The Project Gutenberg EBook of Punch, Or The London Charivari, Vol. 101, July 18, 1891, 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. 101, July 18, 1891 Author: Various Release Date: September 12, 2004 [EBook #13446] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK PUNCH *** Produced by Malcolm Farmer, William Flis, and the Online Distributed Proofreading Team. PUNCH, OR THE LONDON CHARIVARI. VOL. 101. July 18, 1891. LETTERS TO ABSTRACTIONS. NO. II.--TO SOCIAL AMBITION. DEAR SIR, OR MADAM, I had not intended to annoy you with another letter. But since I addressed you last week I have received one or two communications--not from you, _bien entendu_, for you are too wary to dispute the accuracy of what I have written; but from concrete human beings, who pretend to speak on your behalf, and deny that I have "proved my case." I might answer by saying that I never set out to prove a case--that I wished merely to enjoy a friendly chat with you, and to appeal to your clemency on behalf of the large class whom I ventured to represent by the DABCHICKS. "But," says one of my detractors, in a letter now lying before me, "you have only given one instance. You have talked grandly about Queens, and Dukes, and actresses, and, in the end, you have put us off with a wretched story about the _parvenu_ DABCHICK. For my part, I refuse to admit your authority until you prove, in greater detail, that you really know something of the subject on which you presumed to write." "Sir," I reply, "you are brusque, and somewhat offensive in the style you use towards me. For my part I do not admit that you are entitled to an answer from me, and I have felt disposed to pass you by in silence. But since there may be other weak vessels of your sort, I will do violence to myself, and pen another letter." And thus, my dear SOCIAL AMBITION, I once more take the liberty of addressing you, not without an inward tremor lest you should pounce upon me unawares, and cause me to expiate my rashness by driving me from the calm seclusion in which I spend my days, to mingle with the feverish throng who wrangle for place and precedence, myself the most feverish wrangler of them all. But, on the principle that we are both, in some sort, hawks, I think I may trust you to spare my eyes, while I remind you of one or two incidents in which you bore a part. And first BLENKINSOP knocks at the door of my memory. I bid him enter, and I see a tall slim youth, not ill-favoured, wearing well-cut clothes, and carrying a most beautiful, gold-topped Malacca cane delicately in his hand. He is smoking a cigar, and complains to me that his life is a succession of aimless days, and that he cannot find any employment to turn his hand to. That very night, I remember, he dined with me. We went to the play together, and afterwards looked in at Lady ALICIA PARBOIL's dance. Dear Lady ALICIA, how plump she was, and how good-natured, and how well she married her fiddle-headed daughters. Her husband too, that clumsy, heavy-witted oaf, how cunningly and how successfully withal she schemed for his advancement. _Quid plura?_ you knew her well, she was devoted to you. I only speak of her to remind you that it was in her hospitable rooms that GERVASE BLENKINSOP met you--and his fate. He had danced for the second time that evening with ELVIRA PARBOIL, and, having returned that blushing virgin to her accustomed corner, was just about to depart when the ample form of Lady ALICIA bore down upon him: "Oh, Mr. BLENKINSOP," her Ladyship began, "I really cannot allow you to go before I introduce you to Mr. WILBRAHAM. I hear," she continued, "he has just lost his Private Secretary, and who knows but that--" Here she paused, and archly tapping her _protégé's_ cheek with her fan, she bore him off to introduce him to the Cabinet Minister. I watched the ceremony. Something whispered to me that BLENKINSOP was lost. Must I go through the whole painful story? He became Private Secretary to his new Right Honourable friend, and from that moment he was a changed man. His cheery good-nature vanished. Instead of it he cultivated an air of pompous importance. One by one he weeded out his useless friends, and attached to himself dull but potentially useful big wigs who possessed titles and influence. At one of our last speaking interviews (we only nod distantly now when we meet), he hinted that in the next distribution of honours his name might be expected. It appeared, but, alas for gratitude, he had to satisfy himself with a paltry K.C.M.G., which his wife (I forgot to say that he married ELVIRA) despises. He is now a disappointed man whom his friends, if he had any, would pity. He is getting on in life; the affectations he so laboriously cultivated no longer amuse. The witlings of his Clubs remark openly upon his ridiculous desire to pose as an earth-shaking personage, and when he goes home he has to listen to a series of bitter home-truths from the acrid ELVIRA. Would it not, I ask, have been better for Sir GERVASE BLENKINSOP, K.C.M.G., to have continued his ancient and aimless existence, than to have had a fallacious greatness dangled before his eyes to the end of his disappointed, but aspiring life? [Illustration] One more instance, and I have done. Do you remember TOMMY TIPSTAFF at Trinity? I do. He was, of course, a foolish youth, but he might have had a pleasant life in the fat living for which his family intended him. In his second year at the University, he met Sir JAMES SPOOF, an undergraduate Baronet, of great wealth, and dissolute habits. Poor TOMMY was dazzled by his new friend's specious glare and glitter, and his slapdash manner of scattering his money. They became inseparable. The same dealer supplied them with immense cigars, they went to race meetings, and tried to break the ring. When Sir JAMES wished to gamble, TOMMY was always ready to keep the bank. And all the time poor Mrs. TIPSTAFF, in her country home, was overjoyed at her darling's success in what she told me once was the most brilliant and remarkable set at Cambridge. Where is TOMMY now? The other day a ragged man shambled up to me, with a request that I should buy a box of lights from him. There was a familiar something about him. Could it be TOMMY? The question was indirectly answered, for, before I could extract a penny, or say a word, he looked hard at me, turned his head away, and made off as fast as his rickety legs would carry him. Most men must have had a similar experience, but few know, as I do, that you, my dear SOCIAL AMBITION, urged the wretched TOMMY to his destruction. On the whole, I dislike you. Those who obey you become the meanest of God's creatures. Pardon my candour, and believe me, Yours, without respect, DIOGENES ROBINSON. * * * * * AUTHOR! AUTHOR! LORD COLERIDGE's summing up to the Jury in the action taken by _Jones_ (author of burlesques) v. _Roberts_ (player of the same) was excellent common sense, a quality much needed in the case. Mr. JONES,--not our ENERY HAUTHOR, whose contempt for Burlesque generally is as well known as he can make it,--wrote to Mr. ARTHUR ROBERTS, formerly of the Music Halls and now of the legitimate Stage, styling him "Governor," and professed that he would "fit him to a T." _Poeta nascitur non "fit_."