Punch, or the London Charivari, December 2, 1893
Date: 2012-04-22T00:00:00+00:00
Keywords: English wit and humor -- Periodicals

The Project Gutenberg eBook of Punch, or the London Charivari, December 2, 1893

This ebook is for the use of anyone anywhere in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Punch, or the London Charivari, December 2, 1893

Author: Various

Editor: F. C. Burnand

Release date: April 22, 2012 [eBook #39505]

Language: English

Credits: Produced by Malcolm Farmer, Lesley Halamek, and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
book was created from images of public domain material
made available by the University of Toronto Libraries
(http://link.library.utoronto.ca/booksonline/).)

*** START OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI, DECEMBER 2, 1893 ***

Punch, or the London Charivari

Volume 105, December 2, 1893.

edited by Sir Francis Burnand

TO A LADY.

(Whose "Fringe" has fallen off at a Ball.)

Alas! those waving curls,

That parting on your brow,

Had been some other girl's!

"Vhere ish dot barting now?"

Like Breitmann's barty gone

Avay in ewigkeit,

Those curls which you put on

To grace the ball to-night.

Too feeble were the pins,

Too frisky were your hops;

Derisive are the grins,

Departing parting drops.

A parting, this, that shocks

Beholders evermore;

You dare not claim those locks

Now lying on the floor.

I used to think them fair,

I find them false instead;

If thus you lose your hair,

I shall not lose my head.

Nor certainly my heart—

With that I should not care

So readily to part

As you with purchased hair.

We kick those curls aside.

Your looks and locks have fled,

Then hasten home to hide

Your much diminished head.

Don Pedro d'Alcantara le Comte d'Eu is eighteen. He is pursuing his studies at a Military Academy, speaks German fairly well, and in his leisure hours is, we are informed, "studying Polish." The latter being acquired, he will become a most polish'd Prince. He is so very well off that he will not have to go to Brazil for a crown.

DOMESTIC THRIFT.

Scene—Entrance-hall at the Browns, after one of their Parties.

Jones (the last to depart, as usual). "What a delicious Drink, Waiter! What is it!"

Waiter. "The Leavings, Sir!"

PRINCE ALEXANDER OF BATTENBERG.

Europe's Prince Charming, lion-like, born to dare,

Betrayed by the black treacherous Northern Bear!

Soldier successful vainly, patriot foiled,

Wooer discomfited, and hero spoiled!

Triumphant champion of Slivnitza's field,

To sordid treachery yet doomed to yield;

Of gallant heart and high-enduring strain,

Valiant resultlessly, victor in vain!

Motley career of mingled shine and shame,

Material fashioned for romantic fame!

An age more chivalrous you should have seen,

When brutal brokers, and when bagmen keen,

Shamed not the sword and blunted not the lance.

Then had you been true Hero of Romance.

Now, when to Mammon Mars must bow his crest,

King-errantry seems a Quixotic quest,

And "unfulfilled renown" finds only—early rest!

A VALETUDINARIAN'S VISDOM.

Evening red and morning grey

Makes me by the fireside stay.

Evening grey and morning red

Finds me tucked up all day in bed!

Curious but True.—So particular are the Worshipful Company of Fishmongers to have everything in order, that they have this year elected as Prime Warden a fine Salmon (Robert H.).

OUR BOOKING-OFFICE.

"With the New Year," says a Baronite, "there is a great desire to turn over a new leaf." Such intentions are easily satisfied by the Back-Loop Pocket Diaries, where leaves for this purpose are plentifully supplied by John Walker & Co. Likewise De La Rue & Co. offer Diaries and Memorandum Books in every size and form, and this year they have a patent clip to keep the leaf down. Ought to be advertised as "clipping!"

The Baron's Baronites look into a box of Christmas books and find, first—Westward with Columbus. By Gordon Stables, M.D.C.M. Graphic account. "Stables must have been in excellent form when writing this," observes a Baronite; "evidently he was not Livery Stables."—Wreck of the Golden Fleece. By Robert Leighton. A capital sea story, plenty of rocks and wrecks, hardships and plague-ships, and all sorts of wonderful adventures.—The White Conquerors of Mexico, by Kirk Munroe, tells how Cortes and his Spaniards, being white, did Montezuma and his Aztic natives brown.—With the Sea Kings. F. H. Winder. The youthful amateur salt will find everything here to satisfy all his cravings and See-kings. "Winder has taken great panes with this," says Baronitess.

"My clients," quoth the Baron, "will do well to read Baring-Gould's cheap Jack Zita." Fascinating book by reason of its picturesque effects and its description of life in the Fens at the commencement of the present century. "I wonder," muses the Baron, "whether any of my readers, being Cantabs, will call to mind how some thirty-five years ago the names of those eminent amateur pugilists J-ck Sh-ff-ld, F-rg-ss-n D-v-e, L-nn-x C-nn-ngh-m, and others were associated with life in the Fens as it existed at that time, and how these pupils of Nat Langham's now and again disputed the championship of a certain Fen Tavern, won it, and for a time held it? Some undergraduates were hand and glove with the Fenners—not the cricket-ground, so styled, but the dwellers in Fen-land; and on occasion they were hand to hand without the 'glove.'" Why this question? "Because," says the Baron, "one of the scenes so graphically described in the chapter, headed 'Burnt Hats,' might have been witnessed at the time I have referred to by any undergraduate sufficiently venturesome to accompany those fisticuffers." As for the plot, well, 'tis a good plot, and has always been a good plot, and "twill serve, 'twill serve." But it is the Baring-Gould flavouring that makes the dish acceptable to the jaded palate of oldest novel-devourer.

Baron de B.-W.

GOOD LUCK TO IT!

(To Mr. Caine and his Bill prohibiting advertisements in rural places.)

Oh, Mr. Caine, for this relief much thanks.

