Punch and Judy

PU N CH A N D J U DY ,

H TW E N TY-FOUR ILLU STRATIONS W IT .

DE SIGN E D A N D E NGRA VE D B Y

E R E R U I K H A N K G O G O S .

AN D OTHE R PLATE S .

ACCOMPANI D B Y TH E DIALOGU OF TH E P PP T-SHO E E U E W , AN A N T O F ITS O G N AN O F P PP T P A CCO U RI I , D U E L YS N NGLAN I E D .

F FT H D I E I T I O N .

L O N D O N

B ELL D LD Y EE VEN T GARDE N 8c A , Y O RK S TR T, CO . SO NS,

S TA MFO RD STREE T A N D CHA RIN G CRO SS . EXTRA CT FROM THE CATALOGUE O F TH E I HA K XHIB I IO CRU KS N E T N .

N b en n d Mr PR WE T’I‘ H AVI G e . O the u i e gage by , p bl sher, to give the various sc enes represen ted in the street performan ces of Punch

’ an d J ud n d the dd the P i o and Pe f m y , I obtai e a ress of ropr et r r or er

u E i n . H e was an d l n n m of that pop lar xhibit o el erly Ita ia , of the a e

PICCINI w m m m d m d an d i d of , ho I re e bere fro boyhoo , he l ve at a

’ low u l c - u n ‘ The K n A m in ‘ Ooal p b i ho se , the sig of i g s r s, the

’ ‘ rd D u L n n m d r n men ‘ M n n e . H ya , r ry a avi g a e ar a ge ts for a or i g

’ P f m n e on e w n d w - m on ﬁ s ﬂ er or a c , of the i o fra es the r t oor of the

’ u i - u w as k n out an d n d Pu n T e as p bl c ho se ta e , the sta or ch s h atre w

‘ ’ - M P u ed n u m. r Y E O LLI E R ho wa to w ha l i to the Cl b roo . A N C ( w s rite

' the d e c ti n the u an d m e f rm d ud n e s rip o ) , p blisher, ys lf, o e the a ie c ; an d r m n w n on I s d the m os in r n as the pe for a ce e t , toppe it at t te esti g

to k c F u w M r. CO LLIE R n ed d wn the parts s et h the ig res , hilst ot o dialogue ; an d thus the w hole is a faithful c opy an d description of

u c n en d n w m n e the vario s s e es repres te by this Italia , hose perfor a c

° ’ of ‘ Pun ch w as far superior in every respect to anythin g of the

n n da The ﬁ w n e u ed sort to be see at the prese t y . gure hose ck he s

u e i was n r ud Prc c m r to stretch to s ch a gr at he ght , a sort of i te l e . — made the ﬁgure tak e off hi s hat with one hand which he deﬁed

- u n d h all other puppet show performers to do . PI CCIN I an no ce t e

n m a pproac h of Pun ch by sou d of tru pet .

GEO RGE CRU IKSH A N K .

T C O N E N T S .

PA G E

Introducti on

I —O n P un in Chapter . rigi of ch Italy

II O n an d P ss P u -P in . rigi rogre of ppet lays

En glan d

—A P un in En n d III . rrival of ch gla

’ — u un m n IV . Nat re of P ch s Perfor a ce

’ P un ch s Pran ks

’ —\Ioral un m an e Chapter V . of P ch s Perfor c s

I — n un V . O the Character of P ch

The Tragical Comedy of P un ch an d J udy ’ LIST O F GE O RGE CRUIKSH ANK S PICTURES

O F PUNCH .

P P un h rontis iece ortrait of Mr . c f p

’ P un ch s Compan y on their Travels Behin d the Scen es d Pun ch an d J udy at the Festive Boar P un ch an d the Dog P un ch an d Scaramouch

P J ud an d d un ch , y, their Chil Pun ch playing with his Child P un ch throw s away his Child J udy beats Pun ch P un ch quiet s J udy Pun ch an d Pretty Poll The Courtier w ith the elastic n eck P un ch on his Steed Punch an d the Doctor The Doctor physics Pun ch P un ch doctors the Doctor P un ch an d the Foreign Footman P un ch an d his M usic P un ch kills the Footman P un ch pities the Poor Blin d P un ch taken Prison er P un ch in Prison P un ch teaches Jack Ketch how to hang a m an Pun ch vis ited by O ld Nick P un ch ﬁghts O ld Nick P un ch kills the Devil

OT LL T AT ON N T MR G O G C K ANK . HER I U S R I S O B Y . E R E RU I SH

The Performan ce of the Tragedy Figures in the O ld Itali an Comedy I N T R O D U C T I O N .

W the ss s n of our n ITH . G O G C I K S HANK a i ta ce frie d, Mr E R E RU ,

u u hia tus in h h s we are abo t to ﬁll p a t eatrical i tory .

is s n u h the s n n o m It i g lar, t at, to pre e t day, atte pt has

n m us the n h an d h bee ade to ill trate origi , biograp y, c aracter

f s n so s n u sh an d n a o s s . a per o di ti g i ed otoriou Mr PUNCH . Il i s n am e an d his performan ce s are fam iliar to all ran ks an d s n has h h k n the u in age ; yet obody it erto ta e tro ble , h s n to m k an n s n t i cou try or abroad, a e y e quirie regardi g “ h ms l his m nn n s. The s u i u s i e f, fa ily, or co ectio t d o Bayle is h s m his recorded to ave repeatedly allied fro retreat, at the s n the k um n n un n his ou d of crac ed tr pet, a o ci g arrival in R m an d s v s w ho h n h n otterda ; we our el e , ave ofte u ted our v u m m s s saw the fa o rite perfor er fro treet to treet, late

n h m h n on e the s of on Mr . Wi d a , t e of Secretarie State , his m D n n the us mm n s way fro ow i g Street to Ho e of Co o , on n h of m n us k u n a ig t i porta t debate , pa e li e a tr a t boy,

n the h m n w as n u n a u til w ole perfor a ce co cl ded , to e j oy h h the h m s f h h earty laug at w i icalitie s o t e m otley ero .

s — un h ha But it is n eedle ss to partic ulari e . P c s

m ade our youth to laugh U n til they scarcely coul d look out for tears ;

” h the old h v s h h h of W ile a e tood by, delig ted wit delig t

h s an d h m s v s n n the ud us re re ot er , t e el e , too, e j oyi g l icro p

h the n s has h h n m to scutation . W y i tere t it erto bee li ited ' n P NCH . I nr no o uc rro . ! U

n n an d w h h has n ot in the period of repre se tatio , et er it

s s it is n ot u s part ari sen from in ability to ati fy , for to

n n u s v s an n u in s m e xplain . We co ﬁ e o r el e to e deavo r o e

s the n . degree , to upply deﬁcie cy n h has ex e The con trast between the n eglect Mr . Pu c p rien c ed an d the n s m in n u s , i du try e ployed collecti g partic lar

h m s of ss n is relatin g to ot er perfor er far le reputatio ,

an on an of our u s s remarkable . If actor, y p blic tage ,

m m n n hun s attain on ly a oderate degree of e i e ce , dred are “ on the alert to glean the m i n ute st particulars of his birth

n an d n h an d h u pare tage , educatio , life , c aracter, be avio r ; an d thousan ds look out for them w ith eagern e ss in all the

h n h has n n ew spapers an d periodical s of t e day . Pu c ever

’ been fa maz p etator

Th s s m of the s n at la t di te per ober brai ,

H ow thi s un happy thought has run the gaun tlet of author

m m Sim hc ius mm ad E i t c . . ship fro the ti e of p (Co . p xlviii )

' A to a t eo a r o he er‘ t a & u s r w wa dmv C. has u x x , y x , Tacit s it th s ; “ E m sa ien tib us u d as n s m exuitur H s tia p c pi o glori ovis i a . ( i t . Lib .

n n iv . ) Mo taig e places the love of glory amon g the hu meurs ’ “ desra zson nables m en an d dds Les ' hiloso hes mem s s of , a , p p e e ” defa c en t u d et u n de - c ue de n u u pl s tar , pl s e vis , cette y q lle a tre . E ssa s L . . B en J om en s s m ( y , i c ays the a e thing — Ambition is the last affection A ”— m n d c an ut off . Ca tiline A 3 S high i p ( , ct , e.

It is also foun d in Massi nger

u d m Tho gh esire of —fa e be the last w eakn ess W men ut off A Ver IVoman A c t 5 e ise p ( y , , S .

A n d w n O e Feltham follow s Tacitus very closely : Desire ” m n n w men of glory is the last gar e t that eve ise lay aside .

Resolves ( , p . r e new INT R OD CTION ] U .

as M s has n v n on e of his kn ss s arvell call it, e er bee wea e e ; b ut n v h ss is un n h his f m has s , e ert ele , it de iable , t at a e pread, “ w h u his s n the k n m s of the it o t tirri g, over all i gdo h T u se t e h s s of . civilized world . o wordy perip ra i Dr

hn s n Jo o ,

L s v n h x n s et ob er atio , wit e te ive view, S urvey m ankin d from Chin a to Peru ;

c an an d w h h n h s n s n if it , it will every ere be old Pu c di pe i g

h i h s m of u . s the lu x ury a la g It literally true, t at, o e

s a o he un his n n an d h s n year g , fo d way to Ca to ; t at , i ce the South Am erican Revol ution he has been seen even on h h m s n s the An s. is s s the we ter ide of de He , per ap , i elf

n h n v in part to blam e for the eglect we ave oticed . Se eral

he n su s of our h s in our ow n of t pri cipal pporter t eatre ,

h v v n h m m s the h day, a e gi e t eir e oir to world, eit er by

n h m h h ow n h n s or u n sh n the writi g t e wit t eir a d , by f r i i g m aterials to others ; an d the works of thi s kin d by dead “ s the n of the s n s s of m n actor , forgotte tage , co i t a y

m s h h has s n m an s n o h volu e . W et er it ari e fro ab e ce f t at van ity (m ay we call it ?) which has at time s in ﬂu en ced his h s n s o r m s m h h u h reluc i trio ic rival , fro a o ew at a g ty

n on his u s kn n ot ta ce , part, to gratify public c rio ity, we ow ;

‘ ' b ut w hatever in ur m a the s of our um it j y it y do ale vol e ,

W e m a w n d u w w n w ho y i p the hole ith Milto , , like others ,

d m d u mm n w n ll us in has ee e the tho ght co o property, he he te s

L c ida s m y , that fa e is That last in ﬁrmity of n oble mind

’ u n w in n u d an d w po hich , fact , Marvel s, li e , above q ote ( hich is “ u n d in his on Plec n o an E n s R m to be fo Satire , glish prie t , at o e

n d is o ly a paro y . NT OD T ON P NC I R UC I . ! U H .

u h n ot in n ss n h s u s the o g t fair e to be co cealed, t at, toward , object an d subj ect of the appe n ded in quiry has pre served an s n s n h h in an h n v u ob ti ate ile ce w ic , y ot er i di id al , we

E v n h n n should say am oun ted to in civility . e w e i formed that his portrait w as to be drawn by Mr . George Crn ik

h n i sh nk it did n ot h s m n . Th s a , at all c a ge deport e t i circum stan ce is certainly to be regretted ; b u t we ﬂatter ourselve s that our un aided re source s hav e furn ished much

u u s an d n s n n m n : an d if its u c rio i tere ti g i for atio , by p bli ” n w e ff n m us the v n kn n catio , give o e ce, we t aby e e t, owi g

h as . n h w as our u s he n t at, Mr Pu c deaf to req e t, will ot

s n our li te to apology .

An other rem ark m ay n ot here be out of its place : Poetry is un qu e stion ably out of fashion ; an d because it w as n ot “ set a s h s u h h v n the s by, per ap it o g t to a e bee , greate t ( in every sen se of the word) author o f the day turn ed his atten tion to a differen t an d m ore popular m ode of w n H is s n sh n su riti g. a to i i g cce ss in duced other s to follow his x m : h h h n e a ple t ey, too, tried t eir a d s at hi storical n v s n n the n us h n h o el ; but, wa ti g ge i of t eir origi al , t ey e n deavoured to keep up the in tere st of their n arrative s

the n u n h a m by i trod ctio of biograp ic l atter . Still they

un h n ot an d h n x fo d t ey were read, t eir e t step w as to m k he h m a e t dead t e ean s of sati ri si n g an d cen surin g the

n n in sh m h s h n livi g ; u til, a ort ti e , t i t i di sgu ise w as h n s an d n v s m h t row a ide , o el beca e t e v ehicle s of private

n s an d m s s su s a ecdote aliciou di clo re . S u ch is n ow the h s of our x n in a c aracteri tic literature , e cepti g s far as it w as h “ l corrected by t e Colo ssus afore said ; an d we appeal to al the u fs in the s the p f all paper for proof, that fashion able s n an d the x s s n la der, e po ure of ecret i trigue s of person s in INT RO D CTI O N U . high life have b ee n m ade the chief recom me n dation an d

n su h r u n s. The u s has n attractio of c p od ctio co r e bee , to “ a ssign the work of a scribblin g garreteer to som e lord or of s n u sh nn n s an d s n lady di ti g i ed co ectio , to repre e t,

h the s k n m n the n sum t at, for a e Of gratifyi g a a ia for co ption of en ink an d he she has n s n st p , , paper, or co de ce ded, ﬁr

the s an d s the to n s an d to play py , afterward traitor, frie d

n n s acquai ta ce . Nothin g of this ki n d will be foun d in the vol um e n ow

’ in the reader s ha n d ; an d although the biography o f the

un h m is n ss n u in our n P c fa ily , ece arily, partially i cl ded pla , tho se w ho e xpect that w e shall detail particulars of his

n n private am ou rs an d faili gs will be disappoi ted . Ario sto

s su h a s m a n ot k n s his a m tell c y li e certai part . of g y poe , to u n so m n of its s s h s w ho t r over a y leave we advi e t o e ,

v x n the n s m n shu our k feel e atio at precedi g tate e t, to t boo

h r or s n ot m h n s h altoget e ; , at lea t, to do ore t a ca t t eir eye s upo n the plate s : sin ce they kn ow by whom the

n s m h s m u h drawi g were ade , it would, per ap , be too c to su s h u n s n n u sh ppo e t ey co ld co e t to reli q i that gratiﬁcation . Tho se i n cide n t s of his life which our here has cho sen to m k kn w n of s n ot m b ut in our a e o , are cour e o itted ; ,

s an d s v n s w e h v s k n of him n in detail ob er atio , a e po e o ly his u —as an of ﬁrst-r l n s an d p blic capacity, actor ate ta e t the m s ex n v o t te si e celebrity .

S ee n du n the O n d the i tro ctory sta zas to Book xxviii . of rla o

Fu rioso . ’ s u t n s n s La ciate q es o ca to , che e z es o,

’ P O l i t ria & c u s s o . tar , ! DUNCIL

ILLUSTRATIO NS O F THE CO STUMES O F I ALIA T N COMEDY,

From Riccobom .

’ TA L O N D O CTO R . II A R LE Q U I N . I \ N O

A n c ien t ( ﬂnc ien t. ) ( )

R AM O U CH B . S CA PI N . M E Z Z E TI N . PI E R R O T. B O A ( N eap olita n ) CHAPTE R I .

O G N O F IN TA LY RI I PUNCH I .

R P h s n m n m w a M . U N CH (w o e origi al fa ily a e s probably ' P u lc znella s m n x s n A eerra an n n , ) ﬁr t ca e i to e i te ce at , a cie t sh n m Th of h s city at a ort dista ce fro Naple s. e date t i eve n t is differe n tly stated by authors w ho have i n cide n tally * m n n him Ric c ob on i x n the 1 600 e tio ed ﬁ i g it before year , - an d Gimma i an d S ignorellit after the comm en cem en t of h n n n The s f mm t e seve tee th ce tury . word o Gi a are v ery s an d as he n s n u s s m s s preci e , e ter i to partic lar , it ee afe to u n his h h s m n he s s rely po aut ority for t i i porta t fact ay , v l m n w ho u h m s Sil io Fiori lo , co edia , proc red i elf to be the n m s n n t the n called Captai Mata oro , i ve ed Neapolita u n h h An s w ho had the sur P lci ella ; to w ic drea Calce e ,

n m O f s u an d n u m u h. a e Ciuccio , by t dy at ral grace added c s w a s an d in the u of the Calce e a tailor, died plag e year 1 656 he m the s n s A v n n i itated pea a t of cerra, a ery a cie t ” f T L n o m n o t s. city erra di avoro , far fro Naple Sig orelli ’ x ss s n h un bu on e dell A c err a an d the e pre ly call Pu c , f ! of

H u n m an d u n ot m u e ses ge eral ter s , his a thority is ch to be relied on : Histoire du Theatre Italien depuis la Decaden ce m d n & de c . la Co e ic Lati e , ' 1 1 . . 96 . 1 Italia Letterata , vol . p “ ’ ” ri i de T tri n i h d n — 1 7 7 t 7 . 1 Storia C c a ea a t c e e mo er e . Napoli d w P N is to be observe , ho ever, that the Dottore ietro apoli Sign orelli relies for his assertion on the statemen t of Gimma in ” A on P u n w as n ot his Italia Letterata . s e proof that lci ella n w n 1 600 m a n d h n ot k o before the year , it y be otice t at he is m n n d on e u u l who ﬂou e tio e by of the b rlesq e poets of Ita y , rished n d n a & c . a terior to that ate , Ber i , Molza , Casa , L sca , ’ V r in u n sur L E n c c lo edie us oltai e , his Q estio s y p , th ‘ s m n w d bu one peaks of the ety ology of the Italia or ﬁ , after ridiculin g the classical derivation pedan tically assign ed to it Cc m et de buf on est recu depu is longtem s chez les Italiens et N F P N I N TALY O RIGI O U CH I .

k in n he m s . h m Neapolitan s ge eral , re ar (p t at, fro n an d s s n h h n a certain n atio al vivacity di po itio , t ey ave bee at all tim e s di stin gui shed for their tale n t in im itati n g the “ s n m ridiculous on their stage . He ce ore than on e of the m us n s n s in h m m u m s o r a i g per o age t eir i pro pt co edie , ' o z d so etto n s Ric c ob on i m n the c mmed e gg , i erted by a o g his w k h had h n in h plate s attached to or , ave t eir origi t at - lively an d luxurious capital I In order to give a n otion of the specie s of dram atic n n m n in h h h s us h s an d e tertai e t w ic t e e vario c aracter , m n h m u n n u h Sh a o g t e P lci ella, were e gaged , a f rt er ort ’ qu otation from Sign orelli s work will be u seful : he is referrin g to the state of the Italian com edy in the be gin n in g “ n n u In en eral he of the seve n tee th ce t ry . g ( say s) the u m i n s s n n n p blic co ed a travelled over Italy, repre e ti g certai h m n s m s of a r t in c on t eatrical perfor a ce , called co edie , tradistin c tion m s lea rn in in to co edie of g , recited the ac adem ic s an d in private dw ellin gs by well -bred actors f r h an x s The n o t eir plea sure d e erci e . pla or plot of the s h a so etto w as n w n a s a fable , t ey call it, gg , oted do , well s

E n : il si n ifiait mimus sc urra oc ula tor m m chez les spag ols g , , j , i e , u n u én e Saum aise le deriv d b . e e oc c a farce r, jo gle r M age apr s , ' ' z n a ta b oursouflé et en ft on u d n un u u un fi , e et ve t a s bo fo visage

n d et u reb on die. n d n bu o ma ro ro la jo e Les Italie s ise t f g , m b oufon u m un m auvois n ue n e u aigre , po r expri er plaisa t q vo s ” rir fait pas c . R n in his Reflexion s on d n P s api , Mo er oetry , ays of the ” n n l n u m n c omedien s Italia s ge era ly, that they are at relle e t , ” an d m n m u le d u des dd n that they expri e t ie x ri ic le choses , a i g i l n u wa s w d d u that the r a g age ell a apte to the p rpo—se . TThe are the an cien t and m odern Harlequi n the an cien t an d m e ern P n n— n n an d m d n a ta—loo th—e a cie t o er Doctor m di n n ~ Beltra —e Mila o Scapi the Italian Capitan the Span ish in N n m u — i n C—apta th—e eapolita—Scara o che Calabrian G a gurgolo Mez z ettin N n Pu n an d N Tartaglia the eapolita lci ella, ar c isin Mal I n n ab er o . du n s Ri c ob n i of g a other of his pro ctio , c o n m u u m m u m d speaks very co te pt o sly of the i pro pt co e y, ’ b n n a m erite as n u si u n om t u e l n o servi g that it p bea , e q o devroit lfitOt a eller p pp Farce . He afterwards calls it an ci n n et m n an d us it u d d e e erce aire , tells that s ccee e la comedic n et mm d cl n s son n m u Lati e foible i o este a origi e , ais pl s chaste c c u in en ieuse dan u pl s g s la s ite . R eflect ions H istoriques et ” Criti ues & c 8 vo 1 . P q , , . aris , F I A ORIGIN O PUNCH N IT LY . the su s n an d s u n of h s n h the b ta ce di trib tio eac ce e , w ile n h dialogue w as left to the will of the repre se ters. Suc h s n s n n u s b ufio on eries an d i trio ic farce co tai ed vario trivial , f n m sks m in h m dif ere t a were e ployed t e . Th s m n s in w h h the w as his e e perfor a ce , ic actor left to ow n n s an d s n in u n sh n the u tale t di cretio f r i i g dialog e , w ere on ce e xtrem ely popular throughout Italy ; b ut from the n u the s n n un u k h n s very at re of repre e tatio , it l c ily appe that n ot a sin gle specime n has been han ded down to our k m . The s n n s v h n ti e few e te ce extracted abo e , we t i , will serve to explain a good deal of the suppo sed m ystery of “ ” h s n n E n sh s or m s of h t o e a cie t gli plot , platfor t eatrical repre sen tation s di scovered in Dulwich College ; in which the T n an d h s n n an d celebrated arlto ot er were co cer ed, h h so n uz z n S teeven s an d s m of the w ic lo g p led Malo e , , o e * h mm n h k v the ot er co e tators on S a e speare . Se eral of mo st di stin gui shed actors of that day had travelled in an d m k f r h im rom tu an d Italy, were re ar able o t eir p p ; sh w ho had n th in on e of his s s Na , bee ere, tract e pecially ” m s the m us n m h u n ter fa o clow , Ke pe , a arleq i , (a character con stan tly en gaged in such repre sen tation s) - an d adds that his fam e had ex ten ded south of the Alp s I v u s h s u u s m Howe er, to p r ue t i topic wo ld lead away fro the of our s n n u k n object pre e t i q iry . We ta e it for gra ted, h v n n n an d s n t at Sil io Fiorillo i ve ted Pulci ella , fir t i tro duc ed him as a variety in the li st of buffoon s requ ired to s n the m m m s s : b u t h u h repre e t i pro ptu co edie of Naple , alt o g he may date his separate e xi ste n ce from about the year 1 600 is m of m h u w h h he w as n ot , it a atter ( uc do bt , et er , in n n h of m n u . fact, o ly a bra c a fa ily of far greater a tiq ity The s v in the 1 72 7 of n s u of di co ery, year , a bro ze tat e a m m e the R m n s M a c c us has n s m i e, call d by o a , i deed led o e an u s the n us n h he w as in Pul tiq arie to co cl io , t at , fact , c in ella un ff n n m b ut h the s m u s der a di ere t a e , wit a e attrib te , an d am on g them a hump-b a ck an d a large n o sed; But that the figure w as mean t for M a c c us at all seem s mere

“ ’ 2 & n w 3 . 56 c . See Malo e s Shakespeare , by Bos ell , vol . , p , “ ” d n A m n d P n d T See the De icatio of his l o for a arrot , pri te u 1 598 abo t the year . ’ ’ D I r l s ae i s u u . 3 . 9 . 1 See C riosities of Literat re , vol , p O R IGIN O F P U N GII I N ITA LY .

n an d h u n an d M a c c us had n h n speculatio , t at P lci ella a yt i g

mm n b u t hum a n d n se is as u s n . in co o , p o , at least q e tio able a s he w a s d o f the n n s w as The Vice , calle , a cie t Moralitie mm n w e h n the h l re resen co o , appre e d, to early t eatrica p tatio n s of mo st co un trie s : his b usin e ss w as to relieve the f the m n his u u s n s w eightier part o perfor a ce by ridic lo actio , n s n b the n s an d b uffo on eric s. w as u u jest , He q e tio a ly origi al w n or F of the E n sh m an d o f the Clo , ool , old gli Dra a ; we i s u h he w as the thi n k the co njecture s at lea t pla sible , t at d his n Pul origi n al al so Of H a rlequinﬁ a n ear relative a The h n of the w a s c inell . c ief a ppe dage Vice a gilt n h also n the w n w ooden sw ord a d t is belo ged to Old Clo ,

r n ot n in E n n b ut . R s o Fool , o ly gla d , abroad abelai , Speaki n g o f certain pre sen ts m ade by Pan urge to the fool “ T ullet s s nu asa n lu d n n u n e vessie rib o , ay ; Pa rge ve ue y o a ore n en fié e et reson n an te a us des o s ui dc p , bie , ca e p y q de n u s u n e eS é e de s n é u un e da n s e stoie t pl p boy bie dor e ; pl s , ’ - petite gib e ssiere faiete d un e cogue de tortu f w hich w e thu s tran slate for the be n efit of such as may n ot un derstan d th n u n h n u on his e a tiq ated Fre c , Pa rge , arrival , gave ’ him s n an d s un n a pig bladder well i flated, re o di g by n of the s h w h n it m e n reaso pea t at were it i oreov r, a woode sw w l t m r sm u h m d O f sh ord e l gil oreove , a all po c , a e a ell ” ’ o f s Th s w ho n su t . u s us a tortoi e , o e co l Mr Do ce Ill ” n an d u his ss on the n s an d tratio s , partic larly e ay Clow ” s of h k s a fin d h the d the Fool S a e pe re , will t at blad er at en d o f st k the n sw an d the u h or a ic , gilt woode ord! po c u m the m n s of h s n b dget, for ed part of equip e t t at per o age ' in n The w n svvord n n this cou try . oode directly co ects u n w h the n n an d m m n Harleq i it a cie t Vice , ore oder Fool,!