--and the born burlesque-versifier was true to what would probably be his comic version of the Latin proverb. But the inimitable ARTHUR, who does so much for himself on the stage, hardly required any extraneous help, and at last rejected the result of poor JONES's three months' hard labour at the Joe-Millery mill. This, however, was no joke to JONES, who straightway decided that this time he would give the inimitable ARTHUR something quite new in the way of a jest; and so, dropping the dialogue, he came to "the action," which, in this instance, was an action-at-law. Whatever Mr. ROBERTS may have thought of the words, he will hardly have considered the result of this case as "good business" from his own private and peculiar point of view. But all Dramatic Authors,--with the solitary exception of Mr. YARDLEY, formerly famous in the field, but now better known in "The Lane," at pantomime time, than to any Court where he has a legal right to appear in wig and gown,--from the smallest, who write to please a "Governor," up to the biggest, who write to please themselves, should rejoice at the decision in the case of _Jones_ v. _Roberts_. * * * * * AN OMISSION AT THE GUILDHALL LUNCHEON.--On the occasion of the Civic Banquet to the German EMPEROR, an Alderman, distinguished for his courtesy to strangers, and his appreciation of good dishes, especially of anything at all spicy, wished to know why, as a compliment to their Imperial guest, they had omitted "pickelhaubes" from the bill of fare? He had understood, from well-informed friends, that the EMPEROR seldom went anywhere without some "pickelhaubes," whatever they might be, as he himself, the worthy Alderman, had never had the opportunity of tasting one. * * * * * [Illustration: THE RED QUEEN AND THE WHITE; OR, ALICE IN THUNDERLAND.] * * * * * JOLLY JULY. The storm of rain comes swirling down, Our helpless flow'rets droop and die; The thunder crashes o'er the town-- In wet July. Our cricket-match is spoilt, the stumps We draw beneath a drenching sky; Then homeward wend in doleful dumps-- In wet July. The lawn's a lake, whereon there float The balls that erst would o'er it fly; We can't play tennis from a boat, In wet July. Our garden-party's ruined quite, Of invitations friends fight shy; They wisely shun the sloppy sight In wet July. Take that old aneroid away, A new barometer we'll try; With hope for haply one fine day-- In wet July. * * * * * BEATING THE RECORD.--Mrs. MALAPROP's "Cerberus, as three single gentlemen rolled into one," was "not in it" last week with H.R.H. the Prince of WALES, who, in the course of the Royal Entertainments given to our Imperial Cousin-German, appeared as "a host of illustrious personages." An admirable performance. * * * * * A NURSERY ECHO FROM CARLOW. PARNELL put the KETTLE on, TIM HEALY came it rather strong, HAMMOND was the people's man, And he's now M.P. * * * * * [Illustration: IN DESPERATE STRAITS. _Jones_ (_Blue Ribbon--to abstemious Lady he has taken in to dinner_). "LOOK HERE, MADAM, WE DON'T SEEM TO BE GETTING ON A _BIT_! EITHER YOU MUST HAVE A GLASS OF CHAMPAGNE, OR, BY JOVE, _I_ MUST!!"] * * * * * ALICE IN THUNDERLAND. _Alice_ ... The TH-ND-R-R. _White Queen_ ... H-RC-RT. _Red Queen_ ... CH-MB-RL-N. "I'll tell you what it is, your Majesty," said ALICE in a severe tone (she was always rather fond of scolding the White Queen), "it'll never do to swagger about all over the place like that! Dignitaries have to be dignified, you know!" Everything was happening so oddly (since Thunderland had turned against Blunderland) that she didn't feel a bit surprised at finding the Red Queen and the White Queen sitting close to her, one on each side. But she found it rather difficult to be quite civil to them--especially the White Queen, who had once been rather a favourite with her, but at whom she now never lost an opportunity of girding. "Always speak the truth," said the Red Queen (cocking her nose at the White)--"think before you speak--and _write it down afterwards_. It's safest, if you're dealing with _some_ persons." "That's just what I complain of," said the White Queen, loftily. "You couldn't tell the truth--about that Table--if you tried with both hands." "I don't tell the truth with my _hands_," the Red Queen objected, icily. "Nobody said you did," said the White Queen. "Nobody said you told it _anyhow_. I said you couldn't if you tried. And you _don't_ try either. So _there_!" "She's in that state of mind," said the Red Queen, "that she wants to deny _something_--only she doesn't know what to deny!" "A nasty vicious temper," the White Queen remarked; and then there was an uncomfortable silence for a month or two. The White Queen broke the silence by saying to the Red Queen, "I invite you to ALICE's Party--which _used_ to be neutral ground--to explain, if you _can_, that nondescript nonsense of yours about National Councils as a substitute for Home Rule." The Red Queen smiled sourly, and said, "And I invite _you_" "I didn't know _I_ was to have a Party at all," said ALICE. "Parties are things I don't hold with, as a rule; too great a tax and a tie. I like my freedom, _I_ do. But, if I _am_ to have one, I think _I_ ought to invite the guests." "ALICE of Thunderland, you require some lessons in manners," the White Queen remarked. "Manners are not taught in lessons," said ALICE. "Lessons teach _some_ people to do sums, and things of that sort." "Can you do addition?" the Red Queen asked scornfully of the White. ("Bah, she can't do sums a _bit_!" she added, aside.) "She is doubtless better at _Division_," interposed ALICE, significantly. "Divide a State by a Statutory Parliament," said the Red Queen, with a derisive wink. "What's the right answer to that?" "Much the same as dividing a Nation by an indefinite number of Councils," retorted the White Queen, smartly. "Talk about _tu quoques_, there's one for you!" "Oh, as for that," rejoined the Red Queen, sniffing, "try another subtraction sum! Take a Grand Old Leader from a 'Party' of discredited 'Items,' and what would remain?" "Why, a Policy, of course," replied the White Queen. "And another Leader," she added, _sotto voce_. "Here's another for _you_," she pursued, aloud. "Take a Liberal-Unionist Tail from a Radical 'Rat,' what would remain then?" "I suppose _you_ think _nothing_ would remain," sneered the Red Queen. "Wrong, as usual," said the White Queen; "the Rat's nasty temper would remain." "But I don't see how!" "Why, look here," the White Queen cried; "the Rat would lose its temper with its 'tail,' wouldn't it?" "Perhaps it would," ALICE replied, cautiously. "Then, if the 'Rat' went away from its 'Tail,' its temper would remain," the White Queen exclaimed. ALICE said, as gravely as she could. "They might go different ways--the 'Rat,' the 'Tail,' and the 'Temper.'" But she couldn't help thinking to herself, "What dreadful nonsense we _are_ talking!" * * * * * THE ONLY ONE.