The Project Gutenberg eBook, Punch, or the London Charivari, Vol. 156,
Jan. 1, 1919, by Various, Edited by Owen Seamen
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. 156, Jan. 1, 1919
Author: Various
Release Date: February 6, 2004 [eBook #10964]
Language: English
***START OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI,
VOL. 156, JAN. 1, 1919***
E-text prepared by Malcolm Farmer, Sandra Brown, and the Project Gutenberg
Online distributed Proofreading Team
Note: Project Gutenberg also has an HTML version of this
file which includes the original illustrations.
See 10964-h.htm or 10964-h.zip:
(http://www.ibiblio.org/gutenberg/1/0/9/6/10964/10964-h/10964-h.htm)
or
(http://www.ibiblio.org/gutenberg/1/0/9/6/10964/10964-h.zip)
PUNCH, OR THE LONDON CHARIVARI.
VOL. 156.
JANUARY 1, 1919.
TO AN UNKNOWN COLLEAGUE.
_(Inspired by the exchange of Minutes in Government Departments.)_
He was my friend--if friendship's proof
Be sympathy profound and sweet;
Eight months we toiled beneath one roof,
Yet somehow never chanced to meet.
So near and yet so far! I own
We may have passed upon the stair;
Yet, if we did, we passed unknown;
No tremor told me he was there.
He knew not it was I. Alas!
With such community of souls
That he and I should blindly pass
And live as sundered as the poles!
For I, when darkness sealed my eyes,
Would place my judgment in his hands,
Would ask him humbly to advise
And yield myself to his commands;
Just hinting what my view might be
(If asked) on this or that affair,
But never in undue degree
And with a deprecating air.
And he, thus modestly addressed,
Would wield an amicable pen
And say he thought my view was best
In full nine cases out of ten.
And so in deep harmonious flood
Our friendship flowed, and proved, I think,
Though water be less dense than blood,
Yet blood is far less dense than ink.
* * * * *
And now, when things are somewhat slow,
My leisure moments I beguile
By reading o'er with heart aglow
A certain old and dusty file--
One out of hundreds, kept to prove
A truth the world may oft forget,
That there can live pure trust and love
'Twixt persons who have never met.
Oh, sweet the trill of mating larks!
But sweeter, sweeter, I aver,
That soft appeal--"For your remarks,"
That gentle answer--"We concur."
* * * * *
CHARIVARIA.
A Fellow of the Royal Society states that, as a result of radium
activity, the end of the world, which had been estimated to arrive in a
few thousand years, may be postponed for a million aeons. It is hoped
that this will allay the anxiety of those soldiers who were nervous
about their chances of being demobilized.
***
It is reported that when asked his impression of President WILSON Mr.
BALFOUR remarked, "Gee! He's the top shout and the main squeeze. And
then some."
***
"How much water," asks a technical journal, "does it take to make a
gallon of Government ale?" We do not profess to be expert, but we should
say about a gallon.
***
There is no truth in the rumour that TROTSKY has written to President
WILSON offering to execute the Peace Conference at any time within the
next three months at half the usual rates.
***
A case which has been puzzling the medical authorities is reported from
Warwickshire. After acting strangely for several days a boy named TOMMY
SMITH asked his parents if he could have rice pudding instead.
***
"Great Britain," says an essayist, "has come out of the war with flying
colours." No blame, we understand, attaches to Mr. PHILIP SNOWDEN for
this.
***
A large marrow has been washed ashore at Lowestoft bearing a name and
address and the words, "Please write." It is not known why the marrow
left home.
***
A report comes from Berlin that Dr. SOLF has resigned. It is expected
that he will be succeeded by Dr. SOLF.
***
The greengrocer who deliberately attempted to spoil President WILSON'S
welcome by exhibiting American apples for sale on Boxing Day is
suspected of being a naturalised German.
***
A North of England widower would like to meet lady possessing in her own
right a bottle of whisky. Object, matrimony.
***
The largely increased number of unemployed politicians is causing the
country great concern.
***
Heavy falls of snow have occurred in the Midlands, where the people say
they have not had such a winter since last summer.
***
Described as the tallest soldier in Ireland, MICHAEL GRADY, of County
Mayo, who is seven feet two inches in height, hopes to settle down on a
farm. It is expected that he will shortly be measured for a village.
***
"To improve the appetite," says a Health Culture journal, "one should
salute the morn by throwing open the windows, lay on the bedroom floor
with the feet in the air and breathe deeply." This method of saluting is
not recommended to recruits.
***
The latest Sunday newspaper reminds us that it prints all the news.
It must do better than this if it is to keep pace with some of our
contemporaries.
***
Charged at Carmarthen with bigamy a soldier said he had no recollection
of his second marriage. Once again we feel compelled to point out the
advantage of keeping a diary.
***
It appears that one burglar has claimed his discharge from the Army
on the ground that he is a pivotal man and that several policemen are
waiting for him.
***
It is wrong to suppose, says the Coal Control Department, that
anthracite is injurious to health. The little ones all declare that its
flavour compares favourably with that of Brazil nuts.
***
Three cases of mince-pie shock are reported from the Westbourne Grove
district.
***
A woman has been fined ten shillings at Birmingham for putting cold tea
in bottles and selling it as whisky. One of the purchasers, it appears,
had his suspicions aroused by the peculiar taste of the liquid.
***
The KAISER'S health, says a contemporary, is still a cause of anxiety.
Not to us.
***
"SHOOTINGS WANTED.
"Woman (middle-aged, respectable) would give services for home and
small wage."
_Scottish Paper_
She would probably be quite effective at ordinary ranges.
***
"Would the Party who removed Petticoat from the Railway Fence,
between 11th and 12th, kindly return same and save further
exposure."--_Provincial Paper._
In the interests of propriety we trust this appeal has been responded
to.
* * * * *
ANOTHER HISTORIC INTERVIEW.
BY OUR SPECIAL CORRESPONDENT.
_Incited to great efforts by the interview in "The Times" with President
WILSON, wherein so much is said (by the interviewer), Mr. Punch sent
forth one of his most energetic and Napoleonic young men to attempt
a similarly incredible feat and obtain an interview with that most
unapproachable of men--President not excluded--the Editor of "The
Times." The word "failure" being absent from the Bouverie Street
lexicon, it follows that the impossible was achieved, and the
electrifying result is printed below. In the wish that readers in vaster
numbers than usual may peruse the winged words of the illustrious
journalist, Mr. Punch offers the freedom of the article to all editors
the world over._
The office of _The Times_ is situated in a busy quarter of the great
city of London and is built of brick and stone. Light enters the
numerous rooms through windows made of glass. Outside is the roar of
traffic; inside, the presses groan, not always without reason.
My appointment with the august and retiring controller of the great
English journal--the Jupiter who directs its thunderbolts, determines
the size of type appropriate to every correspondent, and latterly has
added to the gaiety of nations by offering a tilting-space to the
ATTORNEY-GENERAL and Mr. GIBSON BOWLES--my appointment being at three
o'clock I was careful to reach the office a few minutes before that
hour, because I like to have time to look around and collect those
little details of environment and atmosphere which are so valuable in
themselves as to make it almost immaterial whether the person I am to
interview speaks at all.