Ric c ob on i H du n u au , istoire Theatre Italie , q otes several thorities w m H u n w as n w n , to she that a Mi e like arleq i k o to the n n on an n A u u M imi a cie ts he relies chiefly expressio of p lei s, c en tu 'nc ulo w n -w d , ith refere ce to the patch ork ress . 42 d 1 3 . . . 55 TChap , e it ’ n d n h ad u d . D Israeli w u d I If this coi ci e ce occ rre to Mr , he o l n ot d Curi sit s u 1 n o e . 3 . 0 have sai ( of Literat re , vol , p , ote) that the light lath -sw ord of Harlequin had hitherto bafﬂed his ” m in u a ost pa f l rese rches . In n a d Gra c ioso an d his d an d u Spai he is c lle the , ress eq ip men ts are n early the sam e as they w ere in Englan d the m or

F I ORIGIN O PUNCH N ITALY .

’ s u s h in Italv Il arle uin s is m He tell t at, , q part ade up of bl un ders an d ab surditie s : he is to m i stake o n e n ame n h his n s s um v u n s for a ot er, to forget erra d , to t ble o er q ee , a n d to run his head agai n st every po st that come s in his w a Th s is n h s me h n so m in y . i all atte ded wit o t i g co ical he an d s u s h m an w ho is s n s of the t voice ge t re , t at a e ible folly o f the part c an hardly forbear to be pleased with M uch o f this characte r has bee n tran sferred to the w n s o f o ur n m m s S n H u n w as v clo pa to i e , i ce arleq i— ele ated in statio n an d degraded in u n derstan di n g l n u n h n h un h is on e of the a milia Co cl di g, t e , t at P c f H a rle uin i an d h h mm n n w a s the V q , t at t eir co o pare t ice of h old s the u s n s s h um t e Moralitie , q e tio ari e , to w at circ n he w s h m of his u an d w h his sta ce O e t e defor ity ﬁg re , y n s its n h is n so us ? o e , by le gt , re dered obtr ive a feature W e c an n n s h it s his n n t o ly a wer, t at plea ed i ve or, Silvio m k him so an d h s he in s m Fiorillo , to a e ; , per ap , did it o e w h o f n n him m u us an d degree it a view re deri g ore ridic lo , to disti n guish him m ore effectually from other characters of n ot dissimilar habits an d propen sitie s in the imp r omp tu m s h n the u u his co edie e ce too , probably, pec liar q ality of v w h h A n s n e k n h s u . O s oice , to ic ddi o all de tri i g c arac teristic of Pun ch is his am orou s i n clination ; an d it is gen erally suppo sed that i n dividuals w ith the person al h h he is m k u v n defect for w ic re ar able , are pec liarly gi e to the femi n i n e s an d the Italian proverb relati n g to the h f n n o s n s n ot u . Am n le gt o e , eed , if it co ld , be repeated o g

77 d n 1 1 . 7 8 . Travels , p , e itio T A good deal has been written on the etymology of the w ord Harlequin : it is very clear that the fan ciful derivation s ’ m F n F d u Charles uin t an d m fro ra cis the irst s ri ic le of Q , fro H a r - . de la uin t in n H n III F n M y q , the reig of e ry . of ra ce , are u n un d d. R dd u B n n fo e The ev . Mr . To q otes a letter of M . a li , “ dated 1 521 w hich affords clear eviden ce that the f ain ilia m H a rlequini w as even then a ntiqua m an d as early as the m Od u V A D 1 1 43 s m m ti e of eric s italis , . . , the a e fa ily is m n n d a milia H erlechini d u e tio e as the f . This ecisive a thority, m n u w s n w a ot n n . dd . fro its high a tiq ity , k o to Mr To W hether H a rle uinus H erlcchinus w n m an m q , or , ere really the a e of y fa ily, w was u n old F n a rlot or hether it a corr ptio of the re ch , a cheat , mu l an d s w l m n m d s u st stil , perhap i l ever, re ai a atter of i p te m n n d a o g the lear e . O IGIN O F P NC H I N ITALY R U .

’ Ric c ob ini s s is on e of Gian ur olo o f an d plate g g Calabria, he is repre se n ted wi th a much larger n ose than that o f “ Pulc in ellaﬁ I n the m of h k s s ms h v ti e S a e peare, it ee to a e bee n the custom for u surers o n the stage to wear large s n s s b ut h s w as n n hus to n fal e o e ; , per ap , it i te ded t i dicate that they were gen erally of the Jew i sh persuasion -I ’ A n in his u h ccordi g to Quadrio , Storia d og i Poe sia t e n am e of our here has relation to the len gth of his n o se he w u s l Pullic in ello m Pullic eno w h h o ld pel it fro , ic ’ ” D Israeli n s s u rk - k an s n Mr . tra late t ey coc , allu io to the k of h . t has Pu n us bea t at bird Baret i it lci ella, beca e h in n m n s hen - h k n w h s h t at word Italia ea a c ic e , o e cry t e —P ll v of un h is s s m . o ic en ello a s oice P c aid to re e ble , it “ has also n w n in its m m ollic e the bee ritte , ety ology fro p , ” hum s u n the m s k n sum n h his s z t b, goe po i ta e pre ptio t at i e w as s m n u k h of o ur E n sh h alway di i tive , li e t at gli wort y, of w - n m m The n h n c o swallowi g e ory . Fre c Po c he has been fan cifully derived from n o less a person age than n s of the old s s h m in u s Po tiu Pilate My terie , w o , barbaro m s the h s n s she to us an d ridic ule ti e , C ri tia wi d ab e i If nn s the s u n is v d n we ca ot ettle di p ted poi t, it very e i e t, that in futu re i n ge n uity an d learn ing will be thrown aw ay in attempti n g further el ucidation . A t what tim e an d in what coun try Pun ch became a m ere as as n m h n o puppet well a livi g perfor er, we ave s n n m n is to n e h s h di ti ct i for atio ; but it be i ferred , p r ap , t at the n sm n s k in the n of his h tra igratio ﬁr t too place la d birt , an d his u had n u s sh The after pop larity bee f lly e tabli ed . !

A n d w s m n w e n ﬁd in the s m n ith o e reaso , if co e tate e t of ” i l i u V n E n d A . oltaire his c y ope e rt . Bo c ” ’ ‘ n 2 1 J ew in D odsle s O ld Pla s 1 See ote to the of Malta , y y , n w d n 27 A 12 3 6 9 . . . 9 . e . 8 . e itio , vol , p lso vol , p ‘ I‘ Some have supposed that the E nglish n ame of P un ch w as u n a unch m the g u n in n a corr ptio of p , fro lar e prot bera ce fro t w w n d d ud d ith hich this perso age is provi e . This is all e to by “ ” Tom w n in m m n P w a d Bro , his Co o lace Book , here he is ’ “ n un n A n n A in et mo verti g to D to s the ia s . s for their skill y — d n n i n 3 . he . 3 . 28 logy, ( says vol , p , e it I shall i sta ce w iz sur lic m su er an d elico an d P unch u t o v . e , p , fro p p ; , q asi & a u n ch c . p , H w as u in F n an d an d in 172 1 e a p ppet ra ce at early ate ; , , B R F I N O IGIN O PUNCH ITALY . pleasure derived by the lower orders from his performan ce s m ight lead to the imitatio n o f his man n ers an d action s in in the s m a s w h s n h little : a e way, ill be ereafter ee , t at h m u s n n s o f our o w n s in t e o st appla ded repre e tatio tage , the n s E h an d J am s w s n m d reig of lizabet e , ere very oo a e “ n - s n e m an the subject s of m otio s or puppet play . O u hus n n u an d v h co ld t by a little i ge ity, at a ery c eap rate , s n h n or m h s a n d the d u re pre e t alf a doze ore c aracter , el sio n w as aided by the peculiar voice give n to Pu n ch by

m ' h h the a rtificial m ean s . E re lo n g he beca e t e ero of h n a n d h h rs su h a s u n an d ex ibitio ; ot er c aracte , c Harleq i m h d s k n i n ifi a n e The u s un n i s c c . Scara o c , by egree i to g s a s w a s the t s s in s m the la t , ell Doc or, is till pre erved o e of m n s in h un an d w e ssu h s perfor a ce t is co try, are a red by t o e w ho h n d h the n sh n ave rece tly travelle , t at Spa i Captai , the n w h hu n s an d s m h s of the Calabria it a ge o e , o e ot er s n s n um Ric c ob on i u in the per o age e erated by , yet fig re - n u sh s. I n l n u ten s a o Italia p ppet ow Hol a d, abo t year g , w e w s n o n e the m n s un h ere pre e t at of perfor a ce of P c , “ ” ” th usu To oueel ek s - b uf ( ere ally called g , tage fool or ” foo n ) in which a n umber of other characters peculiar to

' the un an d m n h m u m s an d a Fries co try, a o g t e a b rgo a ter * n s n w n u la d pea a t, ere i trod ced .

Le Sage w rote pieces to be represen ted by Pulcin ella an d his w n u ha d m oode coadj tors . Le Sage previo usly produced dra as the de F w n n d in 1 72 1 he for Theatre la oire , hich bei g sile ce , an d F n u his c o-la bora teur u d u n s d ra cisq e , , proc re p ppets i tea of

n a . P n d u d d u n an d in livi g ctors iro ri ic le their ll ess , , a piece ” d A u n u n n du d Pun u n an d calle rleq i De calio , i tro ce ch la ghi g, ’ a n w m u w n w it in a pp re tly ith so e j stice , at the a t of Le Sage s n n s represe tatio . In German y he is common ly kn ow n by the n ame of H a rms q rst am o n g the low er orders ; the literal tran slation of w hich o ur J Pudd n H a n ns n J n J an d Wurst is ack i g, bei g oh or ack , udd n u . H d P olischin el an d H ann a p i g or sa sage e is also calle , s Wurst u d n m an n d uf n , se as a ge eric ter for y ki of b foo . ( 1 9 )

PTE R CH A II.

ORIGIN A N D PR O GR E S S O F PUPPET - PLAY S N I EN GLAND .

B FO E w e h n ss c on E R proceed fart er, it will be ece ary to s the n u an d n u of u - s ider, briefly, a tiq ity at re p ppet play in h s unt is the m do so u t i co ry . It ore proper to , beca se they form a bran ch of our dram a w hich has n ever bee n e xamin ed by the hi storian s of o ur stage w ith a s m uch n s an d n s as h s Wh n i tere t i du try t e subject de erve s. e we m n n h n o s m an h n hn s n w a s f e tio t at les a t a Dr . Jo o o n n h s so s n n n O pi io , t at puppet were capable of repre e ti g eve the s of S haks eare h h m h m play p , t at Macbet ig t be perfor ed by them as well as by livin g actors it will b e evide n t from su h n h the n u is m un m an . c a fact o ly, t at i q iry far fro i port t I n n n n h h s n n an d n m of co ectio wit t i Opi io , co fir atory it, we m a h s n o f the n m of n r R w y add, t at a per o a e He y o e , sh the 1 7 9 7 u w n ortly before year , did act ally by oode u s series of a s o h u h the n O f the fig re , for a ye r , g t ro g actio w h of h d w h he h ms the ole t at trage y, ile i elf repeated - dialogue w hich bel o n gs to each of the characters It u - s n n in E n n d an d P ppet play are of very a cie t date gla ; , h w n ot n m w h o ur s s h if t ey ere co te porary it My terie , t ey mm m h is s n probably i ediately succeeded the . T ere rea o h n k h h w l s w h o ur s to t i t at t ey ere coeva , at lea t , it Moralitie ; an d in h m is n ot n su s n , Cat olic ti es , it a very viole t ppo itio

’ 1 1 1 . 30 n Shak s eare w . . See Malo e s p , by Bos ell , vol , p ‘ ‘ H w as d Y um n n n l e also calle the ork Tr peter , havi g bee bor “ ” d n in an d n l w n u . that city , havi g b o a battle blast at C llo e H w as n i n 1 72 6 an d r R n d e bor , afte the ebellio he retire to his n w u t fi l d w ative place ; here , for abo fty years , he g ace ith his i n i n str umen t the en tran ce of theJ udges t w ice a year to York . H was w n w n c ha1 a c te1 an d n m e a very ell k o for a lo 0g ti e before In 1 97 his d m 1 800 w as m u w . 7 eath , aster of a p ppet sho , he P PP T -PLAYS IN NGLAN U E E D . to con clude that the Prie sts themselve s m ade u se even of the m s of the n s an d s ha s h s i age Sai t Martyr , per p for t i very s is w s n n ot n h h n ot purpo e it ell a certai ed , o ly t at t ey did s u m the h h s h h s s cr ple to e ploy c urc e , but t at t o e acred edifice s w ere con sidered the fitte st place s for our earlie st * m n n dra atic repre se tatio s . ” Motion is the mo st gen eral term by which they are m n n our n n h s an d s our e tio ed by a cie t aut or , e pecially by “ ’ m s s : hu s Shaks eare in the W n s T A dra ati t t p , i ter ale ( ct 4 n 2 m k s A s sa : Th n he m ss , Sce e ) a e utolycu y e co pa ed a ’ motion of the on an d m nk s Prodigal S , arried a ti er wife ” w ithin a mile Of w here my lan d an d livin g lie s. It wo uld be ea sy to multiply quotatio n s to the same poin t from n early his n m s b ut on e is as a s h us n all co te porarie , good a t o a d . The n ature an d on e m ethod of their repre sen tatio n at that an d ss n m a s n the s period, doubtle lo g before , y be ee at clo e ’ o f B en n s n s h m w h m k Jo o Bart olo e Fair . He t ere a e s Lauthern Leatherhead con vert the story of H ere an d ’ ’ Lean der (the n very popular from Marlow s an d Chapman s ” n s n h h s of n m n or tra latio , or rat er parap ra e it), i to a otio p u ppet-play ; an d he combin e s w ith it the well -kn own n sh of D m n an d h s s n frie d ip a o Pyt ia , a tory lo g before

r m s . The xh s n n an d k n d a ati ed e ibitor, ta di g above wor i g ” the u es n s h m an d d s h ﬁg r , i terpret for t e , eliver t e b urle squ e dialogu e he suppo se s to pass between the h ’ “ ” s. In the s m s T of Tub A 5 c aracter a e Poet ale a , ( ct . ) ” I n - - an d in Medley presen ts a m otio n for the amuseme n t of the m n n n n h co pa y , co ecti g it wit the plot of the c omedy s f. he n s the s n es as he s s m it el Here explai ce proceed , o e h n i - t i g n the m ann er of the an cie n t D umb show s before the

u d d n w n ew n s an p blishe his e itio of Macbeth , ith ote d variou s m n d n . A his d w n n n e e atio s t ecease , the follo i g li es , ever yet rmted w w n u p , ere ritte pon him “ W n An w ud m n m he the great gel blo s the j g e t tru p , He also must give Harry Row e a thump n ot H n w w If , poor arry ever ill a ake , B ut n his ow n um m thi k it is tr pet , by istake . H w f w e ble it all his li e , ith greatest skill , A n d b ut w n had w n for a t of breath blo it still . S “ ’ ee n ew e d n D odsle s O ld P 1 the itio of y lays , vol . ,

. 43 cl se p , q . P PP T -PLAY S IN NG LAN D U E E . d ff n s an d Po rre x the i ere t act of Ferrex , Mi sfortunes of ‘ A hu an d h o ld tra edies b ut the u s r rt r, ot er g ﬁ p ppet a e n ot n as s k n m n h ms v B repre se ted pea i g a o g t e el e s. en Jon so n may always be relied 0 11 in m atters relatin g to the cu stom s an d m us m n s of our n s s as he w as a e e t a ce tor , a very m nu s rv of h m an d m his v n m a i te ob e er t e fro e ide ce , we y n h h st v s in the u i fer, t at t ere were , at lea , two arietie p ppet “ s of his m one w h the a s in h m play ti e , it dialogue , Bart olo ew ” an d the h w h u w h Fair ; ot er it o t it, but it a de scripti ve ” - a m n m n as in the T of T b ~ u . cco pa i e t, ale a l is n m m n ss s in our old It evide t, fro a y pa age writers “ ” h m h u n ss h m n s t at ig t be add ced if ece ary, t at otio were v ery popular with the lo w er orders they frequen tly a n d m the m s on the u s rivalled i itated perfor er reg lar tage s. n h s o n the s w h w h h h He ce , per ap , a p rtio of abu e it ic t ey mm n ss s m of o ur m s were co o ly a ailed by o e dra atic poet , w ho w ere of course an xiou s to brin g them a s m uch as ss n n m is s sh on the u h po ible i to co te pt . It e tabli ed, a t ority o f kk an d h m h s an d -w s De er, ot er pa p leteer play riter Of u the s m h the su s the n us abo t a e period, t at bj ect of villa o ” m otion s w ere often borrowed from the m ost succe ssful ’ “ ’ m n nm n haks ear u a s w a s. S e s us s dra atic e tertai e t p J li C e ar, m ma mmets n h m in u se for the n perfor ed by , (a ot er ter woode ” s n v s of h s as as the D k of u s repre e tati e eroe , ) well u e G i e , ’ “ a n am e that w a s perhap s give n to Marlo w s Massacre of s o r m a to e s n Pari ,i it y refer a tragedy by W b ter u der

These dumb - show s have been thought peculiar to our on fi d ut R m m d b . el er stage , the rst rise of trage y ; Bro e e ploys the same expedient of co n veyi n g i n formation on the progress “ ” s in u n an d n u n w w as n d in ofthe tory his Q ee Co c bi e , hich pri te 1 659 u n u n u . D ri g the progress of it , a s per at ral character , ” d n u a n w n m u in m calle a ge i s , expl i s hat is passi g, ch the sa e ” w “ w ay as the o n er of a m otion i n terpreted for his figures . 1 The man n er in w hich p uppet -show s w ere represen ted in n i 26 n d d d n . Spai , is very clearly escribe chap of the seco ” D on u P w d fi u a nd part of Q ixote . eter there orke the g res , ’ n d u n ot. n n . his boy i terprete , tho gh to the k ight s satisfactio in n n w as u m n b ut s d The fable that i sta ce p rely ro a tic , acre u w mm n s bjects ere at least as co o . H n w s as d 1 e slo e probably refer to this play , the trage y of ” ’ ” a in n s. the G yes , his paper See Malo e s Shakespeare , w 3 2 99 by Bos ell , vol . , p . . P PP T - PLAY S IN NGLAND U E E .

* h n n n ot suffi n s m n t at title . If i fere ce were cie t, te ti o y m ight be adduced to shew that the puppets w ere clothed a s n early a s po ssi ble like the actors at the regular theatre s in tho se plays w hich were thought fit subjects for the “ ” m n The m n u B en J n s n the otio s. i te fidelity of o o to ” m n n s o f his in n the hum s o f his a er day, depicti g our h s has him in s s n u the c aracter , led everal place to i trod ce n m of n of u -sh w s w ho w as a e a pri cipal proprietor p ppet o , kn n the o f n d m n n s him in ow by title Captai Po . He e tio ” his E Man c ut of his um u - a s a s in his very H o r, l well ” E m s m h h s s s h the pigra , 1 fro w ic la t it al o appear t at word ” m n h h m n s the s n n otio , w ic properly ea repre e tatio by u s w as s m m s the s m p ppet , o eti e applied to figure e ployed in the m n perfor a ce . ! The formidable rival ship of puppet-plays to the regular d m is s a she the h the ra a at a later date e t bli d by fact, t at ’ s of the h s in u L n an d n L n n proprietor t eatre Dr ry a e , ear i col s In n s m n h s h u Field , for erly petitio ed C arle II . t at a p ppet Sho w station ed on the pre sen t site o f Cecil Street in the n m h n ot a h o r m h Stra d, ig t be llowed to e x ibit, ig t be m s n a s its n ss re oved to a greater di ta ce , attractive e m n w h the s of h n n aterially i terfered it pro perity t eir co cer s. It is n ot un likely that b urle sque an d ridicule w ere som e tim e s aimed at the prod uctio n s of the regular stage by the “ ” h s m n ex ibitor of otio s. Th is u h the m s n n u -sh w s ere little do bt t at o t a cie t p ppet o , l k the s s in s s k n m O i e My terie , dealt torie ta e fro the ld an d N e w T s m n or m the s an d n s o f S n e ta e t, fro live lege d ai ts . T w ds the en d o f the n of E a h a s w e h s n o ar reig liz bet , ave ee , h i storical an d other fable s began to be treated by the m b ut s s u su s mm n h an d till cript ral bj ect were co o ly e x ibited ,

’ “ d n W W u See the De icatio to ebster s hite Devil , as q o ’ ” n in n ew d n D odsle s O ld Pla s vol 6 20 , . 7 . ote 1 the e itio of y y , , “ N him a n Pod an d m n ay rather let be C ptai , this his otio , ” d n n b ut w him A 4 n for he oes othi g she . ( ct , sce e ’ j The title of the Epigram is O n the n ew m otion ’ ou n d m n ? n ot old fa -d n See y yo otio the i g, N n Pod n or E m n or Captai , yet the ltha thi g, u S eed in Tw o n m n V n Th s also p , the Ge tle e of ero a , ex m 0 n moti clai s , excelle t on ! 0 exceedin g p upp et n ow w ill ” i n te r r et . A 2 n he p to her ( ct , sce e

- A I D PUPPET PL YS N ENGLAN . taste o r propriety the w ire s that commun icated the m otion the to of h h a s an d the m n n to them appeared at p t eir e d , a er in w hich they were m ade to move e vi n ced the ign oran ce n s The u s m an d in atten tio n of the ma ager . dialog e were ere f u s an d n n s n s n m w h low jumble s o ab s rditie o e e , i ter ix ed it s u s s ss n w n un h an d the d i mm oral di co r e , pa i g bet ee P c fid ler, for the orche stra rarely admitted of more than on e m in strel an d the se flashe s of merrimen t were m ade offen sive to ” decen cy by the actio n s of the puppet . s the h n m a h s n From whatever cau e c a ge y ave ari e , r n is h s n in the n xh n s ce tai it , t at, at pre e t, ordi ary e ibitio ” u n h an d u the h s of d um m n of P c J dy, breac e ecor co plai ed h w s r o u an d s . o f by Mr . Str tt are rare lig t He after ard p s I n the s n the u -sh c eeds as follow pre e t day, p ppet ow s u the s s wh n the h w man travel abo t treet , e weat er ill m t an d s the m n s w h the h s per i , carrie otio , it t eatre it elf, his k The xh n k s in the n upo n bac . e ibitio ta e place ope an d the s n m of the m s n n air, precariou i co e i erable iti era t depen d s e n tirely on the vol un tary con tribution of the s s h h as a s o n e ma m the s pectator , w ic , far y judge fro qualid ” k i n n he u su m s s . appeara ce ally a e , very trifli g We have n ever see n le ss than two m en con cern ed in the se amb ulatory e xhibition s : on e to carry the theatre ’ and use un h s tin w h s an d the h the P c i tle, ot er to bear b ox of p uppets an d blow the tru mpet . D uri n g the pe r forman c e the mo n ey is collected from the by stan ders the “ ” squalid appearan ce of the proprietors is part o f their

us n ss an d m n h . t h the b i e , , far fro agreei g wit Mr Strut t at ’ ” n n s n h s n fo r co tributio are very triﬂi g, we ave ee , we h k n the n s s n o r h an d ave ta e pai to a certai it, two t ree four shilli ngs Obtai n ed at each repetition ; so that suppo si n g ’ n ten m n s k in sum m s the o ly perfor a ce ta e place a er day, rew ard to the tw o m en on an average might be about

n sh n s h. O n on e s n m m ﬁftee illi g eac occa io , we re e ber to h s n h ff n s s S x n s s ave ee t ree di ere t pectator give i pe ce , be ide the halfpen ce el sewhere con tributed : on which the col n k the h an d w h s th xh lector we t bac to t eatre i pered e e ibitor,

f Pa e 1 52 d 1 10 e d n w . 8 . W g , e it are gla to see that a e o editton o f this learned an d en tertain i n g w ork is abo ut to be i n d in n n n v m un d r H 8 o . n pr te a co ve ie t for , er the ca e of Mr . o e . P PP E T-PLAY S IN N GLAND U E . w ho imm ediat ely made P un ch thus addre ss the crowd L s a nd n m n n sevc n en adie Ge tle e , I ever yet played for p c e ” d n s m n n h nn an v o . h alfpe y, I e er will good or i g He t en “ ” stru ck his te n t an d departed ; pocketin g n early two sh n s an d x us n h ms m n h u h h illi g , e c i g i elf fro goi g t ro g t e m n n n h the n u n perfor a ce, u der prete ce t at all co trib tio s had v n m n s v n n h nn recei ed o ly a ou ted e e pe ce alfpe y. ( 9 6 )

III CH APTE R .

