cold that
drapery is frozen.]
[Illustration: No. 110. Curiosity in Animal Life. Escaped from
Barnum's.]
[Illustration: No. 437. Advertisement for Provincial Tour of Griffiths
Brothers as "The Blondin Donkey."]
* * *
No. 5. The First Storey in the Royal Academy Annual is entitled, _The
Hungry Messenger_. Good STOREY.
No. 44. Never put off till to MORO PHILLIPS what you can put on to-day.
Illustration of an elderly Blue-coat Boy unable to leave off an old
habit.
No. 53, with No. 98 and No. 91. Ought to have been hung together,
portraits "_en soot_."
No. 202. _Ethereal Football._
No. 224. _Boy and Dog._ BRITON RIVIÈRE, R.A. Dog unmuzzled, boy hears
policeman's footstep.
No. 235. "_Every dog has his Washing-day._" Pet just been cleaned and
brought into drawing-room. Doubtful reception by Papa and other sisters.
Hardly up to the usual form of W. Q. ORCHARDSON, R.A.
No. 292. Mr. PHIL. A. MORRIS, A. calls this "_La Belle Américaine_." Is
she? The tone of this belle is rather loud.
No. 303. A wonderful picture and portrait, by LUKE FILDES, R.A. "LUKE on
this picture and on----" any other portrait, and you'll find this hard
to beat. Wealth of colour, colour of wealth, _affaire de Luke's_.
No. 318. _Major E. R. Burke._ Admirable portrait, by HUBERT HERKOMER, A.
See how the Master of Bushey has dealt with the Hair! As might be
expected from a Hair-comber with a brush in his hand. Will be remembered
as "_Burke and Hair_."
No. 411. _Mrs. Arthur Sassoon._ Charming. Sweet simplicity.
You'll say this _as soon_ as you see it. HUBERT HERKOMER, A(ngcore).
[Illustration: No. 361. Scene at Dollis Hill.]
No. 463. _Sir Oscar Clayton, C.M.E._ Bravo Mr. F. GOODALL, R.A. Good
entirely. Artist was thinking of adapting refrain of popular comic song,
"_Ask a P'liceman_," and writing under portrait legend--
If you want to know who's this,--
"OSCAR CLAYTON."
But it was unnecessary, as the portrait speaks for itself.
No. 473. _D-T-erioration;_ or, Sir EDWIN ARNOLD, K.C.S.I., commencing as
a book-maker, and laying "two to one bar one." "ARNOLD'S first exercise"
in this character is depicted by JAMES ARCHER.
No. 600. _Tum-Tum The Melancholy_, By JOSEPH MORDECAI. Is HAMAN hung
too?
No. 703. "_Nobody looking, Mother, You can prig something out of the
Money-box._" But the vigilant Verger has his eye on them. Such is the
story told by BLANDFORD FLETCHER.
No. 744. Coming home late in the Olden Time. By RALPH HEDLEY. No
latch-key. Rousing the neighbourhood with pantomime door-knocker.
Situation graphically depicted.
No. 759. _By the Linn Pool._ By NOBLE. Charming. Must be of course;
_Noblesse oblige_.
[Illustration: No. 487. Primrose Dames.]
No. 794. "_Out shooting._" Very much out, shooting. Nothing to CROWE
about.
No. 886. _A Smile._ Delightful. This Miss is as good as her smile. JAN
VAN BEERS.
No. 1028. "_Please to remember the Ninth of November._" Lord Mayor's
Procession stopped by photographer. "Now, then--wait--where you
are--when I say three!" And as they were taken, so they are cleverly
represented by WILLIAM LOGSDAIL.
[Illustration: No. 652. Mrs. Jack-in-the-Green. Tree-mendous!]
* * * * *
ESSENCE OF PARLIAMENT.
EXTRACTED FROM THE DIARY OF TOBY, M.P.
_House of Commons, Monday, April 28._--Irish Land Purchase Bill again.