Entering the offices, which can be described only as palatial, I was
struck by the thoughtfulness--no doubt appertaining to the head of the
establishment who was so soon, for the first time in history, to grant
me an audience--which had provided a parallelogram of some fibrous
material for the purpose of removing the mud from one's boots. A minute
later I was again delighted by the discovery of an ingenious contrivance
in the shape of a kind of peg or hook on which a hat and coat could
be placed. It is by just such minutiae as these that one place is
distinguished from another and character indicated.
Punctually to the minute I was shown into the Editor's room, where again
I was struck by the imaginative adequacy of the surroundings. Before
coming to the man himself let me say something of these. The floor was
not bare or even sprinkled with sawdust, as it might easily have been,
but it was covered by a comfortable carpet, probably from Axminster.
Comfort was indeed the note. The desk was neither pitch pine nor teak,
but mahogany. Upon it were scattered papers--lightly scattered, although
no doubt each was of the most momentous, even tragical import, some
bearing the signatures of the most eminent publicists in the land. Yet,
such is the domination of this man, they lay there like circulars or
election addresses. In the ink-pot was ink. A date rack was proof that
the Editor is not superior to the artificial divisions of time.
As I entered, his back was towards me, but none the less I was conscious
of power, distinction, a man apart. I have seen many backs, but none
more notable than this. Turning he revealed to the full the wonder and
mystery of his famous frown--the frown of Jupiter Tonans. Much has been
said of this frown, but since no analysis has yet appeared in print I
must be permitted to offer one. To begin with, the frown is not only on
his face, but (one instinctively knows) all over him. It suffuses him.
Could one see, for instance, his knee, one is sure that it would be
frowning too.
The effect was terrifying, but I stood my ground. As for the face,
where the frown concentrates, it is most curiously divided. Below the
masterful nose the frown may be said to be merely threatening; above the
firm upper lip it assumes a quality of such dourness as to resemble a
scowl. The forehead is corrugated. The ears twitch, especially the left.
The eyes emit sparks.
Hitherto he had not spoken; but now he began to unburden himself of
those opinions, hopes, fancies and idealistic meditations for which I
had come so far to see him. In order that there shall be no ambiguity I
have arranged for them to be set up in larger type than the rest of the
article. After all, any type will suit my own poor setting, but the
jewels, the jewels must be seen.
"Be seated, pray," he said. "The world," he added after a long silence,
"is in an unusual state. The Versailles Conferences may effect great
changes."
"Everyone hopes," he remarked after another pause, "that the weather
will improve; recently it has been far from invigorating."
I give his exact words with scrupulous minuteness.
"A permanent peace," he continued, "based upon equity, cannot but be
desired. The Election results," he added as an afterthought, "are
interesting."
Asked what he thought of the PRIME MINISTER, he pondered deeply for a
while and then replied, in carefully measured tones, "I think him an
exceptional man."
Pressed as to the League of Nations, he considered the matter for some
minutes and then said, "It is a fine notion. We might all be the happier
if it came."
My time being now up he bowed me to the door and the interview was over.
The knob was of brass and had been, recently polished.
His last words were, "Mind the step."
* * * * *
[Illustration: RECONSTRUCTION; A NEW YEAR'S TASK.]
* * * * *
[Illustration: _Bore_. "I HAVE BEEN MAKING A VERY INTERESTING
CALCULATION. NOW, JUST HAVE A GUESS. IF ALL THE WOUND-STRIPES WERE
PLACED END TO END HOW FAR DO YOU THINK THEY WOULD REACH?"
_Weary Wounded._ "DUNNO, GUV'NOR. STEP IT OUT AND SHOW US."]
* * * * *
[Illustration: _Officer (to whom private has given three ardent
love-letters, addressed to different persons, to censor)._ "WELL, WHAT
ARE YOU WAITING FOR?" _Private._ "'SCUSE ME, SIR, BUT I JUST WANTED TO
SEE YOU DIDN'T MAKE NO MISTAKE ABOUT THE ENVELOPES."]
* * * * *
THE ANTI-PICADORS.
A conference of subscribers and contributors to the correspondence
columns of _The Times_ was held at Caxton Hall on Saturday last, to
discuss the situation created in the issue of December 21st by the
printing of the interview with President WILSON in larger type than
had ever been used previously in the body of the paper. Amongst those
present were "Scrutator," "Bis Dat Qui Cito Dat," "Judex," "Vindex,"
"Palmam Qui Meruit Ferat," "Rusticus Expectans," "Old Etonian," "Anxious
Parent," "Anti-Jacobin," "Puzzled," "Octogenarian," "Quousque Tandem,"
and "The Thin End of the Wedge."
The Chair was taken by a "Subscriber of Fifty Years' Standing," who
prefaced his remarks by observing that neither he nor any of those
present was animated by the faintest antagonism to President WILSON.
Their gratitude to him for his services in the War was so great that,
in the abstract, they could have no objection to his being accorded the
distinction of the largest possible type, so long as proper distinction
was made typographically between the remarks of the PRESIDENT and the
comments of the interviewer--as for example that Mr. WILSON's bedroom
is "strictly First Empire," or that "there seems to be some kind of
competition between the upper and the lower halves of his features,"
or that his "grey lounge suit" was "well cut into his body." But there
ought to be some harmony between the size of the type and the importance
of the views expressed. He had himself contributed many letters to _The
Times_ on subjects of the greatest urgency, but had never attained
the dignity even of long primer. (Sensation.) He thought that in the
circumstances they were entitled to address a modest protest to the
Editor, to the effect that the use of "pica" should be reserved for the
rarest occasions and not be allowed to prejudice the claims of those who
were entitled to exercise the indefeasible privilege of "writing to _The
Times_." (Cheers.)
"Scrutator," who followed, disclaimed any personal grievance. His
letters had always appeared in large type and on the best pages. But
he drew the line at "pica"; it looked too like an advertisement and
destroyed the balance of the page. In old days an editor controlled the
"make-up" of his paper. Now he was at the mercy of his "maker-up."
"Judex," speaking from the body of the hall, said that he had heard
the interview in question spoken of as a "splendid scoop." He was not
certain what the phrase meant, but he did not like the sound of it, and
dreaded the prospect of President WILSON being made the subject of a
typographical competition between our daily papers. While the paper
shortage lasted this might lead to very serious results in the way of
restricting the space available for the ventilation of the views of
those present.
An "Anxious Parent" pointed out that the use of "pica" was unfortunate,
as it irresistibly suggested "picador," one who participated in a cruel
sport, whereas President WILSON was a most humane and compassionate man
and had never assisted at a bull-fight.
After several other speeches it was ultimately resolved to form an
association, to be known as the "Anti-Picador League," and a small
committee was appointed to draw up an appeal to the principal Editors to
abstain as far as possible from typographical Jumbomania.