D ARRIVAL O F PUNCH IN ENGLAN .

m n W E n ow com e to a poin t of great n ation al i porta ce ’ E n h n un h m his debu t or st n , in w e P c ade , ﬁr appeara ce g n n su on the la d . Great e ve ts are u ally recorded page of h s b ut h s is o ne h s m s n has i tory, t i , t at, by o e tra ge fatality, s n an d a the s of m h n e caped all otice ; , fter lap e ore t a a n u h n u o n x m n n ce t ry, we ave bee called p to e a i e forgotte

s an d n sh n m n . The u record , to fur i detailed i for atio doc m n s in the Off the R s in the T e t State Paper ice , ecord ower, the R s of m n an d the . in the sh oll Parlia e t, MS S Briti us m an d in the L s of the U n v s s M eu , ibrarie i er itie , we are s s h su us h n o n n orry to ob erve , ave pplied wit i tellige ce n n h Mrs u or an h m m regardi g Mr. Pu c , . J dy, y ot er e ber of his m W e h s n n h h fa ily . ave al o patie tly go e t roug ’ ’ E v n s an d Pe s s s w h m n h ks o f ely py Diarie , it a y ot er wor the s m k n in n an d out of n h u h h a e i d, pri t pri t ; but t o g t ey w on the of L n n the n s of d ell Fire o do , Plague, declaratio s of the n of m ss s an d war, treatie peace , receptio a ba ador , th h s triﬂes of h s th s n o er i torical t at ort, ey are ile t regard in th n g e arrival of thi s illu striou s forei g er . him f r . k an d m n s o Dr Dra e , ( a great a y writer before , he s m n h n n n v ha s eldo ru s t e risk of adva ci g a o elty,) “ called the reign of Queen A n n e the Augu stan A ge o f ” ” L u in E n n Its m h s u dis iterat re gla d . clai to t i pro d n n ha s n d s u an d n m s of ti ctio bee i p ted , certai ad irer Old pro se an d poetry have set up the reign of E liz abeth in

s n . th u h n on n ostr um ta n ta s c om oppo itio to it Now, al o g onere lites c an s sh h the p , if we clearly e tabli , t at puppet

“ ” “ his E ss u See ays ill strative of the Tatler , Spectator, ” an d u d 1 2 n 3 . G ar ia , vol . , p . A RI VAL O F P NCH I N NG LAN D R U E .

“ show of Punc h an d J udy w a s well known an d much m d h ad ire , w ile

’ O ur graciou s An n e w as Q uee n of Britai n s I sle

he h h s un h an d if reac ed t i co try a little before t at period, the n h n n m n he ff so w if reﬁ ed t eatrical e tertai e t o ered, ell su h h sh a n d n h n n n ited to a ig ly poli ed e lig te ed atio , were h n ul w e h nk n the s n a n d t e pop ar, it will, t i , tur cale at o ce, * h s n for settle t e que tio ever. “ ﬁn d u n m n n of him in the T an d We freq e t e tio atler, “ ” n the ss A s n s n ot s u in the eve cla ical ddi o doe cr ple , ” n u sm u n on o f Spectator, to i troduce a reg lar critici po e ” th e m n s un h. A s the T w a s u sh perfor a ce of P c atler, p bli ed

-~ in n of w i n n earlier poi t date , l we ll , begi by referri g to

W e have already seen that Nash m entio n s Harlequin 1 600 b ut w e w d him before the year ; after ar s lose sight of , by n m u n u d n n that a e , for three q arters of a ce t ry . Dry e otices him an d R n s i n 1 67 7 du d him u n ; ave croft , , repro ce po the stage , “ in d m u P H u n a piece calle Scara o ch a hilosopher , arleq i a “ - d n n an . H School boy, Bravo , Mercha t Magicia e calls it a comedy after the Italian man n er ; an d i n the prologue he ’ ” u d Foin ' b eries de n w professes to have se Moliere s Scapi , hich he m n ot n w d d had n ot O w n us ight have ack o le ge , t ay bee j t before n d w him w n had d . H R n ha ith o ever, ave scroft the goo se se to d tw o t n F n w O w a opt the bes sce es of the re ch play, hich t ay m d an d w h1m lf 1 w d m d se e . o itte , hich Moliere bor o e fro Berg erac ’ Raven sc roft s n ud n ot n H u n b ut the play i cl es o ly the arleq i , m u an d n I n im Doctor, the Scara o ch , the Captai of the talia ” f r n rom tu m d . d S itz a e ro a d p p co e y The latter is calle p , is “ d s d as w d n an an d hold m e cribe a co ar , ig or t , of the sa e species n m M oor -k-ller in w as the Captai Mata oros , (or ,) hich Silvio F n n Pu n w as m u as w iorillo , the i ve tor of lci ella , so fa o s al ays to n n w as u u n pass by that title . The Spa ish Captai bro ght po the stage w hile the Span iards had possession of Naples in the en d 1 5 an d nn n l 6th n u b ut of the th begi i g of the ce t ries ; , as he w as n n d d d u n n u n d i te e to ri ic le that atio , of co rse he origi ate in s m A 1 677 w e n o d n o e other part of Italy . fter have isti ct n H u n m En n d un 1 7 19 w n m - otice of arleq i gla , til , he a ock opera “ ’ ’ d H u n H das es w as d n n Inn calle arleq i y p , acte at Li col s “ ” F d 1 11 A u un iel s Theatre . Cibber, his pology , gives a f ll acco t use R su s u n m d him i n n of the ich b eq e tly a e of , oppositio to the u d m reg lar ra a . ! fi n um d d A 1 2 1 709 firs n um The rst ber is ate pril , the ” - is da d 1 17 1 0 1 1 . ber of the Spectator te March , I D ARRIVAL O F PUNCH N ENGLAN . the n otices of the sam e n otorious an d amu si n g actor by R h hn s n w a s on e the r Sir ic ard Steele . Dr . Jo o of fi st, no the s b reac h the n n h his a e had if t very fir t, to otio t at g ’ become to o wi se for the periodical s o f Q ueen An n e s m as su s n the so h w as n h n ti e if ppo i g fact to be , t ere ot i g el se to be gai n ed from the l uc ubration s o f the w ittie st a n d m n f h h u -of- n n s e o o t . able t t at day, but t eir date lear i g The ff has n w h the o n of n o sm l e ect bee , it co peratio al sh of s - n in the s n n n to th w are elf co ceit pre e t ge eratio , ro the be st of our e ssayi sts far i n to the shade ; an d the ” “ ” “ ” T u n an d n ow n s atler, G ardia , Spectator, are co idered ks for the at h h h w w n wor very well period w ic t ey ere ritte , “ ” but far behi n d the rapid march of intellect durin g the s r h s a n w e sh n la t forty o fifty years. O n t i ccou t all ot n n s s w h n s us co te t our elve it bare refere ce , beca e we are aw h m n of h s w ho our s n ot are , t at a y t o e read page will have the con temn ed production s we have n amed within h h t eir reac . The xh of un h imm z great e ibitor P c ortali ed , we will sa n w hs n n the s s m ~ n h h y, by Steele , ot it ta di g di e tee i to w ic h h u w ha s n is . an d in t at delig tf l riter falle , Mr Powell ; ” N o . 44 of the T s k s ff E s . m n s atler, I aac Bic er ta , q , co plai h he had n us un h in u s s t at bee ab ed by P c a Prolog e , uppo ed s k n him v his m s to be po e by , but really deli ered by a ter, “ ” “ w ho s h n w k the s an d h tood be i d, or ed wire , , by a t read ’ ” in on e of n h s h s v him he n Pu c c op , ga e to t ap peara ce o f

nun a n . Th s x s n s m n n smu e ci tio e e e pres io are i porta t, i a ch as they shew a m ethod of performan ce an d a degree of n in the m h n n ot n o wkn n A i tricacy ac i ery ow . t pre sen t he t puppets are played o n ly by putti n g the han d un der the ss an d m k n th m d n dre , a i g e i dle fi ger an d thumb serve for the ms h the -fin er o ks h Th ar , w ile fore g w r t e head . e opening an d shuttin g of the mouth is a refin em en t which doe s n ot seem to be practi sed in Italy ; an d it w ill b e seen by a quotatio n we shall m ake pre sen tly from an other ’ “ ” n m k h w s u s n co te porary wor , t at Po ell p ppet were j oi ted . “ ” N o . 50 of the T n n s atler, co tai a real or suppo sed letter m the sh m n h m s h n s s n u n his h fro ow a i elf at Bat , i i ti g po rig t of n v his ow n s an d n n kn co trol o er puppet , de yi g all ow

’ See hn . J s n Add n Dr o o s Life of iso . A IVAL O F P NCH IN NGLAND RR U E .

“ ledge of the origin al of p uppet-show s ; an d the se veral change s an d re volution s that have happe n ed in them ” s n Th s s. A su s u n n m 1 1 5 is u s i ce e pi b eq e t u ber ( ) curio , a s it shews that such w a s the rival ship of Pun ch in poin t of v n ss u w h the s h th attracti e e , partic larly it ladie , t at e Opera an d the celebrated sin ger Nicolin i were almo st ic olin i de serted in his favour. N an d the Opera were u as ﬁn d m h s s tlie s k n s ridic led, we fro ot er ource , by quea i g of i w n s u the u s an d w ho had n a p g, ell i tr cted for p rpo e , bee m h ” s u h to n . t e T w e n h al o ta g t da ce Fro atler lear , t at h n as n ow un h n he is so s n and t e , , P c i ello (for de ig ated “ ” n had s n an d h he w as n dig iﬁed) a coldi g wife , t at atte ded, s b n m of s an d n s beside , y a u ber courtier oble . ’ P s sh w w as set u in o n n s to owell o p C ve t Garde , oppo ite ’ “ ” hu h an d the n u s . n s St . Pa l C rc ; Spectator (No co tai the s x n w ho o m n h the m letter of the e to , c plai ed t at perfor an c es of n h h nn the n n in the h h Pu c t i ed co gregatio c urc , an d h as xh durm the m of s t at, Powell e ibited g ti e prayer , the n o f the hell w as k n w ho h tolli g ta e , by all eard it , for n f n n mm n m en of he xh otice o the i te ded co e ce t t e ibition . The of the h n s in an h s writer paper t e proceed , ot er epi tle, to e stablish that the puppet -sho w w as m uch superior to “ ” the of n o an d A m s n the opera Ri ald r ida, repre e ted at m k an d s h to o mu h n u m n Hay ar et, to ob erve t at c e co rage e t ’ ”

n n to . P s sk in oti s A could ot be give Mr owell ill m on . u is n w n the tw o h h n ds reg lar parallel draw bet ee , w ic e mo st decidedly in favour of Pow ell in e very re spect but h n m - t e i ferior poin t of the oral . l B ut the m o st c uriou s an d particular i n formation re n w a n d his m n is n n in a gardi g Po ell perfor a ce , co tai ed sm w k u sh in L n n in 1 7 1 5 ss n to all or p bli ed o do , profe i g give an accoun t o f his life it is e ntitled A Seco n d Tale of Tub o r the s of R the t a ; Hi tory obert Powell, Puppe

‘ A u d w ho had d de ttrib te to Steele , the goo taste to be d w Mr Pun lighte ith . ch . “ Penkethman an an d d n m n 1 , actor, the hea of a strolli g co pa y , n d low um u in n An n ms ofte praise for his h o r, the reig of e , see also at on e time to have been master of a p u ppet - show of some kin d ; b ut as so remarkable a person age as P un ch is n ot men tioned u d w as n ﬁn d an n , it is s ppose that it co e to exhibitio of ” n d in N 3 1 S ecta tor. n d as . the heathe go s , otice o of the p I ARRIVAL O F PUNCH N ENGLAND .

m n b ut is in s 0 11 show a ; it , fact, a political atire Sir R l w h s an d m n s n n obert Wa pole , to o e life ad i i tratio early is all the adve nt ure s are made applicable . It preceded - in w h h h b m n s in by a copper plate, ic t at cele rated i i ter, a u ss is s n a s the m s an d n co rt dre , repre e ted a ter i terpreter -Sh w : he s n s w w h s k n o f a p uppet o ta d belo , it a tic to poi t h f n h s h n is the s h to t e di fere t c aracter ; be i d tage, lig ted w h o - m s 0 11 w h h s n m an d m u it fo t la p , ic ta d a ale fe ale p ppet, the m h n n uff a n d ale avi g a very lofty co ical cap , a large r , n s b e u n h b ut w h u the n n s h h a co idera l pa c , ( it o t lo g o e w ic disti n gui she s Pun ch) an d the female in a very plai n dre ss w h n n The i n u s it a falli g ba d . Ded catio partic larly refer the x m u w his h n s to e tre e pop larity of Po ell , to ex ibitio at h an d in n n an d h n s hus Bat , Cove t Garde , t e proceed t w ul n h s un ou how It o d be trifli g, after t i , to reco t to y has m w h u n n Mr . Powell elted a ole a die ce i to pity an d s h n he has m the s Children in the tear , w e ade poor tarved Wood m s in an d R n u h m i erably depart peace , a obi b ry t e . It w ould be tedio us to en um erate how Ofte n he ha s m ade P un h the s n of the s s u n n c diver io all pectator , by p tti g i to his m u h m n u s an d flat n n s the o t a y b ll co tradictio , to dear o f u w n h j oy all tr e Teague s. Or to hat e d s ould I attempt to de scribe how heroically he make s King B la dud perform ” the of sh n part a Briti Pri ce . 1 11 the of the k n h u h the su body wor , after goi g t ro g p s a n u s of w he u s him s po ed dve t re Po ell , red ce at la t to a u -sh w m n an d hus n n u s p ppet o a , t co ti e : Now w a s he (Pow ell) re solved to ge t actors that sh u m an d s k a s he se The s he h o ld ove pea plea d . fir t ired w as o n e Pu nc h m s n n n s , a co ical , tari g, gapi g, oi y fellow . P un ch w a s soo n atte n ded by a w hole trai n of dim i n utive s of h iz s x s v . n k n s u n s n actor , bot e e , , j oi ted i g , q ee , waiti g m s n s s n m n n s um s aid , virgi , babie , oble e , baboo , t bler , d m n -d n s s n s u s s al er e , rope a cer , gee e, cou try q ire , rat ,lord ‘ m s m n s s n n s s n u s s ayor , foot e , ow , I dia , cat , co j ror , owl , s s z n h s n - s s an d s of prie t , bra e ead , robi redbrea t , elder , all h h w s s s n o w ic ere a si ted by a wi e i terpreter ; s Mr . Powell had u k u s e In h h w a m h q ic ly a f ll tag . s ort e s ig tily fre uen ted s s of u an d un h w h his n q by all ort q ality, P c it ga g s n k the s s an d n the oo bro e troller , e joyed city of Bath by h m s s. M n m n in u h t e elve o ey co i g apace , Mr. Powell bo g t

ARRIVAL O F PUNCH I N ENGLAND .

O v the u n is in n bser e , a die ce pai i id h n the s n While Pun ch s h be i d ce e, h his us B ut w he n t ey hear r ty voice , With what impatien ce they rejoice A n d the n they value n ot tw o straws H ow Solomon decide s the cau se ; h u m h - h h n r W hich t e tr e ot er, w ic prete de , f E n N or li ste n to the w itch o dor . h us u s w h the D h n him S ould Fa t , it evil be i d , n he s h n m n him E ter t tage , t ey ever i d If Pun c h s h n sh s , to tir t eir fa cy, ew his m n s s n s I n at the door o trou o e , T n s k n he n sudde draw it bac agai , ’ O h I what a plea sure m ix d w ith pai n Y o n every m om en t think an age Till he appears upon the stage A n d ﬁrst himself you see him clap ’ U pon the Q ueen o f Sheba s lap. The Duke of Lorrain e dre w his sword ’ P n h n ran an d n n n roar d u c roari g , ru i g , R s in his n evile all people jargo , A n d sell s -the Kin g of Spain a bargain h ms he s the w a on St . George i elf play g , A n d moun ts a stride upon the dragon s h s n hum s an d k ks He get a t ou a d t p ic , Yet cann ot leave his rogui sh tricks In e ver ac tion h s s his n s y t ru t o e , n The reason w hy o mortal kn o w s. ’ There s n ot a pup pet made o f w ood B ut w h u h n him h at wo ld a g , if t ey could ’ ' h z n he s teaz d W ile , tea i g all, by all , ’ H o w well are the spectators pleas d ; W ho in the motion h n o sh ave are , But p urely com e to hear an d stare ; ’ Have n o con cern for Sabra s sake h h s the s n sn k W ic get better, ai t or a e , ’ un h h s the s Provided P c , for t ere j e t , ’ Be so un dly m an l d an d plague the

u u d w for w ﬁn d h If the c rio s rea er ishes it , he ill a istory of ” i m in n um h n n th s poe the eighth ber of t e I tellige cer . A I O F P IN GL RR VAL UNCH EN AND .

* h n m n un D . us us h How P c , Ki g Solo o , r Fa t , t e Q ueen of h the uk o f n . an d th S eba, D e Lorrai e , St George, e rest " of the h s w u h h h c aracter , ere bro g t toget er, we ave n o “ ” preci se kn ow ledge b u t tim e an d space were eviden tly “ ” n h d m k s e a h n c t tors . a i ilate , to a e p appy No wo n der that su h xh n s h n n the h s an d k c e ibitio t i ed t eatre , ept the churche s m e pty . Although o ur i n formation m ay be con sidered complete ’ , as to the high favor in w hich P un ch was then held by the m u u s an d sh m n ltit de , we are till , all probably re ai , withou t an y positi ve i n telligen ce regardin g the exact date when he in E n n . h nk n h ss h arrived gla d We t i , evert ele , t at we m a n m the m s s h s y co clude fro all pre i e wit tolerable afety, h he an d n m m in h an d h t at Ki g Willia ca e toget er, t at the R evol ution is to be looked upon as the era of the in troduc n the s us m of un h an d o f tio of illu trio Fa ily P c , the “ ” - u u s of O n n i h glorio s Ho e ra ge . l Certai it s t at the D utch were extremely celebrated for their skill in m echan ics ; ” an d the u h the n T of Tub 1 7 1 5 a t or of Seco d ale a , , “ s n ss in the D n h the u h bear wit e , edicatio , t at D tc were ” the m s n n in the u - h w o t e xpert atio world for p ppet s o s. Th the ss an d n of n h in 1 7 3 1 at dre appeara ce Pu c , , were as n as ss k h h n ow s n early po ible li e w at t ey are , will be ee he n u n m l t s vo . 6 f by followi g pop lar o g, e xtracted fro o

n u m ddu d w h Ma y a thorities ight be a ce to she t at Dr . F us u n m m m u m n a t s ofte for ed a e ber of the p ppet co pa y . See ’ ” ’ n d u u 30 . P 3 . 7 P P ope s D cia , vol . , l C itt s rolog e to the ’ A H An w an E m R obm Strollers . ill s s er to pistle fro Mrs . ” s n & A d n u n d o c . , ccor i g to the a thor of the Seco Tale of a ’ “ Tub on e P w s w w as d F u u an d , of o ell s ho s calle Doctor a st s un d du d und s m in Mo tfor , the actor, pro ce a farce er the a e title 1 69 7 . ’ ‘ ' in n 4 w H . . l There is , ho ever, a passage Grai ger s Biog . ist vol , 350 w n n ot m n , hich , if take literally, as perhaps it is ea t to be , w o uld shew that Pun ch w a s kn ow n in E nglan d before the ah dic ation J m H n n u of a es II . e is speaki g of a otorio s Merry An d w n m P w ho w as m m re , of the a e of hillips , , he says , so e ti e ﬁdd u - w in w i d m n ler to a p ppet sho , h ch capacity he hel a y a d u w P unch in m u m n as did ialog e ith , ch the sa e strai he after m n w d w m un n s o . ar s ith the o teba k Doctor, his a ter , the stage Z n n u du d had n s dl ad This a y bei g reg larly e cate , co fe se y the ” n f n va tage o his brethre . ARRIVAL O F PUNCH IN ENGLAND .

“ n n in h . In The Mu sical Miscella y, pri ted t at year s u n an d h s w a s other respects it is a c urio u prod ctio , , per ap ,

n h h ms in o n e of his n n m n s. It sun g by Pu c i elf, e tertai e t is i n serted under the title of

PU NCHINE LLO .

’ T s so am rade awry, I A s well as some folks that are greater But by the peace we at pre se nt enjoy h We hope to be richer an d straig ter . mus s Bribery t be laid a ide , ’ To somebody s m ortiﬁc ation h is u oh him He t at g ilty , , let be tried , ’ A n d expos d for a rogue to the n ation . I ’m that little fellow ’ C ll d un h n a P c i ello, Much beauty I carry about m e ’ I m an d witty pretty, A n d come to delight ye m r h u m e Y ou can n ot be er y w it o t . is k su - My cap li e a gar loaf, A n d roun d my collar I wear a ruff ; ’ an d sh ou m sh in uff I d strip ew y y ape b ,

B ut fear the ladie s would ﬂo ut m e. s n k an d s s My ri i g bac di torted brea t, ’ ’ h n sh em m s W e e er I ew , beco e a je t ; A n d in am on e of the s , all all, I be t, d So n obody n eed o ubt m e . E SO ) w as m n s s s I a o trou lave , ’ A n d waited at Xan thus s table he was s m kn e Yet alway a co ical av , A n d n x n a e celle t dab at a fable .