CHAMBERLAIN lifts debate out of somewhat tedious trough into which it
had fallen. Remarkable speech; bold in conception; adroit in
arrangement; forcible in argument; lucid in exposition. Spoke for over
an hour, and though his discourse, full of intricate points, the
marshalling of which was frequently interrupted by angry or scornful
cries from below Gangway, JOSEPH had not a scrap of paper in his hand,
did not once refer to a note.
"Admirable," said GRANDOLPH, looking on with appreciative, though not
loving eyes. "If he had lived in the time of his father JACOB, it would
have been no use his brothers putting him in the pit; he would have
argued himself clean out before they were half a mile on their way back
to the family place in Canaan. Weak part of his position is that he is
trying to serve two Bills, BALFOUR'S and PARNELL'S. Can't recommend
BALFOUR'S scheme without belittling PARNELL'S; same thing other way
about. Reminds me, TOBY, of a passage in WORDSWORTH'S prose writings;
not so much read as his poetry; but daresay you remember it. There was a
Bishop WATSON who began his official career as a Liberal. He was
frightened into Conservatism, and WORDSWORTH, then a hot young youth,
goes for him as youth does sometimes gird at Respectability. 'Upon what
principle,' he asked the Bishop, 'is your conduct to be explained? In
some parts of England it is quaintly said when a drunken man is seen
reeling home, that he has business on both sides of the road. Observing
your Lordship's tortuous path, the spectators will be far from
insinuating that you have partaken of Mr. BOURKE'S intoxicating bowl.
They will content themselves, shaking their heads as you stagger along,
with saying that you have business on both sides of the road.' That's
what's the matter with CHAMBERLAIN. He's very smart, very clever, very
capable; but in politics, dear TOBY, no one ever succeeds who has
business on both sides of the road."
"What do _you_ think?" I asked CHRISTOPHER SYKES, who stood looking on
with familiar aspect of unutterable wisdom.
"I wasn't thinking of that at all," he answered, gloomily. "Haven't yet
got over what GEORGE LEWIS said in Court on Saturday. You've heard or
read about it, of course? Took opportunity of observing, that though I
was near sixty years of age, I was very innocent. I may be getting on
for sixty, but I'll tell you what, TOBY, I'm not nearly so innocent as I
look."
CHRISTOPHER really hurt with GEORGE LEWIS'S aspersion. Comforted him by
hinting that I knew some dreadful things about him.
"We remember your Crabs and Lobsters Bill," I said, soothingly. "There
was much more in that than met the eye. You're a crafty old CHRISTOPHER;
just the sort of man to take in a fellow like GEORGE LEWIS, who thinks
he knows everything."
CHRISTOPHER smiled a deep and wicked smile, and strode off in better
spirits. Always like to say a kind word to a man when I can.
_Business done._--Land Purchase Bill again.
_Tuesday._--Fight on Land Purchase Bill been going forward again at
Morning Sitting; rather dull, though enlivened by speech from PLUNKET,
who once more reminded House how much it loses by his habitual silence.
At Evening Sitting GRANDOLPH came on with his Licensing Bill. Let eager
politicians and ambitious statesmen arm themselves for combat in the
field of high politics; GRANDOLPH'S only desire is to do a little good
in the world whilst yet he lingers on this level. Nothing new in crusade
against drink. No _kudos_ to be gained; no acclaim of the multitude to
ring in the pleased ear; no cheering clash of party conflict. GRANDOLPH
gives a deprecating twirl to his modest moustache, and takes up his
homely parable. Possibly he does this with the larger content, since he
had his go at the Land Purchase Bill before Debate on Second Reading
opened. His letters, published on eve of Easter recess, hurtled
pleasantly around the heads of his esteemed friends on Treasury Bench.
Could not say anything more or anything better if he joined in debate;
so sits silent through Morning Sitting, and when the shades of evening
fall, he meekly lifts up his voice, expounding a measure of domestic
legislation fraught with permanent interest to the masses.