* * * * *
BOY (SECOND CLASS).
BOY (Second Class) John Simpkins, a bad 'un, you must know,
Was told to swab a plank one day by a First-Class C.P.O.,
Whose eagle eye, returning, on the deck espied a stain--
"Boy Simpkins, fetch your mop, me lad, and swab yon plank again."
Boy Simpkins (Second Class, too!) made as though he wouldn't go,
And distinctly muttered "Blast you!" to that First-Class C.P.O.
The splendid Petty Officer fell flat upon the deck;
They bore him to the Sick Bay just a weak and worthless wreck;
But an A.B. who was standing by had caught the wicked word
And told the Duty Officer exactly what occurred:--
"Boy Simpkins (Second Class, too!), which I think yer oughter know, Sir,
'Ad the lip ter mutter 'Blast you!' ter the Fust-Class C.P.O., Sir."
There is silence in the foc's'le, on the quarter-deck dismay,
And the lower deck is humming in a most unusual way;
The working-party pauses as it cleans a six-inch gun,
And tho Officer on Duty whispers hoarse to "Number One":--
"Boy Simpkins (Second Class, too!), I suppose you ought to know, Sir,
Had the cheek to mutter 'Blast you!' to a First-Class C.P.O., Sir."
Number One, his face is ashen and his knees knock as he runs
(A curious phenomenon quite rare in Number Ones);
But on he rushed until he saw the tall brass-hatted Bloke,
And, nervously saluting, incoherently he spoke:--
"Boy Simpkins (Second Class, too!), I'm afraid that you must know, Sir,
Had the nerve to mutter 'Blast you!' to a First-Class C.P.O., Sir."
The Bloke turned blue and shivered, then hysterically laughed,
And hurried, cackling shrilly, to the Owner's cabin aft;
There in that awful presence, with lips aghast and pale,
To the horror-haunted Owner he re-told the horrid tale:--
"Boy Simpkins (Second Class, too!), I regret to let you know, Sir,
Had the face to mutter 'Blast you!' to a First-Class C.P.O., Sir!"
You could almost hear the silence when the flags began to flap
And the Captain made the signal that destroyed the Admiral's nap;
And though I wasn't there myself beside the great man's bed
You all can guess as well as I just what the Owner said:--"SUBMITTED.
Boy Simpkins (Second Class, too!), it is thought you ought to know, Sir,
Has dared to mutter 'Blast you!' to a First-Class C.P.O., Sir!"
The Press Bureau won't let me mention how the Admiral went
And told Sir ERIC GEDDES, who informed the Government;
How the Cabinet, when summoned, found him far too bad to kill,
So packed him off to Weiringen to valet LITTLE WILL.
Boy Simpkins (Second Class, too!) down to history will go
As the first and last who dared say "Blast" to a First-Class C.P.O.
* * * * *
NOVEL RECONSTRUCTION.
Simmons is a writer of fiction and was a friend of mine.
I used to play billiards with Simmons, to talk to Simmons, but not to
read Simmons.
There are limits to friendship.
I met him the other day in a very depressed state.
"Look at these munition workers," he said. "See what the Government is
doing for them. Paying them wages all the time that they're out of work.
What about me?"
"Well, you weren't on munitions."
"I have been on intellectual munitions," replied Simmons. "And now all
my editors write to me, 'Get away from the War.' I have to transfer my
machinery to peace work. I have to turn away from the production of the
German spy. Think of it. I have almost lived on him for years. I have
created hundreds of him during the War. All my laboriously acquired
knowledge of German terms--like '_Schweinhund_,' you know--goes for
nothing. I shall have to make all my villains Bolsheviks. That will
require close study of Russia. All my old Russian knowledge goes for
nothing. They have abolished the knout and exile to Siberia. I have to
start afresh.
"Then look at my heroes. I have mastered the second lieutenant. My
typewriter almost automatically writes 'old top,' 'old soul,' 'old
bean,' 'old egg.' All my study of this type is thrown away. And
heroines--why, I shall have to study dress again. The hospital nurse is
done for; the buxom proportions of the land-girl avail me no more.
My dear fellow, it will be six months before I can deal with women's
costume competently.
"And plots. How the War simplified everything. The Zep, a failure in
fact, was a splendid success in fiction. The awkward people could be
wiped out so simply. Then one's villains could die gallantly--a bit of
good in the worst of men, you know--whispering a hurried confession in
the ears of the Company Sergeant-Major in the front trenches.
"Then, again, all misunderstandings were explained when the V.C. looked
up from his hospital bed. 'Eric,' she gushed, 'you here!' And from that
moment he needed no more medicine. My dear fellow, we shall want new
plots now; real plots and new characters. It will be a long time before
I can return to my pre-war standard of strong, silent, masterful
millionaires from the backwoods. Haven't I a right to seek compensation
from the Government for checking my intellectual output?"
"I think the Government ought to pay you ten pounds for every week in
which you don't write," I said.
Simmons shook me warmly by the hand.
The next day he cut me dead. I believe that Simmons, though an author of
popular fiction, must have been thinking.
* * * * *
"THE FUTURE OF LYING.
"INTERNATIONAL CONFERENCE TO BE CALLED."
_Northampton Dally Echo._
We should have thought it might quite safely be left to private
enterprise.
* * * * *
"The American troops on this side are already either in the States
or on their way."--_Letter in "Daily Express."_
The Germans will take this as convincing evidence of American duplicity.
* * * * *
THE HISTORY OF A JOKE.
[Illustration: BEFORE THE DAWN OF HISTORY IT WAS A UNIVERSAL FAVORITE.]
[Illustration: THE EGYPTIANS LOVED IT.]
[Illustration: THE ASSYRIANS NEVER GREW TIRED OF IT.]
[Illustration: THE GREEKS GRINNED AT IT.]
[Illustration: THE ROMANS REVELLED IN IT.]
[Illustration: HENGIST OFTEN TOLD IT TO HORSA.]
[Illustration: IT WAS RELISHED BY THE SAXONS.]
[Illustration: THE NORMANS KNEW IT WELL.]
[Illustration: IT NEVER LOST ITS FRESHNESS THROUGH THE MIDDLE AGES.]
[Illustration: HENRY VIII. MADE HIS REPUTATION BY IT.]
[Illustration: CHARLES II. REGALED HIS COURT WITH IT.]
[Illustration: IN THE GEORGIAN ERA IT REMAINED UNDIMMED.]
[Illustration: IT WAS POPULAR IN THE SIXTIES.]
[Illustration: AND ONLY LAST WEEK IT WAS THE HIT OF ALL THE NEWEST
REVUES.]
* * * * *
[Illustration: THE NEW DEMOCRACY.
_Telegraph Girl (at last finding addressee after marching down the
room, shouting, "Bullock! Bullock! Anybody here name o'
Bullock?"--contemplatively, as she awaits answer)._ "UMPH! NOT MUCH LIKE
A BULLOCK, ARE YER?"]