--A ready-penning writer in his _Daily Graphic_ notice of doings in the Houses of Parliament, winds up his description of giving the Royal Assent to Bills in the Upper House with these words--"_So ends the ceremony, which seems to take one away from the Nineteenth Century_"--a little sum in subtraction--i.e., take one away from the Nineteenth Century, and the Eighteenth Century remains; but to continue--"_back to the days of the Edwards and the Henrys_." But why go back to any other century than the "so-called Nineteenth"? Isn't it only a very few years ago that _the_ EDWARDS, the singular HENRY with plural surname of EDWARDS, sat for Weymouth? What other HENRYS or EDWARDS could ever occur to any well-conditioned Parliamentary scribe? * * * * * VOCES POPULI. A RECITATION UNDER DIFFICULTIES. SCENE--_An Evening Party; Miss FRESIA BLUDKINSON, a talented young Professional Reciter, has been engaged to entertain the company, and is about to deliver the favourite piece entitled, "The Lover of Lobelia Bangs, a Cowboy Idyl." There is the usual crush, and the guests outside the drawing-room, who can neither hear nor see what is going on, console themselves by conversing in distinctly audible tones. Jammed in a doorway, between the persons who are trying to get in, and the people who would be only too glad to get out, is an Unsophisticated Guest who doesn't know a soul, and is consequently reduced to listening to the Recitation. This is what he hears:--_ [Illustration: "I am only a Cowboy."] _Miss Fresia Blud_. (_in a tone of lady-like apology_). I am only a Cowboy-- [_Several Ladies put up their glasses, and examine her critically, as if they had rather expected this confession. Sudden burst of Society Chatter from without._ _Society Chatter_. How d'ye do?... Oh, but her parties never _are_!... How are you?... No, I left her at ... Yes, he's somewhere about ... Saw you in the Row this mornin'.... Are you doing anything on ----?... Oh, _what_ a shame!... No, but _doesn't_ she now?... No earthly use trying to get in at present ... &c., &c. _Miss Fresia B._ (_beginning again, with meek despair, a little louder_). I am only a Cowboy; reckless, rough, in an unconventional suit of clothes; I hain't, as a rule, got much to say, and my conversation is mostly oaths. [_Cries of "Ssh!" intended, however, for the people outside, who are chattering harder than ever._ When the cackle of females strikes my ear-- _Society Chatter_ (_as before_). Oh, _much_ cooler here ... Yes, delightful, wasn't it? Everybody one knows ... No, you don't _really_?... Oh, POPSY's flourishing, thanks ... The new Butler turned out a perfect demon ... but I said I wouldn't have his tail dooked for anything ... so they've painted it _eau de Nil_, and it looks _so_ nice! _Miss F.B._ (_pointedly_). When the cackle of females strikes my ear, I jest vamose, for they make me skeered, And I sorter suspicion I skeer them too, with my hulking form, and my bushy beard! [_Here, of course, she strokes a very round chin._ _Society Chatter_. Seems to be somethin' goin' on in there--singin', actin', dancin', or somethin' ... Well, of course, only heard _her_ version of it as yet, y'know ... Have you seen him in ... white bensaline with a Medici collar, and one of those ... nasty gouty attacks he _will_ have are only rheumatism, &c., &c. _Miss F.B._ (_when next heard_). I cleared my throat, and I tried to speak--but the words died strangled-- _A Feminine Voice outside_. So _long_ since we had a quiet talk together! Do tell me all about, &c., &c. _Miss F.B._ --strangled by sheer alarm. For there in front-- [_Here she points dramatically at a stout matron, who fans herself consciously._ --was the slender form, and the sweet girl-face of our new "School Harm"! Say, boys! hev' ye heard an Æolian harp which a Zephyr's tremulous finger twangs? Wa'al, it kinder thrills ye the way I felt when I first beheld LOBELIA BANGS! _Soc. Chat._ Oh, you really _ought_ to go--so touching! DICK and I both regularly howled all through the last Act ... Not in the _least_, thanks. Well, if there _is_ a seat ... You're sure there _are_ any ices? Then, strawberry, please--no, _nothing_ to drink!... _Will_ you allow me?... Told she could dress hair perfectly, but I soon found she was ... a Swedenborgian, my dear, or something horrid ... Haven't you? _I've_ had it three times, and ... so many people have asked me for cards that really I ... had the drains thoroughly looked to, and now they're ... delicious, but rather overpowering in a _room_, I think! &c., &c. _Miss F.B._ (_with genuine feeling_). Who would imagine one meek-voiced girl could have held her own, in a deafening din! But LOBELIA's scholars discovered soon she'd a dead-sure notion of discipline; For her satin palm had a sting like steel, and the rowdiest rebel respected her, When she'd stretched out six of the hardest lots in the Bible-Class with a Derringer! _Soc. Chat._ No, a very dull party, you could move about quite easily in all the rooms, so we ... kicked the whole concern to shivers and ... came on here as soon as we could ... Capital dinner they _gave_ us, too ... &c., &c. _Miss F.B._ (_with as much conviction as possible under the circumstances_). And the silence deepened; no creature stirred in the stagnant hush, and the only sound Was the far-off lumbering jolt, produced by the prairie rolling for leagues around! _Soc. Chat._ (_crescendo_). Oh, an old aunt of mine has gone in for step-dancing--she's had several lessons ... and cut her knees rather badly, y'know, so I put her out to grass ... and now she can sit up and hold a biscuit on her nose ... but she really ought to mix a little grey in her wig! [_&c. &c., to the distraction of the Unsophisticated Guest, who is getting quite interested in LOBELIA BANGS whom he suddenly discovers, much to his surprise, on horseback._ _Miss F.B._ And on we cantered, without a word, in the midday heat, on our swift mustangs. I was only ignorant Cowboy CLEM--but I worshipped bright LOBELIA BANGS! _Soc. Chat._ (_fortissimo_). Not for ages; but last time I met him he was ... in a dreadful state, with the cook down with influenza ... and so I suppose he's _married_ her by this time! _Miss F.B._ (_excitedly_). But hark! in the distance a weird shrill cry, a kinder mournful, monotonous yelp-- (_Further irruption of Society Chatter_) ... is it jackal?--bison?