“ In 1 735 w as u s d th d d n H u n , p bli he e thir e itio of arleq i ” H orac e orthe A d n P d d d d , rt of Mo er oetry , e icate to the celebrate . John R1c h ; one object of w hich is to shew that Pan tomime had dr1ven m A n n s H poetr fro the stage . fro tispiece represe t ar ) le um an d yun un n ff A w ho g ch iti g their e orts to expel pollo , , W 1th h1 s m n exit m Pun c h n lyre , is aki g his fro the theatre , givi g od n d Pun c h n the g a parti g kick . The ress of is very early the m n w n n c l w sa e as at prese t , ith the exceptio of the co i a hat , hich

. r m i has a so t of bri to t. I O F H IN G D ARR VAL PUNC EN LAN .

So when I pre sume to show sh am s s h n h My ape , I ju t uc a ot er ; m s ks an d h m kn By y weet loo good u our, I ow, You mus k me him or his h t ta e for brot er . The fair an d the comely h nk m e h m May t i but o ely, Becau se I am tawn ey an d crooked ; B ut he that by n ature I s and s h taller traig ter, h n v kh May appe to pro e a bloc ead .

s am u as s But I , fair ladie , f ll wi e , A s he h k s u s h s t at tic le yo r ear wit lie , A n d thin k he please s your charming eye s With a rat-tail w ig an d a cockade m n the h n v h I ea bully t at e er foug t, r ss s h ms in s Yet d e e i elf a carlet coat, W h mm ss n —not h e it out a co i io wort a gr at,

But struts with an empty pocket .

s v s m k h n h has n ot s n It de er e re ar , t at Pu c alway bee a mere puppet in the Briti sh e mpire ; for in the B iographia ” “ Dra matic a there is an e n try of a farce called Pun chturn ed ” h m s h h h v n ot n n an d Sc ool a ter, w ic we a e bee able to obtai , n n k the n u or n u therefore ca ot spea of at re co d ct of it . The of its s n n is n ot s n u date repre e tatio a certai ed, but a prolog e h n an d n in 1 7 2 w a n 4 . h for it s writte by S erida , pri ted T e f z u in 1 8 2 5 in the h m n o . perfor a ce s M Ma rier , S ipwreck ” n or the n s so w of Pulci ella, Neapolita Nuptial , are ell m m h is n ss m h n re e bered, t at it eedle to do ore t a allude to h m t e . CH APTE R IV.

’ NATURE or PUNCH S PERFORMANCE S .

W HAT w as the dialogue of an y of the piece s in which u n n m s n t his nv n n P lci ella origi ally perfor ed, oo af er i e tio , h cann ot n o w be distin ctly ascertain ed . We ave already see n that they were called c ommedie d soggetto an d ’ ommedi a ll im r oviso or im r om tu an d ex tem or e c e p , p p p m i s the a nd n m n of h h w s co ed e , plot arra ge e t w ic ere ﬁr t mm n the s w ho w ds u the co u icated to actor , after ar ﬁlled p u n h o w n n n s as h dialog e accordi g to t eir otio , t eir wit or * m h s h m The s h m s or as the n n n . i ve tio ig t erve t e c e e , , n s h m c a neoas an d sc ena r ie of m s of Italia call t e , , so e piece h d s n n in the 1 6th n u t i s e criptio were pri ted early ce t ry, by Flamin eo an d h s in 1 66 1 b ut n ot Scala , ot er , appeared , a syllable o f w hat passed between an y of the characters is n m h n m u s n there S upplied . He ce al ost everyt i g t depe d u n n u b ut the n is h po co ject re ; probability certai ly , t at s of h s ss us m m actor t i cla , acc to ed repeatedly to perfor h u n m un s n n toget er , wo ld, ere lo g, co e to a perfect der ta di g

‘ w h h h an d the n u n s hu s u it eac ot er, i terloc tio t acq ire a n m n n un s m h n k certai degree of per a e ce , til o e c a ge too - in he m n ~ A ff n s the s m place t co pa y . l t di ere t place a e

The Reader w ho w ishes for further kn ow ledge upon this ’ ’ u m a n ul D I sraeli s u s e u s bject , y either co s t C rio ities of Lit rat re , 3 25 u m w d d . s vol , , or the a thoritie fro hich he erive his state ’ ’ “ m n Gimma s n e ts , Italia Letterata , Sig orelli s Storia Critica ” de &c . and Ri n i c c ob o . Teatri , , 1' Ruzzan te w as a very famous comedian in the open in g of l 6th n u an d n d u m d an d d u s the ce t ry , pri te vario s co e ies ialog e , w hich he set dow n from his ow n i nven tion an d from the m ouths of the extempore performers (of w hom he w a s on e) as the la nguage became habitual : he is mentio n ed as the first. w ho ut d ff r n n d n m p i e e t Italia ialects i to the m o uths of his perfor ers . ’ PU N O H s M S NATURE OF PERFOR ANCE .

u s n d an d u s th plot wo ld be repre e te , , Of co r e, e same u sufﬁ n as as dialog e would be cie t, far it would be re “ m m . N O u the m s n s s e bered do bt, dra a co i ted of gro ss ” uff n s b us the s u b oo erie , eca e actor were b f o ne b ut there w as room for the di splay Of ready talen t ; an d if a few of the s had n t u n d sh u piece bee lef po recor , we o ld most likely have foun d that they had som ethin g el se to reco mmen d h m s s the s n ss O f h k s i t e be ide coar e e t eir jo e , delivered n * the O f u h o f the h dialect Italy pec liar to eac c aracters.

” Il a An d m n d V n in 1557 l Trav glia , by rea Cal o , pri te at e ice , a so di vurie lin ue a dorn a tu Ric c ob n i n m professes to be g . o i for s us m u H u n an d w O ff that Scara o che , arleq i , other characters , thre vin c ialism on s n an d tous dec la ment es vers e their pro occa io , d n bon R oma in . “ w n n N n Pu The actors , hether represe ti g the eapolita lci ” ” n n Gian ur olo n ella , the Calabria g g , or the Mila ese ” m d d O f un Beltra e , preserve the ialect their respective co tries . The Span ish Captain spoke a lan guage compoun ded O f Italian d m d n an d n . O Pu an d Spa ish f the ialect e ploye by ch , by the un of A c erra w m w a s in su d co try people , (of ho he orig ally ppose on e w e m n in - m d d to be ,) have a speci e a three act co e y, calle ” Pun c in ella ﬁnto w w as d R m du n Dottore , hich acte at o e ri g the 1 2 n O f 7 8 . A w i ufﬁ lan Car ival very short extract ll s ce , as the u m m n n FLA MIN E O g age is so eti es scarcely i telligible to a ative . , un lever n d u n u d n a yo g , is e eavo ri g to pers a e his serva t , P L I L um d an d n U C NEL A , to ass e the ress appeara ce of DOCTOR F in d m u n ARFALLONE , his rival , or er to i pose po the father of d the la y . ’ n n di l an im o di d u FL M . E o a A possibile , che ti ire q este quattro parole ? P L N dira io n u n n mio ma se tu stru ei do U . e gg ci q a ta , be e , pp d u s isc r o . FL M E m d A . co e irai

P L Dira io c a n n u d n z orarm e. U . gg so go ve to alla Cierra per F M E m ? LA . ti chia i

’ lla L Purc n . PU . e e m n rd d u . FLAM. O sto ito ! e ec c O atterrata t tta la achi a P L E U . peche F M E tu du d sei il n u da LA . perche hai ire che Dottore, ve to n m F n Bolog a , e ti chia i arfallo e . P E n n li rin e a a es mio L . o b uo o o U ca g g lo p j , e poi chillo ’ n m de Farfan ton e n on c a io n n n ea n o n o e gg ge io e te , fete ta tillo di &c . galera, ’ NATURE OF PUNCH S PERFORMANCES .

Neither in E n glan d have w e the mean s of kn owin g h s n the n u of the xh n s of wit preci io , at re earlier e ibitio m th s s n h n m e . Pu c a d his erry fa ily . How torie Of Mr m n as as s to the u Powell were co pou ded, far relate dialog e, us m n m s the s of his n m t re ai a y tery, writer day ever n s m the en terin g in to this i n tere sti g poin t . It appear fro ” h un the t z z in n Spectator ( NO . t at der lit le Pia a, Cove t ’ “ n w e s h n m n u h Garde , Mr . Po ll ero da ced a i et wit a well s n i h h n the n T di cipli ed p g ; w ic , accordi g to Seco d ale Of ” Tub had n u h s u the a , bee ta g t al o to ridic le celebrated n s n s n n an d n and in the s m Italia i ger , Vale ti i Nicoli i ; a e h h hi l Sh n the E s e . ow, Ki g Harry (probably ig t ) laid g ’ s a m n n W e u pon the Q ueen s lap in too ludicrou a er . k n on h s u h as as m f li ewise lear t i a t ority, well fro Swi t, h h m n h ss ss the s m n m n t at, at t at ti e , Pu c po e ed a e a i ati g v h h h n h in our s s s h s the oice w ic , w e eard treet , till lig t up s h n n n eye of t e ri si g ge eratio . The an d the n T e of T m a Spectator, Seco d al a ub , y h h v h h n n furt er be broug t forward, to pro e t at W itti gto ”* an d his w as n e of the s c h s n Cat o ubj ects o e by Mr .

Powell for the display of his talen ts. We take it for n h in h s s s a s the s n m m n gra ted, t at all t e e ca e , at pre e t o e t, the w as x m n u s x n in so a s it dialogue e te pora eo , e cepti g far m h an d m h n u n n beca e abitual ec a ical by freq e t repetitio . Th s n n h n m the n n m n is n ot at i gi g t e for ed part of e tertai e t , m m n n an d kn h so in the ere atter of i fere ce , we ow t at it did m w ho s s ks of n ow s n ti e Of Strutt, al o pea a ﬁddler, di co

has w e n u the s of It , believe , bee hitherto tho ght that tory W n n d n d n w as u hitti gto , thrice Lor Mayor of Lo o , excl sively n n b ut su n n n w un d d w atio al ; pposi g the otio to be ell fo e , hat w e are about to men tion affords on e m ore proof to those already u n d s in m in d m f r ishe of late year , that , ti e, tales of the k beco e mm n ert O f un is un d m n the co o pro y other co tries . It fo a o g ” F uf n et u P n the acezie , otti , B fo erie , B rle of the iova o Ar w w n n d in l th lotto , hich ere origi ally pri te very early the 6 n u an d u s u n w r - u d ce t ry, s b eq e tly ere e iss e from the celebrated O f un F n in 1 56 5 . ress the Gi ti , at lore ce , The title it there p : II P n a un m n di ears is this iova o , prete che fece erca tia ” dic e n d n palle , la ovella elle gatte . W ith a cha ge of person s n d i lac s s m s as ur w n , it is the a e tory o o W hittington an d ’e a1 é is at .

’ NATURE OF PUNCH S PERFORMANCES . in Pari s ﬁrst by the Italian compan y ; an d to r1val them an actor of the n ame Of Villiers brought it out in Fren ch v s n h h w h the h s of er e , at a ot er t eatre , ile biograp er Moliere i n form s u s that he wrote his Festin de Pierr e in

s u s he w as in suc h h s n s . pro e , beca e a te to a ticipate Villier T h m on the h o f n s . . Cor eille added r y e to it deat Moliere iz in 1 67 6 s on Th s ds v . ree year afterwar , , it fir t appeared the E n sh s m the en of h w b ut un h gli tage , fro p S ad ell ; P c w as h n un kn w n h s h , probably, t e o ere, at lea t by t at appel n an d the h n in the h h h latio , c a ge fable , to w ic we ave w as s n n r s the referred, occa io ed, if at all, lo g afte ward , by e xtreme popularity of the pan tomin e - ballets at the Roy t an d su s u n ur L n Th t al y, b eq e tly at Dr y a e ea re, about * forty years ago . The e n suin g ballad w as writte n very n early ab out that n m u us n m date , bei g e xtracted fro a c rio collectio of co ic an d s us s of the k n in n an d m n us erio piece i d, pri t a cript, h the u s 1 7 9 1 1 7 9 2 an d 1 7 9 3 in r u s s wit fig re , , , va io part as the m s h n the n v u w ho of it, ti e , probably, w e i di id al m n the s he n s o r n s in ade it obtai ed copie tra cribed , i erted h n sh n ff s n h t eir origi al ape . It certai ly a ord evide ce of t e con n ection betw een the storie s Of Pun ch an d Don J uan ; “ a n d (like the old ballads of Kin g Lear an d his Three ” “ u h s The n sh T the m n Da g ter , Spa i ragedy, or la e table m u of n d B ellim eri w a a & c . as h s rder Horatio p , ) per ap un u n the m n on e w ho had n s fo ded po perfor a ce , by wit e sed an d w as h h . is ig ly gratified by it It called ,

’ PU NCH S PRANKS .

O h ! h k n n ow m e w h ear e to a ile , A story I will tell y ou

O . Pun c h w ho w as f Mr , a vile Deceitful m urdero us fello w W ho had h s a wife , a c ild al o , A n d both of matchle ss beau ty ; ’ The n n s n m n ot kn w i fa t a e I do o , ’ Its m h s n m w as ot er a e Judy . h ] Rig t to de re] & c .

“ D on J u n w as d R in 1 787 a acte at the oyalty Theatre , an d u n in 1 790 w as at Dr ry La e . It played man y n ights m u n an d d d s d s ccessio , are har ly yet lai a i e . ’S M S NATURE OF PUNCH PERFOR ANCE .

h n m n ot so s . Pun c h But a d o e Mr , W ho had m n s us n s sir a o tro o e , ; A n d o n his back there grew a hun ch Th to his h s sir at ead aro e , B ut h n h sa h he t e , t ey y , t at could speak A s win n in g as —a mermaid ; A n d by his voice a treble squeak H e u w on—h m d J dy t at fair ai .

B ut he w as cruel as a Turk L k T u k w as s n n i e r , di co te ted, —’ To have on e w ife tw as poori sh work B ut still the law preven ted H is h n tw o or w n -tw o avi g , t e ty , Though he for all w as ready So w hat did—he in that ca se do ? h sad l he k O ept a lady .

Mr N ow s. u un out J dy fo d it , A n d n us , bei g very j ealo , ’ She ull d her hus n he sn t p ba d by t ou , H is a lady g y as well as. The n Pun ch he in a passio n ﬁe A n d k so in u n too it d dgeo , He fairly split her head in two h m n s l— h n O o ter wit a bludgeo .

A n d n e x t he took his little heir O h m s n n u h , o t u at ral fat er A n d ﬂun g it out of a two -pair ’ Win dow for he d rather ss ss the f his Po e lady o love , Th n of the sir a lady law, ; A n d cared n ot for his child above M ab a ir A n h o f ac c u s . pi c ,

’ H is wife s relatio n s cam e to town T a sk of him the u s sir o ca e , ; ’ ’ He took his stick an d kn oc k d em down ’ ’ A n d serv d em the s m s u sir. a e a ce , ’ NATURE OF PUNCH S PERFORMANCES .

the law w as n ot his law A n d said , ’ He car d n ot for a letter ; n d o n him its w A if it laid cla , ’ He d teach it to kn ow better .

’ Th n k to o er h n e too travel eac la d, S O n an d s u lovi g ed ctive , Three ladie s o n ly could w ithstan d

H is le sson s m ost in structive . The s s m s m ﬁr t, a i ple ru tic aid ; The n us ss ext, a pio abbe ’ ’ The h I m t ird I d call , but afraid, * T ie s he tabb st of tabbie .

In the m s s Italy, da e were wor t ; In n h too m s Fra ce , t ey were cla orou ; ’ I n E n n h s gla d , alt o coy at ﬁr t,

Yet after quite as amorous . In n h u Spai , t ey all were pro d, yet frail ; In m n b ut sh Ger a y, cooli ; u h n h he n ot s But f rt er ort did ail, TO so had n sh do bee fooli .

In n w w e h so n an this sta za, the riter ( regret t at pleasa t effusion Should be an on ymou s) seems to have had in his mind ’ “ n u O f m F u n 3 eanto 7 who Spe ser s Sq ire Da es ( airy Q ee , Book , ) , ” ha d been comman ded by his mistress to go forth a colon elling n s u m H u n d in ss n agai t the virt e of the fe ale sex . e ret r e le tha w n s un d d n u an d n a year, ith toke of three h re co q ests ; she the set him a pen an ce to bri n g test imon ies of as man y w omen who had d an d n In s had n resiste his arts e treaties . three year he o ly found three . ﬁ s w n u d m e s d The r t hich the ref se , ai he, s w as b ut mm n c ourtesan e Certe a co o , Y ﬁat u d a - do w m e et , ref se to have ith , u u d n ot m n J n Beca se I co l give her a y a a e . ’ u lau h d Sat ran (Thereat f ll heartily g y e . ) n d w as an n un The seco holy to chose , W w u d n ot m e n hich o l let be her chapelai e . u n w d w u d d Beca se she k e , she sai , I o l isclose H er un u d in s u m . co sel , if she sho l her tr st e repo e

The d d m w as low d thir a a sel of egree, W m in un d n & un C c . ho I co try cottage fo by ha ce , ’ PU N Cn S M S NATURE OF PERFOR ANCE .

In all his course he scrupled n ot T m k s of mu o a e a j e t rder, S O h s h s n fat er , brot er , we t to pot It really make s o n e shudder To thi nk upon the horrid track Of blood he shed on system A n d h u h h hum n his k , t o g wit p upo bac , The m s n ot s s him da e could re i t .

’ ’ Tis s h he m si n aid , t at a co pact g d ’ With on e they call Old N ic h lass ; ’ B ut kn w h m I ve n n if I e t e , o mi d ’ T o n artic l r o g i to p a s. ’ To h s he ow d s it, per ap , uccess h v he m h o sir W ere er ig t g , ; B ut ev mus n ss I beli e we t co fe , The s so so sir ladie were ,

A s b e k E n n m t la t bac to gla d ca e, A k an d jolly ra e rover, ’ A n d ass d him n h n m p by a ot er a e, A n a lias h n v , w e at Do er . s n the s h m But oo police laid a c e e, TO clap him in to pri son Th k him h n he s c am ey too , w e lea t ould dre ’ * O s h as h s n f uc a fate i .

A n d n ow the w as n n day drawi g ear, The day of retribution ’ The o er he b ut r trial , felt quee A h h of x n t t oug t e ecutio . B ut h n the h n m n so m w e a g a , all gri , ’ Dec lar d h w as t at all ready, ’ n h n ti d the nk him Pu c o ly pp wi at , ’ A n d ask his d after lady.

his s un d an i n n u m b ut in fac t T o s like g ora t v lgaris ; it is , ,

nl an n er illi sin his own . W e ﬁn d a o y abbreviatio , p p , of it p ’ lied to the pron oun her in George Chapman s Humoro us ’ ” D s m d n d in 1 599 n . ay Mirth , a co e y pri te , sig ; G ’ What Shall I do at Sight of her an d her n ’S M S NATURE OF PUNCH PERFOR ANCE .

Preten di n g he kn ew n ot the u se O saw m sir f rope he fro tree , , ’ The han gman s head i n to the n oo se

et w h he ot sir. He g , ile g free, A s the m m t la t, Devil ca e to clai H is ow n ; b ut P un ch what he m eant D m n an d n the s m e a ded , de ied a e He kn e w n o such agreemen t

’ ’ Y ou n ! the D c rie d z tis do t ( evil ) . well ’ I ll quickly let you kn ow it A n d so to furious work they fell h o A s hard as t ey could g it . The Devil With his pitch-fork fought h un h had b ut s k W ile P c a tic , Sir ’ * kill d the v as he u h But D e il , o g t . ’ z z ! h s n o O k sir Hu a t ere ld Nic , . Right tol de rol lol

v s of h s h h v s sh d a pre iou part t i c apter, we a e e tabli e , h s us w as n h in t at Dr . Fau t a pri cipal c aracter puppet - shows of that date l~ an d e very body kn ows from the old ’ ’ Roman c e an d m h s m n ot m s i fro Goet e Dra a, if fro Marlow

“ an d driVe n his wn To kill the Devil, to the Devil i to o ’ d m n n c a ccia r il D ia volo n elt in er no m n m o i io s , f , ea t the sa e n in i n u n d in B oc c ac io w as thi g Ital a , as is f lly explai e , as ell N an d in n d N 9 1 d Sacchetti , ( ovel Ba ello , ( ovel , vol . , e it . V n n us d in En in s n s an d e ice , It is o ly e glish its literal e e , u S un d d in d In its ﬁ u it is , of co rse , O to be erstoo this balla . g rative n n o n ot n D on J u n m applicatio , perhaps hero , eve a hi self, n w as d n n Pun h Ofte er the eath of his Sata ic Majesty tha c . More w e nn ca ot say . un d s Ad n s his da in 1 697 w TMo tfor , the tage o i of y , , rote “ w w as m d F on i an d hat at that ti e calle a arce , the L fe Death f O . F u u in w H u n an d m u Dr a st s , hich arleq i Scara o ch both ﬁ u d b ut n n s d Pun in an d J n g re , othi g is ai of ch it . Lee evo , tw o d n u d m m O f H isti g ishe co ic perfor ers , took the parts ar le uin an d S m u an d s m s m et w su s q cara o ch , it ee to have ith cces , n n d in d n w as d after havi g bee acte Dorset Gar e s , it revive ’ in n n I nn F d the Theatre Li col s iel s. : A n n n un d rn has 1 elega t repri t of it , er the care of Mr . Tho s , een tl m d s an d u us w s W e y a e a carce c rio ork very acces ible . P ’S M S NATURE OF UNCH PERFOR ANCE .

h h n n n u had n n tragedy, t at t at re ow ed co j ror e tered i to a s m n h the n of the n n n s i ilar bo d wit pote tate i fer al regio . Th m a he h s m n k of n n n w n ere y , t erefore , o e li co ectio bet ee ’ Pow ell s performan ce an d that upon which the preeedin g has n m h h in the s of n ur ballad bee fra ed, w ic lap e a ce t y has n s . In h n h n su h bee lo t our day, we ear ot i g Of c a compact ; b ut the Devil is brou ght in to carry away the h the un shm n m his s m s ero to p i e t erited by boa ted cri e . I n h s s sh u h h k n un h t i re pect, we o ld rat er ave ta e P c for a n hm n h n an n n the n n O ld Fre c a t a Italia , accordi g to Opi io of H e lin w ho s k n of our n n h u s an d of h y ; , pea i g ear eig bo r , t at v n h h h n he m h m v un O f h a ity w ic , w e wrote , ade t e a t t eir “ v s x m s in s of un h u sh ice , e clai , a ort c aritable rapt re , fooli an d m s sh n h s h m h s v o t peri i g wretc e , by w o eac e eral k n ss is w mm : s in the an d wic ed e t ice co itted ﬁr t act, secon dly in the boast w ill take this Opportun ity of poin tin g out an error in the In ’ r du ti n w w d n O f t o c o (p . 8) here Marlo s Trage y is spoke as if had ﬁr d in 1 610 w w as d in 1 593 b e it st appeare . Marlo kille , ( “ n d m n d R fore the date assig e by Mr . Tho s to the Seco eport ” F u n hi w as n d in 1 604 n w u a d s . W e of Dr . a st s , play pri te k o n d n in 1 610 Of o e itio . “ — n d n 1 F n n 656 . 5 w d 3 . ra ce pai te to the Life Lo o , , p ith m u n a ia a rturit in ens n w a s n the otto Q id on G ll p g . Da te o great dm F n w m h n n u a irer of the re ch , ho he t i ks o ly j st better the people of Sienn a H orf ugia mmai Gen ie si ra nd c oma la S an ese ? ’ Certo non la Fra ncesca si d a ssai. I n ern o . f , chap ( 4 0 )

E R V CHAPT .