* * * * *
IN MEMORY OF DORA.
(_A JOYOUS ANTICIPATION_.)
Walk very softly here and very slowly;
Let no sound pass the barrier of your teeth;
Not that the spot whereon you tread is holy,
But lest you rouse her up that lies beneath.
She ruthlessly curtailed our golf and skittles;
She vetoed daily sprees and nightly jinks;
She doled our baccy and weighed out our victuals,
And watered (cruellest of all) our drinks.
Anathema (by order) were our races;
Joy-riding was taboo in car or train;
And when they ventured to kick o'er the traces
She strafed her victims till they roared again.
Now where she sleeps the sleep that knows no waking
A simply graven sentence marks the place
(The Latin's shaky but bears no mistaking):--
"_Hic jacet DORA and hic let her jace_."
* * * * *
AN UNHAPPY CHRISTMAS.
"A number of persons have booked dooms for Yuletide."--_Scottish
Paper._
* * * * *
THE BROTHER SERVICE.
MR. PUNCH, DEAR SIR,--I am still with the Q.M.A.A.C.'s at what used
to be called the Front. But do not imagine I am cut off from news.
Papers from home pour in by every mail. I read articles written by
People Who Know, and speeches of politicians to female electors, and
that is how I have learned that it is we Women of England who have
won the War.
Yet out here one cannot help noticing that the War was not waged
entirely by the lovelier sex. And so I am writing to ask you to say
a word or two about the work of the Brother Service, the less
conspicuous branches of our army, the men who hauled big guns about,
who stood in trenches, who looked after ammunition, or who killed
mules to provide us with pressed beef. Little bits of the great
machinery--hangers-on of the great Women's Army Corps--yes, but
without the humble hairpin the whole coiffure falls to the ground.
I have never been a pessimist or a scaremonger, but _without some of
these men I don't believe we women would have won the War at all!_
They ought to be encouraged, Mr. Punch. Could you not start a Muscle
Competition for the men who helped the women win the War? Something
like the Beauty Competitions for us other warriors? Why not offer
prizes to the Tommy with the biggest biceps, the Subaltern with the
thickest calf, and the Brigadier with the finest abdominal
development?
One is so afraid that at the next European crisis the War Office,
having learned its history from picture papers, will simply mobilise
the women and forget all about the men. Those absurd machine guns
with their wobbly legs really need a man's touch. Besides, it would
be so jolly dull without them.
No, the men really helped, and we ought not to forget it.
I hope that in years to come, when little voices in the firelight
(that's a pretty touch--who says the Army has made us unfeminine?)
beseech me, "Tell us again how you won the War, Great-grandma," I
shall retain sufficient perspective to reply, "Granny didn't do it
all alone, darlings; there were a lot of men who helped too."
Yours faithfully,
ADMINISTRATOR Q.M.A.A.C.
* * * * *
From a description of our infantry's arrival in Cologne:--
"Then came more Fusiliers, the Lancashire Fusiliers and the Royal
Dublin Fusiliers, and after them battalions from all parts of the
British Isles.... It was wonderfully thrilling to go from one bridge
to the other, from skirl of pipes to the triumphant swing of 'John
Peel,' and then to the 'Maple Leaf For Ever.'"
_Times._
And what did the Dublins play? "Erin on the Rhine"?
* * * * *
[Illustration: THE 1919 MODEL.
MR. PUNCH. "THEY'VE GIVEN YOU A FINE NEW MACHINE, MR. PREMIER, AND
YOU'VE GOT PLENTY OF SPIRIT; BUT LOOK OUT FOR BUMPS."]
* * * * *
[Illustration: _Enthusiastic Civilian_.--"WELL, HOW ARE YOU ENJOYING
YOURSELF, MATE?" _Mons Veteran_.--"MIDDLIN'." _Enthusiastic
Civilian_.--"OH, YOU'VE GOT TO GET USED TO IT. OF COURSE AT FIRST IT
SEEMS A BIT BRUTAL."]
* * * * *
THE WATCH DOGS.
LXXIX.
My dear Charles,--Old Bowdler has been brooding again on that
idea of a brief for the defence in the forthcoming trial of the
ex-Kaiser. He rather fancies himself cross-examining with courtesy
but firmness some Generalissimo or other, or reducing to tears by an
eloquent speech a court packed with everybody who is anybody, and
in both cases having the eyes of Europe upon him and the ears of
America hanging on his next word. After all, barristers will be
barristers and, when they are, your ordinary man is no match for
'em. It took another man of his own kind to knock the conceit out of
the idea.
Lack of precedent was no difficulty to Bowdler's learned opponent. A
ready imagination made up. To hear him talk you would think he had
spent his life assisting at the trials of ex-Kaisers. He described
the whole affair as if it had already taken place. Thus:--
The culprit, he assumed, is on bail, though not, of course, on his
own recognizances. First, attention is called to the case by Counsel
for the Prosecution rising early in the sitting and asking his
Lordship if he might mention the case of WILLIAM HOHENZOLLERN, next
on his Lordship's list.
"William who?" asks the Clerk of Assize.
"WILLIAM HOHENZOLLERN," answers counsel: "H-O-H-E-N-Z-O-double
L-E-R-N."
A titter is heard at the idea of a man going about with a name like
that. His Lordship, regarding it as a nuisance rather than a joke,
threatens to have the court cleared. A juryman in waiting in the
gallery seizes the opportunity to ask, if anyone is to be turned
out, might it be himself.
Counsel goes on to mention the case. "A complicated case of false
pretences, my Lord----," he begins. But his solicitor plucks at his
gown and points out to him that he is confusing his briefs. Counsel
apologises to the Court and asks leave to refresh his memory. In a
passionate whisper to his solicitor he asks who is this Hohenzollern
man, anyway, and why the devil does he want to be mentioned before
his time? Enlightened, he explains to the Court that the accused
has got some money together for a dock defence and would like an
opportunity to instruct his counsel more fully.
His Lordship refuses a postponement; Hohen-what's-his-name should
have thought of this before. His Lordship has every confidence in
counsel's ability to pick up the facts as the case proceeds. If
counsel's personal convenience is involved that is another matter.
But as for Zohenhollern--["Hohenzollern, my Lord"]--he cannot expect
particular treatment; and that will do, thank you.
The ushers start calling out for him to surrender to his bail:
"Hohenzollern! Hhhohenzollern! Owen Zollern!" re-echoes throughout
the building. "Zollern--O-N!" is heard faintly in the far distance.
No one notices that a gentleman with a fierce moustache has already
made his dramatic entry and is trying to push his way into the
dock....
He is stood up with half-a-dozen other prisoners, so that one jury
may be sworn for the lot. It is desired that each prisoner should
be identified with his name as it is called. WILLIAM HOHENZOLLERN,
whichever he may be, is asked to bold up his hand. An old man in
corduroys, who wears a dirty handkerchief round his neck for collar
and cravat, and is charged with feloniously stealing, taking and
carrying away his forty-first pair of boots and is also a bit 'ard
of 'earing, insists that he is the man. As nothing will persuade
him that he is not, the Clerk of Assize leaves it to the warders to
decide which of the two is which. After all it is a small point.