"A most promising member of the Band of Hope," says WILFRED LAWSON,
regarding GRANDOLPH with fatherly kindness. "Wonder if I might ask him
to crack a bottle of ginger-beer with me. Will certainly proffer the
hospitality if I get a chance."
[Illustration: "I'm not nearly so innocent as I look."]
The grand young GARDNER (_and_ his wife; can complete quotation now)
back again after wedding trip. Doesn't look quite so brisk as the
average bridegroom. "Fact is, old fellow," he said, as I condoled with
him, "when I said I would die a bachelor, I never thought I would live
to be married, go off on a wedding trip, catch the influenza at
Innsbruck, the measles at Milan, the scarlatina at Samarcand, and the
malaria at Mentone."
_Business done._--Morning Sitting, Irish Land Purchase Bill; Evening,
GRANDOLPH'S Licensing Bill read First Time.
_Thursday._--Ordinarily amicable proceedings in debate on Irish Land
Purchase Bill varied by accidental but unhappy circumstances. Prince
ARTHUR in course of speech happened to say, that "under Bill of 1886
Irish Government was supposed to be a buffer between the English
Government and the Irish tenant." Mr. G., sitting attentive, suddenly
sprang up when this insult fell on his ear. Bill of 1886 not a tempting
topic; led to downfall of his Ministry; but to hear it publicly called a
"buffer," more than he could stand--or, rather, sit. Leaped to feet,
and, with thrilling energy, repudiated gross imputation. Prince ARTHUR
taken aback; hadn't meant anything particular. To call a thing or a
person a buffer not necessarily a term of opprobrium. Everything depends
on inflection of tone. Suppose, now, leaning across the table, he had
addressed Mr. G. as "old buffer," that would perhaps have been a little
familiar, but not vindictive.
This he tried to make clear. Having, as he thought, averted the thunder,
repeated remarks about Bill of 1886 being a buffer. Didn't even put it
in that direct form.
"I said," he observed with seraphic smile and deferential manner, "that
the Irish Government under the Right Hon. Gentleman's Bill was supposed
to occupy the position, more or less, of a buffer between the English
Government and the Irish tenant."
Mr. G. up again with catapultic force and suddenness. "Not in the
least," he angrily protested. "A buffer is between two things."
Expected that would floor Prince ARTHUR; but he came back again, and
sheltering himself behind the brass-bound box, called out, "Yes, but a
buffer might be between two persons as well as between two things."
Mr. G. angrily shook his head; a Jove-like frown mantled his
countenance. But disdained to pursue controversy further, and Prince
ARTHUR, carefully avoiding further reference to buffers, went his way.
Difference of opinion as to how question was left; Conservatives insist
that Prince ARTHUR had best of it; Liberals stand by Mr. G. Many wonder
why SPEAKER did not interfere; as he did not, it is assumed that buffer
is a Parliamentary word, at least when applied to inanimate creation.
_Business done._--Second Heading of Irish Land Purchase Bill carried by
348 Votes against 268.
_Friday._--HARTINGTON suddenly, unexpectedly, surprisingly, blossomed
into effective speech. Of all subjects in world was Disestablishment of
Kirk in Scotland! Calculated to depress most people; brightened
HARTINGTON up beyond all knowledge. His little hit at GLADSTONE,
sheltering himself behind his (HARTINGTON'S) familiar and convenient
declaration, that on Disestablishment Question he would be guided by the
opinion of the majority of the Scotch people, neatly and dexterously
made. Also his reference to the short time when he had honour of being
"at least the nominal Leader of the Liberal Party," and found Mr. G. a
somewhat unruly follower. Most excellent. HARTINGTON should try this
line again.
_Business done._--Motion for Scotch Disestablishment negatived by 256
Votes against 218.
* * * * *
WEEK BY WEEK.
_Wednesday, May 7._--_Mr. Punch_ out. Everybody's at home to _him_.
_Friday 9._--Mrs. DUFFER'S first dance if she knows the step.
_Saturday 10._--Rehearsal of Crystal Palace fireworks, 2 P.M. Admission
by entrance gates only.