As most benignant benefactor ranks

The man who saves our own sweet countryside—

At once our chiefest glory and our pride—

From all the many nauseating ills

Which come out of advertisements of pills!

Pills there must be, but when we chance to pass

Through meadows and would rest our eyes on grass,

Or pleasantly meander by the river,

We would forget we've even got a liver.

So here's success to you, Sir, in your Bill

To make it wrong to advertise a pill

In rural spots in which we fondly now

Associate "three acres and a cow!"

And when success this rural venture yields,

Do for the beaches what's done for the fields!

"Invisible Trouser Stretchers."—Legs.

THE BABES ON THE TREASURY BENCH.

(With Mr. Punch's Thanks to Mr. Courtney for the Suggestion. Vide Times, Parliamentary Report, Wednesday, November 22.)

"TRANSMITTED."

Ignorant Bachelor Visitor. "Hullo, Throgmorton; what the deuce are your Twins up to with that Contrivance?"

Proud Father (of Throgmorton, Threadneedle & Co.; Telephone 123456-1/4). "Ha! There you are, my Boy—marvellous example of inherited business instinct! They're trying to Telephone to each other!"

THE BABES ON THE TREASURY BENCH.

["The leader of the Opposition had treated them to good logic, but why administer such strong meat to the babes on the Treasury bench?"—Mr. Courtney on the Parish Councils Bill.]

We have heard of the Babes in the Wood,

And the ruffians greedy and cruel,

Who (as Ingoldsby said in gay mood)

Conspired for to "give them their gruel";

But pitiful bosoms will blench

At this vision of Balfour the sinister,

To Babes on the Treasury Bench

Presuming his dose to administer!

They find Doctor Balfour, one fears,

Worse than poor Davy Copperfield's Creakle;

As awful as grim Mrs. Squeers

With her jorum of brimstone and treacle.

Ah, Courtney, how could you conceive

A picture so Mephistophelian?

Your buzzum is stone, I believe,

And your heart must be truly a steely 'un!

Sweet Babes! They seem likely to choke!

Poor Gladdy! Poor Johnnie! Poor Willy!

Arthur's "logic" is tougher than "toke,"

And much more insipid than "skilly."

Strong meat? How your irony you barb,

Your humour's as grim as the gallows.

Your dose is as drastic as rhubarb,

And almost as bitter as aloes.

Logic? For Babes? On that Bench?

You're as hard as the Poles' "whiskered pandour."

You might as well set out to drench

Your own Opposition with—candour!

The Treasury Babes may object

To prescriptions from Mill or from Whewell,

And logical draughts, I expect,

Would very soon give you your gruel.

If Courtney could physic himself,

Or Balfour and he dose each other,

How soon both would lay on the shelf

This prescription, and try quite another!

No; Reason, as party-strife goes,

As food is attractive to no men:

And Logic's a nauseous dose,

To be given—as physic—to foemen!

"What author was it," inquired Mrs. R. of a literary friend, "who wrote the line describing going to bed as 'that last infirmity of noble minds'?"

"HARK! I HEAR THE SOUND OF COACHES."

["There are still five of the road-coaches running out of London."—Daily News, Nov. 18.]

If drooping with toil, or aught else, I or

You may spring up with "Excelsior!"

As up to the box-seat one climbs,

"How pleasant," one murmurs, "'Old Times!'"

Times equally good, we'll engage,

Have others who go with "The Age."

Though outlooks to-morrow be livid,

Hold tight now a joy that is "Vivid."

"Post equitem?" Ah! his reliance,

At least, wasn't placed on "Defiance."

Rather Familiar!—It was announced in the Times that "Canon G. F. Browne will lecture at St. Paul's, in January," on "The Christian Church before the coming of Augustus." The Canon ought to have said "Sir Augustus." Of course there is only one "Augustus," i.e. our "Druriolanus."

UNDER THE ROSE.

(A Story in Scenes.)

Scene XVII.—The Drawing-room at Hornbeam Lodge. Curphew and Althea are standing at some distance from one another, in evident constraint.

Curphew (sadly). It's only what I expected, and yet—tell me this—is it entirely because of—of what you saw at the Eldorado last Saturday?

Althea. Ah, you know, then! but what does it matter now? I was mistaken—isn't that enough?

Curph. Don't judge me by what you saw of Walter Wildfire. I can do better things than that. I can make you forget him—forget that he ever existed, if only you will trust me!

Alth. (indignantly). Do you really suppose that he—that I—oh, it's too insulting! And you will do no good by disparaging him. The man who could write those songs, and sing them like that——

Curph. (wincing). Don't! I know how they must have struck you. I would have prepared you, if I could. I did try—that afternoon at the station, but I was interrupted. And now it's too late, and the harm's done. But at least you will never see Walter Wildfire again!

Alth. (exasperated). Have I ever said that I wanted to? Why will you persist in talking as if——? Once for all, I can't care for you; whatever I may have thought once, I know now that I can have no sympathy with the sort of life you lead; the pleasures you are content with would not satisfy me; I should want more than you could ever give me. We should have nothing in common—nothing——There, now do you understand?

Curph. Yes, I think I do. I suppose it's natural, and yet—don't think too hardly of me if you can help it. I might have chosen a higher walk than I did, but at least I've kept out of the mire, and now at last I see my way to——But that wouldn't interest you. There, I had better say good-bye: you won't refuse to give me your hand at parting, will you?

[As he takes her hand, Mrs. Toovey enters with Charles, and stands transfixed.

Mrs. Toovey. Althea, don't tell me I'm too late! You have not accepted that man?

Curph. (releasing Althea's hand). On the contrary, I have just had my dismissal, Mrs. Toovey; we were merely saying good-bye.

Mrs. Toov. Thank Heaven! But I knew I could trust my daughter to detect instinctively the designing serpent in wolf's clothing—(correcting herself angrily)—the sheep in dove's plumage, I should say.