The case is called on and WILLIAM is left in sole possession of the
dock. This is his moment, thinks he. With set features he stands
forward and assumes the most important attitude possible.
"Are you WILLIAM HOHENZOLLERN?" asks the Clerk of Assize.
There is a pause. "I am," says he.
Everyone turns to have a look at him. Feeling that he is thoroughly
impressing everyone WILLIAM fixes a commanding eye on the judge,
compelling, as he supposes, his utmost attention.
"Let's adjourn for lunch," says the judge....
When at last the case gets to its hearing (so far as anything at
all can be heard over the small talk in front of the dock and the
shuffle of impatient feet behind it) a novel point arises. A witness
refers to the War. "What war?" asks his Lordship. Counsel thinks
he can explain, but WILLIAM isn't for letting him. "Will you keep
silence?" says the Judge to WILLIAM. "You must call evidence to
prove that there was a war," he says to counsel.
WILLIAM faints upon realising that Armageddon, his masterpiece, was
such that judicial knowledge wasn't aware of it....
Witness after witness is called; barrister after barrister, in the
bar beneath the dock rail, goes to sleep. WILLIAM, after shaking off
the stupor caused by the awful disregard of his personality, begins
to murmur incoherently. The warder taps him on the shoulder.
WILLIAM, who has never even conceived of being tapped by anybody,
bursts out with an exclamation. The worst thing which has ever
happened to him in his life then happens. Bowdler, Bowdler of all
the un-imperial and un-godlike people in this world, turns to
WILLIAM to rebuke him in a stern whisper, telling him that he is
doing himself no good and concluding his remarks with "My man"....
The trial proceeds, WILLIAM being speechless with rage. In his ears
is ringing a Hymn of Hate--hate of everybody in the court, but
particularly of Bowdler. Every time he can get his brain to work and
his tongue to work with it, he leans forward to breathe some drastic
utterance at his defending counsel. Bowdler remains detached.
WILLIAM (late Kaiser) has to realise as a cold fact that here is
a wretched mortal daring to sharpen a pencil while he is being
addressed by the ALL-HIGHEST. The ALL-HIGHEST reaches over the dock
rail to thump the wretched mortal's wretched head....
Bowdler rises deliberately. There is a hush. He is going to say
something important. WILLIAM feels that at last the world is sane
and duly attentive to him again. Bowdler submits that the state of
mind of the accused person (accused person!) should be inquired
into.
The judge very readily acquiesces; anything to get rid of the
fellow. The prison doctor swears that he has never seen a lunatic if
this isn't one. An assertive juryman, who disapproves of business
being so rushed as not to permit of a hanging, expresses the view
aloud that it is all put on. Silence ensues upon the anomaly of a
juryman daring to express a view aloud; WILLIAM avails himself of
this silence for the same purpose. His view, which was evidently
intended to take some time in the expressing, starts off with
personal reminiscences of the intimate friendship and business
partnership between himself and the Almighty. The juryman at once
gives in and the verdict is found before WILLIAM has completed his
second sentence....
WILLIAM hears himself being ordered "to be detained during His
Majesty's pleasure." The warder, propelling him down below stairs to
the cells, makes it quite clear to WILLIAM that the Majesty referred
to is not his (WILLIAM'S)....
Bowdler follows later to tell WILLIAM what a lucky fellow he is, and
also to take off him one pound, three shillings and sixpence....
Yours ever, HENRY.
* * * * *
[Illustration: _Conducting Officer._ "IT'S NOT A BAD LITTLE BATTLEFIELD;
BUT I'M AFRAID IT'S AWFULLY UNTIDY."]
* * * * *
A "POCKET" BOROUGH.
"Beyrout, the ancient Berytus, is 55 miles WNW from Damascus.
The port is strongly fortified, its walls being three inches in
circumference."--_East African Paper._
* * * * *
THE EUPHEMISTIC MOSLEM.
"DEATH OF TURKISH MINISTER.
"A Constantinople message reports that the Turkish Minister of the
Interior has resigned."
_Australian Paper._
* * * * *
GUARANTEED.
"You recognize, of course, that the situation is exceptional," said
Edith's mother. "You left New York on December 2, and arrived at Euston
on December 13. To-day, December 18, you ask me for my daughter's hand,
after a three days' acquaintance. Is this the usual American pace?"
"That is hardly my fault," I said. "We ran into a nasty bit of weather
off Cape Race and lost twelve hours."
"Still," she said, "under the circumstances you will admit that I have
the right to put a few questions. Edith is all I have. She has naturally
not told me everything, but I gather you have spoken to her a good deal
about yourself."
"Not more than three or four hours at a sitting," I replied.
"And you have never spoken to anyone else as you have to Edith?"
"I have."
"Oh," she said.
"I wish it had been otherwise," I pleaded; "but life is very complex
nowadays on both sides of the Atlantic. Much that I have told Edith I
have also revealed to the passport clerk at Washington and the keeper
of birth records in New York. Something too I confided to the
assistant-book-keeper in the War Zone Bureau at the Custom-House in New
York, to the cashier of the French consulate at home, and to the gateman
of Cunard Pier 54, at the foot of West Fourteenth Street. I am sorry; I
wish Edith had been the first to whom I gave up the inner secrets of my
soul, but the fact is that to some extent she was anticipated by your
Military Control-Officer at Liverpool."
"It might have been worse," she sighed. "You have nice manners and a
good face. At home I suppose you are quite popular?"
"Up to the twenty-fifth of October I shouldn't have said so," I replied.
"But since then a great many people have taken to me. Not quite like
DORIS KEANE, you know, but still I have distributed in a little more
than a month no fewer than three dozen photographs of myself two and
a-half inches square. Your consul at New York took two, the French
Chamber of Commerce took three, and I am having some more ready for the
time when I go to make application for my emergency ration card, in case
your food department proves equally susceptible. I have been asked out
a great deal. The State Department at Washington made me come down for
several weekends and your Military Officer at home had me in on three
successive days."
"Mr. Smith," she said, "you seem an honest man. Do you, in your heart,
believe yourself good enough for my Edith?"
"Had you asked me that six weeks ago," I said, "I should have answered
'No.' Before I spoke to Edith, that very same question flashed up within
me. I saw the golden sheen of her hair in the moonlight--for you do
sometimes have moonlight here in London--and wondered whether I had the
right to speak. Of course I was not good enough for her, but still I
felt that I was not altogether unfit. I might justly ask for her in the
face of high Heaven, the Passport Bureau at Washington, the War Zone
Bureau at the Custom-House, the head clerk at the Cunard office, the
watchman at the pier, the official who changed my American money into
your own very confusing monetary system, the man at the head of the
gang-plank, the man at the foot of the gang-plank, the steward who
filled my alien's declaration, the steward who gave me my landing-card,
several battalions of control officers, and approximately half the
Allied diplomatic services. When I spoke to Edith I had all the
documents in my breast-pocket, and my heart glowed with justifiable
confidence beneath them. The dear girl never asked for my college
certificate and my luggage check, but I have them all here."
