162
PUNCH, OR THE LONDON CHARIVARI.
[April 21, 1860. ,
Paterfamilias (who is stout and a Volunteer also). “ Oho ! My new Uniform come home, I see ! ”
Family. “Yes, Pa dear! And we’ve tried it on the Water Butt, and it looks so nice!”
MUMBO JUMBO.
Mumbo Jumbo was a Guy,
Fright ened people formerly,
Now tfiey think him all my eye,
And laugh at Mumbo Jumbo.
Mumbo Jumbo did prevail.
With his horns and with his tail.
Now they turn no mortal pale:
A fig for Mumbo Jumbo !
Now, through Mumbo Jumbo’s hide.
Straw within can be descried;
Mumbo Jumbo is defied,
Despised is Mumbo Jumbo.
Mumbo Jumbo once could roar.
Shaking Europe’s farthest shore.
But the nations heed no more
The voice of Mumbo Jumbo.
Gently as the sucking dove.
Cooing in the key of love,
Scarcely heard his breath above,
Bellows Mumbo Jumbo.
Mumbo Jumbo, sinking names,
Belches much more smoke than flames
At contemners of his claims;
Exploded Mumbo Jumbo !
“ THE IGNORANT PRESENT.”
There is advertised—everything is advertised now—an announce- j
ment that some admirers of Mademoiselle Piccolomini propose to
present that lady with a Testimonial on her retiring from the stage!' ;
If Mr. Punch were not aware that a Testimonial is simply a metallic-
form of puff, he would, perhaps, ask why Mademoiselle was not per- •
mitted to retire before the Testimonial was got up. But, setting this
aside, he would like to know why a Testimonial should be presented
to Mademoiselle Piccolomini at all? For the information of The
Ages, he would mention, that the lady is a pretty little personage, of
good family (whence much aristocratic patronage), who, by force of
bright eyes, intelligent acting, and a charming smile, pleased the public |
into a belief that she was a Lyric Artist. After three or four seasons J
of this kind of agreeable fun, the lady naturally marries {Mr. Punch
himself would have sought her hand but from considerations of duty
to Judy), and—for the present—retires. Then a Testimonial is to be
got up! Certainly Mr. Punch is not such a wretch as to grudge a
bride a bit of silver to set up housekeeping with; but, in the interest
of truth and music, he objects to its taking the form of a recognition,
of a non-existing genius. If we were bent on worthy recognition,
where is the Testimonial to one Giulia Grisi, who has grandly held
up Lyric Tragedy for twenty years ? But in Art, as in the British
Museum, we secure the butterflies with silver pins, but need take no
precautions to steady the diamonds.
A New Enterprise for Lamoriciere.
General Lamoriciere is reported to have remarked at Rome:—
“ By the blessing of God and our own exertions, we may soon call into existence
a force of Roman Zouaves.”
Mumbo Jumbo sits on thorns,
None but ninnies kiss his corns ;
Let him then draw in his horns :
Good night to Mumbo Jumbo !
' The blessing of Heaven must, of course, wait on so pious and
| humane an enterprise. If it succeed it will have at least the charm of
j novelty, for it is the first time we ever heard of things at Rome being
done “ Zouaviter in modo.”
PUNCH, OR THE LONDON CHARIVARI.
[April 21, 1860. ,
Paterfamilias (who is stout and a Volunteer also). “ Oho ! My new Uniform come home, I see ! ”
Family. “Yes, Pa dear! And we’ve tried it on the Water Butt, and it looks so nice!”
MUMBO JUMBO.
Mumbo Jumbo was a Guy,
Fright ened people formerly,
Now tfiey think him all my eye,
And laugh at Mumbo Jumbo.
Mumbo Jumbo did prevail.
With his horns and with his tail.
Now they turn no mortal pale:
A fig for Mumbo Jumbo !
Now, through Mumbo Jumbo’s hide.