Charles (sotto voce). Similes are cheap to-day!

Mrs. Toov. (more angrily still). Well, I know what I mean, and so does he! (Mr. Toovey enters.) And how a person with Mr. Curphew's antecedents could ever have the face to thrust himself into such a household as this——

Mr. Toov. (coming forward). Cornelia, my love! Such language to our dear young friend! Surely, surely, there must be some sad mistake!

Mrs. Toov. There has been indeed, Pa, and so you will say when you hear who and what he really is!

Curph. Mr. Toovey has been quite aware of it for the last week, and was kind enough to say he saw no insuperable objection.

Mrs. Toov. Pa, is this true? You knew who Mr. Curphew was and never told me!

Mr Toov. My dear, I've no more notion who he is, if he's not Mr. Curphew, than a babe un——

Curph. But surely, Sir, you forget our conversation at Clapham Junction this day week? You certainly knew everything then. I thought your nephew had probably——

Charles. I'd no idea of it myself till last Saturday, so it couldn't have been me!

Alth. (impatiently). No idea of what? Who is Mr. Curphew, Papa?

Curph. (to her, in astonishment). But you know! surely you know? What else have we been talking about?

Mr. Toov. (helplessly). I think we might try to be a little more clear, all of us. I do indeed. I'm in a perfect fog myself.

Mrs. Toov. Then, Pa, let me inform you that you have been encouraging the acquaintance of a person who gains his living by singing ribald songs at music-halls under the name of Walter Wildfire!

Alth. (to herself). Walter Wildfire! Then it was——Oh, if I had known!

Mr. Toov. A—a music-hall singer! He! Oh, dear, dear me; how one may be deceived in people!

Curph. Really, Sir, this can hardly be news to you, when you allowed me to send you a box for the Eldorado for the express purpose of——

Mrs. Toov. Don't deny you were sent the box, Pa, because I know better. The question is—what you wanted one at all for?

Mr. Toov. (to himself). There's no occasion to say anything about those shares now! (Aloud.) To be sure. I was sent a ticket, my love; I could not help that, but (drawing himself up) it was not likely that I should compromise myself by visiting such a place, even from the best of motives, and I did not use the ticket myself, though I believe some other person did.

Mrs. Toov. (in some distress). Well, well, never mind that now, Pa. What you have to do is to ask this Mr. Wildfire to oblige us all by walking out of this house—for ever.

Curph. I should not have stayed so long as this, only I hoped that Mr. Toovey at least would have done me the justice—— However, I've nothing to keep me here any longer now.

[He moves towards the door.

Alth. (coming forward and intercepting him). Yes, you have—you've me. Oh, do you think I'll let you go like this—now I know? Can't you understand what a difference it makes?

[She clings to his arm.

"Can't you understand what a difference it makes?"

Charles. Bravo, Thea! I always knew you were a sensible girl!

Curph. (utterly bewildered). Then you weren't—you don't——? I wonder if I can be awake!

Mrs. Toov. Althea, if you had the remotest conception of what a music-hall singer is, you would never——

Alth. I know what Mr. Curphew is, Mamma. He is a great artist, a genius; he can hold a mixed crowd of careless people spell-bound while he sings, make them laugh, cry, shudder, just as he chooses, and whatever he does is all so natural and human and real, and—oh, I can't put it into proper words, but one goes away thinking better of the whole world after it—and to hear him treated as if he were some outcast—oh, I can't bear it!

[She breaks down.

Curph. (to himself). I don't care what happens now. They can't take this away!

Mrs. Toov. Upon my word! And pray where did you learn all this about Mr. Wildfire's performances?

Alth. (boldly). Where, Mamma? Why, at the Eldorado, last Saturday evening.

[Sudden collapse of Mrs. Toovey.

Mr. Toov. (electrified). A daughter of mine at the Eldorado! Thea, my child, you can't know what you are talking about; look at the effect on your poor mother!

Alth. (desperately). But indeed, Papa, there was no harm in it, I went with the Merridews. And—and I may be mistaken, of course, but I—I thought I saw Mamma there too!

[Sensation.

Charles. Oh, I say, Thea; aren't you coming it rather strong? Aunt at the Eldorado! Why, Aunt thought Uncle was there!

Mr. Toov. Cornelia, my love, don't pay any attention to her; the child must be stark staring mad to say such things. It's bad enough that she should have gone; but to think of you in such a scene! (To Althea.) Why, it was that very Saturday evening that your dear mother went to the Zenana Meeting at Mrs. Cumberbatch's—yes, to be sure. (To Mrs. T.) You remember, my dear, how you came home so late, in a cab the driver had been smoking in, and how the moment you entered the room I——

Mrs. Toov. (hastily). My dear Theophilus, I remember the circumstances perfectly, but I should not condescend to answer so preposterous a charge; especially when it is my own daughter who brings it!

Alth. (in distress). But indeed I don't Mamma. I only fancied it might have been you, and of course, if you were at the Cumberbatches——

Mrs. Toov. (to herself). I must put a stop to this once and for all. (Aloud.) If I was at the Cumberbatches! When your father has just told you I was there—really, Althea! Did I hear wheels outside? Just look, Pa. I haven't seen my spectacles since Saturday.

Mr. Toov. (at the window). Why, really, my love, it does seem to be a carriage, indeed. I wonder who can be calling at such a——Now, it's quite a coincidence, truly—it's dear Mrs. Cumberbatch! I hope she'll come in, because I really think it's a duty to warn her against employing that particular cabman again. A driver who permits himself to smoke inside his own vehicle to that extent——

[Mrs. Toovey makes ineffectual efforts to speak.

Alth. (in a whisper, to Curphew). Do look at Mamma! You don't think she could really——?

Curph. I don't know what to think yet; but we shall all know in a very few seconds now.