_Monday 12._--Breakfast to Mr. H. M. STANLEY, at whatever time he orders
it.
First Meet of H.S. Drags, Serpentine.
Foot-ball in Rotten Row, by kind permission of GEORGE RANGER and the
Commissioner of Police.
Mrs. NOODLE'S second dance postponed, as she hasn't given her first yet.
_Tuesday 13._--Holiday at Zoological Gardens. Cages all open. Admission
free. Banquets, Excursions, and Alarums.
* * *
LADY HENRIETTA SISKIN'S Charity Dance has been postponed until the
following week. A large and distinguished company is expected to grace
the mezzotint hall of her ladyship's new mansion in Belgravia on the
occasion. No expense is to be spared in the general decoration of the
supper-room, which was built, it will be remembered, by her ladyship's
great-grandfather in the reign of GEORGE THE THIRD.
* * *
A Correspondent furnishes us with the following curious
observations:--"I have noticed," he writes, "that those who walk or ride
in the Park are, generally speaking, of two sexes, and possess, as a
rule, four fingers and a thumb on each hand. By a curious freak of
fashion, a frock-coat is not now worn with a muslin skirt; and a
moustache may be sought for in vain under a sun-bonnet. Horses are
ridden with four legs, and, in some cases, with a tail, although this is
not essential."
* * *
It is strange to notice how much the tastes of theatre-goers vary at the
present day. Some prefer the Haymarket, some the Strand, others flock to
the Lyceum, and some are turned away from the Savoy, the Garrick, or the
Avenue. Philosophers have, as yet, paid too little attention to this
matter. Would Mr. HERBERT SPENCER or Mr. LANG oblige?
* * *
It has been calculated by the Society for the Collection of Domestic
Data, that if three-fourths of the Cooks of the Metropolis struck work
on any given day, exactly nine-twelfths of the resident employers of
servants would be seriously inconvenienced.
* * *
There is but very slight foundation for the report that, if AUGUSTUS
DRURIOLANUS (first so styled in the burlesque on _Claudian_) should be
elected to the Shrievalty, Messrs. HARRY NICHOLLS and HERBERT CAMPBELL
will be the Under-Sheriffs.
* * *
A Correspondent lately drew Mr. GL-DST-NE'S attention to the prevalence
of mud after rain, and the consequent injury to carts, collars, and
carriages. The veteran Statesman has found time to send the following
post-card reply, which will be perused with interest:--
SIR,--The subject to which you direct my attention is no doubt of
peculiar interest to those in any way connected with the vehicular
traffic by which so much of the commerce and pleasure of the Metropolis
is carried on. In view, however, of the pressing exigencies of the Irish
Question, I cannot do more than take a note of your objections to
mud-spots, leaving to those who may come after me the duty of dealing
practically with your recommendations.
I am, faithfully yours, W. E. GL-DST-NE.
* * *
On the evening when Mr. STANLEY dines with the Turners' Company, where
he is entertained as a Re-Turner, it is hoped that the authorities of
the National Gallery will kindly allow all their Turners to attend. The
history of the Turners' Company is interesting, commencing as it does
with WHITTINGTON, who was the first person (before HENRY IRVING played
it) to hear _The Bells_, and to obey their injunction "to turn again."
* * * * *
[Illustration]
NOTICE.--Rejected Communications or Contributions, whether MS., Printed
Matter, Drawings, or Pictures of any description, will in no case be
returned, not even when accompanied by a Stamped and Addressed Envelope,
Cover, or Wrapper. To this rule there will be no exception.
* * * * *
End of the Project Gutenberg EBook of Punch, or the London Charivari,
Vol. 98, 1890.05.10, by Various
*** END OF THIS PROJECT GUTENBERG EBOOK PUNCH ***
***** This file should be named 30694-8.txt or 30694-8.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/3/0/6/9/30694/
Produced by Neville Allen, Malcolm Farmer and the Online
Distributed Proofreading Team at http://www.pgdp.net
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected]. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