--a cry for help? _Soc. Chat._ Such a complete _rest_, you know--so perfectly peaceful! Not a soul to talk to. I _love_ it ... but, to really enjoy a tomato, you must see it dressed ... in the _sweetest_ little sailor suit! _Miss F.B._ My horse was a speck on the pampas' verge, for I dropped the rein in my haste to stoop; Then I pressed my ear to the baking soil--and caught--ah, horror--the Indian whoop! _Soc. Chat._ Some say it _isn't_ infectious, but one can't be too careful, and, with children in the house, &c., &c. _Miss F.B._ I rose to my feet with quivering knees, and my face turned white as a fresh-washed towel; I had heard a war-cry I knew too well--'twas the murderous band of Blue-nosed Owl! _Soc. Chat._ Nice fellow--I'm very fond of him--so fresh--capital company--met him when I was over there, &c. _Miss F.B._ "What? leave you to face those fiends alone!" she cried, and slid from her horse's back; "Let me die with you--for I love you, CLEM!" Then she gave her steed a resounding smack, And he bounded off; "Now Heaven be praised that my school six-shooter I brought!" said she. "Four barrels I'll keep for the front-rank foes--and the next for you--and the last for me!" _Soc. Chat._ Is it a _comic_ piece she's doing, do you know? Don't think so, I can see somebody smiling. Sounds rather like SHAKSPEARE, or DICKENS, or one of those fellahs ... Didn't catch what you said. No Quite impossible to hear oneself speak, _isn't_ it? _Miss F.B._ And ever louder the demons yelled for their pale-faced prey--but I scorned death's pangs, For I deemed it a doom that was half delight to die by the hand of LOBELIA BANGS! Then she whispered low in her dulcet tones, like the crooning coo of a cushat dove! (_At the top of her voice_). "Forgive me, CLEM, but I could not bear any squaw to torture my own true love!" And she raised the revolver--"crack-crack-crack!" [_To the infinite chagrin of the Unsophisticated Guest, who is intensely anxious to hear how Miss BANGS and her lover escaped from so unpleasant a dilemma--the remaining cracks of her revolver, together with the two next stanzas, are drowned in a fresh torrent of small-talk--after which he hears Miss F.B. conclude with repressed emotion_: But the ochre on Blue-nosed Owl was blurred, as his braves concluded their brief harangues; And he dropped a tear on the early bier of our Prairie belle, LOBELIA BANGS! [_Which of course leaves him in a state of hopeless mystification._ _Soc. Chat._ Is that the _end_? Charming! Now we shall be able to _talk_ again! &c., &c. * * * * * OFF TO MASHER LAND. (_BY OUR OWN GRANDOLPH._) (THIRD LETTER.--C.) [Illustration: Native Amusements--"A Poor House."] LANDS-CAPE POLITICS. Haven't time to send you much information this week, as We,--the firm of Self and Corresponding Captain,--have had to write rather a heavy packet for the Daily Graphic. I suppose you will have got Herr Von GERMAN EMPEROR with you by the time you receive this from yours truly; or His Imperialness may have quitted your,--that is, our, though I'm here now,--hospitable shores. _À propos_ of Hospitable Shores, remember me to the most hospitable of all Shores--Captain SHAW--of the Fire-and-Water Brigade. My companions--"Jolly companions everyone"--the Cautious Captain, or the Wily WILLIAMS, Doubting Doctor, Energetic Engineer, all well. Wily WILLIAMS hard at his MS., giving an account of the "agricultural and mineral resources" of the What-can-the-Matterbeland, "through the instrumentality of the Chartered Company." He's great at this. Think I shall start new Company--"The Chartered Libertine." If my memory doesn't fail me, that's a Shakspearian title. But who was the "Chartered Libertine"? I notice these South-African States are independent of Home Government. 'Pon my word, I fancy W.E.G. was right about Home Rule. On whose shoulders can the G.O.M.'s mantle fall, without enveloping him in entire obscurity, except on those of the Leader or the once united, but now fractured _quartette_ party, "_quorum pars magna fui_?" I still keep up my Latin, you see. I wasn't sent to Eton for nothing; nor was any other boy that I've ever heard of. [Illustration: Caperycornamental Hairdressing.] CAPERS. No wonder we've had so many dancing parties at the Cape, when all the inhabitants are Capers. I make this a present to my dear old DRUMMY; he can bring it out in his new Persian _Joe Miller_. Cheeky little street-boys give you Capers' sauce. They can lead you a pretty dance if you chivy them. AMUSEMENTS OF THE BOERS. To-day came across a Peep-Boer-Show. Seen it all before. Also a kind of Punch-and-Judy performance going on, translated into South-African dialect. There was not a paying public to witness it; and, with all my desire and with every intention to encourage native talent, I was compelled to turn away, "more in sorrow than in anger," (SHAKSPEARE again--_Hamlet's Ghost_, I think,) when the pipe-and-drummer man came to me for a contribution. Not a penny in my pocket. "I will reimburse thee nobly," said I, "on my return from the Mine-land." He quoted some line or other, which I did not catch, and gave the name of the writer, one "WALKER," as his authority. WALKER is associated in my mind with an English Dictionary, but, though it has been much added to in recent years, I doubt whether the words the Showman used on this occasion can be found in my pocket edition, or in any other edition of that excellent and trustworthy compilation. [Illustration: Native Masher from Masherland.] CHANGE OF HAIR. Called at native barber's to-day. Gave him no instructions. Thought of course he was going to cut it; and so fell asleep. I almost always fall asleep when under the mesmeric influence of a capillary administrator. I should like him to keep on doing it; cut and comb again. So soothing! Woke up and found myself--like this. (_See Hair Cut._) Herewith please receive portrait, and treasure it. ARMA VIRUMQUE. Must send you a sketch of some of our B.B.B.'s or the Bold Bobbies of Basuto all armed. Ha! ha! as dear old WOLFFY would have said, "I was quite _all-armed_ at seeing this!" Hope to be on the track of TOM TIDDLER's ground very soon. But anyhow till I am _sur la tache_, "on the spot," any one of these letters of mine (emphasis on the "mine") of which all are genuine--"proofs before letters" you have in my signed promise--is well worth a hundred pounds, and cheap at the price. It's my note of hand in exchange for the cash,--for the "ready ay ready!" as we say at sea. Away to the fields of gold! PROSPECTING POSSIBILITIES. N.B.--Rather think I am going to call on Queen ZAMBILI this afternoon. Ahem! Do you remember the ballads of "_My heart is true to Poll_," and "_The King of the Owyhees_"? Again, ahem! "Black Queen to mate in three moves." Of course, can't go in for this sort of thing myself, but by deputy, eh? Representative Government and King PROXY THE FIRST, with myself for Prime Minister. How's that Empire? [Illustration: "Grandolph, the Explorer."] * * * * * FROM OUR OWN BEN TROVATO.--Said an artistic collector to Mr. PARNELL, "Now I'll show you a beautiful specimen of CARLO DOLCI." "I wish you could have shown it me some days ago," replied the Ex-misleader of the Irish Party, "when I was presented with a specimen of _Carlow_ without the _Dolci_." * * * * * COOK'S TOURIST PRIZE JUBILEE JOKE.--_Mem. for Travellers contemplating a first visit to the Continent_.--Being raw to the business, get Cook'd. Depend upon it, you won't be "done." * * * * * "THE HUNDRED BEST BOOKS."--_Punch's_ Half-Yearly Volumes from the commencement, i.e., July 17, 1841, to June 27, 1891. * * * * * [Illustration: SOCIAL AGONIES. _Fair Visitor_ (_to Hostess_). "WHAT A DELIGHTFUL CONCERT YOU GAVE US LAST WEDNESDAY, DEAR MRS. JONES! SUCH LOVELY MUSIC!--SUCH SMART PEOPLE! EVERYBODY ONE KNOWS, YOU KNOW!" [_Mrs. Jones's Aunt Tabitha (from whom she has great expectations) hears of this delightful Concert for the first time!_]] * * * * * "GOOD-BYE, GRANDMAMMA!" (_A LONG WAY AFTER "CHILDE HAROLD_.") Adieu, adieu. Old Albion's shore! I leave, to bound the blue. My Yacht lies yonder! 