[The hall-door is heard to open; Mrs. Toovey attempts to rise, but has to remain in her seat, dumb and paralysed.

End of Scene XVII.

LOBENGULA'S LETTER-BAG.

(Post-mark, Regent's Park.) Shall be glad to engage you for the Gardens. You will be expected to look after the elephants and to make yourself generally useful with the lions and tigers. As the Christmas holidays are approaching, perhaps you might invent a little comic scene with the crocodiles. A similar feature was supplied years ago by the French sailor in charge of the seals with much effect. Of course we shall be glad if your knowledge of the idiosyncrasies of the ourang-outang enables you to suggest anything that could be worked up into a comic interlude. Please bear in mind that the Gardens want waking up, and you have a big opportunity. You would have Sunday off every other week. The Gardens would reserve to themselves the right of regulating your costume. Your boots and straw-hat may be ample in Africa, but in the Regent's Park would be considered inappropriate. We think we can clothe you in the very thing, if we can find a size large enough for you. It is called "the boy's home-for-the-holidays lounging suit," and is largely advertised. Shall expect you by next boat.

(Post-mark, Westminster). Glad to engage you for a month certain, with power to increase the time to six weeks or longer. Could you bring with you a pugilistic hippopotamus? It must be a young one, as there is not much room for any side-shows. If you can jump, and don't mind water, so much the better. If you would leap from the organ-loft into a tank on to the stage, carrying on your back the boxing-kangaroo, the feat might be accepted, and prove a feature. Think this over on the journey to England. Perhaps something may occur to you. If so, mind that we are deeply respected, and are highly popular with the L. C. C. So please let your suggestions be as refined as possible.

(Post-mark, Paternoster Row). Shall be glad to arrange with you for the immediate production of your Recollections. Would be glad if they were written in a bright, chatty style. You might give an account of your connection with literary celebrities, torturers, scientific expeditions, executions, sport in the far East, native war, and other topics of interest that may have come under your personal observation. If you could write up to some electros we have of a comic German Christmas party so much the better. As the success of the book is doubtful, we do not wish to incur unnecessary expense, and therefore would be glad if you could see your way to introducing the following blocks, of which we hold the copyright:—Covent Garden by Moonlight, A Spanish Bull Fight, An Execution in front of the Old Bailey, A Students' Ball in the Quartier Latin, H.R.H. opening a Newly-erected Board-School, Snipe Shooting on the Norfolk Broads, Christmas in a Storm at Sea, Hampstead Heath on Bank Holiday, Portrait of John Wesley, A Lecture on Chemistry at the Royal Polytechnic Institution, Exterior of the new Police Court at Bow Street, An Incident in the Lord Mayor's Show, "Oxford wins," Van Tromp sailing up the Thames, Paris Fashions for February, Christmas Eve—the Last Omnibus, Hop Pickers on the March, The new Uniform of the Grenadier Guards, and the late Fire at the Borough Brewery. We shall be glad if you will put the book in hand at once, as it is scarcely necessary to say that the sale of a work of reminiscences depends to a large extent upon the popularity of its author at the moment of publication. Terms, after the sale of 5000 copies, one penny a volume royalty.

(Post-mark, Drury Lane.) Engage you at once for ten years. Probably shall not require you for more than three or four months, but shall retain you for the rest of the time. May come in useful later on. Place waiting for you in the Pantomime. Minute and a half in English History in twenty minutes. Also comic scene with the Clown. The engagement must have clause allowing transference. Can find places for your wives (if they are really nice ones) in the Transformation Scene. If you can imitate the cries &c., of wild beasts, &c., think I can get you a turn at the Palace. Writing a first-rate part for you in Autumn drama. A sort of gentlemanly demon, who appears in the West End during the first and third Acts, and in the last scene, appears in national costume with a real army and the whole bag of tricks. Bring as many of your army with you as you can. Can find something for them to do until the production of the Autumn drama. Collect a good lot of assegais and other useful props. May see way to working you into the Opera season. If you can sing, can give you a show at a concert. Might do for German series. Terms as per usual. Special arrangement if wanted at Windsor. Come over at once. On second thoughts, remain where you are. Will run over to have a chat. Third, and last thought, come over yourself. Find myself, with my engagements, just now a little pressed for time. Au revoir!

A NOVELTY.

Mr. Cylinder (who always uses his Host's cartridges). "What Powder are these loaded with, my Boy?"

Beater. "Ar doan't rightly know; but ar think they calls it Serdlitz Pooder!"

Coal and Wood.

["That a Board of Conciliation be constituted forthwith, to last for one year at least, consisting of an equal number of coalowners and miners' representatives, fourteen of each."—Terms of the Collieries Strike Conference.]

Hooray for happy harmony so readily restored!

Thanks chiefly to young Rosebery, that shrewd and genial lord.

And Mr. Punch is thankful, for such strikes we can't afford,

That in the Labour platform the newest plank's a Board!

AN ORNITHOLOGICAL OUTBURST.

["A specimen of the rare white-tailed eagle has just been shot at Bude Haven, Cornwall."—Daily Paper, Nov. 24.]

Ah! shades of Yarrell, Morris, Bewick, Wood,

Swoop down from Nephelococcygian eyrie

With legions of bird-phantoms,

Roc-ghosts and spectral bantams,

And venge the Vandal sporting-man's vagary,

Wrought on your race in Cornwall's bay of Bude!

A Haliaëtus he's done to death!

Haunt him and harry, ossifrage and osprey!

Hoot, owl! Croak havoc, raven!

He of that wave-beat haven

Should—like the Ancient, of the Albatross—pray

For tardy pardon till his latest breath!

Soon will the Sea-earn join the vanished band

Of Garefowl, Æpyornis, Dodo, Moa!