"Perhaps it isn't necessary," she said. "You may have her, my dear boy."
"Without even looking at my Czecho-Slovak _visé_ my club dues for 1918,
and my inoculation receipt for typhoid and paratyphoid A and B?" I
stammered.
"You have a nice face," she said.
* * * * *
[Illustration: "WOT'S OUR NOO M.P.'S BIZNESS?"
"'E'S IN THE JOBMASTERING LINE I THINK. I 'EARD 'E ARST TO BE SENT BACK
TO 'ELP CLEAN OUT THE ORGEAN STABLES."]
* * * * *
OUR GREAT UNKNOWN.
_First Official_. I say, who is the Head of the Thingumyjig
Ministry--the one at the Hotel Giorgione?
_Second Official_. Haven't an idea. I thought it had been wound up.
_First Official_. Well, I'm not so sure of that. There was an
announcement about it in the papers, and then an official _démenti_, and
then the Minister resigned, and now I hear he has been reappointed.
_Second Official_. Then you evidently knew his name all along. Why on
earth did you ask me?
_First Official_. You see, it's like this. I had a bet on with a man at
the Club that out of ten Government officials not more than one would
know the Minister's name. You didn't, and you happen to be the ninth who
didn't, so I've won my bet. By the way, do you know what has become of
the _chef_ at the Giorgione?
_Second Official_. You mean old Savary, who was always gassing about his
descent from NAPOLEON'S General? I think he went back to Paris some time
ago.
_First Official_. Thanks; then I win my second bet--that out of ten
Government officials five would know _his_ name.
* * * * *
UNNATURAL HISTORY.
From a _feuilleton:_--
"She watched him catch the sticklebacks which were one day to turn
into frogs."
_Church Family Newspaper_.
* * * * *
"The Crown Prince expressed hope he would one day be able to return
to Germany and live there as a sample citizen."--_Bath Herald_.
We don't think quite so badly of the Germans as all that.
* * * * *
"To Property Owners and Hotel Proprietors.--Start Redecorating and
Repairs now, before the rush comes, and gives the boys returning a
chance for work."--_Provincial Paper_.
Personally, we shall postpone our order until the boys do come home.
* * * * *
[Illustration: _Artist_. "I CAN'T AFFORD TEN POUNDS. MY BANK TELLS ME
I'M OVERDRAWN NOW."
_His Wife_. "SURELY YOU CAN GET IT AT ANOTHER BANK? THEY CAN'T ALL BE AS
HARD UP AS THAT."]
* * * * *
A CONSPIRACY IN THE POULTRY-YARD.
DEAR MR. PUNCH,--I suppose it must be conceded that practical jokes
have not the vogue that they once enjoyed. No longer do you discover
some fine morning that the street in which you live is blockaded
with furniture vans, all endeavouring to deliver furniture you don't
require and never heard of before, while your staircase is a mass of
flowers and fruit constantly increasing upon you and threatening
to smother you with their amount no less than with their scent. It
would gradually appear that the deliveries both of the flowers and
the furniture were being executed in accordance with the orders of
one of your friends, and that you had to grin and bear it as best
you might. I cannot say that the victim or the general public, when
they heard of it, looked upon it with any excess of enthusiasm.
Anyhow, practical jokes have gone out.
Yet there is a kind of practical joke which, so far as I know, has
never been played upon anybody, and which, if it wore played,
might provoke a considerable volume of laughter and no small
inconvenience. I have schemed it out and venture to submit the plan
to you.
My idea is to take some weekly magazine which caters either for some
special trade or amusement or pursuit. Let us imagine it to be _The
Chicken Run_, with which is incorporated _The Fowls' Guardian_. I am
entitled to assume that most of Mr. Punch's readers are acquainted
with this bright and lively feathered journal. My plan is to get
together some bold spirits, to capture the editor and his staff,
and to hold them in a comfortable but rigorous imprisonment for one
week; to take possession of the editorial office, and then to set to
work to transform the contents of the paper. I foresee the amazement
of the faithful readers of _The Chicken Run_, on being informed, in
the column headed "Hints to Beginners," that Mr. LLOYD GEORGE'S pet
Leghorn cockerel has developed a surprising taste for latchkeys, and
recently swallowed two of them, while Mr. ASQUITH'S Buff Orpington
pullet has taken to following him about like a dog and roosting
on his bed-rail. Then there would be a breezy editorial article
designed to prove that poultry had come out of the war with a much
enhanced reputation, owing to the loyal part they had played in
assisting the FOOD-CONTROLLER.
Further, there would be special articles proving, for instance, that
champagne is the one drink on which all breeds of chickens increase
and multiply their production of eggs, especially if hot caviare
is afterwards administered in large bowls. Then there would be the
first chapters of an enthralling serial whose plot revolved round
the love-story of Sir Robert Wyandotte and Lady Cecilia Buttercup--a
literary effort of unparalleled brilliancy due to the genius of a
new novelist who preferred to be known as the Red Rover of Rhode
Island. And so on and so on. If you think the scheme is feasible,
let me hear from you and I will begin to get my team of villains
together.
Yours faithfully,
THE GAME CHICK.
* * * * *
"Women and young persons now employed in these works enjoy a miximum
working week of fifty-five and a half hours."--_Sunday Paper_.
And, we suppose, a manimum wage.
* * * * *
AT THE PLAY.
"THE BABES IN THE WOOD."
When I saw a dull red glow in the early evening sky above the great open
flares that lit the portals of the Theatre Royal, I said to myself,
"This brings the Peace home to one!" But those who think that England
will never be the same after the War, that all things will become new
and better, have not reckoned with the Drury Lane Pantomime. Its tactics
may change, but its general strategy remains untouched by War or Peace.
Under any name--_Ali Baba_ or _Aladdin_, _Puss in Boots_ or _The Babes
in the Wood_--its savour is the same. If only a tenth part of the
enterprise that goes to the making of its great pageants were devoted to
the invention of a new subject, though it were only _The Babes in Boots_
or _Puss in the Wood_! However, with Bolshevism in the air it is best
perhaps not to tamper with British institutions.
Still, even within the limits imposed by immemorial tradition there
surely must be somebody in the United Kingdom who could make a better
book. It was pathetic that so capable a cast--Miss LILY LONG in
particular--should have such second-rate stuff to say and sing. Seldom
could one detect any attempt to evade the obvious. Of topical allusions,
apart from timeworn themes of coupons and profiteers, there was scarce
a sign, and such burlesque as there was had no sort of subtlety in it.
Take, for example, the opportunity lost in the imitation of a bedroom
scene from modern drama. It announced itself as something "West-Endy,"
yet it was like nothing (I imagine) even in the remote Orient. And
constantly the poor play of _esprit_ had to be carried off by the
distracting thud of some falling body or covered by the deadening clash
of the eternal cymbals.