'Tis a bore, But I _must_ part from you. I sniff the brine, I love the sea; Half Englishman am I. Farewell to England, and to thee, Dear Grandmamma--good-bye! I leave your isle, the truth to tell, With qualified regret. July in London would be well, But for the heavy wet. The soaking shower, the sudden squall, Spare not Imperial "tiles." May it be dry when next I call, Your slushiest of isles! Yet I've enjoyed my visit, much, In spite of wet and wind. I with JOHN BULL have been in touch; _You_ have been passing kind. My father and grandfather gone Once trod your city sad; Now I the daring deed have done, And--it is not half bad. That Opera Show was quite a sight; Your Sheriff HARRIS--well-- AUGUSTUS, after Actium's fight, Was scarce a greater swell. The long parade, led by the Blues, Gave _me_ the blues again. Not that the citizen were screws, No, Grand'ma, 'twas that rain! I--ahem! _blessed_ it fervently, Emperors must not complain; But do, _do_ keep your Babylon dry, When I come back again. For Garden Parties, Shows, Reviews, And civic functions pale, When water soaks the stoutest shoes, And it blows half a gale. Your Lord MAYOR and his liveried lot, _They_ know a thing or two. Speeches of course are always rot, But then--the skies were blue! As for your Crystal Palace--ah! Your pride I would not shock, But you owe much, dear Grandmamma, To PAXTON and to BROCK. Your warriors are fine, if few; But still, if you ask _me_, You leave far too much power to A Railway Company. I would not let civilians snub My paladins--no fear! But then a Teuton--there's the rub! Is no mere Volunteer! And now I really must be gone Upon the wide, wide sea. Stiff state no more shall make me groan, Hurrah for liberty! I'm tired to death of functions fine, And ceremonial rot; Hurrah for ease! the breezy brine Tar-toggery, and my Yacht! With yonder bark I'll gladly brave The seas about your isle. Thanks, Grand'ma, for that kerchief wave, And that right royal smile! Welcome, ye billows, tumbling brisk Beneath a cloud-swept sky! Give your white kerchief one more whisk, Dear Grandmamma--Good-bye! * * * * * SCOTT (ANYTHING BUT) FREE. ["It is human nature, after all. When conscientiously I cannot praise actors or actresses, or authors, they turn their backs upon me. But when conscientiously I am able to draw attention to their great merits, they simply overflow."--Mr. CLEMENT SCOTT, in _The Illustrated London News_.] Unlucky Mr. CLEMENT SCOTT! Since those who act our plays or write them, Are so exacting that he's got The greatest trouble to delight them. When conscience tells him not to praise They "turn their backs" and will not know him, When their "great merits" make him raise His voice--they "simply overflow" him! * * * * * NOTE FOR AN IMPERIAL DIARY.--There were just a couple or so of real good wet days for our Imperial and Royal Highnesses. Jupiter Pluvius ladled it out to us unstintingly in Imperial buckets full. Our Cousin German, so affectionately dutiful to "Grandmamma," won't forget _La Rain d'Angleterre_ in a hurry. _Mem._ Next visit to London, bring fewer uniforms and more waterproofs and umbrellas. * * * * * [Illustration: "GOOD-BYE, GRANDMAMMA!"] * * * * * IMPERIAL AND OPERATIC. [Illustration] After considerable calculation as to re-imbursement for present outlay by a consistent course of future economy, I took a six-guinea stall for the EMPEROR's state visit to the Opera. "Court dress" being "indispensable," I decided to summon to my aid the well-known amateur theatrical costumier, DATHAN & Co. DATHAN sees at a glance what I want. He measures me with his eye. "Co." in waiting is dispatched to bring down two or three Court suits. In less than ten minutes I am perfectly fitted, that is, in DATHAN's not entirely disinterested but still highly artistic opinion, with which "Co." unhesitatingly agrees. For my own part, as a mere lay-figure, I should have preferred the continuations being a trifle less tight round the knee; also if the coat were a little easier about the shoulders, and not quite so baggy in the back I should breathe more freely; and, while we are on the subject, the collar might be lower, as it is in close proximity to the lobes of my ears and irritatingly tickles me. The white waistcoat--"well," as "Co.," in the absence of DATHAN, rapturously observes, "might ha' been made for yer!" "It might," true: but it certainly wasn't, as it is somewhat long, and there's a little shyness on the part of the last button but one in meeting the button-hole with which it ought to be on the best possible terms. But sharp-eyed little "Co." sees his way out of the difficulty; he hoists up the collar, he adjusts pins in the back, and, in a second, button and hole are in each other's embrace. The coat-collar can be taken in and done for--"nothing easier," says the undaunted Co.--and the part across my manly chest can be let out,--of course not a difficulty, as the whole suit, will be "let out" for the evening. I am generally satisfied with my appearance in the glass as a portrait of a gentleman in repose, but I feel that any display of emotion, even of irrepressible loyalty, would probably be disastrous to some portion of my attire. The Court sword, too, is rather embarrassing, and, though Co. has adroitly fixed it for me by some mysterious process of invisible arrangement, yet, when I shall be left alone with the sheathed weapon, and have to do all this buckling and hitching for myself, I feel sure that that sword, which is only worn on the left to defend the right, will give me no inconsiderable trouble. Fortunately our washerwoman's husband, who comes late on a Wednesday for the linen, is a retired sergeant, and knows how this sort of thing should be done. He will assist in arming me for the operatic fray. _Tout va bien._ _At Opera, Wednesday Night, July 8_.--Grand sight. Very grand; not only that, but beautiful. Costumes, uniforms, military, diplomatic,--all sorts, the real article and the Dathanic,--impossible to tell one from the other, taking them as a lot; but still, I feel that it is better to remain in my Stall, where only the upper part of me is visible to the unclothed eye. The consciousness that I am here, not as myself, but in disguise as somebody else, name unknown, rather oppresses me; only at first, however, as very soon I recognise a number of familiar faces and figures all in strange array. A stockbroker or two, a few journalists, several ordinary people belonging to various callings and professions, some others noble, some gentle, some simple, but most of us eyeing each other furtively, and wondering where the deuce the other fellow got his costume from, and what right he has to wear it. Every moment I expect some gaily attired person to come up and say to me confidentially, "I know that suit; I wore it last so-and-so. Isn't it a trifle tight about the shoulders? Beware! when I wore it, it went a bit in the back." Man in gorgeous uniform makes his way to the vacant Stall next to me. I am a bit flustered until he salutes me heartily with--"How d'ye do? How are you?" Why, it's--well, no matter who it is. I have met him everywhere for years; we are the best of friends. I knew he is something; somewhere in the City, but not much anywhere else, and at all events he is no more a military man than I am a courtier, but when he confides to me that he was once upon