And e'en the merry mavis

Will rank as rara avis—

The sparrow, sole of all that sailed with Noah,

Will learn the casual pot-shot to withstand!

Why surely, when rare birds are rarer made

By 'Arry, or by 'Arriet's hat-adorner,

These gentry should be tethered

To posts, and tarred and feathered!

To see the balance thus redressed a mourner

Would not be he who has these lines essayed!

A DISCUSSION ON WOMAN'S RIGHTS.

"A—I've no doubt you're quite right in Theory, Lady Hypatia. But I'm afraid that in Practice the World at large won't agree with you." "Won't it? Then it oughtn't to be at large!"

A BICYCLE BUILT FOR TWO.

(Latest Parliamentary Version.)

Mr. H. Fowler sings. (Air—"Daisy Bell.")

There's mazy misgiving upon my part,

Hazy, hazy,

Women, by Walter M'Laren's art,

Muddle my "Mazy Bill."

Whether I love it or love it not,

Down I must gulp this pill.

She-suffrage complicates the plot,

Much, of my "Mazy Bill"!

Chorus—

Mazy! Mazy!

She-Voter, sit up, do!

I'm half crazy,

All with the weight of you!

You will not be robbed by marriage

Of a ride on this bi-wheeled carriage.

You look so sweet

(So you think) on the seat

Of a Bicycle built for Two!

We must go "tandem," like man and wife!—

Aisy! Aisy!—

Am I not working away for life,

Driving my "Mazy Bill"?

Taking you up, as an extra load,

Taxes my strength and skill.

Rough and up-hill is the country road,

Run by the "Mazy Bill."

Chorus—

Lazy! Lazy!—

Spin like a "Scorcher"—do!

I'm half crazy

With the dead weight of you!

Spinster or bound in marriage,

You claim gratuitous carriage;

But—use your feet

If you must have a seat,

On this Bicycle built for Two!

I must stand by you? Oh yes, I know!

They see, they see,—

M'Laren and Stansfeld, Jesse and Joe,—

I'm bound to my "Mazy Bill."

You'll take the lead, if I don't mistake.

Then, if you work your will,

Who will there be to put on the brake,

Working my "Mazy Bill"?

Chorus—

Hazy! Hazy!

Such is the country view!

Squires half crazy,

All for sheer dread of you!

Maidens or marred by marriage,

Your sex means claiming their carriage;

But, I feel dead beat

With your weight on the seat

Of this Bicycle—built for Two!

CONVERSATION BOOK FOR CANDIDATES.

(When the Ladies have the Franchise.)

- Voter.   Are you sure you are quite steady?

- Candidate.   Quite. And I am prepared to give the best time of my life to the consideration of the most important——

- V.   Thank you, that will do. But do you think that a carriage is necessary for a wife?

- C.   Certainly, and it would be a grievance if she had not one. By a development of the trade of the country I believe that——

- V.   Thank you, that will do. And I suppose you admit the equality of the sexes?

- C.   Undoubtedly, considering that the highest places in the university class lists are carried off by——

- V.   Thank you, that will do. And I suppose you, if elected, will have a fortune sufficiently ample to afford a house in Eaton Square, a place in the country, a yacht in the Solent, a box at the opera, and all the other necessary etceteras?

- C.   Most probably. I hold it to be the duty of every legislator to see that his wealth is sufficient to enable him to give his individual time to the service of his constituents, and——

- V.   Thank you, that will do. I presume, if you married, you would like your wife's mother to occasionally visit her daughter?

- C.   Theoretically, yes. Judging for others, I would say that no subject of greater interest than happy domestic arrangement could be imagined. I would insist that the well-being of the family circle is of paramount importance, and that——

- V.   Thank you, that will do. And now for my last question. If you are elected will you be prepared to marry my eldest daughter?

- C.   That is a matter of great moment which requires the most careful consideration. Without absolutely pledging myself to any course of action, I may declare that——

- V.   Thank you, that will do. And now I will examine your opponent!

PALINODE.

["In my old Radical days."—Mr. Chamberlain.]

Yes, I once was a smart little Rad

Who talked about "lilies" and "ransom."

Those views, which were shallow and mad,

I retract, in a manner most handsome.

Eh? "Skeletons," "Armchairs"? Oh no!

I hold they are traitors or sillies,

Who talk (like the juvenile Joe)

About skeletons, ransom, and lilies!

Ri fol de rol liddle lol dol!

I might be indulging to-day

In the rampant and rancorous Rad's tone,

Swearing "lilies" full "ransom" must pay,

If it hadn't a-been for that Gladstone!

He serves as a warning to me,

A sort of political helot;

But, thanks to old W. G.,

I'm no longer a radical zealot!

Ri fol de rol liddle lol dol!

"A BICYCLE BUILT FOR TWO."

["If he (Mr. Fowler) understood the decision of the House correctly on this subject, it was this—that the disqualification of married women should cease, that was to say, where a woman was otherwise qualified, and was on an existing register, and, as such, entitled to vote, she should not be disqualified by reason of being a married woman.... It was a decision which the Government would endeavour to carry out.... He should propose to insert a new clause removing the disqualification of married women altogether."—Mr. H. Fowler in the Debate on the Parish Councils Bill.]

ROBERT'S PUZZEL.

I've had a Puzzel put into my hands by a heminent Common Councilman which has puzzeld me orfully, but which he says is as plane as the hobjects of a County Counsellor. It is as follows:—

"Amalgamation is Wexation,

Unefecation is as Bad,

The Royal Commission puzzels me,

And their practises drives me Mad!"

In course the hole thing is a Commondrum to a pore Waiter like me; but my frend tells me that it all means, that as the City Copperation is the popularest body in all the hole Country, and the London County Counsel about the most unpopularest, as they are allers a hinterfering unnessasarily with the comforts and amusements of some class or other of the peeple, they acshally has the hordasity to propose that the grand old Copperation shoud be abolished altogether, and ancient Gildhall and the honored Manshun House, with all their sacred contents, handed over to the County Counsellors! and that in future there shoud be no reel City of London, but that all the hole place, with its five millions of peeple, shoud be muddled up together, and put under the loving care of the London County Counsel!