It is significant, in this connection, that there never seems to be any
male character in these pantomimes that is not committed to buffoonery.
Apparently no reliance is placed on the unassisted humour of the
dialogue. A funny remark must be clinched with a somersault, a repartee
be driven home by a resounding smack on the face. You might have thought
that on such an occasion there would be room for the figure of some
gallant soldier of the masculine sex. Yet there wasn't a vestige of
khaki in the whole show, and the only patriotic song assigned to a man's
voice had to be delivered by the comic villain.
However, the actors were too good to be defeated by the authors; and the
two couples--the _Babes_ (Mr. STANLEY LUPINO as _Horace_ and Mr. WILL
EVANS as _Flossie_) and the _Robbers_ (Messrs. EGBERT)--went far by
their personal drollery and unflagging spirits to make up for any defect
in the words. Each member of the two pairs played very loyally into the
other's hands. Mr. ALBERT EGBERT indeed played into his brother's feet
with equal devotion; and the good humour with which he accepted the
fiercest blows on face and person seemed to indicate an exceptionally
close fraternal understanding.
[Illustration: THE AGE OF INNOCENCE _Horace_ ... Mr. STANLEY LUPINO.
_Flossie_ ... Mr. WILL EVANS.]
Mr. HARRY CLAFF as the Wicked Uncle (with a note or two in the
operatic manner) belied his villainous nature by an unusually amiable
temperament; and Miss FLORENCE SMITHSON, with her dainty air, furnished
interludes of conventional song, during which we gave our ribs a rest.
The dancing, as usual, was rather perfunctory, if one excepts a _pas de
deux_ which gave promise of a parody of the Russians and turned out to
be just a series of contortionist feats, brilliant but unlovely.
As good wine needs no bush, so good babes need no wood; but Messrs.
McCLEERY and HUMPHRIES painted for them a quite nice one, where, after
some very pleasant business with a brace of giant mushrooms that went
up and down like a lift, the robins came and camouflaged the wanderers
under a counterpane of fallen leaves, where they behaved much better
than in ordinary beds. But the best scene was M. MARC HENRI's Temple of
Peace--very beautiful with its dim perspective, till the garish light of
"The Day" was turned on. Here the assertive colours of the Allies were
tempered to an exquisite pale harmony, only slightly damaged by a
nondescript contingent in pink (possibly neutrals) and the apparition of
Mr. ARTHUR COLLINS and other gentlemen in black, who came on to receive
the expression of our grateful approbation.
I stayed long enough into the Harlequinade to see little Prince OLAF of
Norway, in QUEEN ALEXANDRA's box, capture a large cracker dexterously
flung to him by the Pantaloon. So ended for me an evening more jocund
than I have had the good grace to admit.
O. S.
* * * * *
OUR CLASSICAL ADVERTISERS.
"The trade-mark name of tins coat--'Aquascutum'--is a Latin word,
and translated into our own good English, 'Aqua,' means water.
'Scutum' means to shed. There you are--Watershed."
_Advt. in Canadian Paper._
* * * * *
"They belileve that an not inconsiderable number of
dddeeeeeddlllllllcleeeeeece cw pavem ponnun _ex-parte_ opinions are
given for what they may be worth."
_Manchester Paper._
For our part we belileve this estimate of the value of _ex-parte_
opinions, of the kind indicated, to be sound, if rather scathing.
* * * * *
"In lieu of the February Sale and Spring Show, hitherto held in
April, an important sale of pure-bred bulls will be held in the
Show Grounds at Ballsbridge, on Thursday and Friday, 13th and 14th
March."--_Cork Examiner._
We trust the above specimen will be duly entered.
* * * * *
"After the act from _Masks and Faces_ came the letter-reading, the
murder and the sleepwalking scenes from _Macbeth_, with Miss Mary
Anderson and Mr. Lyn Harding. Tragic poetry of this intensity, of
course, knocks everything else endways."--_Times._
Or, as SHAKSPEARE himself is said to have exclaimed, as he penned the
last line of it, "That's the stuff to give 'em."
* * * * *
"There should also be mentioned the merchants' bank, Towarzystwo
Pozyczkowe Przemyslowcow Miasta Poznania."
_Journal of the Royal Statistical Society._
We have tried to mention it, but failed miserably.
* * * * *
"The Major then spoke of battles in which he had taken part. He had
been wounded in the back leg and arm."--_Evening News._
Bit of a dog, this Major.
* * * * *
"PROMOTION.-Rifleman P.R. Shand to be Sergeant Cock."--_Ceylon
Paper._
We hope Sergeant Cock was consulted about this.
* * * * *
[Illustration: "IS THAT AN OFFICIAL LETTER YOU ARE WRITING, MISS BROWN?"
"IT'S--SEMI-OFFICIAL, SIR."
"WHAT DO YOU MEAN BY SEMI-OFFICIAL?"
"WELL, SIR--IT'S TO AN OFFICER."]
* * * * *
OUR BOOKING-OFFICE.
_(BY MR. PUNCH'S STAFF OF LEARNED CLERKS.)_
Not infrequently our novelists will follow success with a boy hero by a
sequel showing the same character grown up. Mr. E.F. BENSON, however,
has reversed this process, and in a second book about _David Blaize_
introduces him grown not up, but down. So far down, indeed, as to be
able to pass through a door conveniently situated under his own pillow
and leading to a dreamland of the most varied enchantments. I know, of
course, what you are about to say; I can see your lips already forming
upon the word _Alice_. But while I admit that _David Blaize and the Blue
Door_ (HODDER AND STOUGHTON) is frankly built after that famous plan
this means no more than that Mr. BENSON has used, so to speak, the
CARROLL formula as a medium for his agreeable fancies. These are
altogether original and filled with the proper dream-spirit of
inconsequence. Moreover the author has a pretty gift for remembering
just the stuff that childhood's dreams are made of--such transfigured
delights as swimming like fishes or flying in a company of birds; he
knows too the odd tags of speech that linger there from daytime, things
meaningless and full of meaning--"Rod-pole-or-perch," for example, or
that thrice-blessed word, "Popocatapetl." Best of all, he has resisted
the subtle temptation to be even momentarily too clever for his audience
(you know the devastating effect that may be produced if a grown-up
pauses on the edge of the circle and reminds the story-teller that he
has a reputation for wit). In fine, this early dream of _David's_ shows
him fortunate in having an old family friend like Mr. Benson to write it
down; also--what I must on no account forget--so sympathetic an artist
as Mr. H.J. FORD to make it into pictures.