a time in the Dampshire Yeomanry, and that this uniform has served him for years, and looks uncommonly well at night though it wouldn't bear the light of day, I begin to comprehend the entire scene. My friend--we will call him TOMMY TUCKER, (for I have frequently encountered him at supper, and am aware of his capacity)--is full of information. Some of our neighbours of an inquiring turn are asking one another who _that_ is, and who _this_ is, and so forth; and when the answers are incorrect, or even before the answers can be given, TOMMY TUCKER has replied in a low voice, with a view to imparting general information gratis, that So-and-So, in scarlet and silver, is Mr. BLACKSTONE, of BLACKSTONE & SONS, head of the great Coal Merchant Firm; that the man in blue and silver, supposed to be a Hungarian _attaché_, is the junior partner in BUNNUMS & Co., the Big Cake Purveyor; and that the warlike person, with a jingling sabre, is not a Prussian officer, but is Deputy JONES, in the gorgeous uniform of the Old Buckshire Yeomanry; and when he's in the City, where he began in the usual way that millionnaires always do begin, by sweeping out an office, he is simply JONES, of Messrs. BROWN, JONES, ROBINSON & Co., Wharfingers. TOMMY TUCKER knows everybody, and everything about everybody, too. Who is that lady with a splendid tiara of diamonds?--that is the Duchess of BURLINGTON, "who"--and here, in a semi-whisper, intended for everybody's information, he tells how those brilliants come out for "one night only," and how they will be called for to-morrow morning by a confidential agent from POPSHOPPER's Establishment in the Great Loan Land. TOM TUCKER is full of these stories. There isn't a person he doesn't know, until happening to recognise here a one and there a one, I correct him of my own private and personal knowledge, when he frankly admits that I am right; and after casually explaining how he does occasionally mistake the Countess of DUNNOYER for Lady ELIZABETH MARTIN, he goes off at a tangent, and picks out several other distinguished-looking personages, numbering them as "first to right," "second to left," and so forth, as if in a collection of wax-works, giving to each one of them a name and a history. His acquaintance with the private life of the aristocracy and the plutocracy is so extensive that I can only wonder at his knowledge, his or marvel at wondrous powers of ready invention. [Illustration: Birds can sing, but wouldn't sing, and couldn't be made to sing, at Covent Garden, Wednesday, July 8.] So it goes on. Then enter the chief characters. All rise; the orchestra plays the "_National Anthem_," in German, suppose, out of compliment to our Imperial visitors; and afterwards in English (translated, and, I fancy, "transposed"), in honour of H.R.H. the Prince and Princess. All the wax-work figures form in a row, under the direction of Lord Chamberlain LATHOM; the machinery is put in motion; they all bow to the audience; glasses are riveted on them; everybody is craning and straining to get a good view; the people in the gallery and just over the Royal Box loyally enjoy the scene, being quite unable to see any of the distinguished persons who are, in this instance, "quite beneath their notice." And then Signor MANCINELLI turns his back on everybody, and gets to business. After this, I feel that a buckle, somewhere or other, has turned traitor, and inventing an excuse with a readiness worthy of TOMMY TUCKER himself, I suddenly, but cautiously, retire. I descend the grand staircase between two rows of beefeaters reclining drowsily at their ease. Fast asleep, some of 'em, after too much beef. Imagine myself a prisoner, in disguise of course, escaping from the Tower in the olden time. Then, fearing the collapse of another buckle or button, or the sudden "giving" of a seam, I steal cautiously past the Guards--then past serried ranks of soldiers under the colonnade--then--once more in the street of Bow, and I am free! I breathe again. Hie thee home, my gallant steed (an eighteenpenny fare in a hansom), and let me resume the costume of private life, trifle with a cutlet, drain the goblet and smoke the mild havannah. _Sic transit gloria_ Wednesday! (_Signed._) (Mysteriously.) THE DUKE OF DIS GUISE. P.S.--Although there was more money in the house than on any previous occasion, yet never did I see so many persons who had "come in with orders," which they displayed lavishly, wearing them upon their manly buzzums. * * * * * MEN IN POSSESSION. The Manager of Covent Garden is Sheriff HARRIS. Can all his operatic officials all over the house be correctly termed "Sheriff's Officers"? * * * * * [Illustration: THE GERMAN EMPEROR'S VISIT. SKETCHES ON THE SPOT.--BY OUR OWN _GAILY CHAFFIC_ ARTIST.] * * * * * IMPERIAL IMPRESSIONS. That they are not accustomed to ultra punctuality in the arrival of steam-yachts at Port Victoria. That some one ought to catch it for not looking after the water-pipes in the State dining-room. That it is rather trying to have to remain dignified with your boots in three inches of water. That the Eton Volunteers are just the sort of boys to follow the tradition of the past, and win a second Waterloo. That still it was a little awkward to have to review them in the pauses of a thunderstorm. That the wedding as a wedding was not bad, but a couple of hundred thousand troops or so posted as a guard of honour, would have made it more impressive. That Buckingham Palace is rather _triste_, when it is populated on the scale of one inhabitant to the square mile. That Covent Garden Opera House, decorated with leagues of flower wreaths, is the finest sight in the world. That Sheriff AUGUSTUS GLOSSOP HARRIS deserves a dukedom, and, if he were a German, should have it. That one State Ball is like every other, but still it was very well done on Friday. That the visit to the City was an entire success (although I wish the audience had made up their minds whether they would stand up or sit while I was speaking), thanks no doubt to the influence of the Sheriff. That Saturday's doings were delightful. I was absolutely deafened with the cheering. That it is very pleasant to be so well received, especially when, three years ago, I was generally snubbed and treated as a nobody. * * * * * THE BUSY BISLEY. SCENE--_Within measurable distance of Waking. Enter Lounger and Marksman, R. and L. _Lounger_ (_heartily_). Why, I _am_ glad to see you! And how are things going on? _Marksman_ (_cordially, but abruptly_). Capitally! Good-bye! _Loung._ But I say, what a hurry you are in! Can't you stop a minute for a chat? _Marks._ Another time, but just now moments are precious. _Loung._ But I say, you see I have found myself here--it doesn't take much longer than getting down to Wimbledon. _Marks._ Of course it doesn't--whoever said it did? But there, old chap, I _must_ be off! _Loung._ You _are_ in a hurry! Ah, we used to have pleasant days in the old place? _Marks._ Did we? I daresay we did. _Loung._ Why, of course! Grand old days! Don't you remember what fun it used to be decorating your tent; and then, when the ladies came down--which they did nearly all the day long--what larks it was getting them tea and