Well, I do happen to have a pretty large acquaintance one way and another, and I wentures to say, most truthfully, that I haven't come across one singel one on 'em but what has ether amost bust hisself with larfter, or amost screamed hisself hoarse with hindignation, when I have told him my almost unposserbel tail!

I did wenture to ask the Common Councilman, the other day, whether he reelly thort as there was any possibility of such a hideous skeme a being carried out, when we all knowd what a splendid caracter the old Copperation had borne for ages past for Generossity, for Horsepitallerty, and for Eddication. His arnser was, "My dear ROBERT, we lives in sitch rum times that one hesitates to say that any habsurdity is impossible, but the great trust of all of us is, that should things get to the werry worst, and ewen the House of Commons throw us over—tho I have heard their great Leader himself declare, in Gildhall itself, that the history of the City Copperation reflected an amount of credit upon those who had governed it for generations that it would be differcult to surpass—the same nobel and hindependent Body as only a few munse ago saved the country from disruption, and thereby raised themselves greatly in the estimation of all thinking men, would again step forward and save the grate Capital from such a ridickulus, and contemtible, and silly absurditty as was never equaled in the history of the world!"

Ah, well, these was nice comforting words for me to hear, and sent me about my ofishal dooties with quite renewed wiggour, and when shortly afterwards I wentured to repeat them to one of the most importantest of our gests, he turned round and acshally shook my hand, and exclaimed, "Ah, my good Robert, we may trust to them, for many and many a time have I heard some of our gratest men exclaim, 'Thank God we have a House of Lords!'"

Robert.

ONE OF THE "MAXIMS" OF CIVILISATION!

Old and New.

"Think of the glorious Mottoes," said a Major of the old school. "'Nil Desperandum,' 'Death or Victory,' 'England Expects,' and so forth!" Replied his friend, the modern Captain, "Bother your Mottoes! Give us the 'Maxims'!"

"Flibbertigibbet."

The fiend that now urges to—pen flippant novels

Is modern Poor Tom's modish Modo,*

The work that in cynical worldliness grovels

Will soon be extinct as the Dodo!

*See King Lear.

"HISTORY (NEARLY) REPEATS ITSELF."

(A Peep into the Future.)

There was a general strike. The playing fields were deserted, and trade was at a standstill. Not a cricket-ball or a foot-ball had been made for months, and the lawn-tennis industry was paralyzed. The papers of the day urged the Government to intervene. "After all, it was only a matter of figures. Surely a compromise might be reached. If players would only meet payers, all would be well." So a Cabinet Council was held, and the most popular Member of the Ministry was selected as arbitrator. The name was well-received by both sides, and all seemed en train for a satisfactory settlement.

"We must have a proper salary," said a representative of the foot-ball profession: "if we don't, we shall have to give it up, and take to soldiering, doctoring, brief-accepting, and the rest of it."

There was a murmur of disapproval at this suggestion. Was foot-ball to perish because its professors could not get a "living wage"? No, a thousand times no!

Then the Minister suggested that he had better hear the complaints of the men, the women, and the children. So the cricketers, the golfers, the polo-players, and the lovers of lawn-tennis spoke at length.

"And what may you want young lady?" asked the arbitrator, with a smile.

"I must be paid for taking my doll for a walk," replied a small girl of six or seven. "I have to keep the toy perambulator in repair, and when Rose falls on her nose, I have to get her face replaced. How am I to bear these expenses if I receive nothing? It is impossible, unreasonable!"

"And I, too," cried a schoolboy. "How can I trundle my hoop or play at marbles if I am not allowed something for my time?"

And there were other complaints. Everyone wanted a wage, and the cries for salaries waxed louder and louder.

Then the Minister asked for a few minutes' grace, and began writing. After he had finished his despatch, he put it in an envelope, and requested someone to read it when he had taken his departure. Then he went away.

"Dear me!" said the person to whom the despatch had been entrusted. "This is highly unsatisfactory. I find the arbitrator has resigned without making an award, and has left the matter in the hands of Lord Rosebery."

Then there was a cry of sorrow. For it was known that as Lord Rosebery had had quite enough of conflicts between capital and labour, he would certainly refuse to be dragged into another quarrel.

So the war went on between players and payers, and "Merrie England" became a byword of reproach in the comity of nations.

Popular Idea of the Costume of a Member of the Bar on "Grand Day."

MATURE CHARMS.

Maiden slim and fair, with the golden hair,

So eager to snare with the knowing glance

Of your eyes so bright, and to waltz all night

With that step so light in the mazy dance,

Years ago, I swear, we once met somewhere;

We danced—you take care to forget that ball—

And my arm embraced that wasp's whalebone waist,

So cruelly laced, so absurdly small!

But then I declare you had nut-brown hair,

The colour's still there just down at the roots;

You are "fancy free," full of girlish glee,

But you're forty-three I would bet my boots.

Your beauty is rare, but I am aware

That face you prepare, that vile waist you buy,

Which corsets to civilised women give,

And hairdressers live so that you may dye.

SO POLITE!!

Slim nervous Gent (pulling up at a regular facer). "Hold hard, you Brute! 'Ladies first!'"

A BALLAD.

I wish I could write romantic rot,

Like the beautiful songs they sing

At Ballad Concerts; why should I not

Attempt such a simple thing?

This metre's just right. Here goes!—The moon

Shone sad o'er the silvered waves,

The nightingale trilled 'neath that night of June,

Where the river the primrose laves.