’

HE MO P S P M ES E . T RAL OF UNCH ERFOR ANC , TC

POETIC AL j ustice is a matter upon which the mo st sa gac ious critic s have in si sted ; an d it can not be den ied h in the n h n s h h o the n m of t at, ordi ary ex ibitio , w ic g by a e ” n h an d u is v . O n e Pu c J dy, it decidedly iolated great as h n n of m o h Object, t ey co te d, dra atic poetry, ug t to be to en force a moral ; a n d if we try the specie s of scen ic s n n n ow un our v h s sh repre e tatio der iew by t at te t , we all ﬁn n s n fi n is n h ss n d it u que tio ably de cie t . It evert ele a poi t of d s u w h h m capable i p te, et er people were ever ade better r s h m n s n s n h h o wor e by t eatrical perfor a ce ; for i ta ce , w et er a sin gle appren tice w as ever deterred or reclaimed from “ ” v all the s m n s of n ice by o bre repetitio George Bar well, E an d h s m The O ld w w ho u s to at aster C ri t as. la yer ed s n his ks n ss v x u n h the ad e d cler to wit e e ery e ec tio , wit “ “ m n n Th o u u s o s h an d m v o itio , ere , y rog e , g to c ool i pro e, k u s h h m the of the s h w as too a co r e w ic , fro reality ig t, likely to be ben eﬁcial b ut everybody is aware that what is shown at the theatre s is n othin g b ut an attempt to im po se ; an d the audien ce rather sets itself again st the

n v u h n 1 s m ss an d the m . e dea o r, t a i pre ed corrected by oral W h in the n of the ss n is us n at, ca t profe io , called ill io , we are sati sﬁed n e ver ex ists ; an d the actors are n o m ore the h s h s n h n the believed to be c aracter t ey repre e t, t a pai nted tree s an d castle s Of the scen ery are supposed to

n s s of n an d n s n . co i t rustli g foliage sub sta tial to e . Dr hn s n s s s m w h h the w ho m m n Jo o ay o e ere , t at actor for a o e t h he w as h an d could believe t at Macbet , really perpetrated the m s u s v h n an d ma urder , wo ld de er e to be a ged ; , we y h the n s v as ss i s add, t at audie ce would de er e it too, acce or e ,

’ 4 1 1 rn wn s . . 6 To Bro s Work , vol , p .

M ’S M S ORAL OF PUNCH PERFOR ANCE . o f some of the se variation s presen tly ; an d in the mean m an d s s h of the n n n n ti e , before we lo e ig t co ectio betwee an he s n w ho m a n ow u s DO 11 Juan d t per o age , y be j tly n u n of the m u sh in h s called D o J a ultit de, we wi to add t i place the o nly printed accoun t we ever saw of the plot o f ’ n h s xh b n s an d h h ff s m the on e of Pu c e i itio , w ic di er fro n the n um us sh w s h v n ss story of a y of ero o we a e wit e ed . It is given as a sort of theatrical critici sm in a letter from n - an d w as sh in the n n a wateri g place , publi ed Mor i g ” n 2 n d m 1 8 1 3 . The n v is Chro icle of 2 Septe ber, arrati e

n h n m n of s n n Mr . Pu c , a ge tle a great per o al attractio , is m Mrs. h m he has u h arried to Judy, by w o a lovely da g ter, w h m n o n m is n in h s the n n b ut to o a e give t i piece , i fa t n h s n I n of h an bein g too you g to be c ri te ed . a ﬁt orrid d h k s n Z m n s . un a o de o iac jealou y, Mr P c li e a eco d el c ,

n us a s he ha ~ stran gle s his beauteous offspri g . J t s c om Mrs n s n leted his u s . t ss s p dreadful p rpo e, Judy e ter , wi e e the u h an d ex it s m n she s n u n s br tal avoc , crea i g ; oo ret r , h v m h n an d s her owe er, ar ed wit a bludgeo , applie it to ’ hus n h h h the u n s w n ba d s ead, w ic to wood ret r a oode ” n d s un . E x s us a . un h o d a perated by jealo y rage , Mr P c , n h s s n h u n s n n u sh s his at le gt , eize a ot er bl dgeo , oo va q i e k n an d s her s his f already wea e ed foe , lay pro trate at eet h n s z n the m u n n an d the n m h t e , ei i g rdered i fa t expiri g ot er, he n s h m h out of the n n the s fii g t e bot wi dow i to treet . The d s h v n n un f s n t ead bodie a i g bee fo d, police o ficer e er the n of . un h w ho f es his m un ts dwelli g Mr P c , li for life , o his s an d the h n n k h teed, aut or, eglecti g, li e ot er great s the n n n u n s m an d n s his poet , co fi i g itie of ti e place , co vey h n n w h h he is s an ero i to Spai , ere, owever, arre ted by f of h n s n n u n h o ficer t e terrible I qui itio . After e d ri g t e m s s h n u un h o t cruel torture wit i credible fortit de, Mr . P c , m n s of n ke u an d n by ea a golde y , ( a beautif l ovel allegory), n s his s n an d s The n n f h Ope pri o door e scape . co clusio o t e ff n s is s an d . The a ecti g tory atirical, allegorical , poetical h is s v k n n ss an d n ss in the ero fir t o erta e by weari e lazi e , sh of k do h m he fi h s an d n u s ape a blac g, w o g t co q er ; s s in the s u s of h s n n s s him di ea e, di g i e a p y icia , ext arre t ‘ ” b ut un h s s h u h the h n n an d dis P c ee t ro g t i prete ce , m ss s the h k ks D h i e doctor wit a few derogatory ic . eat ’ M P S M N S ORAL OF UNCH PERFOR A CE .

' n h visits the v b ut un at le gt fugiti e, P ch lays about his sk n s so us an d m k eleto carca e l tily, a e s the bon e s Of his n n s so m s h bastina do h D a tago i t rattle u ically wit a , t at eath ’ his h s h n v deat blow t e recei ed . Last of all come s the D v s n the n of v m b u e il ﬁr t, u der appeara ce a lo ely fe ale , t s in his ow n n Sh to afterward atural ape, drag the offe n der the n n n s in u t x to i fer al regio , p rgatory o e piate his dreadful

m s. E v n h s m s an d n cri e e t i atte pt fail , Pu ch is left trium h n v D s h an d the D p a t o er octor , Deat , evil . The curtain s m the Sh s the n wh fall a id out Of Co queror, o on his vic ” torious s ff s on h h his v n u h foe ta lift ig a q is ed . n ot see x how the h We do , e actly, w ole o f such a plot c h n m out in u Sh an d ould ave bee ade a p ppet ow, we c an n ot v h nk n h h s k m n h s ha a oid t i i g, t at t i critic , li e a y ot er , s “ ” h n out m n n s n v m n an ere fou d ea i g e er ea t, d which could n ever have e n tered the head of any ordi n ary * xh . h the x n of the Sk n e ibitor Wit e ceptio eleto , all he h h t ot er c aracters are familiar ; an d on ly supposing that the writer has a little disturbed the ordi nary course of the v n s his ow n s of m k n e e t , for purpo e a i g out more ” th n m s the c ar in an the h a eet allegory, w ole is very s x n an d n s ea ily e plai ed u der tood . The di sregard of the un itie s o f Time an d Place is c om m on to all the exhibition s of P un ch we ever saw or have h of in h s or an h n an d m a h eard , t i y ot er cou try ; it y be t e s of h h her m boa t Italy, t at, w ile regular dra a w ore the se n so m an d s ss s n the n burde e u ele fetter , u der patro age o f the h h ss s an d the e n h ig er cla e l ar ed , t ey were thrown off in her c ommedie d so etto n the n f h gg , u der patro age o t e ss s an d the u n n is n o lower cla e lear ed . It t to be sup s h v h in the m m m po ed, owe er, t at Italy i pro ptu co edie s

“ in La P di P u N 43 . Casti, his tale ace asq ale , ( ov. , vol ' 3 Ed n m n n s who had er le bu on rie ro , itio e tio a friar p ﬁ e ra ta len to an d w ho w as a re a maravi lia it P ul , able , especially, f g ’ “ in la c el . D Israeli s S s s n d Mr . al o peak of a philo opher a a ” m an un his u n n w ho d d in of fort e , of acq ai ta ce , elighte per ’ ” m n un n m d e n w in for i g P chi ello s little co e y . W k o several st n of s w ho m us m n m a ces father , , for the a e e t of their fa ilies , go u - w m n n d thro gh the part of the p uppet sho a . These i ividuals m sufﬁ n n n n u b ut ight have cie t i ve tio for s ch a fable , still it w u d n t n n u o l o be ea sy to represe t it i telligibly by p ppets . D ’ MORAL OF PUNCH S PERFORMANCES .

fi the v us h s of u n u n lled by ario c aracter P lci ella, Harleq i , m u h the an d h s xh n Scara o c , Doctor, ot er , were e ibited o ly before the rabble of the commun ity : the con trary might i n an d the be satisfac tori y e stabli shed . The m o st dig ified grave st n ot un frequen tly laid a side their dign ity an d their h s e re a nd k L X . in t e r gravity ; , li e eo , rej oiced broade t p * u f M w ho his s n s o the u ff n s. . c tatio b oo Dr oore, wrote “ 7 1 n ss s h he w of in 8 vo . 1 8 Vie Society Italy, , , co fe e t at an d the uk of m n n the m n D e Ha ilto , goi g to perfor a ce w h ss u s n s w h : he it all po ible prej dice agai t it , ere delig ted es e s u n m s us s n in w h pecially dw ll po a o t ludicro ce e , ich H arlequ in made a stammerer bring out a word which had n s k n n i for u of an h u bee tic i g i h s throat a q arter o r, by s k n him on the k s n u s s s k h k n tri i g bac , a r e tri e a c o i g i nfan t -l W e have sin ce see n a refin ed Fren ch auditory u h h the v s m n n the n d ff n la g eartily at ery a e i cide t, o ly i ere ce n h w as n t ss as n n or bei g, t at Potier o dre ed Harlequi , un as n Br et Pulci ella . A s s the v n u s o f n h h v t variou period , ad e t re Pu c a e n ff n s n an d m s s n an d in bee di ere tly repre e ted i repre e ted , no on s h v n n s the s an d to vati a e bee i troduced, to uit ta te . m h v n s h n e m of h s s rt eet t e e e t of t e day . O atte pt t i o ’ w as m in n s m in n s n of the ade Fieldi g ti e , co eque ce “ ” x m k n H e e tre e popularity of the Provo ed Hu sba d . “ ” m T m n s k 1 2 h h n s o J . t co plai ( o e , Boo , c ap at a “ -sh n ss his h in u the fin e puppet ow, wit e ed by ero, cl ded ” an d us th m n m serio part of e co edy we have a ed . He th n s m the m u h of n s sh its e proceed , fro o t Jo e , to ew n the old h n of n h an d his i feriority to ex ibitio Pu c wife , h m he m s s J oa n s m s n n ss (w o i call , by o e tra ge forgetful e ,

“ su an m w as n d To ch extre e this prope sity carrie , that his courtiers an d atten dan ts could n ot m ore effectually obtain u n n du in him su n s as his favo r tha by i tro c g to ch perso , by their n m m nd w ecce tricity, perversity , or i becility of i , ere likely to m ” R ’ 4 E 1 X . d 2 . 370 n 8 7 . excite his irth oscoe s Leo , , itio This “ ” u d fﬁ u un n a thor is at a i c lty to acco t for this prope sity , w n d n n is hich is easily explai e o the pri ciple of contrast . It fortunate for his gravity that P u nch a nd J udy w ere n ot i n ven t ed in m P w u d n the ti e of Leo , for the ope o l certai ly have kept u - w his o m m n a p ppet sho for wn private a use e t . ‘ V . 2 . 58 . 1 ol I p . ’ M L PU N c n s M S ORA OF PERFOR ANCE .

h h her n m has n J ud as the s sa alt oug a e bee y , lawyer y , “ from time w hereof the memory of m an run n eth n o t to “ the w hich give s som e Offe n ce to the dan cer ” o f w s who n as he m h s n ire , fa cied , ig t do very rea o ably, “ that people ro se from his little drama as much improved u do m the as they co ld fro great . O s h n ss s v l s n f later year , we ave wit e ed e era i gular h n n s. A t e of he i terpolatio fter battle t Nile , Lord Nelson u on on e of the s -s s an d h ﬁ g red treet tage , eld a dialogue h Pun c h in h h he n u to ersuade him wit , w ic e deavo red p , as w o on his sh n a brave fello , to g board ip, a d assi st in “ h n the n h : m un h m s the ﬁg ti g Fre c Co e , P c , y boy, ( aid ’ n h m k ou n or mm aval ero,) I ll a e y a captai a co odore , if ’

ou k . n k the y li e it But I do t li e it, (replied p uppet - “ sh w h sh n . v h o ero ;) I all be drow ed Ne er fear t at, n s s n he h is n h n ou (a wered Nel o ;) t at bor to be a ged, y ” kn w is s n ot n . n on e of o , ure to be drow ed Duri g the E n s for W s m ns lectio e t i ter, Sir F . Burdett received equal h n an d w as s n k ss n an d the h d o our, repre e ted i i g Judy c il , “ an d s n . un h for his v . H ow are ou oliciti g Mr P c ote y ,

. n h ? n u the n h ou w Mr Pu c ( e q ired Baro et, ) I ope y ill ’ v m u e s . n t kn n s gi e your pport I do ow, ( a wered ’ l un h ask m h h n M . s s rs. . c ,) y wife I leave all t o e t i g to P “ — Th is v h n n Sir n s h at ery rig t, (co ti ued Fra ci , ) w at do

ou sa Mrs. u ? ss m e ! h s y y , J dy Ble w at a weet little ”—“ h l ou h v ot sh m n it. A n d so c i d y a e g , I wi i e were like h m a n s s v ud ou are t ey y be , Sir Fra ci , (ob er ed J y , ) for y very like my husban d ; y ou have got such a beautiful ” Mr y t i n k n s . T s. u b u La . s ot o e rue , J d ; dy B li e n k n h r ou s ss e . A s y , (added Sir Fra ci , i i g ) weet little h h h in n n ! as h . its fa t, i deed I ope it good ealt How are ‘ s P ha m n h n k ou w as the little bowel C r i gly, t a y , an swer ; an d Judy could n o t refuse the solicitation s of so a n an d k n -h n gall t i d earted a ca didate . A n w e n saw nk - re re t a cou try fair, o ce a do ey race p s n s h s r an d n e ted by puppet wit a great deal of pi it, we eed " h m s h h . un h h u h n ot s t e ardly add, t at Mr P c (t o g alway o t h s m n the nn b ut w as h out e xpert or e a ) rode wi er, c eated of

“ A 2 S c en e 2 m d Pun See ct , , of the Tragical Co e y of ch ” an d J ud w is wn H . y , here the hero thro by his horse, ector ’ MORAL OF PUNCH S PERFORMANCES .

the z . w as n o n mm n h n m n the sh m n pri e It u co o t i g, a o g ow e in e r e to n s s n of s - : for h s s y , i ert a ce e a treet row t i purpo e h n u h-b ox h Cha r le in s t ey i trod ce a watc wit a y it, fa t h “ s . n n s s v u n s the n of a leep Pu c e ter tip y, o ert r guardia ” h n h an d n l is k n the h-h s Th s t e . i g t, ﬁ al y ta e to watc ou e i n d n is of Tom an d n an d w as n ot s i ci e t Jerry origi , u ed “ n h s h s in the s of L in L n n u til t o e eroe ﬁgured page ife o do . A v s m s w e h v s v h s n s t ariou ti e , a e ob er ed c aracter i erted from popular performan ce s at our theatre s : some of our readers may recollect a con feren ce between Blue Beard an d n h on the m n s n of Pu c , utually i tere ti g topic a plurality “ ” v s an d Mor ian a m The Th s an d Of wi e ; g fro Forty ieve , m m h s h v n h Gri aldi fro Mot er Goo e , a e da ced toget er s h v n s n an n v w before u . We a e bee pre e t at i ter ie between n h an d s n n o ss s n u sh h n Pu c a per o le di ti g i ed t a Paul Pry, “ in w hich the latter received se vere chasti semen t for in trudin h the m w as n n the h g, w ile for er e joyi g delig tful v of on e his m n n s con erse Of fe ale acquai ta ce . ( 53 1

CH APTE R VI .

N TH E F O CHARACTER O PUNCH .

SS R h s n of s as v kn s PROFE OR ic ard o , Gla gow, e erybody ow , “ ’ wrote a serie s of E ssays on Shake speare s Dram atic ” h s in w h h he n n h n the C aracter , ic e tered at le gt i to s n the u h an d the m n n in h h he had de ig of a t or, a er w ic h h m h f accomplis ed it . Ot er ad irers of t e works o the sam e poet have published separate dissertation s on u s n s in hi s s s h as s ff partic lar per o age play , uc Fal ta , h h m & c . s m s to u s h n h n ot Ha let, It ee t at Pu c , alt oug ” w n the s m m s -h n m s s m dra by a e a ter a d , erit a i ilar distin ction ; an d we shall accordin gly proceed to offer a m ks n his h as is s in the few re ar upo c aracter, it di played m v s n n h s n Pro o st appro ed repre e tatio s Of t e pre e t day . “ ” fessor R h s n n in his h n ic ard o declared, eve ﬁft editio , ” that his work w as un worthy of the public n otice (rather m m n his m n s h on the a bad co pli e t to a y reader ) , w ile we, n in our s m ss n n n h our m ks co trary, ﬁr t i pre io co te d t at re ar “ well de serve atten tion ; an d we shall be of the sam e ” “ ” n n s n n n n s our opi io till , eve if co vi ced, agai t will, that our work will n ever arrive at an equal degree of u pop larity . W e are more dispo sed to offer a few ob servation s on the h of un h us n n n of the dra ma tis c aracter P c , beca e upo o e ’ p erson ce of Shake speare s plays has Profe ssor Richardson s w S of be to ed a larger pace , or a greater degree labour, h n on R h an d Sir hn s ff : to h of t a ic ard III . Jo Fal ta bot h s is n h in s s n an d n s k n an d he t e e Pu c , di po itio tale t , a i ; , s s m n s in his ow n s n the m the be ide , co bi e per o defor ity Of N TH E O F H O CHARACTER PUNC .

* i on e an d the s of the h . s as Ob e ity ot er He , it were, a combi n ation an d co n cen tratio n of tw o of the m o st pro min en t an d origin al delin eation s on the stage : as if The force of n ature could n o farther go

T m k h she n the h tw o . o a e a t ird, joi ed ot er

The S m n R h an d s ff h u h n ot i ilarity betwee ic ard Fal ta , t o g v us has n u s sh an d n s s s very ob io , bee f lly e tabli ed ; it co i t in the n su h h ss ss an d h i tellectual periority t ey bot po e , wit the x s f h h st ratifies his m n an d e erci e o w ic the fir g a bitio , the s his s is the ss ss n of the s m la t appetite . It po e io a e high talen ts ( in the last in stan ce applied very mu ch to the ’ nm n the s m n s h h n s u s un h s attai e t Of a e e d , ) w ic co tit te P c h m s m n The h h u h h h c ief oral re e bla ce . ig a t ority to w ic h us u d s n an d m a sa we ave j t all ed lay it dow , , we y y , prove s that the pleasure we receive from the character of Richard is produced by tho se emotion s which ari se in the m n on h din n m i d, be ol g great i tellectual ability e ployed for i n human an d perfidious If we try the h a of un h h s s sh n ot the c ar cter P c by t i te t, all we arrive at ” n n s n ? L k the k- k ide tical co clu io i e croo bac prodigy, ” he is n ot Sh S v ks an d aped for porti e tric , ’ n s v s m s wa t lo e aje ty, T s n n m n n m h o trut before a wa to , a bli g y p b ut m ns h s s n s un h k to co pe ate for t e e per o al defect , P c , li e

it As he w as to have a spice or somewhat more of D on J u n u him an d w e d a abo t , as are tol

A d n w d s ece t leg is hat all la ie like , it w as n ot thought expedien t by the inven tor or i n ven tors of ’ P un n him w R d d fi u m n ch , to represe t ith ichar s tibial is g re e t . ’ “ ” P un s n ot s b ut fit m k ch s leg are leg for boots , legs to a e ” w n d n a m . W e saw him an legs ith , to ake legs by ever at y n w u m d n d a nd in w n exhibitio itho t a pair, o els of their ki , sho i g w n d n o d n . n ot hich he evi ce slight egree of va ity There is , at s n u n d m on S pre e t , s ch a thi g as a goo ale leg the stage ; O P un ma us d n u d that ch y be exc e if he is a little oste tatio s . Lor Byron calls a delicate han d an d a good leg the criterion of good ’ “ blood ; P un ch s leg is n ot so remarkable for a vulgar quan tity ” fi n n its n and n s m of calf, as for the e ess of a kle, the ge eral y m n etry of its proportio s . Ed n 1 797 204 T itio , p . .

O N TH E CHARACTER O F PUNCH .

an d x s kn h an d v s is fat, witty, lu uriou ig t, e ery yllable u A has n n o eq ally applicable . great deal bee writte p r ’ an d on on the s n of s f s an d 1 t c , que tio Fal ta f cowardice, “ m he n n ot the mm n s w see s agreed by t lear ed, co e tator ” on Shake speare Deep -vers d in books an d Shallow in themselve s n n x n s Cru de a d i to icate , collecti g toy r h m s h s n A n d triﬂes fo c oice atter , wort a po ge

h s w ho h s m kn of the h m n But, by t o e ave o e owledge u a m n an n s h s ff is n o : w h i d d its Operatio , t at Fal ta coward ile ” “ he of he he avows di scretion to be t better part valour, n of d n n ot m n s n o nly avoids situatio s a ger, fro co titutio al of h m b ut s his s n s n s v s fear t e , becau e tro g e e re olt at A s on e of our i n curri n g peril were it is n eedle ss. Old n s f sh s s in n to h tra slator o Horace rewdly ay , refere ce t at ’ “ n he o f h s poet s di sappeara ce at t battle P ilippi , a oldier h w h n he is out o f his hum is n o more boun d to ﬁg t e our , than an orator to Speak when he is out of his wits ; n or is it pruden t for a m an of w it an d learn in g to have his brain s beaten o ut by on e that has Such is preci sely the ” f m n n h h s n h h s m s. v di cretio , w ic Fal ta f co e d Pu c , owe er, is ss u n t h n s ff an d in s m n s n s m a le pr de t a Fal ta , , o e i ta ce , y h s m s h h n -h per ap , be al o t c arged wit bei g a little fool ardy . He is more am orou s ; an d in seekin g to gratify thi s pro en sit he mu s of u s he s m m s k p y , t, co r e, o eti e prepared , li e Don n w h m in h s s e s m s run Jua , ( o t i re pect h re e ble , ) to ” u n the of h in the s of his po very edge azard . If, cour e dv n u s un h n ow an d h n u o f u u s a e t re , P c be t e g ilty ridic lo x n s n n n s s n h t of he e travaga cie , appare tly i co i te t wit par t h w e h n o f him m m in c aracter ave draw , let it be re e bered ’ the s of s l extrem e s est sé de word Pa cal, e prit accu e la ’ ”

mm l extrem e é . folie , co e d faut h v n h h an d n n u h h We a e it upo very ig a cie t a t ority, t at ” n o m an c an h - an d th s m x m bad be appy, l , if i a i be true , the character of Pun ch is so far out of n ature he hardly ’ kn s m om n s nh n ss m the nn n the ow a e t u appi e , fro begi i g to

’ A n d m “ H fi d “ lexa er Broo e s Life of orace , pre xe to The ” ” m & n d n n P H c . . d 1 666 . oe s of orace , by several ha s Lo o , ‘ N m m u feelix &c J a n 1 e o al s , . ve al Satires , iv . O N TH E O F CHARACTER PUNCH . en of his s x n v n d career, carcely e cepti g e e the period of his n n m n he is out x u co fi e e t before led to e ec tion . un h in h s s s h h as h P c , t i re pect, beat Mac eat , t ey used to ” sa out of b ut h n the n m y , all cry ; t e Captai , co pared ” h n h is n - n n w wit Pu c , o ly a petty larce y villai , ho is ’ m s h obliged to do se hi elf wit bran dy . Pun ch s co n fide n ce an d pre se n ce of m in d n ever de sert him ; an d the se s m n h his s n n qualitie , co bi ed wit per o al but prude t courage, him h h v ffi u an d n h carry t roug e ery di c lty, e able im to m h v s The n triu p over e ery adver ary . great Fre ch satiri st ” s sh s h s s w ho m k v m everely la e t o e writer , a e ice a iable . an d of h s h n n u the h h t i c arge , we ca ot acq it aut or or aut ors ” of un h an d u . In the s n of the h an d P c J dy per o ero, ' in the su ss of his m n m s v is m cce cri i al atte pt , ice o st ssu d n v s s h hi a re ly re dered too attracti e , if we uppo e t at s e xample c an have an y effect upon tho se w ho witn ess his n amusi g performan ce s. u h is the h of un h as he is s n in S c c aracter P c , repre e ted h s un b ut i he s s v s m s of the t i co try, n Italy till pre er e o t w h h he w as n n s qualitie s for ic origi ally otoriou . Baretti “ s us h his is h of m w k who tell , t at part t at a ti id ea fellow, is s h sh the h s an d w s s s alway t ra ed by ot er actor , al ay boa t - of victory after they are gon e l‘ an d the author of a m n k n the m n n s an d mu s m n s of the oder wor , upo a er a e e t n s h s s ks of the xh n s in h h n h Italia , t u pea e ibitio w ic Pu c i an d h he s in h m s e n gaged of t e figure cut t e .