claret-cup? _Marks._ Very likely. But we don't have many ladies now, and a good job too--they _are_ a bore. _Loung._ Well, you _are_ a chap! Why, how can there be any fun without your sisters, and your cousins, and your maiden aunts? _Marks._ We don't want fun. But there, good-bye! _Loung._ But I say, I have come all this way to look you up. _Marks._ (_unbending_). Very kind of you, but, my dear fellow, you have chosen rather an unfortunate time. _Loung._ Why, at Wimbledon you had nothing to do! _Marks._ Very likely. But then Bisley isn't Wimbledon. _Loung._ (_dryly_). So it seems. Everyone said that, when they moved the camp further away from home, they would ruin the meeting. _Marks._ Then everyone was wrong. Why, we are going on swimmingly. _Loung._ It must be beastly dull. _Marks._ Not at all. Lovely country, good range, and, after it rains, two minutes later it is dry as bone. _Loung._ Yes, but it stands to reason that it _can't_ be as popular as Wimbledon. _Marks._ My dear fellow, figures are the best test of that. In all the history of the Association we have never had more entries than this year. _Loung._ That may be, but you don't have half the fun you had nearer town. _Marks._ (_laughing_). Don't want to! Business, my dear fellow, not pleasure! And now, old man, I really _must_ be off! Ta, ta! See you later. [_Exit._ _Loung._ Well, whatever he may say, I prefer Wimbledon. And as there doesn't seem much for _me_ to do down here, I shall return to town. [_Does so. Curtain._ * * * * * ESSENCE OF PARLIAMENT. EXTRACTED FROM THE DIARY OF TOBY, M.P. [Illustration: Second Baron.] _House of Commons. Monday, July 6_.--Don't know what the House of Lords would do without WEMYSS. How the House of Commons gets along without ELCHO is another story. Of course we are not absolutely ELCHO-less. Amurath has succeeded to Amurath, and there is still an ELCHO in the Commons. Perhaps in time he may reach the towering height of his illustrious father. He does very well as it is; made exceedingly smart speech the other afternoon on adjournment over Derby Day. We try to bear up; make the best of things; but in our secret hearts confess that this century has seen but one Lord ELCHO, and now he's Earl of WEMYSS. Was in fine old style to-night. DORCHESTER brought on question of Volunteers. They are going to Wimbledon on Saturday to be reviewed by that veteran the German EMPEROR. DORCHESTER, in modest, convincing speech, pointed out how unfair it was that, in addition to, in many cases, losing a day's pay, in all cases incurring a day's hard work, that Volunteers should be required to pay expenses of their trip to Wimbledon. DORCHESTER left nothing unsaid; put the whole case in brief speech. But WEMYSS not going to be left out. Interposed in fine patronising manner; made acknowledgment of DORCHESTER's good intention; but, suggesting an absolutely imaginary case, took exception to the presentation of the Volunteers in the light of asking for a day's pay. That, he said, would spoil the whole case. No one had suggested anything of the kind. WEMYSS had brought this nine-pin in with him as if it were one of a set of baccarat counters, had set it up, and was now knocking it down. Noble Lords sat and stared in polite amazement. CRANBROOK, in his impetuous way, jumped up and raised point of order. WEMYSS put him aside with sweep of sword-arm, and went on to end of his speech, which showed who was the true friend of the Volunteer forces. "Ah," said young LAMINGTON, second Baron, regarding with pleased interest the flush of satisfaction that mantled WEMYSS' brow when he resumed his seat, "this House would have been nothing only for us fellows coming in from the Commons. It's new blood that does it. I'll make them a speech myself some day." _Business done_.--Quite a lot in the Commons. _Tuesday_.--FERGUSSON says life at Foreign Office would be endurable only for LABBY. The Sage has got the Triple Alliance on the brain; spends his mornings in drafting questions there anent. That FERGUSSON wouldn't mind so much, only it involves his spending _his_ afternoons in drafting answers that shall look coherent, and yet say nothing. Answers often so admirably suited to their purpose, that doubts arise as to whether a firmer hand than FERGUSSON's has not traced them on paper. "A dull man," was the phrase in which, years ago, JOHN BRIGHT dismissed from consideration the statesman then known as Sir CHARLES ADDERLY. To House of Commons FERGUSSON is a dull man, incapable, as it seems, of framing these subtle answers that look as if they meant so much, and yet say so little. [Illustration: Sage of Queen Anne's Gate.] Whoever be the author, it must be said that FERGUSSON contributes to success of answers by his manner of reading them. So portentous is his gravity, so like a stone wall his imperturbability, that the Sage dashes himself up against it with much the same effect as if he were attacking one of the buttresses of Westminster Hall. It is a fortuitous concatenation of circumstances, most happy in its result, that when in the House of Commons an answer is to be given which shall convey no information, the MARKISS should dictate it, and FERGUSSON recite it. If, in reply to the Sage's question to-night, as to the understanding between this country and Italy with respect to the _status quo_ in Mediterranean, FERGUSSON had stood up and recited the multiplication table up to twelve times twelve, the remarks would have been just as relevant and informing as those he read from the paper. Moreover, the gravity of his aspect and the solemn inflection of his voice, would have compelled Members to listen to the end of the recitation with a sort of dim consciousness that they were really being informed as to the details of an understanding come to between Her majesty's Secretary of State for Foreign Affairs, and the Governments of Germany and Italy. _Business done._--Education Bill through Report Stage. _Thursday._--House having disposed of Land Purchase Bill and Education Bill, is able to devote portion of sitting to consideration of its own personal affairs. MORTON brings on subject of Bar in Lobby of House of Commons. Nothing to do with the Bar that LOCKWOOD, ASQUITH, and REID adorn; merely a counter, at which they sell what JEMMY LOWTHER alludes to, with a bewitching air of distant acquaintance, as "alcoholic liquors." MORTON, whose great ambition in life is to make people thoroughly comfortable, wants to close the Bar. SYDNEY HERBERT, making a rare appearance as spokesman for the Government on the Treasury Bench, pleads as a set-off against alleged evil example, the large consumption of "lemon squash," which he explains to the House is "a non-intoxicant." CAMPBELL-BANNERMAN sends thrill of apprehension through listening Senate by inquiring whether the House of Commons is licensed for the sale of intoxicating liquors? No one every thought of that before. As far an anyone knows, place isn't licensed; consequently, in very birthplace of legislation, the law has for years been systematically defied. Worse this than what happened at Temple the other day, when LORD CHANCELLOR and a score of principal Members of Bar of England narrowly escaped