(That's good, though hazy the sense may seem,

No primrose would bloom at the time;

The river "laves" it, not it the stream;

"Moon" and "June" makes a clumsy rhyme.)

Upon the terrace a maiden fair

Was gazing the waters o'er,

And dreaming of vows of love she ne'er

Would hear, as in days of yore.

("Days of yore," that's fine.) And her soft, sad eyes

Looked up at the starry night,

She kissed a fair ruby ring, with sighs,

Which shone on her fingers white.

(You put the words as it suits you best;

The adjective need not be

Before the noun.) On her heaving breast

A red, red rose you could see.

(That is if you had been there.) She wept;

To-night must her lover go.

The rose was awake, though the pimpernel slept.

(Bagged from Tennyson, don't you know?)

The silent stream whispered scarce a sign,

Ere it swept past the willows grey.

(The sense is vague, though the sound is fine;

What it means even I can't say.)

Alas! alas! red, red rose, bright ring!

Red rose, cherished ring, alas!

(Such bosh sounds beautiful when you sing.)

A hush lay over the grass.

(I'm hanged if I know what a "hush" may be.

It's something pathetic, sublime.)

The nightingale warbled upon the tree.

O rose-scented summertime!

He came, and pressed to his manly heart

The maid 'neath the pale moonbeams

(Don't mind if accents are wrong); they part!

In (excellent rhyme) her dreams

The joy of that passionate farewell kiss

To the silent tomb she bore.

(I could easily write you a mile of this,

But you probably want no more.)

"La Fin du Sea-Aigle(!!)."—The Standard informs us that—

"A specimen of the white-tailed, or sea eagle, has just been shot at Bude Haven, Cornwall. The bird weighed nearly eight pounds, and the extended wings measure between seven and eight feet from tip to tip."

Now, "next please," and let us have the "Very last of the Sea Serpent!"

ESSENCE OF PARLIAMENT.

Extracted from the Diary of Toby, M.P.

Johnson of Ballykilbeg escorting the Duke of York.

House of Commons, Monday Night, November 20.—Rumour current to-night that Ballykilbeg is in the market. Ballykilbeg is the manorial seat of one of the most ancient and honourable Irish families, long settled in County Down. The O'Hnstons were in the train of Borrhoimi when he first essayed, and succeeded in, the difficult task of forming a United Ireland. Jake O'Hnston is a name that lingers lovingly in tradition of Youngest Ireland. Gradually, being always on the people's lips, it began to take a new form. J. O'Hnston naturally became Johnston; but Ballykilbeg was always there. To-day House of Commons contains no more esteemed Member than he who is known as Johnston of Ballykilbeg. A man of war breathing battle, ever ready to take his place amongst the corpses in the last ditch, Johnston of Ballykilbeg off the platform in Ulster, or off his legs in House of Commons, is the mildest-mannered man that ever proposed to broil a brother for conscience' sake.

Quite a sensation at prospect of dissevering Johnston from Ballykilbeg. Glad to hear there's nothing, or little, in it. Arises out of circumstance that Johnston has approached Mr. G. with suggestion that Treasury shall purchase an estate in Ireland, and there plant out the Duke of York. If the Duke, making a survey of Ireland, should find no more attractive place than Ballykilbeg, the descendant of the O'Hnstons is not the man to allow personal predilections or old associations to stand in the way of gratification of Royal desire. It might come to pass that the Crowned Heads of Europe would welcome at their courts York of Ballykilbeg, whilst the last of the O'Hnstons would be content to house his loyal head under alien roof. That, however, not a prospect in view when he moved in the matter. There is surely room between the seas that circle Ireland for the Duke of York and Johnston still at Ballykilbeg.

Business done.—Clause I. added to Parish Councils Bill.

LIKA JOKO'S JOTTINGS.—No. 5. HUNTING.

Tuesday.—Parish Councils on again. That was order of day, but human ingenuity dragged in other matters. First Woman's Suffrage, on which there was livelier debate than has yet arisen in Committee on this Bill. Last Thursday Walter M'Laren raised question in form of an Instruction. Government resisting were beaten, the Opposition coalescing with revolting Radicals. Now, as Squire of Malwood puts it, the Government, kissing the rod, accept injunction; undertake to embody M'Laren's Amendment in Bill. Pretty to see air of doubt and hesitation that hereupon comes over ingenuous faces on Opposition benches. If Henry Fowler had put his back up, declared that Woman delighted him not, nor Walter M'Laren either, Opposition would again have joined forces with Radicals, and Government would once more have suffered defeat. Since they resolved to obey Instruction carried by majority last Thursday, Prince Arthur shakes his head; Edward Stanhope shows this is quite another pair of sleeves; whilst Joseph, back bronzed from breezy Bahamas, bluntly says he will oppose new Clause Henry Fowler has promised to bring in.

"It is the duty of an Opposition to oppose," says Prince Arthur; "and I did not for several Sessions sit at feet of Old Morality without being impressed with imperative sense of duty."

Mr. Courtney explains the Puzzle.

Later, when this difficulty temporarily out of way and it seemed progress with Clause might be made. Proportional Representation was dragged in neck and crop. Courtney took charge of the puzzle business, and tried to explain it. No prizes offered, and attention a little slack. Squire of Malwood defined the theory in admirable phrase. "It is," he said, "an ingenious system by which a man is to vote for a person he does not prefer in order to secure a majority for some purpose he does not understand." Can't better that; leaves nothing else to say. Nevertheless, much was said; talked by the hour; finally a division, in which Government majority, rarely falling below three score and ten, stood at 72.

Business done.—Something of the debating society order.