“ ' T n f h s L n an d S an n wo i erior t eatre , a Fe ice Carli o , h in the L s h bot argo del Ca tello, are c ieﬂy devoted to n n m m Th see Polic in ella in his farce s a d pa to i e s. ere you n Poli in ella is s n a s s van gen ui e colours. c repre e ted a er t of A eerra v in the n h u h of s an d ,1 a illage eig bo r ood Naple , he is so highly gifted by n ature an d accomplished by n h he is n h educatio , t at at o ce a t ief, a liar, a coward , a and h : s the s in braggart, a debauc ee till facetiou way

J c n e puis estimer ces dan gereux auteurs ’ ui de l hon n eur en n m dé u s Q , vers i fa es serte r , n u sur un u Trahisse t la vert papier co pable , m A ux yeu x de leurs lecteurs ren den t le vice a iable . ” 4 A P . . . Boileau rt . oet chap T l n dr n 24 o o o . 3 . j , p 1 f w . O . I See chap . this ork O N TH E O F CHARACTER PUNCH .

h h he s his v u s s n s the r v w ic relate ario feat , e rapture g o el “ n n m n h s in n us u li g co u try e . He delig t lice tio do ble ” n n ss k s an d ks h is n ot e te dre , gro jo e , dirty tric ; t ere a s n u in him his nn n is e low an d i gle good q ality cu i g v ry , he is always outwitted w hen he meets with any person of s n s so h in the en d he is n s im e e , t at ge erally di covered ,

s n h an d h n . u h is the pri o ed, w ipped, a ged S c celebrated Polic in ella Th m n h s s for u -sh . ere are a y ou e p ppet ows, h an m of the on e m a o in for w ere, at y ti e day, y g a few “ ’ n s n s n v s n ot too grai , provided o e olfactory er e are keen for the smell produced by the crow d of dirty fellows h h m h s m w o re sort to t e . T ere are al o a bulatory puppet ” h in he s s ows t treets. “ has n s h in E n n v h n i It bee aid , t at gla d e ery t i g n tellec tual advan ce s by rapid stride s ; an d n o m ore striki ng or con vin cin g proof c an be given of its truth than the h n s of s w h h has o c c ured in the c a ge , e pecially late year , ic

h of un h. In he has m n s n : c aracter P c Italy, re ai ed tatio ary he is h n ow h he w as tw o hun s a o b ut t ere , w at dred year g ; h he is n o n the l n -h w s ere , lo ger b u t eaded booby, al ay ” u d s n in the n x o twitte , repre e ted precedi g e tract, but a perso n age in gen eral far too clever for any o f tho se with ” whom he has to deal : in stead of bein g di scovered an d h n he n v s h v his n ss a ged, co tri e to a e executio er, tru ed ” in his an d n the h un n f up place ; fi ally, by appy io o n an d s n h s an d s i tellect corporeal tre gt , defeat d e troys ’ ’ m n s s n m an d m s the s b u a greate t e e y, beco e devil t ” “ h h n the n h h v ha him c er, w e fie d oped to a e d in fee ” s m h fin n e a d . i ple , wit recovery W e can n ot close the character of our hero witho ut n s n s n n an d its c oda as the n s it i erti g a o et ( , Italia call , ) in s of n h n o ss m an h prai e Pu c , by le a , if we are rig tly

“ an d i ns in N n n n u Italy , the Ital a the i etee th Ce t ry,

. 1 d w n chap . The ress or by Pun ch is represen ted in on e of ’ ” Pan elli s n u n um P R m 1 8 1 6 I t Ci q a ta Cost i ittoreschi , o e , . represen ts the performan ce of a p uppet -show in the streets of R m in s m w a as o e , exactly the a e y they are exhibited in this

un . In N m m s d n co try aples , so eti e a thir perso stan ds on an “ ” n d an d ex larn s n th elevatio at the si e , p , or i terprets , for e

. Pen elli m s P un w m characters ake ch ear a black ask , like H u n arleq i . O N TH E O F P CHARACTER UNCH .

n m h the m n h s s i for ed, t an poet, a o g w o e late t works it w as “ ” n nu an d v the s of Do n u to co ti e ary tory J an . It is h h h s the u h an d of h ig ly c aracteri tic Of a t or, t e repre sen tation s h so m h u h an d v v it celebrate wit uc tr t i acity .

O E T TO S NN PU NCH . Tri umphan t Pun ch with j oy I follow thee Thro ugh the glad progre ss of thy wanton course ; h is n h s h h an d W ere life pai ful wit uc trut force, Its on our s n see equal tage we ever , ’ h h th u k l s th h W et er p il t y wife wit jolly glee, ’ H url st th s h m se y weet babe away wit out re or , ’ Moun t st an d u k h n m off th h s , art q ic ly t row fro y or e, ” O n h so an d r da ce wit pretty Poll, fair free ; v n s s n h s s n her s Ha i g fir t lai wit ju t di dai ire, D eaf to m usic of thy sheep -bell lyre W ho v s n ot m s is n ot v I lo e u ic , fit to li e Th n h n the h n m n m s w ho c an e , w e a g a co e , refuse T h h n h his h n the n s o laug , w e t ou ead i to oo e s n m h s h he s n o v Ha t i bly t ru t, w ile get reprie e ? W ho feign s to grieve ’ ' ’ Th st un un ish d in the fien d s s ou goe p de pite, ’ A n l im i h d s a st h too s . y , but a ypocrite ’ Tis such delight To see h his k c s n t ee cudgel blac car a e a tique , For very rapture I am almost fran tic !

* n n ow the h s of . n h sh Havi g traced i tory Mr Pu c , we all d v for the s m in h s or an h procee , we belie e , fir t ti e t i y ot er n to ut his m n s n is m cou try, p perfor a ce upo record . It ti e so for the n of s s as s to do be efit po terity le t, ociety gradually acquires a more superfin e polish that it eve n n ow

In n n m n m w e m a add refere ce to the origi of his fa ily a e , y , m a n us d d m u un ch that so e h ve erro eo ly erive it fro the liq or p , w i s lf m m n d n P a le un tz P a le unsche ( hich t e co es fro the I ia p , or p ,) on the same prin ciple that the Italian character Macaron i is said to ha ve been taken from the approved dish of that n ame an d our J Pudd n an d m n H anna Wurst as ack i g the Ger a , (before m n n d m m n m ob udd n e tio e ,) fro the attach e t of the to p i gs or u P unch n m n sa sages . The fact is , that is o ly a fa iliar abbreviatio

P u nc hinello w is u d m Pulc inella . of , hich itself corr pte fro O N TH E CHARACTER O F PUNCH .

ss ss s sh m ss h to r n h po e e , it ould be i po ible , ereafter, p i t w at n n n n n an d h m ss is fortu ately yet co sidered i oce t ar le . “ A s n us h h m of the ddi o tell , t at t e erry people world ” the m an d in the n u of man are a iable, la g age a forbid, ss u s v s to h s we addre o r el e t o e ,

Chi m n s nz smorﬁa s a a a o, e a e ipocri i , , 0 o o o , 0 G1 1 nnoc ent1 rac err 11e rra p e l a g .

P 62 ( UN CH .

E P R E F A C .

h TH E following dram a is fo un ded chiefly upon t e per - -sh w m form an c e o f an old Italian way farin g p uppet o an h n m O f n w ho ha s m u w n an d of t e a e Picci i , pera b lated to k the re c oun try for the la st forty or fifty years. Li e s n n s of o ur s w as n ot b hrm s n pre e tatio early tage , it y di ti uished n s an d s n s the si n s w s g i to act ce e , but divi o ere ea ily 1n W h h made ; an d the w hole n e w assume s a shape , ic it the m ay rival mo st o f the theatrical production s Of Pre sen t “ ” h h u for his P3 111 era, w et er by Poole , pop lar Pry, k his un s n hé his PeaCO Ck Pea e for p , Pla c for poetry, for hi or n for his l sm s s s. parodie , Pay e p agiari n v s in the ss v n of D L n Picci i li e cla ical ici ity rury a e, an d is n ow n fi m he s v s u n s n i r ; but till tra el abo t, co ideri g “ ” it n o sin to labour in his v ocation : he is thus de scribed in s n n u the by a writer a di co ti ed periodical , called “ ” L u m h h s is the iterary Spec lu , w ic we quote , becau e it o n l y prin ted n otice w e have seen of an i n dividual so kn w n i s v n . s h the ge erally o It to be ob er ed, t at article to w h h n w as u l sh m n s a o ic we are i debted, p b i ed a y year g , an d the h of s aks of his ow n u h h n aut or it pe yo t , w e ’ “ ” n s a e w as as s n r s b u t k n Picci i g a lu ty wi ter, f o ty i dly, “ ” an d r m the k-s had n befo e ti e , Old cloc etter, early let him run the whole len gth of his chai n without wi n di ng ” “ n P n w as an n him U p agai . He ( icci i) Italia ; a little h k-set man h hum u s l k n u n n n t ic , wit a red ouro oo i g co te a ce . had st one b ut the h m u the s n He lo eye , ot er ade p for ab e ce o f its fellow by a shrewdn ess of expre ssion sufficie n t for h s an O il -skin hat an d h bot . He alway wore a ro ug great

. A his k he b ox n n n he coat t bac carried a deal , co tai i g t dra ma tis p ersonna of his little theatre ; an d in his han d the m h s s mm n s h n s of m tru pet, at w o e glad u o , u dred erry laughter- lo ving face s ﬂocked roun d him with gapi ng

E . PREFAC !PUNCH . o f hi v s h m s of h m v h him s ri al . He broug t o t t e o er wit m an d he m n h in E n n he had n o t fro Italy, co plai ed t at gla d bee n able to ﬁn d any workmen capable of adequately su n the ss h n on e of his s had n pplyi g lo , if by c a ce ﬁgure bee k n or s n W h his n h w as m s u n or bro e tole . y Pu c ade to q i t, at least to have what is kn own by the epithet of a sw ivel n ss for the s k hum or s n t n s n ot eye , u le a e of our di ti c io , doe : in h s u of v s n he n s the appear t i obliq ity i io , o ly follow s h of n m n O n of w h m greate t ero Italia ro a ce, rla do, o Pulci us tell ,

“ Orlan do molto n e gli occhi era ﬁero ; T n c he n n a to alcu autore dice e po e , ’ Ch n u i 11 v . egli era poco guercio, a d re ero

“ These lin e s are in Can to 20 of the Morgan te Mag iore in the w n n he s the ss n in g , follo i g Ca to repeat a ertio , which he is supported by Boiardo in various parts of his “ O n i nn m u in n 4 1 rla do a orato , but partic larly Ca to , h A stol ho in h h n n n n s the P n w ere p ig i dig atio agai t aladi , x ms e clai ,

v u O e q el guercio traditore , ’ ’ ” Ch ha tan to ardir di dir c h io son buffon e ?

In O n as n h s s had fact, rla do, draw by t e e poet , little but his s n h an d u m k the s v him an d tre gt co rage to a e ladie lo e , the Pagan s fear him ; an d in all respects he w as far n un h i ferior to P c . h v s k n of L an d n as We a e already po e e Sage Piro , s of u s an d m h h v n writer P ppet Play , we ig t a e i troduced man y other distin guished authors w ho lived about the n n o is w kn n how ope i g f the la st century . It ell ow u h s S s of n n m n w as an d s is in pop lar t i pecie e tertai e t , till German y ; an d its dign ity will receive a con siderable ss n f m the t h the s h acce io , ro fac , t at greate t poet Of t at un r e h n ot s u to on e on the co t y, Go t e , did cr ple write sacred story of E sther an d Ahasuerus ; he calls it “ N euer ffn e es m s h- h s n s an d o t orali c politi sc e Puppe piel, ” nn s W st or k n is m m s Ha ur , Jac Puddi g, e ployed to a u e the s s n s pectator betwee the act . P A N D D UNCH JU Y .

D RA AT E R O M IS P S NZE . LI I E PO CE OFF C R . K K H JAC ETC . TH E D I EV L . BY TO . H ECTOR .

TH E

TR C L CO E D OR COM L TR D AGI A M Y, ICA AGE Y

PU N CH A N D JU DY . — E n ter H a ter a ew relimina r s ueaks he bows PUNC f f p y q , three times to the s ec ta tors —onc e in the c en tre a nd p , onc e a t ea ch side o the sta e a nd then s h l f g , p eaks t e f o

” Prolo ue g .

L s an d Gén tlemen how ou do adie , pray y ? m ll ou h e a h too . If y all appy, appy Step an d hear my merry littel play m e m k ou h m e n n ot m k If a e y laug , eed a e

The n n motions or u -sh ws had u s as a cie t , p ppet o , prolog e , ’ s m n u s m J n s appear , a o g other a thoritie , fro asper May e City ” A 5 Se . 2 Match, ct . ’ b uskin d u in like a prolo e, ’ h m s mo A s tion . tately, igh , aje tic are h P w l s as w e h ad s n ride . 3 d o e l al o, ave alre y ee , ( C ap ) attacke in u u -sh w m n s s aff E s . . P o e I aac Bicker t , a prolog e ppet , ’ . n ow a d s s m ve d d um l n d s ni n in ay , ee to a opte C ber a opi o , ” his O s u an d u s are us ss a b erver, that prolog es epilog e ele p n pe dages . TH E TRAGICAL COMEDY O F — A T I E 1 . C . SC NE

is hea r d behind the sc ene s ueakin the tun e o ( PUNCH , q g f “ ’ M a lbroug s en va t en guerre he then ma kes his a ea ra nc e a nd da n c es a bout the sta e w hile he sin s to pp g , g the sa me a ir . )

n h is on e w . u Mr P c j olly good fello , H is ss is s an d - dre all carlet yellow, l A n d n ow an d h n he s m if t e get ellow, ’ It s n m n his n s o ly a o g good frie d . H is m on ey m o st freely he spen ds TO lau gh an d grow fat he in ten ds ; ’ With the girl s he s a rogue an d a rover ; v s w h he c an n He li e , ile , upo clover — ’ \Vhen he die s it s on ly all over ; ’ A n d h un h s m n s t ere P c co edy e d . he c on tinues to da n c e a n d sin a n d ( g, u m ! u J dy, y dear J dy

E n ter the DO G BY TO . h ’ . T ! w o c all d ou ? H ow ou PUNCH Hollo, oby y . y do ,

. T ? ou v . T Mr oby Hope y ery well , Mr oby .

T B . w ow ! O Y Bow, , wow H o m n m . w s PUNCH do y good frie d, your a ter, Mr . O b H m u h ? T v ow do Mr . Scara o c i

T B . w w w ow ! O Y Bow, o , ’ I m h . T ! h PUNCH . glad to ear it Poor oby W at a ’ n ice good-temper d dog it is ! N O won der his master is so n him fo d of .

' s an d Ma s s w d s olfen Thi air the r eille March , after ar s p of, w d u ﬁ s n du d u u s w ere o btless r t i tro ce , as s bstit te for others hich had m s t n un f beco e les accep able . Very rece tly the t e O Mal b rou n m n u w w d g has agai co e i to vog e ith the lo er or ers . ” “ 1 Scarlet an d yellow are still proverbially called Tom ’ ” F u s w m a m n n c on ool s colo r , hich y for a other slight li k of n ec tion w n P un an d w n our ld m d an d bet ee ch the clo of o co e ies , u f ur n the co rt jesters O o a cestors . n in m m u m d c d i The Italia character the i pro pt co e ies , alle m u w as n w n in E n n d an d n d Scara o ch , k o gla , co si erably before A N D D PUNCH JU Y .

T B sna r ls ! O Y . ( ) Arr Arr W h ! ! ou ss h s m PUNCH . at Toby y cro t i orn in g ? Y o u get out of bed the wro n g way upwards ? B sna r ls a a in A ! A TO Y . ( g ) rr rr

. T . uttin his ha nd out c a utious PUNCH Poor oby (p g ly, ’ a nd tr in to c oa x the do who sna s a t it T u y g g, p ) oby, yo re on e n asty cro ss dog : get away w ith y ou ! ( str ikes a t him) ! seiz in T B . w ow b the n ose O Y Bow, , wow ( g PUNCH y ) h ! h ! n s m PUNCH . O dear O dear My o e ! y poor n ose ! m u u n s ! ! et n s do y bea tif l o e Get away g away, you a ty g —I m s h ! - tell your a ter . O dear dear Judy ! Judy !

sha kes his n ose but c a nn ot sha ke o the DO G who ( PUNCH , f , re r un d the ta H e c on ti u f ollow s him as he trea ts o s ge. n es “ ” to c a ll u ! m ! un til the DO G uits J dy Judy, y dear q his hold a nd ex it , )

olu d r ubbin his n se w ith both ha ds . s s a n o n PUNCH ( , g ) Oh my n o se my pretty littel n o se H Judy ! Ju dy ! Y ou m f n s n s u w ou s o ou . . a ty, a ty br te , I ill tell y a ter y Mr i n m h ! m u h ! c a lls . Scara o c ( ) My good fr e d, Mr Scara ouc Look what you n asty brute dog has don e

n m n e Pulci ello ade his appeara ce . He gives the titl to Raven ’ ’ ’ “ m d an d in D U rfe s d m F n d i croft s co e y, y Ma a ickle, lice se n m d m 1 676 son Mr. u , Toby , the of Tilb ry , is a e to e ploy it as a f n m u S c aram ou c hi R P n Po ashio able ter of ab se , , ascal , oltro , — ” & in a n w n ! c . A 2 n p j y S o of t e ty fathers ct . Soo after the 1 720 Pun m mm n in s. year , ch beca e a co o character afterpiece “ ” In J u n 1 4 1 723 H W . the eekly o r al of Dec , , the plot of ar ” l uin n d F u n in w e a . u q Dr a st s is give , hich it appears that ’ Pun m d n e ch perfor e the part of o of the Doctor s Scholars . u i w as d P un an d m d C D pless s a celebrate ch , perfor e for het ’ d n ﬁ in 1 w 726 . oo s be e t ,

‘ “ In n hi un d Shaks eare s us R refere ce to t s so , p tell that is ’ ” d 2 n 5 R m n J u . A . a d . the og s letter . o eo liet ct Sce e ’ “ ” P un n s w n T ch s o e , hich he here calls little , iro ically , d n u on e our old -w t accor i g to the a thority of of play righ s , w ould lead us to con cl ude him rather of Floren tin e than of N n n — d w B arr in his l u m d eapolita origi . Lo o ick y , a ghable co e y of “ ” m nn d Ram A n d in 1 61 1 an d n d a ers , calle lley, pri te , repri te “ ’ ” in d n D l ld P s 5 ods e s O . . the last e itio of y lay , vol has a c urio us an d humorous passage on the diversity of n osesfa part TH E TRAGICAL COMEDY O F

E nter M H with a stic k. SCARA OUC ,

CA B A . . un h ! h h v n n S Hollo, Mr P c w at a e you bee doi g to my poor dog r etrea tin behin d the side sc ene on observin the PUNCH . ( g , g stic k a nd ee in r oun d the c or ner ! m n , p p g ) Ha y good frie d, a ide sh how y ou do ? glad to see y ou look so well . ( s ) I wi h n s k y ou were farther wit your asty great tic . G Y ou h v n n an d - sin m S ARA . a e bee beati g ill u g y poor

n h . do . g, Mr Pu c has n in an d ill - sin m n s PUNCH . He bee bit g u g y poor o e, h h v ot h sir ? w at a e g t ere, A RA h S C . W ere In u h n ? PU NCH . yo r a d

d . S GARA . A fid le A fiddel ! h h n is a fiddel l—c an PUNCH . w at a pretty t i g you play upon that fiddel ’

A h an d tr . SCA R . m Co e ere, I ll y h nk —I c an h the m us h PUNCH . No, t a you ear ic ere, very well . A Th n u sh s Can ou ? AR o . SC . e y all try your elf y play

w n is b ut w e shal d n d hich o ly here applicable , l be par o e for quotin g the W hole .

’ wh I ll tell thee at , A w itty w oman may w ith ease distin guish A m en b n s s us u n os ll their o e , as th yo r 8 yovel l an d d y , arge , broa , u u n n u n s M ch like a goose ; yo r valia t ge ero s o e, A d m an d ufiin n o crooke , s ooth , a great p g ’ Y u s n is an d raw o r cholar s ose very fresh , F w n fire in win and u sm or a t of ter, q ickly H mu n in his d ora e is chops of tto ish of p g . Y u u n n an d n o r p rita ose is very sharp lo g, ’ A n d mu i u w d w an d w s can ch l ke yo r i o s , ith ea e ” A n d n a n five s s off e ifyi g c po treet .

d s n is w Slaukenb er ius n s f This is ertatio orthy of g . The o e o “ ” “ our an d d u n u hero is love broa , like yo r ose T s c an an d is m , it at ti e a

n n us n valia t ge ero ose , A d sm an d ufﬁn n s . crooke , ooth , a great p g o e P A N D DY UNCH JU .

’ * . c omin in n o kn L t tr . PUNCH ( g ) I do ow, till I y et m e see ta kes the stic k a nd moves sl w l a bout sin in the ( , o y , g g “ ” tune o the Ma rc he des M a rseill is H e h ts M f a . i SCARA OUCH a sli ht blow on his hi h c a as b a c c iden t g g p , if y )

SCA R A . Y ou v w un h n ow m play ery ell, Mr . P c ; let e

tr . w v ou ss n how the y I ill gi e y a le o to play ﬁddle . ta kes the stic k a n d da n c es to the sa me tune hittin ( , , g PUNCH ’ a hard blow on the ba ck of his hea d) There s sweet m u sic for y ou n l k ou n o a ow n o s s m . L PUNCH . I i e y playi g well y et m e n takes the stic k a n d da n c es as be or e : in the agai . ( , f c ourse o his da nc e he ets behin d M a n d w ith f g SCARA OUCH, , a violen t blow kn oc ks his hea d c lea n of his shoulders) H ow k h un m n ? Th s mu s or you li e t at t e, y good frie d at weet ic, s u m s eh ? he he la u hin a n d throwin o r u ic , 1 He , , ( g g, g ’ a w a the stick n h su h n h un so y ) You ll ever ear c a ot er t e, " n a i m o s n s the un o M a l r ou s ou v b . t e b lo g y l e , y y ( i g f g , ’ a n d da nc es to it m ! n ou ) Judy, Judy, y dear Judy, ca t y n sw m ? a er, y dear W n n h DY . within ! h do ou u JU ( ) ell w at y wa t, Mr . P c m n PUNCH . Co e up stairs I wa t you . ’

n n m s I m us . D . Th m s u JU Y e wa t u t be yo r a ter . b y “ ” H sin in tun e Ma lbrou PUNC . ( g g , g )

Her an swer gen teel is an d civil n ou h n k v ill No wo der, t i , if we li e , A n d sh s m m s the I wi er o eti e at Devil, ’ Sin ce that s all the an swer I get. w h sh r m an d Yet, y ould I g u ble fret, ’ Because she s som etim e s in a pet

“ u J E d mu re This is a reg lar oe , page very bo y st ’ m m Mr un m n w ho w as d e ber . Miller s story of the co try a , aske if u d la u n n an d who n w d he co l p po the violi , a s ere that he ” did n ot n w b u as how had n d . k o , eca se , , he ever trie There ma w m n d n in n . W e y , ho ever, be so e correspo i g joke Italia d in F n have rea it re ch .