indictment for playing a drama in an unlicensed hall. Vision conjured up the police making sudden descent on the House, walking off with SPEAKER, SERGEANT-AT-ARMS, and possibly OLD MORALITY, to nearest station, there to be locked up till released on bail. [Illustration: Jemmy, J.P.] JEMMY LOWTHER much struck by suggestion. His innate magisterial instincts on the alert. We all know and like JEMMY, but few of us have opportunity of seeing him at his very best. That happens when he sits on the Magisterial Bench and dispenses justice. It is as JEMMY, J.P., he rises to the fullest height of his judicial manner. Still, pretty well just now. A little embarrassed at the outset by consciousness that his postal address at Leeds is "Swillington House." Afraid some ribald person will remember this, and vulgarly connect it with the discussion. Delightful to observe the way in which he reproved GEORGE CAMPBELL for language unbecoming the precincts of the Court. CAMPBELL had lightly spoken about "Members requiring a pick-me-up." "Persons enjoying the privilege of obtaining alcoholic liquors," was the way JEMMY put it, with a severe glance towards the abashed Knight of Kircaldy. _Business done._--Committee of Supply. _Friday._--Turns out to-night that MORTON doesn't approve the Triple Alliance. This would be awkward, in any circumstances. Peculiarly embarrassing just now with one of the principal signatories our guest. Emperor WILLIAM, was most anxious to come down to House; meant to see everything whilst he was here, not knowing what may happen before another opportunity presents itself. "Always read your Diary, TOBY," he said to me, over a strawberry and cream at Marlborough House yesterday; "gather from it the impression that House of Commons is exceedingly interesting place; all its Members eloquent, and all its Ministers virtuous. Must go and see it. Look in on Friday." Here's a go! Known beforehand that MORTON meant to state his views on the MARKISS's foreign policy, with its evident leaning toward Germany. Very awkward if EMPEROR came in just while MORTON was speaking. "It would play the doose with the _ententy cordially_," said JULIUS 'ANNIBAL PICTON, who resents MORTON's interference in the field of foreign policy. Happily Emperor WILLIAM didn't get as far as Westminster; detained at Guildhall; just got off in time to dine with the Great DOOK, and afterwards to the ball at Buckingham Palace. So peace between to great nations is maintained. But MORTON ran us pretty close. _Business done._--Committee of Supply. * * * * * THEN AND NOW. MR. PUNCH'S JUBILEE RETROSPECT. ["_Punch_ and the Elections were the only matters which occupied the public mind on July 17, 1841."--_Introduction to "Punch," Vol. I._] Fifty years ago, my Public, fifty years ago! Faith, the years fleet swiftly onward, though sad hours seem slow. Forty-One beheld my advent, Friend of Truth and Fun; From my _sanctum_ still I greet you now in Ninety-One. "_Punch_ and the Elections!" Truly a compendious text. With how many Burning Questions men to-day are vext! Then the Whigs perceived their tether pretty nearly run, And--they're watching Bye-Elections now in Ninety-One. Then Lord JOHN was on the Treasury Bench, though ill at ease, Thence to be soon torn--like Theseus;--PEEL, the Hercules. Now SMITH smiles a toothy smile in little JOHNNY's place, White the Grand Old Hercules sits watching grave of face. _He_ remembers Forty-One! Few, except _Punch_ and him, Linger from those brave old days, now distant grown and dim! He has reached his Jubilee, as _Punch_ this year hath done. Veterans both, we drink each other's health in Ninety-One! Forty-One was fierce and fiery. Young DISRAELI then Bravely buttered stout Sir ROBERT as the best of men. Pheugh! But in how short a time was BEN's envenomed steel Destined to find rankling lodgment in the breast of PEEL! Now? Well, there is jaunty JOSEPH poisoning his pint; Seeking in GRANDOLMAN's mail some penetrable joint! Heroes and ex-armour-bearers still keep up the fun; One-and-Forty saw it so, and so does Ninety-One! Mr. SHARMAN CRAWFORD (who was _he_? Let quidnuncs guess!) Moved Amendment relative to "Popular Distress." _Then_ his cure was Wider Suffrage. _Now_ what would it be? Land with little or no Rent, and Education Free? Then the Corn Laws cramped Free Trade; free Competition now Breeds the Sweater, harsh exploiter of the toiler's brow, When brave PEEL achieved Repeal some deemed the task was done, But Commissions upon Labour sit in Ninety-One. SIBTHORP then amused St. Stephen's; we have SEYMOUR KEAY, D'ORSAY then was wit and dandy, OSCAR WILDE have we. And if wild FEARGUS O'CONNOR fashioned Land Schemes then, BURNS and MORRIS well can match him now with tongue or pen. Then TOM HOOD could sing that Song[1] which moved a world to tears, London Laundrydom on Strike now in Hyde park appears. Ah! since Eighteen Forty-One much has been tried--and _done_, But _Punch_ finds no lack of labour e'en in Ninety-One! The HER MAJESTY, a Maiden Queen, fresh graced the Throne, Now her Royal Jubilee is full four years bygone. He who has illumed her reign with wisdom, wit, and fun, Greets her loyally to-day as then, in Forty-One. Madam, much since then has happened, much has been achieved; Marvels, commonplace to-day, few then would have believed. Science, Liberty, Pure Manners, order, Peace, Goodwill, _Punch_ for Fifty Years has championed, and will champion still. Then and now! The captious cynic at the contrast sneers, _Punch_ believes in, and would help, the Progress of the Years. When his Century's full course, fifty Years hence, has run, With good heart and glad may he look back on Ninety-One! [Footnote 1: "_The Song of the Shirt_," which appeared on page 260 of Vol. V., 1843, in a supplementary number entitled, "_Punch's_ Triumphal Procession."] * * * * * QUEER QUERIES. INFLUENZA.--I should feel really grateful to any reader who can tell me whether I have Influenza or not. I think I must have it, as I have tested my temperature with a thermometer attached to a weather-glass hanging in the hall, which is only slightly cracked, and find that it--my temperature, not the weather-glass--stays constantly at 120 degrees, which seems rather high. My headaches are _frightful_, and the pills with forty grains of quinine in them, which I have been recommended to take by a neighbouring chemist's assistant, do not seem to do any good. Cough and chemist's bill both very heavy. Ought I have to have a change? If so, whom should I try and take it out of?--NERVOUS SUBJECT. * * * * * 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. 101, July 18, 1891, by Various *** END OF THIS PROJECT GUTENBERG EBOOK PUNCH *** ***** This file should be named 13446-8.txt or 13446-8.zip ***** This and all associated files of various formats will be found in: https://www.gutenberg.org/1/3/4/4/13446/ Produced by Malcolm Farmer, William Flis, and the Online Distributed Proofreading Team. 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 business@pglaf.org. 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 gbnewby@pglaf.org 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. 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.