Thursday night.—Things coming to a pretty pass if Tomlinson is not to offer a few observations on third reading of Employers' Liability Bill without an arrogant Minister moving the Closure. Apart from consideration of individual liberty and freedom of speech, House would have suffered special disappointment if Speaker had accepted Asquith's suggestion and submitted question of Closure. Finding Tomlinson on his feet at this juncture it naturally thought he had, in interval, discovered what his amendments moved last week in Committee on Bill meant, and was seizing this opportunity of explaining them. He didn't; but that was all Asquith's fault. Enough to cow any man rising at ten minutes to twelve and having pistol held to his head in shape of motion for the Closure.

Just at the time when Tomlinson was coming to his explanation, hand of clock touched five minutes to twelve. He might still have used up at least four minutes; being flurried, he sat down; and now we shall never know what his amendments were designed to accomplish. Happily there was time left for Matthews to soundly rate Asquith for his attempt to Closure Tomlinson. Right hon. gentleman could scarcely control his tongue in the emotion under which he laboured, in contemplation of the attempted outrage. It would have been bad enough with an ordinary member. That the weighty and sententious speech of so eminent a statesman as the Member for Preston should have been broken in upon by a motion for the Closure only showed, in the ex-Home Secretary's opinion, how bad was the case of the Government, how reckless the tactics to which desperation drove them. A beautiful speech; almost, as Tomlinson says, worth being snubbed by Asquith in order to elicit this eloquent testimony to modest merit.

Business done.—Employers' Liability Bill read a third time.

Friday Night.—Great advantage of habit of foreign travel ingrained with Members of Commons is that when erudite question comes up sure to be someone present who can illustrate its bearings from experience gained in more or less remote portions of the planet. Just now Henry Fowler moved provision in Parish Councils Bill, making it possible for Lovely Woman, whether married or single, to stoop to folly of being elected on Parish Council Board. Up jumps Horace Plunkett with some charming reminiscences brightly told of residence in the State of Wyoming. In that happy land women enjoy equal political and municipal privileges with their brother men.

"I was," said Plunkett, "well acquainted with a female Justice of the Peace. She discharged her duties, and, when necessary, a revolver."

Another of Plunkett's lady friends in far-off Wyoming had her domestic duties broken in upon by summons to attend a jury. Case proved protracted; husband had to stay at home and mind the baby, whilst she was locked up all-night with eleven good men and true.

After hearing this, Committee unanimously, without division being challenged, agreed to Fowler's Amendment.

Business done.—On Clause III. Parish Council Bill.

SHAKSPEARE IN LONDON.

Buy no more, Ladies; buy no more;

Shops were deceivers ever:

One price in season, one before,

And reasonable never.

Then buy not so,

But let them go,

And be you blithe and bonny,

Converting "Robes, modes, et manteaux"

Into—"Pas, si je connais!"

Bring no more bargains—sales are low,

And bills are dull and heavy;

(The shopmen drew their longest bow

For Summer's rout and levée.)

Then buy not so,

But let them "show"

And be you shrewd and bonny,

Converting all their "Tout ce qu'il faut"

Into—"Pas, si je connais!"

"TEARS, IDLE TEARS!"

Punch's picture, "When the Cat's Away!"

Seems to have effect! The brutal "play"

Of young ruffians, in at least two cases,

Whipping has rewarded. What long faces

Trotter pulls! With his mild creed it clashes.

Sentiment's eyes are wet—about the lashes!

Howling brutes make mollycoddles snivel.

Let the ruffians rail, their champions drivel.

Brutalising to chastise brutality?

'Tis the merest blind sentimentality.

Feeble men and helpless women save

From the roughs, and let the weepers rave!

*** END OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI, DECEMBER 2, 1893 ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. 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™ 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™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law 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™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ 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 in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (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™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (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™ 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™ 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™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ 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 works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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 1.F.3. 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 MERCHANTABILITY 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ 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™ 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 information page at www.gutenberg.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. 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 business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread 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 www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, 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.

back

back

back

back

back

back

back

back

back

back

back

back

back

Table of Contents

- Punch, or the London Charivari

- Volume 105, December 2, 1893.

- edited by Sir Francis Burnand

- TO A LADY.

- (Whose "Fringe" has fallen off at a Ball.)

- DOMESTIC THRIFT.

- PRINCE ALEXANDER OF BATTENBERG.

- A VALETUDINARIAN'S VISDOM.

- OUR BOOKING-OFFICE.

- GOOD LUCK TO IT!

- (To Mr. Caine and his Bill prohibiting advertisements in rural places.)

- "Invisible Trouser Stretchers."—Legs.

- THE BABES ON THE TREASURY BENCH.

- "TRANSMITTED."

- THE BABES ON THE TREASURY BENCH.

- "HARK! I HEAR THE SOUND OF COACHES."

- UNDER THE ROSE.

- (A Story in Scenes.)

- LOBENGULA'S LETTER-BAG.

- A NOVELTY.

- Coal and Wood.

- AN ORNITHOLOGICAL OUTBURST.

- A DISCUSSION ON WOMAN'S RIGHTS.

- A BICYCLE BUILT FOR TWO.

- (Latest Parliamentary Version.) Mr. H. Fowler sings. (Air—"Daisy Bell.")

- Chorus—
- Chorus—
- Chorus—

- CONVERSATION BOOK FOR CANDIDATES.

- (When the Ladies have the Franchise.)

- PALINODE.

- "A BICYCLE BUILT FOR TWO."

- ROBERT'S PUZZEL.

- ONE OF THE "MAXIMS" OF CIVILISATION!

- Old and New.

- "Flibbertigibbet."

- "HISTORY (NEARLY) REPEATS ITSELF."

- (A Peep into the Future.)

- MATURE CHARMS.

- SO POLITE!!

- A BALLAD.

- ESSENCE OF PARLIAMENT.

- Extracted from the Diary of Toby, M.P.

- LIKA JOKO'S JOTTINGS.—No. 5. HUNTING.

- SHAKSPEARE IN LONDON.

- "TEARS, IDLE TEARS!"

- THE FULL PROJECT GUTENBERG LICENSE