Punch (12.1847)

132

PUNCH, OR THE LONDON CHARIVARI.

THE NEW BAVARIAN MINISTRY.

The events that have recently happened in Bavaria, through the instrumentality of the Spanish
dancer, Lola Montis, are certainly full of dramatic interest. The revolution effected by a member
of the coregraphic art, is something quite new in our modern annals ; and the idea of a danscuse
being instrumental to the overthrow of the Jesuits, has suggested to several members of the corps
de ballet in France and England to send in tenders to the various Cabinets of Europe for effecting
any great political changes that may be required.

The influence of Ttrpsichore has already been felt on the government of more than one European
nation ; and Fanny Ellsler's interview with the Pope, soon after his elevation to the papal chair,
may probably have had a considerable share in bringing about the reforms -which have so astonished
the world, as proceeding from a quarter hitherto considered to be most bigoted and inflexible.
The part recently acted by Lola Monte's might well serve as the foundation of a grand political

ballet, (of which we furnish a brief outline), to be called j formation of a Ministre JDcnsante ; and a

picture is formed, of which the captivat-
ing Montes forms the centre, supported
by the King of Bavaria, who hangs ten-
derly over her, upen which pleasing picture

The Curtain falls.

to show his sympathy with the University.
The Minister of Finance then makes an
advance, and points to a Bank, which he
strikes, and a golden stream issues from
its side, with which he offers liquidation to
any extent, while he intimates by his action
that the golden stream acting on anything
produces a state of liquidation or solvency.
The Minister of the Interior is the next
that appears, and he takes an attitude of
firmness, which Lola points out as a
proof of his value to the lung of Bavaria.
After a variety of ins and outs, the fair
Lola induces the King to allow the

LE KOI ET LA DANSEUSE.

The King of Bavaria, worn out with the cares of government, and worried to death by his
Jesuitical ministry, sends for the fair Lola, who has just arrived, to make her appearance at the
Imperial Theatre of Bavaria. At first he is indifferent to her pas and poses ; but she soon attracts
his notice by pointing her toe -with tremendous expression towards some disaffected members of the
ministry. The King's attention becomes arrested, and he would fain ask for an explanation, when
the graceful Lola goes off into a boundless group of endless entrechats. The sovereign seems puzzled,
and is about to pursue the delightful creature, for the purpose of putting farther questions to her,
when she gaily gallops off and disappears among the mass, into which the royal pursuer refuses to
follow his lovely fugitive.

In the next tableau the King is represented torn by conflicting passions and thinking of Lola.
Five of his Ministers come in and dance a pas de cinq:, which goes by the name of the Pas des
Jesuites. The King seems distracted at the labyrinth into which he is drawn by the intricate move-
ments of this complicated pas; but he continually turns round, as if looking for the lovely Lola
The Bishop of Augsburgh then presents himself with a downcast look, and two beautiful fountains
suddenly start from his eyes, which continue to run incessantly.

The King is about to yield on seeing the distress of the good Prelate, when the fascinating Lola
comes bounding in, and pointing to the streaminsc eyes of the Bishop, indicates by her gestures
that he is a pump of the utmost duplicity. The lung still seems dejected, when Lola, by dancing
the Cachuca, gradually restores him to gaiety, when he joins her in a Polka, to the dismay of all his
courtiers. Upon this, the Ministers commence a grand pas de resignation, when the King fearing
he shall be left alone, appeals earnestly to Lola. She immediately summons some of her own
companions, who undertake to fill the vacant places, and dance the Pas de Cabinet, though with
some trifling awkwardness. She introduces, one by one, the three principal figures, each of whom
performs some " variations" of his own ; and the Minister of Education executes the College Hornpipe,

INISTEK OF FINANCE. THE NEW ;.i IN1STET, OF IH K TNTE HIOK.

rHE NEW MINISTER OF E C T'CAT'ON.

THE PARCEL POST.

What means that hum of voices ?

What means that angry crowd ?
Why are those people quarrelling ?

Why are they talking loud ?
They 're clamouring for the parcels

They recently have lost,
Through foolishly confiding them

Unto the Parcel Post.

Behold the poor Inspector,

Left lonely in his shame,
To give three thousand parcels back,

And answer every claim ;
With bother reDder'd desperate,

He seeks the great Lord Mayor,
And throws before the civic throne

The parcels in his care.

" My Lord, what shall I do with them ?'

" Deliver them, of cotirse,"
Replies his Lordship ; but 'tis vain,—

There is no cart, no horse.
Thus the Inspector calmly spoke :—-

" My Lord, if through the streets
I send one of our vehicles,

Some creditor it meets ;

" Who clutches by the bridle

The steed with gallant neigh,
And, for a debt, the equipage

Is quickly walked away.
A single batch of parcels

I do not dare send out,
For creditors are dodging them

All London round about.

i; And e'en our very servants,

For their arrears of pay,
Will from the parcels help themselves i

They do it every clay."
His Lordship much regretted it,

But wisely shook his head ;
Advice was quite impossible :

There's nothing to be said.

The poor Inspector then withdrew,

Expressing loud his fears
The whole establishment would soon

Be pull'd about his ears.

moral.

Before you start a Company,

'Tis better to take care
You've got sufficient capital

A loss at first to bear.

And as to speculation,

'Tis better let alone,
When all the cash you've got to lose

Is none of it your own.
And you Inspectors, guide yourselves

By this most sound reflection :—
Don't be Inspectors of concerns

That will not bear inspection.