* * * * *
Those who have learnt to value their "TAFFRAIL" will find matter very
much to their mind in his latest book, _A Little Ship_ (CHAMBERS). I
do not wish to institute any invidious comparisons between the marine
mixture as provided by "TAFFRAIL" and that of other nautical writers,
but this much I may say with perfect confidence: the men to be found in
"TAFFRAIL'S" stories are true human stuff, sturdy, dogged in doing their
duty, and brave almost beyond recklessness; but they are men all the
time, and not solemn and consecrated angels. That is, I suppose, why I
find that "TAFFRAIL'S" stories go straight to the mark and make their
effect with no undue waste of time; and, if a little bit of laughter is
occasionally worked in, so much the better. The last chapter in the book
gives an account of the Zeebrugge expedition. The story is so bravely
told that a man can hardly refrain from shouting in apprehension and
exultation as he reads it.
* * * * *
I have a grudge against the publishers of _Miss Mink's Soldier_ (HODDER
AND STOUGHTON) because they have printed on its wrapper, "By the Author
of _Mrs. Wiggs of the Cabbage Patch_," which led me, perhaps foolishly,
to hope that _Mrs. Wiggs_ and I were to foregather once more, and when
we didn't made me just a little surly towards a book of short tales
which, opened with any other expectation, would have seemed much above
the average. There are eight stories in the book, and in almost all of
them is found that blend of pathos and humour that Mrs. ALICE HEGAN RICE
has taught us to expect. I liked "Cupid Goes Slumming," because it was
almost _Cabbage Patch_; but "Hoodooed," the story of an old negro who
believed himself the victim of a spell which involved the presence of a
cricket in his leg, delighted me even more. His wife removes the charm
with a vacuum cleaner, in which she has previously secreted a cricket,
and the victim recovers. It pleased me very much to learn that among
"white folk's superstitions" is the theory that it is "bad luck to sleep
with the windows shet," and, when I come to think of it, I believe that
it is very bad luck indeed.
* * * * *
I should have liked GABRIELLE VALLINGS' _Tumult_ (HUTCHINSON) a good
deal better if she could have managed it without the aid of a Pan who
wandered, emitting a strong smell, chiefly in the demesne of a very
expensive and over-cultivated French noble. It was his daughter (by an
Australian wife) who was suffering from an inordinate perplexity as to
which half of her blood had the real call. The Australian half suggested
that she should marry a gentleman-rider who won the Grand Prix in a
canter, but fell at the winning-post because his horse shied at the
irrepressible Pan. The French half--and both her parents--urged a
dissolute and anaemic aristocrat--blue blood and a gold lining. Her
grandfather, a strong unsilent sheep-rancher, was against this inept
decadent and converted to his view that saintly worldling, the gorgeous
_Cardinal Camperioni_. A neo-futurist of the most bizarre type prances
through the pages upon his head, causing enough "tumult" to satisfy any
one. So why drag in Pan? Miss VALLINGS can tell a story, cannot keep
down the volume of her puppets' talk, has a sense of movement and
colour, and ought to win for herself a good circulating library
constituency.
* * * * *
For myself I have never yet lived in a sailing barge, and under the
providence of Heaven trust to continue in this immunity. There are
however those who regard the matter differently; and for their benefit I
have no hesitation in recommending most warmly _A Floating Home_ (CHATTO
AND WINDUS), written by CYRIL IONIDES and J.B. ATKINS, and illustrated
partly with photographs, partly with water-colour sketches by that
various craftsman, Mr. ARNOLD BENNETT. Let me say at once that you have
no need to be an amateur bargee, either by practice or desire, to enjoy
this most entertaining volume. Witness my own case, who read every
page of it with delight. It is a reasonable contention that a writer
possessing the enthusiasm, the humour and the persuasive gifts of Mr.
IONIDES, with a twelve-and-sixpenny book for their display, could
present a case that would give some theoretic and superficial charm to
the most uncomfortable conditions of existence. Not that _A Floating
Home_ is a work only of theory; on the contrary, nothing could be more
practical than its account of the purchase, conversion and enjoyment of
the _Ark Royal_. The most prejudiced--again I speak personally--will
find pleasure in the author's zestful story of how the dingy,
foul-smelling _Will Arding_, full of cement (and worse things), was
transformed into the spick-and-span _Ark Royal_, with a piano in the
saloon and Queen Anne silver on the breakfast-table; while for the
persuadable there are added plans, scales of expense and the like,
which bring the whole matter to a working basis. The book, in short, is
propaganda at its best (was it perhaps this that attracted Mr. BENNETT?)
and as such well entitled to its toll of converts.
* * * * *
_Warriors and Statesmen_ (MURRAY) is a book selected from the
"gleanings" of the late Lord BRASSEY. Such gleanings depend so largely
on the personality of the gleaner that they may be worth anything or
nothing; so let me say at once that Lord BRASSEY had too sound a taste
to be a collector of ill-considered trifles. Although warriors have the
place of honour in the title they are given but little space in the
book. Still, in these days the soldier can well afford to let the
statesman have the advantage in a collection that does not deal with the
living. This limitation may explain the absence of all mention of Lord
ROBERTS, who was probably still alive when the gleanings were completed.
Apart from the evidence it gives of a fine mind the book preserves much
that is worth remembering and presents it in a convenient form. For this
we have in part to thank Mr. HORACE HUTCHINSON, to whom Lord BRASSEY
entrusted the work of selecting these literary sheaves.
* * * * *
_From the Home Front_ (CONSTABLE) is a further, and rather belated,
selection from the War verses that have appeared from week to week on
the second page of _Punch_. Conscious of cherishing a natural prejudice
in favour of his own productions, Mr. Punch forbears to commend this
little volume, but he may permit himself to say that, in the judgment of
_The Daily News_, which is above suspicion of bias, it is calculated to
provoke "a sorrow chequered by disgust."
[Illustration: _Topical Huckster_. "'ERE YOU ARE, LADY--AS CHEWED BY THE
PRESIDENT."]
* * * * *
"This royal throne of kings,
This sceptical isle, this seat of Mars."
_Quotation by Miss MARIE CORELLI in "The Pall Mall Gazette."_
No man is a prophet in his own country, and this is how Shakespeare gets
treated at Stratford-on-Avon.
***END OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI, VOL.
156, JAN. 1, 1919***
******* This file should be named 10964-8.txt or 10964-8.zip *******
This and all associated files of various formats will be found in:
https://www.gutenberg.org/1/0/9/6/10964
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
https://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, is 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 https://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
https://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 https://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 https://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 including checks, online payments and credit card
donations. To donate, please visit: https://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart was 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.
Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.
Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number. The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.
Most people start at our Web site which has the main PG search facility:
https://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.
EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date. If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.
http://www.ibiblio.org/gutenberg/etext06
(Or /etext 05, 04, 03, 02, 01, 00, 99,
98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way. The year of a release date is no longer part
of the directory path. The path is based on the etext number (which is
identical to the filename). The path to the file is made up of single
digits corresponding to all but the last digit in the filename. For
example an eBook of filename 10234 would be found at:
https://www.gutenberg.org/1/0/2/3/10234
or filename 24689 would be found at:
https://www.gutenberg.org/2/4/6/8/24689
An alternative method of locating eBooks:
https://www.gutenberg.org/GUTINDEX.ALL
*** END: FULL LICENSE ***