“ w im i H ow u sw mu n t e s . 1 so r eet sic is , he broke “ R d A 5 5 . ichar II . ct , Sc .

u u hea d time an d n w u d S bstit te for , the li e o l be very applicable . H ad P un m an an us n w u d m d ch e t y all io to it , he o l have a e the u n an d h n q otatio the c a ge . TH E TRAGICAL COMEDY O F

Th u h am s to sa s s o g I really orry y , ir , Th h 1 5 n he1 s s at t at too ofte way, ir . F r h l s o h s an d she s s . t i , by by, a l pay, ir O h v s an s n set ! , wi e are ob ti ate

m ! c a llin u m — u Judy, y dear ( g) J dy, y love pretty J dy, m u s co e p tairs.

E n t r e JUDY . W ’ Y . h am ! h ou n n ow I m JUD ell , ere I w at do y wa t, com e ? ’ a si W u A n t she on e PUNCH . ( de) hat a pretty creat re ! beauty ? h n sa JUDY. W at do you wa t, I y k ! k s e h while she . A ss ! k ss i s s er PUNCH i a pretty i , hits him a slap on the fa c e) k h h n how ou k e m k ss s ? JUDY . Ta e t at t e : do y li y i e Will y ou have an other m n m m sw . on e o e PUNCH No ; at a ti e, at a ti e , y eet ’ h s a i h w is so . pretty wife . ( s de) S e al ay s playful W ere h h m t e h m e the h . c ild Fetc c ild, Judy, y dear E t x i JUDY . ’ solus h s on e for ou ! ha PUNCH . ( j T ere wife y W t a * us n u ? She o h our h precio darli g creat re g to fetc c ild .

w h w u n d d The MS . to hic e are very m ch i ebte for the m u d m n our d m u n n sical epart e t of ra a , s pplies a other sta za to ” un Malb rou w w e u d d m the t e of g, hich have excl e fro the text , n n a d tw o m n n d an d m l as it co tai s alre y speci e s of the ki , the si i e d n i s u w d i s w w d . regar i g her voice se after ar s It , ho ever, orth n in un h n s has d addi g a n ote . P c si g it after he receive the slap on an d w J ud IS n for d : the face , hile y go e the chil

w is u fu d n My ife a bea ti l arli g, A n d u n u s a n tho gh her to g e goes like a t rli g, m n n n W e seldo have ﬁghti g or s arli g . Her voice is delightful to hear ! ’ B ut take care y o u don t get too n ear Sometimes her behaviour i s queer her n d ha s w n n d With ha s she al ays bee ha y . mu d m w m n d I st octor y face ith so e bra y, A n d w n d w w su n d s eete e ith hite gar ca y, ’ n d n I ll take it i si e , ever fear .

A N D PUNCH JUDY .

R e- en ter DY w ith the IL JU CH D . ’ s the h JUDY . Here c ild . Pretty dear ! It kn ows its k h h . T t e papa a e c ild . holdin out hi — PUNCH . ( g s ha n ds) Give it m e pretty littel thin g ! H ow like its sweet mamma l H ow w kw JUDY . a ard y ou are !

PUNCH . Give it m e I kn ow how to n urse it so w ell as . she ives it him w ! E x it you do ( g ) Get a ay ( JUDY . sin h PUNCH n ur g t e CHILD in his a r ms) What a pretty baby is ! w as s h n u sh- -b a . sin s to it it leepy t e H y , by, by ( g “ he tune o B est thee t f , O h s h m , re t t ee , y baby, Thy daddy is here ’ Th m mm s y a y a gaby, ’ A n d h s v t at ery clear .

O h s h m n , re t t ee , y darli g, Th m h w m y ot er ill co e, With a voice like a starlin g I w i sh she w a s dumb !

h n ! n n et s : Poor dear littel t i g it ca ot g to leep by, by ; ’ - - hush a b . h n sh n da nc es the by, by, y Well , t e , it a t . ( ILD a n d then sets it on his la between his knees a nd CH , p , , sin s the c ommon n urser ditt g y y , ) Dan cy baby diddy W hat shall daddy do widdy ? on his Sit lap , Give it som e pap ; n didd r Da cy, baby, y b

“ Eviden tly an in terpolation sin ce Guy Man n eri n g w as u u n w d s bro ght po the stage . For hat song this paro y w a s ub u d n n n ow n d stit te , ca ot be ascertai e .

’ “ dm n u n u u 1 The a irers of the a tiq ities of rsery literat re , “ ” use w d u R w w w (to the or s of the Q arterly evie , hich isely d d m u m a d ffe n evote so e sheets to the s bj ect ,) y like to see a i re t ” n d an d m d w w e a on versio of this elicate si ple itty , hich h ve u un u the highest a thority . It r s th s n d n Da cy , baby , a cy, H ow it shall gallop an d pran cy Sit O n my kn ee ; N ow kissy m e n d n Da cy , baby , a cy . TH E TRAGICAL COMEDY O F

a ter nursin it u on his la H stic ks the HI D ( f g p p , PUNC C L a a inst the side o the sta e on the la or m a nd oin g f g , p tf , g g himsel to the O osite side runs u to it c la in his f pp , p , pp g ” ha nds a n d c r in Catc hee c atc hee c at hee ! H , y g , , c e then takes it u a a in a n d it be ins to c r p g , g y ) m h h n has What is the atter wit it . Poor t i g ! It got - - the s m h h sa . c hild cr ies sh a b to ac ac e , I dare y ( y Hu y , h sh-a -b ! sittin down a n d r ollin it on his knees u y ( —g , g ) Naughty child Judy ! (c a lling) the child has got the h ! s h ! s m h h . u sa ! ILD to ac ac e P e Na ty c ild Judy, I y (CH ’ c ntinues to c r n ou hits it a box on o y ) Keep quiet, ca t y ( the ear ) O h y ou ﬁlthy child ! What have y ou don e I ’ k s h n s h n ! str ikes won t eep uc a a ty c ild . Hold your to gue ( ’ the CHI—LD S hea d severa l times aga inst the side of the stage) There there ! there ! H o w you like that ? I tho ught

ste u s u n . n h ou n s n h I p yo r q alli g Get alo g wit y , a ty, aug ty, n h throws it r the ron t o th sta m n . ove f f e e a o cryi g c ild —( g , g o the sp ec ta tors) H e ! he he ( la ughing a nd singing to the sa me tune as before) n s Get away, a ty baby ; There it goe s over ’ Th m mm s y a y a gaby, ’ Th s y daddy a rover .

R e-enter JUDY .

h is the h JUDY . W ere c ild — * H n n s . PUNC . Go e go e to leep h h n h h . o u h t e sa JUDY W at ave y do e wit c ild , I y n s sa PUNCH . Go e to leep, I y . h h o u n w h ? JUDY . W at ave y do e it it P H h h n w h ? CN C . W at ave I do e it it

A n h ! h in s n ow . JUDY . y ; do e wit it 1 I eard it cry g ju t Where is it ?

P un ch equivocates betw een death it self an d the ape of d ” eath . ’ A ﬁtful slee w fter life s fever it p s ell . ” 2 A 3 n . Macbeth , ct , Sce e 1" J udy m ight say w ith the Moor

n w n m e Do e ith it By heave , he echoes , As if there w ere som e m o nster in his tho ught ” d u w n . O A 3 n 3 . Too hi eo s to be she thello , ct , Sce e

A N D DY PUNCH JU .

H ow sh kn PUNCH . ould I ow DY h ou m k the n JU . I eard y a e pretty darli g cry . u n PUNCH . I dropped it o t at wi dow . Y h ou h w h the JUD . O y cruel orrid retc , to drop pretty

o ut n . O h c ries a nd wi es her e es w ith baby at wi dow ( , p y o r w ite a ro m an O h the c orner f he h p n) Y ou barbarou s .

Y ou shall h on e h s n u m . PUNCH . ave ot er oo , J dy, y dear h h m m ” More w ere t at co e fro . ’ DY m k ou a for h s n u n . JU . I ll a e y p y t i , depe d po it

E x it in haste. h f k Th she s. o PUNCH . ere goe W at a piece wor about n othing If

da nc es a bout a nd sin s bea tin time with his hea d ( g , g , as he tur ns r ound on the ront o the sta e , f f g )

R e-en ter Y w ith a stic k she c omes in behin d a n d JUD ; , hits a soun din blow on the ba c k o the hea d PUNCH g f , e r h a b fo e e is a w re.

’ m h o t n . JUDY . I ll teach y ou to drop y c ild u at wi dow H S o—o — u so —O — ! r ubbin PUNC . oftly, J dy, oftly ( g

’ This may remin d the reader O f an an ecdote in Machiavelli s ”

3 . 6 Con iurie Discorsi (Lib . , cap , Delle g ) , w m Riorio un F in the ife of Girola o , C o t of orli , a very extra d n m nn d ﬁ d n m an d w d how or i ary a er, e e her e e ies , she e little she “ u n . R n val ed the lives of her so s . Mr oscoe ( Life of Lore zo ” de d 2 1 64 d n d n ot m w Me ici . , , e itio oes see to be a are that is un d in l an d u u the story to be fo Machiavel i , he q otes M ra ’ ” An n 9 556 u u tori s als , , , for his a thority . M ratori treats the poin t with great decorum Rispose loro quella forte fem ’ m n s ue ﬁ liuoli ta n le i a che se ave sero fatti perir q g , res va o a lei ” n d per far e e gli altri . ’ “ n n m n m an d Pun w as 1 This othi g s ore tha atter, yet ch “ right in the sen se in w hich Shakespeare speaks in Corio lan us ; w as n n n —titleless It a thi g of othi g ,

n n n o n m an d un n w for the i fa t has a e , it is certai hether it ever w as n d e d in variab l s n as christe e . W have hear it poke of d an d n d u u un ess w e the chil eve its sex is o btf l , take the ” w d m n H —an d n w e or of Tho so , eroes are sires of boys , the ’ O f u s n ud P un ff n w as man shall , co r e , co cl e that ch s o spri g a hﬂd c . TH E TRAGICAL COMEDY O F

’ * he ck o his he d with his ha nd n n ow t ba f a ) Do t be a fool . W hat y o u at ? ’ h ! u m b o ut w n JUDY . W at yo ll drop y poor ba y at i dow n w hittin him c on tinua ll on the hea d agai , ill you ( g y )

. n w n she still hits him PUNCH No , I ever ill agai . ( ) ’

sa A k s k . s . Softly, I y , oftly jo e a j o e h ti him a a in . O ou n s ! hit n JUDY , y a ty cruel brute ( g g ) ’ h I ll teac you . ’ B m e n k h h n h ! ut o s . PUNCH . li e uc teac i g W at you re in earn est are y ou

Y es hit hit a m . hit JUDY . , ( ) I ( ) ( ) ’ I m : m e n o k su h k s “ she PUNCH . glad of it li e c jo e ! ( ‘ ’ h f a h ! ou n its him a a in L v of s . g ) ea e , I y W at y wo t , ’ won t y o u

"i ’ This w as the great Grimaldi s celebrated exclamation in ” an d s w an d m him m Mother Goose el e here , fro it see s bor “ ” row ed : w e call him the great Grimaldi to disti nguish him m n d i an dfather an d son fro his great gra father, g , father, , for t n u n w n ﬁve n n hey have bee a s ccessio of clo s for ge eratio s . ’ The most remarkable of J oey s predecessors w as called ” J m de f1 om n an d n m a bes fer , the stre gth spri g of his li bs he w as the gran dfather an d a great favorite w ith the ladies ferr um est quod aman t he on ce broke a chan delier by lofty u n an d w m n d out va lti g, ith a piece of the glass al ost k ocke the u Am d w ho m d m c om eye of the T rkish bassa or, a e it a for al ’ n F n u J son m d m u an d plai t to the re ch Co rt . oey s pro ise ch , n n d er ormed for w n w as ca ot be sai to have p f little , all the i ter he ’ n - d n an d sum m d W how at Cove t Gar e , all the er at Sa ler s ells ; ever he n ever reached a poin t of comparison w ith his father ; ” m d w w m w n w s Co pare ith ho all other clo s ere fool .

” in m n u b ut n 1 This is a jest al ost every la g age , it is partie ’ r n i n d in m n i hi la ly commo in Italy . It s i serte Do e c s Collee n u Fa ti n 1 6 is c e e V 5 5 . tio of Motti B rle e e ice , It of a

w n n w m H . piece ith the story relati g to Ge eral , ho T . ” - “ d I n m . W do ou m n ? kicke a ball roo hat y ea by that , sir “ ” d n Am as n ff n ? (crie the Ge eral ,) I to take that a perso al a ro t ” u u d H am d o . To be s re y are , replie T . I gla of it , u n d n al n —H (ret r e the Ge er ,) I like people to speak i telligibl it ” ’ y u ana t n A din l H ex l io . c c m . saves the tro ble of farther p g y , heard n o m ore from the Ofﬁ cer ; w ho aftei w ards got. so often ' aﬁron ted an d d Jatien tl so m n n u , receive y a y i s lts , that he ” u d n -n m f r ei r n acq ire the ick a e o the ec ve Ge eral .

TH E TRAGICAL COMEDY O F

’ Who d be plagued with a wife That could set him self free h or kn Wit a rope a ife , k k O s me . r a good tic , li e (he throws a w ay the body with his stic k)

R T Y -~ E n ter P E TY POLL . l “ ’ H seein her a n d sin in - out o The B e ar s U . P NC ( g , g g f gg

” ‘ 0 er a while she da nc es p , 1 ) ’ h n the h of m an is o ress d h s W e eart a pp wit care ,

The s s l h n m n s &c . cloud are di pe led w e a wo a appear ,

H aside W h a ! h PUNC . ( ) at beauty W at a pretty crea ture ex ten din his a rms a n d then c las in his han ds in ( g , p g

m u n l 6 E d n J ve a . vi e tly fro , Sat . Ferre potes domin am salvis tot restib us nllam um atean t altae c ali an tes ue n a C p g q fe estr e, Cum tibi vic inum se proeb eat JE milius pen s ? Here it seems doubtful w hether the poet mean s to rec om m n d hen - d u n d m u se e the pecke h sba hi self to the halter, leap w n d w &c u d n his out . w of the i o , or that he sho l ha g ife , or ’ n ﬁ un s n give her the be e t of the air . P ch actio s supply a c om

ntar on w d an w w n n . e y his or s , if y ere a ti g ‘ om m s d N n an d hen c e old in 1 S eti e calle a cy, the say g,

F fun an d n or fa cy,

As Pun ch kissed Nan cy . 3: This son g w as probably ﬁr st in troduced in to a puppet ’ s w m w n w w as n ho , at the ti e he Gay s ork so extravaga tly u b ut n ot m u n d s d po lar ; ore pop lar tha it e erve to be . “ ” In Pun an d J u d P P is m 5 this copy of ch y , retty olly erely mu w m mm n d our in a te, hich perhaps ight reco e her to hero , n w u In few nt co trast ith his late spo se . a of the represe ations she s an d on e w w as u in 1 795 an d 1796 c on peaks hich pop lar , tain ed w n s n . W e u m in the follo i g ce e o ght to pre ise , that that w P w as su d d u n m n sho , olly ppose to be the a ghter of a ge tle a w m P un had u n in u d n his ho ch j st slai , a q arrel regar i g per f rm n s n s - o a c e o the heep bell .

E n ter P L ver ail dressed OL Y y g y . h m f m d POLLY . W ere is y ather ? y ear father !

P A N D D UNCH JU Y .

he c ontinu to da nce a nd da nc es a dmira tion . S es ,

him while he surve s her in silen t deli ht. r ound , y g H e then begins to sing a slow tune a ndf oots it t h r a n d a s the music uic kens the i it w i h e ; , q , y j g n d orwa rds a n d sidewa s to a ll ba c kwa r ds a f , y ,

ts o the sta e. A t last Punc h c a tc hes the p a r f g , is a r ms a nd kisses her most a udibl la dy in h y , “ ” t A r t in h a r n othin lo h. te wa l z while s e app e s g f g, , they da n c e to the tun e of The White Cocka dep a nd Punc h sings a s follows f)

v ou so v so I lo e y , I lo e you , n v ou n o n o n o I ever will lea e y ; , , had the v s of s n S ol If I all wi e wi e Ki g ,

I would kill them all for my pretty Poll .

E u x e n t da nc ing .

P H aside W u ! UNC . ( ) hat a bea ty P LL Who i d m ? O ! O cries O Y . k lle y poor father h h ! ( ) ’ P w s UNCH . T a I . P L O u w wh did ou m ? O LY . h Cr el retch , y y kill y father P F u m N . U CH or yo r sake , y love .

P . O ou n ! OLLY h , y barbaria ’ P n m d Y ou w u UNCH . Do t cry so , y ear . ill cry yo r pretty

s out an d h w u d . eye , t at o l be a pity P O H ow u d ou ll him ? OLLY . h, oh co l y ki P H w u d n ot m e ou an d so d him UNCH . e o l let have y , I kille . ou on so mus —O h O h ! retendin to If y take , I t cry too , (p g w eep) H ow sorry I am ! P L A n d ou s O LY . are y really orry ? P — how Y . UNCH . es , very sorry look I cry P L Y aside n d m un man O L . ( ) What a ha so e yo g . It is a pity h u d s —H ow s run d w n his u u n e sho l cry o . the tear o bea tif l lo g n s —Did ou m h out me an d u o e y kill y fat er of love of , are y o I r ? ou sorr mus ou . sor y If y are y , t forgive y m u m U N CH . u d s o u m u E I co l kill y elf for love of y , ch ore yo r fat er . u n POLLY . Do y o the really love me ? P I do ! do ! UNCH . I P n m s ou 1 OLLY . The I o t love y n m s an d d n Th w s . e n The they e brace , ki s , a ce hole ce e , bar n d n n s m m d l d u n the n w w n ri g the a ci g, ee s o el e po i tervie bet ee d n R . a d Lad Ann . is C d f m w e ichar III e It opie ro the MS . have before men tione TH E TRAGICAL COMEDY O F

A CT II .

E n ter a FIGU B B dr essed like a Cour tier who sin s a slow a ir , g , mo s to it w ith r ea t ra vit a nd solem it H e a n d ve g g y n y . rst takes o his ha t on the r i ht o the thea tre a nd then ﬁ f g f ,

on the le t a n d c a rries it in his han d . H e then sto in f , p s the c en tr e the music c eases a nd sudden l hi hr oa , y s t t be in s to elon a te a n d his hea d r a dua ll r ises un til his g g , g y ta ll r tha n a ll the r est o his bod A er a usin n ec k is e f y . ﬂ p g or some time the hea d sinks a a in a n d a s soon a s it f , g ; , ' ” FI G R t ha s desc ended to its n a tura l la c e the U B ex i s. p ,

E n ter rom behin d the c ur ta in wher e he ha d been PUNCH f , w a tc hin the ma n oeu res the Fi ur e g v of g .

. W ho the ou m e sh u k kn PUNCH devil are y , o ld li e to ow, w h n n k Y ou m a et s h d ou it your lo g ec y g it tretc e for y , ’ on e of h s s s m s . It s ﬁ n e t e e day , by o ebody el e a very ’ ee in out a n d lookin u a t the sk I ll o ‘ h day . !p p g , g p y) g fetc h n d k v s m t he my orse, a ta e a ride to i it y pret y Poll . ( ” sings to the tun e of Sally in our Alley ) O the s h so sm f all girl t at are art, ’ There s n on e like pretty Polly ’ h s the n of m h S e darli g y eart , She i m an ell s so plu p d j y .

i n u P n an d d ﬁ all Th s sce e is pec liar to icci i , he e es the other exhibitors of P uppet - show s in E nglan d to make the ﬁgure take ff w n n d is u n It o the hat ith o e ha . This the tr e reaso for s i ntrodu ction ; an d it is n ot easy to see in w hat w ay it rela tes Pun an d d n u un ss as n w in . o to Mr ch his a ve t res , le , he is the m d an d m n i st of his career of vice cri e , the stretchi g of t n eck is to be taken as an aw ful forewarn in g of the dan ger of the same kin d the hero is likely to i n cur un der the han ds of K Jac k etch . Y ou d n w have o e ell , ” m n m u la mu d s n u n That e st y their r er o yo r eck .

in —If m n n u d is a passage Othello . it be ea t that Pu ch sho l m u d on n eck m u n lay his r ers the of this ysterio s perso age , it is m n u m clear that there is roo e o gh for all of the . “ ’ ” " n m n H n V 1 I pr ythee keep that for the ha g a . e ry I . I A n d un m dd n P . P a a s w a s art ch ight , the fore ar er appe r to

TH E TRAGICAL COMEDY O F

H . Oh ! Oh ! ! h PUNC , dear , lord Help elp ! I am ’ murdered ! I m a dead m an ! Will n obody save my life ? ’ D ! ! m an d n m e to n I m octor Doctor Co e , bri g life agai . an ! a dead m . Doctor Doctor ! Doctor !

E nter D OCTOR .

ho c s so DOCTOR . W all loud h . O h ! O ! m PUNCH , dear , lord urder ! h is the m DOCTOR . W at atter ? Ble ss m e who is thi s

n . un h v ou had an n My good frie d, Mr P c Ha e y accide t, or are you only taki n g a n ap on the gra ss after dinn er ?

. Oh D r ! ! h v n h PUNCH , octo Doctor I a e bee t rown : I h v n k a e bee illed .

D . N o n o . n h n ot so as h sir : OCTOR , , Mr Pu c ; bad t at , n k you are ot illed . k . N ot b ut s eec hless h D ! PUNCH illed, p d O , octor Doctor !

“ the A a in R m and J u of m w So pothec ry, o eo liet , who e sa as n d s of she-w l y , Da te oe the o f Che di tutte brame m iava n sua m Se b carca ella agrezza . “ s m n i Who s s en ter at the excla atio of the hero, w th call o ” ’ “ loud ? Pun ch s Doctor is quite an other guess sort of a gen ” ’ tl man use Far uhar s fa t w u an d e , to a phrase of q , ith f ll fees h i ” n o p ys o . T A good deal has been w ritten on the etymology an d mean in w d an bu ll O f w w e g of hat is calle Irish , hich have here a specimen ; some have supposed it to be derived from a ridicul e ’ in i m P s bulls &c . &c . b ut its s : of the ope , , ; orig very si ple a bull is a blun der ; an d on ly let the reader pron oun ce the tw o ﬁ w d blunder an d mm d rst letters of t—he or , he i e iately has the u m blunder ll s n bl. n tr e ety ology , or per e ip i Milto correctly “ d ﬁn bull w n s s w s n e es a , he he ays it take a ay the es e ce of that ”

l S m et mn A olo . b ut . s . e w hich it ca l itself ( y . p gy ) rather before the time w hen he ﬂourished it seems to have been almost ’ ” n n m u w s u in s m s 1 637 sy o y o s , ith a je t . Th s Shirley Ga e ter, A 3 H d s W d n ct , azar ays to il i g, He w ill talk desperately A n d sw ear he is the father of all the bulls n Ad m f has Si ce a if all ail , he a project n his ests To pri t j .

A N D D PUNCH JU Y .