Straw within can be descried;
Mumbo Jumbo is defied,
Despised is Mumbo Jumbo.
Mumbo Jumbo once could roar.
Shaking Europe’s farthest shore.
But the nations heed no more
The voice of Mumbo Jumbo.
Gently as the sucking dove.
Cooing in the key of love,
Scarcely heard his breath above,
Bellows Mumbo Jumbo.
Mumbo Jumbo, sinking names,
Belches much more smoke than flames
At contemners of his claims;
Exploded Mumbo Jumbo !
“ THE IGNORANT PRESENT.”
There is advertised—everything is advertised now—an announce- j
ment that some admirers of Mademoiselle Piccolomini propose to
present that lady with a Testimonial on her retiring from the stage!' ;
If Mr. Punch were not aware that a Testimonial is simply a metallic-
form of puff, he would, perhaps, ask why Mademoiselle was not per- •
mitted to retire before the Testimonial was got up. But, setting this
aside, he would like to know why a Testimonial should be presented
to Mademoiselle Piccolomini at all? For the information of The
Ages, he would mention, that the lady is a pretty little personage, of
good family (whence much aristocratic patronage), who, by force of
bright eyes, intelligent acting, and a charming smile, pleased the public |
into a belief that she was a Lyric Artist. After three or four seasons J
of this kind of agreeable fun, the lady naturally marries {Mr. Punch
himself would have sought her hand but from considerations of duty
to Judy), and—for the present—retires. Then a Testimonial is to be
got up! Certainly Mr. Punch is not such a wretch as to grudge a
bride a bit of silver to set up housekeeping with; but, in the interest
of truth and music, he objects to its taking the form of a recognition,
of a non-existing genius. If we were bent on worthy recognition,
where is the Testimonial to one Giulia Grisi, who has grandly held
up Lyric Tragedy for twenty years ? But in Art, as in the British
Museum, we secure the butterflies with silver pins, but need take no
precautions to steady the diamonds.
A New Enterprise for Lamoriciere.
General Lamoriciere is reported to have remarked at Rome:—
“ By the blessing of God and our own exertions, we may soon call into existence
a force of Roman Zouaves.”
Mumbo Jumbo sits on thorns,
None but ninnies kiss his corns ;
Let him then draw in his horns :
Good night to Mumbo Jumbo !
' The blessing of Heaven must, of course, wait on so pious and
| humane an enterprise. If it succeed it will have at least the charm of
j novelty, for it is the first time we ever heard of things at Rome being
done “ Zouaviter in modo.”
Werk/Gegenstand/Objekt
Titel
Titel/Objekt
Punch
Weitere Titel/Paralleltitel
Serientitel
Punch
Sachbegriff/Objekttyp
Inschrift/Wasserzeichen
Aufbewahrung/Standort
Aufbewahrungsort/Standort (GND)
Inv. Nr./Signatur
H 634-3 Folio
Objektbeschreibung
Maß-/Formatangaben
Auflage/Druckzustand
Werktitel/Werkverzeichnis
Herstellung/Entstehung
Künstler/Urheber/Hersteller (GND)
Entstehungsdatum
um 1860
Entstehungsdatum (normiert)
1850 - 1870
Entstehungsort (GND)
Auftrag
Publikation
Fund/Ausgrabung
Provenienz
Restaurierung
Sammlung Eingang
Ausstellung
Bearbeitung/Umgestaltung
Thema/Bildinhalt
Thema/Bildinhalt (GND)
Literaturangabe
Rechte am Objekt
Aufnahmen/Reproduktionen
Künstler/Urheber (GND)
Reproduktionstyp
Digitales Bild
Rechtsstatus
Public Domain Mark 1.0
Creditline
Punch, 38.1860, April 21, 1860, S. 162
Beziehungen
Erschließung
Lizenz
CC0 1.0 Public Domain Dedication
Rechteinhaber
Universitätsbibliothek Heidelberg