TO B he ou h t? I s h ? touchin DO C . W re are y ur it ere ( g his hea d)

PUNCH . No ; lower . D touc hin his brea st OCTOR . Here ( g )

PUNCH . No ; lower, lower . h n oin downwards DOCTOR . Here , t e (g g )

0 st . PUNCH . N ; lower ill D Th n is h n s m le k n OCTOR . e , your a d o e g bro e h h . PUNCH . No ; ig er ’ as the lea ns over Pun c h s le s to ex a mine ( DOCTOR g , them kicks him in the e e , PUNCH y )

D h m ! m ! E x it. OCTOR . O , y eye y eye ’ H s lus A h n h is m PUNC . ( o ) ye , you re rig t e oug ; it y eye , ” m in u n a n c in a nd an d n . u a d d Betty Marti too ( j p g p , g — M l ” sin in tun e a b rou . g g , g The is s an ass s s Doctor urely , ir , ’ T h nk I m as as ss s s o t i brittle gla , ir ; B ut n w n o n the ss s s I o ly fell do — gra , ir , A n d my hurt it is all my eye .

w hile is sin in a n da nc in the D ( PUNCH g g d g, OCTOR en ters behin d with a stic k a nd hits severa l , , PUNCH es th e ha kes his ea rs tim on e h a d ; PUNCH s .) l - h m ou PU NCH . H ello ! ho lo ! D octor w at ga e y up to n ow Have don e ! What yep got there ? h n ts him h s for u s . u h hi DOCTOR . P y ic, Mr P c ; ( ) p y ic yo r hur t. h M e n on e h . PUNCH . o like physic it give m e eadac e ’

D O CTO B . Tll at S us n ot k n h of . , beca e you do ta e e oug it

‘ hits him a a in The m ou k the m o ( g ) ore y ta e, re good it will hi s him do you . ( t )

W bu IL I G . H lls u m n D N is y o ea . ’ H Z Y u A ARD . o re right , ’ A n d d d m m & e s c . e icate to the ga e ters , mu m in s m s in Catho This j oke is ch ore proper , o e re pects , h n in P tan En an d w w e O ff lic Italy, t a rotes t gl , here have left

n n s. s is w as w n w n prayi g to Sai t The aying , ho ever, is ell k o , d d m m R m n w n M ihi bea te erive fro ti es prior to the efor atio , he , M artin e w as mm n m n f an dd n the co e ce e t O a ress to St . Marti use O f as an n Of d u m n n du the it , expressio ri ic le , i plyi g i cre lity, mu u n n w n disbeli st , of co rse , have bee posterior to that eve t , he ef in fﬁ u dd s n the e cacy of s ch a res es became ge eral . TH E TRAGICAL COMEDY O F

. s s sa T how ou k PUNCH So you doctor alway y . ry y li e s it yo ur elf.

. n v k our ow n h s c an DOCTOR We e er ta e p y ic , if we h hit him n h n d s m . a o . A u elp it ( ) little ore, Mr Pu c , y will

soon be well .

hits him —dur in this a r t o the dia lo ue the ( g p f g , f DOCTO R hun ts PUNCH to dif er en t p ar ts of the sta e a n d a t last ets him in to a c orner a n d be g , g , la bours him un til PUNCH seems a lmost stunned)

. Oh D n o m n o m ! PUNCH , Doctor octor ore , ore n ou h h s m e am n ow e g p y ic for I quite well .

' D O n n h s hits him OCTOR . ly a ot er do e . ( ) — r . 0 m n and n u is ou PUNCH N ore tur tur abo t all fai , y

kn . ma kes a des era te or t c loses w ith the ow (PUNCH p qf , a nd a ter a stru le suc c eeds in ettin the stic k DOCTOR , f gg , g g

rom him . D r n h s k . f ) Now, octor, you tur to be p y ic ed ” (bea ting the DOCTOR ) ’

. n h n n an h s DOCTOR Hold, Mr . Pu c ; I do t wa t y p y ic, m sir y good . h m k . O es ou do v s PUNCH , y , y ; you ery bad ; you u t ta e th n - hits im u k h s ? it ; I e doctor ow . l ( h ) How do y o li e p y ic hits l hits Th s s n ( ) It wil do you good . ( ) i will oo cure ( hits) physic ! (hits ) physic ! (hits) physic ! (hits) O CTO R h P n c h n o m ! on e of . O . u , pray, Mr , ore pill h h s IS t at p y ic a dose . s h n h k h ow n PUNCH . Doctor always die w e t ey ta e t eir h s hits him A n eI sm s an d ou n n . oth p y ic ( ) all do e , y ever wa t ’

h s n . hits him Th don the h s p y ic agai ( ) ere , t you feel p y ic i n your i n side (PUNCH thr usts the end of the stick in to the ’ s stoma c h th a lls down dea d a n d DOCTOR ; e DOCTOR f , a s e or e tosses a wa the bod w ith the end o his PUNCH , b f , y y f ‘ sta he he ! la u hin ou m a u ﬁ He , , ( g g) Now, Doctor, y y c re

W e nn P un lethar icus b ut en s ca ot call ch g , , at all ev t “ ” ﬁ u t m edi um ur t t p gil e c ge .

A on e our O ld n has s of tra slators it , H e kn ocks dow n the quack ” n O the flat of his back .

n T He w ill be the physiclau that should be the patie t . ' ” l roilus an d s d A 2 Cres i a , ct

TH E TRAGICAL COMEDY O F

. m s he n o k m s un h SERVANT My a ter li a de u ic , Mr . P c , ’ ” h h n o m n s n hi h so e ll ave ore oi e ear s ou se . ’ ’ n h . n e ? . r PUNCH H e do t, do t Very well (PUNCH uns a bout the stage r inging his bell a s loudly a s he c a n ) w . sa n s . SERVANT Get a ay, I y wid dat a ty bell

PUNCH . What bell ?

Th . str ikin it w ith his ha n SERVANT . at bell ( g d) ’ h s o n e . ou h PUNCH . T at a good Do y call t is a bell ? t i an n (p a tting i ) It s orga .

i ~ sa s n s . SERVANT . I y it a bell, a a ty bell a is an r ikin him i h . s t w PUNCH I y it organ . (s g t it) What you say it is n ow A n n n h u . SERVANT . orga , Mr . P c ' A n n ? sa a C n o . IS a u PUNCH orga I y it ﬁddle . t y see (of ers to str ike him aga in!

is . SERVANT . It a ﬁddle

sa is m . PUNCH . I y it a dru is m n . u . h SERVANT It a dr , Mr Pu c . m sa is . PUNCH . I y it a tru pet

so is m . l n SERVANT . Well , it a tru pet But be l , orga , um or m m m s he sa he n o k ﬁddle , dr , tru pet, y a ter, y li a de mu sic . Th n n m or um PUNCH . e bell , orga , ﬁddle, dru , tr pet,

un h he sa u m s is . Mr . P c y yo r a ter a fool h v i . A n d he sa too he n ot n h s SERVANT y . , will a e it ear h ouse . ’ H e s f sa n ot k m s m s . PUNCH . a ool , I y , to li e y weet u ic i h ll n . t Tell him so : be off ( h ts him w it he be ) G et alo g . drivin the roun d the sta e ba ckw a r ds a nd ( g SERVANT g , ,

i“ “ P n ow un d n in O m u art of a acte sce e thello , very ch 1 s mb l w n n an d m n c c 1 ta in e e es . this The Clo e ters , co plai s of “ n d d Cassie a n d m n sere a ers hire by , tells the , the Ge eral so u m u d s ou s m n o likes yo r sic , that he esire y of all love to ake m n w ore oise ith it .

S SI I w w n ot. . W e I T MU C AN ell , sir, ill ’ W ou an mu m a n ot d CLO N . If y have y sic that y be hear , to t n : b ut as hem m u n 1 d s n ot agai they say , to sic , the Ge e al oe greatly care .

l sT SI I W e n n u 1 . MU C AN . have o e s ch , si

L W n ut u s in u b a an d w . C O N . The p yo r pipe yo r g hie a ay — n n i 1 w Go va ish i to a A ay .

A N D PUNCH JUDY .

trikin him o ten w ith the bell ff s o off. knoc kin g f ) Be , be ( g t E x it h o the s a e. im f g SERVANT . PUNCH c on tin ues to r in the bell a s loudl a s be or e while he sin s a n d da n s g y f , g c e )

R e-enter slil w ith a stic k SERVANT, y , .

er c eivin him r etr ea ts behin d the si e c ur (PUNCH p g , d in a nd r ema ins u on the w a tc h Th ta . e , p SERVANT does the sa me but lea ves the end o the stic k visible , f . a a in c omes or wa r d sets dow n his bell PUNCH g f , ver en tl a n d c r ee s a c oss the sta e ma rkin y g y , p g , ( g his ste s with his ha n ds u on the la t or m to p p p f , a sc erta in wher ea bouts his enemy is H e then r eturns to his bell ta kes it u a nd oin u ietl , p , , g g q y o ver the sta e hits the a hea v blow g , SERVANT y thr ou h the c ur ta in a n d ex it r in in his bell on g , , g g the opp osite side)

. Y o u on e n s n o1 s 1 m uden t k SERVANT a ty, y , p blac guard , a in a s be r Me catch y o u yet . ( hides ga f o e) en ter a nd strikes him a s be or e w ith the ( PUNCH, f bell The o s out a nd a ims a blow . SERVANT p p , , but not uickl en ou h to hit U w ho ex it q y g P NCH, ) h . Y o u s un s v n SERVANT dirty co drel , ra cal , t ief, agabo d, k u an d ou sh h s n u n blac g ard, liar, y all pay for t i , depe d po it .

he sta n ds ba c k. E n ter w ith his bell w ho ( PUNCH , , seein the V w ithhis stic k r etr ea ts insta n tl g SER ANT , y , a nd r etur n s a lso a r med w ith a blud eon w hic h he , g , h w The o does n ot a tﬁrst s e . SERVANT c mes for w a r d a n d str ikes on the hea d so ha r d a , PUNCH blow tha t it seems to c on use him , f ) h how n u n s n s SERVANT . Me teac you to ri g yo r a ty oi y

- bell n ear de ge n til me n s house s. w o n h h r T c a . its th PUNCH . ( ec overing ) play at t at ( e li t - a r a lon str u e w ith his stic k. A c on c : e l SERVANT f ﬁ g gg , dur in whic h the omba ta n ts ex c ha n e sla ves a nd er or m g c g , p f va rious ma n oeuvr es a ins the vic tor a n d kn oc ks , PUNCH g y , his an ta onist ow n on the la t orm b re ea ted blows n g d p f , y p o the hea d ) m . O h ! O h h ! SERVANT , dear , y ead

A n d oh u . hittin him there PUNCH . , yo r tail, too ( g ) How ou k h an d h an d h ? hittin him ea c h do y li e t at, t at, t at ( g time) Do y ou like that music bette r than the other ? TH E TRAGICAL COMEDY O F

Th s is m hits h s m n hits h s m i y bell , ( ) t i y orga , ( ) t i y ﬁddle , hits h s m d um hits an d h s m m hits ( ) t i y r , ( ) t i y tru pet, ( ) h ! h n t t ere a w ole co cer for you . m m . ! e SERVANT No ore dead . u PUNCH . Q ite dead . R Yes u SE VANT . , q ite . ’

. Th n h s the s u k hits him a nd PUNCH e t ere la t for l c . ( i l k lls him. H e then takes ho d o the bod b its le s sw in s f y y g , g it r ound two or three times a nd throws it a w a , y )

A T C III .

E n ter a n O LD I MAN eelin his w a with a sta he BL ND , f g y ﬁ ; s th i i wh k s goe to e opp os te s de en he n oc k .

’ MA n n n h I D N m a . u h u BL N . Poor bli d , Mr P c ; I ope yo ll be stow your charity I hear that y ou are very good an d k n the n h h u n m e an d i d to poor, Mr . Pu c ; pray ave pity po , m a ou n kn the ss of n s ! listens y y ever ow lo your te der eye ( , uttin his ea r to the side a nd hea r in n obod c omin p g , g y g, kn oc ks aga in ) I lo st my sight by the san ds in E gypt n m an un h h m ss n u n poor bli d . Pray, Mr . P c , ave co pa io po s n n u it o r he side n the . c o hs a n d s s ve t O poor to e bli d ( g , p ) ly h n n b u s m h n m u h On a alfpe y to y o et i g for y bad co g . ly n n n n ks i o e halfpe y . ( k oc aga n )

E n ter a n d r ec eives one o the kn oc ks inten ded or PUNCH, f , f

the door u on his hea d. , p

’ ! old n k u n ou PUNCH . Hollo you bli d blac g ard, ca t y see

ir A N n h. s s LI D M . B N No , Mr . Pu c Pray , , be tow your

h u n l n man h h. c ou hs c arity po a poor b i d , wit a bad cou g ( g ) ’ m e . n et n n u PUNCH G et alo g, g alo g ; do t tro ble

n othin g for you . n h n n h ! m u h I MA N . O L D O , B N ly a alfpe y dear y_ co g ’ is so bad ( c oughs a n d sp its in PUNCH S f a c e)

O u s l n n u n dn s was f ca se , thi exp a atio of the ca se of bli e s ’ n d R A m d n E i serte after Sir alph bercro bie s expe itio to gypt , w hen man y beggars w ere see n abou t the s treets askin g alms on m d m u u w as s . the a e score Before that ate , so e other pop lar ca se ,

n o d u n d . o bt , assig e

TH E TRAGICAL COMEDY O F

! W PU N c H . The he s h ? Devil doe at for , pray

k m h. Y ou kn k S BL ou . u CON TA E . Y illed Mr Scara o c oc ed his head o ff his Shoulders. ’ W h s h ou ? s h m h PUNCH . at t at to y If you tay ere uc ’ h m n s ou t e s . lo ger, I ll erve y a e ’ O S B n m e Y ou h mm C N TA LE . Do t tell . ave co itted ’ mu an d n ou . rder, I ve a warra t for y ’ kn k n d w n ou . oc s . A PUNCH I ve a, arra t for y (PUNCH him dow n a n d da n c es a n d sin s ab out the sta e to the tune , g g , n he ush s of Gree grow t R e O .

E n ter a n O I E in a c oc ked ha t with a c ocka de a nd a FF C R , , * lon i ta il g p g .

O I . n s m ﬁn e FF CER Stop your oi e , y fellow ’ h n PUNCH . S a t . ’ I m an f O I . FF CER o ﬁcer . w a n PUNCH . Very ell . Did I s y y ou were ot

O I . Y ou m us o m e Y ou k FF CER t g with . illed your “ an d h wife c ild . h m h d . T ow n su s an d a PUNCH ey were y , I ppo e ; I a h w h k h h m rig t to do at I li ed wit t e . ’ W sh se k O I . e e h I m m . FF CER all t at, co e to ta e you up ’

. A n d I m m n PUNCH co e to take y ou dow . ( PUNCH kn oc ks him dow n a n d sin s a n d da nc es a s b or e , g ef )

E nter K in a ur -c a while danc in JAC KETCH , f p . PUNCH, g, r uns u a a inst him w ithou s in him p g t ee g .

. w ith some s m toms o a la r m) PUNCH ! y p f My dear Sir, b o n n I eg y u o e thou sa d pardon s v ery sorry . ’ ’ . . A s n u h I ve J KETCH ye , you ll be orry e o g before ’ n n kn m do e with you . Do t y ou ow e

. O h sir kn w w l an d h ou PUNCH , , I o you very el , I ope y

v an d Mrs . h v w ery well, Ketc ery ell . ’

. . . un h v m an . W h J KETCH Mr P c , you re a ery bad y did y ou kill the Doctor ? In n . s PUNCH elf defe ce . ’

. Th n do . J . KETCH at wo t

The ordin ary perform ers of p uppet - show s do not seem clearly to un derstan d the disti n ction betw een an ofﬁ cer of the army an an fﬁ d o cer of the police .

PU N CII A N D Y JUD .

. w n k m PUNCH He a ted to ill e . H ow ? J . KETCH . h his (1 h s . PUNCH . Wit d p y ic ’ l . h s a l m n Y m m . ou J . KETCH T at ga o ust come to m ’ h pri son : my n a e s Ketc .

Ketc h h h n . kn c ks K PUNCH . t at t e ( PUNCH o dow n JAC ' " KE TCH a nd c ontinues to da n c e a nd sin , g )

E nter behind one a ter the oth r the S B th , f e , CON TA LE , e

O I a nd K . The a ll u on in FF CER, JAC KETCH y f p PUNCH the or der in whic h the enter a nd a ter a n ois str u le y , f y gg , the in him in a c or n er a n d ina ll c a rr him o while y p , f y y f ; lu l a lls out m he sti y c Help urder & c .

E SC NE II .

the c ur ta in the ba c k o the sta e r ises a nd ( f g , disc overs r iso n r ubbin his n ose a a inst , g g the ba rs a n d p oking it thr ough them)

h ! h ! w h m of PUNCH . O dear O dear at will beco e poor - h k n ow . h n S see ou pill garlic My pretty Poll , w e all I y ” again ( sings to the a ir of Water parted from the Sea )

un h w h n m his P c , e parted fro dear, n in n Still m ust si g doleful tu e . sh had h s s ls h I wi I t o e ra ca ere , ’ I d settle all their hashe s soon !

A d O f J K We m m s s n fter the efeat ack etch , have so eti e ee , w d d n an d ffi J u ith a total isregar of his ra k o ce , the Chief stice En n d n du d u s m n n of gla i tro ce , for the p rpo e of aki g the captio Pun u w n tw o w as u in ra of ch . The dialog e bet ee the eq ally f di nita tem s on fi J ud O f n d . g , at lea t the part of the rst ge the la I J S I H P un m CH EF U T CE . ollo ch, y boy P H ! who ou w u d u UNCH . ollo are y ith yo r hea like a ca li flow er ’ ’ I J S I n ou n w m I m d CH EF U T CE . Do t y k o e the Lor Chief Ju stice . ’ ’ P d n u d n . Y ou UNCH . I o t care if yo re the Lor Cha cellor ’ ’

n m e n n . sha t get i to Cha cery, that s all — ’ B ut u n . u CHIEF J USTICE . I Shall get y o into priso Yo re a ’ ’ u n m rderer ! you ve killed I do t kn ow how man y people .

TIIE TA G ICA L COMEDY O F

’ h - I n kn w h U . ow P NCH W at for do t o . is v s n u t h J . KETCH . It ery ea y o ly p your ead through h ere . h . so okin his hea d on one sid o t PUNCH W at, (p g e f he n oose) n o h ! J . KETCH . No , , ere h n kin his h . o ea d on the other side PUNCH So , t e (p g )

. so ou . J . KETCH Not , y fool n w ho ou : c an PUNCH . Mi d y call fool try if you do it On sh m e how an d u s . . yo r elf ly ew , I do it directly w h . m . T see J . KETCH Very ell ; I will ere, you y

h an d see h s : in so . uttin his ead, you t i loop put it , (p g hea d through the n oose)

. A n d u h so . he ulls the bod or c i bl PUNCH p ll it tig t, ( p yf y dow n a nd ha n s K u ! z ! H , g JAC KETCH) H zza Hu za (PUNC k s dow n the r se a n d la es it in the c o in : he then ta e c o p , p c ﬁ sta nds bac k)

E n ter two ME N who r emove the ibbet a n d la c in the , g , p g c o in u on it da nc e w ith it on their shoulders r otes uel ﬁ p , g q y ,

a n d ex eun t.

Th h o . Th h nk h h v ot PUNCH . ere t ey g ey t i t ey a e g Mr. n h sin s Pun ch safe e oug . ( g )

’ ’ They re out ! they re out ! I ve don e the trick ! — ’ Jack Ketch i s dead I m free n ot n o w O k I do care , , if ld Nic

Him self Should come for m e .

w i h a sti k e nc es Goes of a nd r etur ns t c . H da a bout bea tin tim on the r on t o the sta e a n d g e f f g , “ in o n the sh s sing g to the tun e f Gree grow ru e 0 .

R h l d 10 11 ig t fo l de rid le , ’ ’ he em all I m t boy to do . ’ Here s a stick T hum O k o t p ld Nic , n If he by chan ce upo m e call.

E n ter the D I H e ust ee s in a t the c orn er o the EV L . j p p f i sta e a nd ex t. g ,

. muc h r i htened a n d r etr ea tin a s a r as he PUNCH ( f g , g f

A N D PUNCH JUDY . c a n O h ! O h ! T k of the an d he ) , dear , lord al devil , pops

his h n s. Th the old n m n is su n u h up or ere ge tle a , re e o g . a a use a n d dea d silen c e w hile c ntin ues to ( p , PUNCH o gaz e a t th s t wh re the I a ea red Th I e p o e DEV L pp . e DEV L c omes or w a rd k n . n ou an f ) Good, i d Mr Devil , I ever did y y ’ ll he in m - h m b ut a t . Th n m ar , good y power ere , do t co e

an n . ou ? c ollec tin c our a e y earer How y do, Sir ( g g ! I hope y ou an d all you—r re spectable fam—ily w ell ? Much obliged for thi s V i sit Good m orn i n g should be sorry k ou kn w h v o f us n ss to eep y , for I o you a e a great deal b i e

h n ou m L n n . the IL a dva n c es O h w e y co e to o do ( DEV ) , ’ dear ! W hat w ill becom e of m e ? (the DEVIL da r ts a t w ho esc a es a nd a ims a blo w a t his en em : the PUNCH, p , y D I eludes it as w ell a s ma n others la in his hea d on EV L , y , y g the la orm a nd sli in it r a idl ba c kw a r ds a nd or p tf , pp g p y f w a r ds so tha t instea d o str ikin him onl r e ea t , PUNCH, f g , y p edly hits the boa r ds) ’ h he ! la u hin H e s ff he n . e o : k PUNCH He , , ( g g) ew h n n e h h s is u o . o un n n w ic ide bread b ttered H e deep , c i g is a la r med b hea r in a stra n e su er ur devil . (PUNCH y g g p na t a l whirr in noise somethin like the ra id motion o t g , g p f ﬁf y s in n in wheels a nd a a in r etrea ts to the c orner ea r ull p g , g , f f y w a iting the event)

- r h w i h ti k H e ma kes u to R e ente t e I t a s c . H DEV L, p PUNC , w ho r etr ea ts r oun d the ba c k o the sta e a n d the sta nd f g , y e ein one a nother a nd enc in a t o osite side A t y g f g pp s. la st the I ma kes a blow a t w hic h tells on DEV L PUNCH, h a c h t e b k of his ea d .

PU N CII . O h m h ! h is h ? , y ead W at t at for Pray, Mr . n h i n D u s s . t e I h ts him a a i a n d evil , let be frie d ( DEV L g , be ins to ta ke it in dud eon a n d to r ow a n r P UNCH g g , g g y ) \Vh ou mu s o n e s n ot kn w y , y t be very tupid Devil to o u s n w h n o se him the I hits him yo r be t frie d e y u e . ( —DEV L a a in u i sa ou hu r m e ! W o u g ) Be q et, I y , y t ell if y ’ w n m us w h h is the s m an — un h the o t, we t try ic be t , P c or

Devil . (her e c ommen c es a terr iﬁc c omba t between the IL a n d : in the be in nin the la tter DEV PUNCH g g, ha s muc h the w orst o it bein hit b his bla c k f , g y a d ver sa r when a n d w her e he lea ses a t last the y p , GI MEDY O F P AN D J D Y TRA CAL CO UNCH U .

D VI seems to row w ea r a nd H u e E L g y , PUNC s c c eds

in p la nting severa l hea vy blows. The ba la nce bei r estored the i ht is ke t u or some time ng , f g p p f , a nd towa rds the c onc lusion PUNCH has the decided d r es hi a dva n ta e a n d iv s enem be ore him. The g , y f DEVIL is stunned by r ep ea ted blows on the hea d a nd horns a nd a lls orw a r d on the la or m , f f p tf , wher e c om letes his vic tor a nd knoc ks PUNCH p y , t ut i the br ea h out of his body . PUNCH then p s h s ’ sta u the I S bla c k ' c lothes a nd whir ls ﬁ p DEV L , “ him r o und in the a ir ex c laimin z z ! , g, Hu a ’ ” huz z a ! the Devil s dead !

l t iu tur u .