DOI Heft:
October 29, 1864
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.16874#0181
October 29, 1864.]
PUNCH, OR THE LONDON CHARIVARI
175
Ill
Hi
|
hM ill1
i 5-
I LMd
j --——-*r-U
TOO CLEVER BY HALF!
Little Girl. “ Oh, Aunty, Baby’s mouth is so funny—It’s just like Yours before you get out of Bed-No, not One Tooth !”
NATIONAL THEATRE, DENMARK.
UNDER THE MANAGEMENT OF MESSRS. FATHERLAND AND FUDGE.
The New German Play of “ THE ROBBERS.”
This barbarous Play, which surpasses Titus Andronicus in incidental
horrors, has recently been brought out at the National Theatre, Den-
mark, by Messrs. Fatherland and Fudge, in open violation of their
licence. It is not our present intention to scrutinise the performance,
which was simply execrable. Let it suffice that it received what it
merited, an indignant storm of hisses from an audience embracing the
most distinguished—and we may add without flattery—the coolest
critics in Europe.
The policy of Fatherland and Fudge, in offering this insult to
public feeling, is quite indefensible. Speaking not too figuratively,
these unprincipled speculators have drawn a check to serve pressing
exigencies, and which may eventually result in a run upon the banks of
the Rhine. When this catastrophe does occur, Fatherland will find
himself obliged to shut up, and be glad once more to draw small beer at
J the sign of the Spread Eagle.
If evidence were required to prove the demoralising influence of the
; Continental Drama, the German Play of The Robbers might be called
into court, and a conviction obtained without further trouble. The
London apprentice, we are often solemnly assured, has been tempted
to try his hand at petty larceny from studiously surveying some stage
culprit’s success in that peculiar branch of economy. Sanguine youths
emulating their pattern hero in a fringed cocked-hat and jack-boots,
j have, we learn, broken open their master’s safe, eloped with his
daughter, plundered the King’s Mail, and evaporating from limbo, to
which they have been transiently consigned, have reduced demented
turnkeys to despair and want. If this be so, are not heads notoriously
weak about their crowns being turned the wrong way by such a triumph
as that of which Fatherland and Fudge so insolently boast ?
Sometime ago Fatheri and got up a heavy burlesque upon John
Bull’s celebrated “ Constitution,” which, during its short run,
certainly provoked considerable laughter. Here Fatherland might have
paused in serene contemplation of his green bays ; but, no ! he panted
for a tremendous “ hit ” upon a deeper stage, and with additional
properties. In partnership with Fudge (an Austrian Dragoon, and
one whose antecedents will not bear investigation), the German play
of The Robbers has accordingly been produced on an extensive scale,
and supported by a company who despise Hamlet's well-known
injunction, and perpetrate every possible outrage upon humanity. One
word as to these wretched strollers. When inspired by Bacchus they
may be heard shouting in praise of that old rheumatic creature their
Father, and shedding tears of filial devotion over their sauer-kraut. It
is with actors of this stamp that Fatherland and Fudge have pro-
duced a sanguinary sort of Coburg drama, which is justly pronounced a
disgrace to the European stage, while aspiring to rank with that for
which these men are such sensitive sticklers—the Legitimate Drama!
It is consolatory to reflect that no applause has greeted The Robbers
but that which professional claqueurs have been regularly paid lor.
Conscious of their high calling, their minions have trom the gallery
lavished their cheers with impartial fidelity on both their patrons; lor
it has been found, and is worthy of note, that the impassioned advo-
cates of Fatherland are invariably the ardent admirers of Fudge.
One Who Wrote before his Time.
It is very curious that the two masterpieces of Aristophanes should
have slyly alluded to two great reigning powers of the present day.
We refer to the Clouds and the Frogs. The Clouds were intended, of
course, for the Germans, whose habitual dwelling-places they are ; whilst
the Frogs could ciearly have been meant for no other nation than our
good neighbours, the French; for even with us, at this remote period
of time, the name of a Frenchman and a Frog, curiously enough,
always jump together. You rarely meet with a writer gifted with so
much foresight. _
A Forensic Swordsman.—Mr. Serjeant Parry is retained on
behalf of Muller. Certainly Parry is a promising: name for a defence.
PUNCH, OR THE LONDON CHARIVARI
175
Ill
Hi
|
hM ill1
i 5-
I LMd
j --——-*r-U
TOO CLEVER BY HALF!
Little Girl. “ Oh, Aunty, Baby’s mouth is so funny—It’s just like Yours before you get out of Bed-No, not One Tooth !”
NATIONAL THEATRE, DENMARK.
UNDER THE MANAGEMENT OF MESSRS. FATHERLAND AND FUDGE.
The New German Play of “ THE ROBBERS.”
This barbarous Play, which surpasses Titus Andronicus in incidental
horrors, has recently been brought out at the National Theatre, Den-
mark, by Messrs. Fatherland and Fudge, in open violation of their
licence. It is not our present intention to scrutinise the performance,
which was simply execrable. Let it suffice that it received what it
merited, an indignant storm of hisses from an audience embracing the
most distinguished—and we may add without flattery—the coolest
critics in Europe.
The policy of Fatherland and Fudge, in offering this insult to
public feeling, is quite indefensible. Speaking not too figuratively,
these unprincipled speculators have drawn a check to serve pressing
exigencies, and which may eventually result in a run upon the banks of
the Rhine. When this catastrophe does occur, Fatherland will find
himself obliged to shut up, and be glad once more to draw small beer at
J the sign of the Spread Eagle.
If evidence were required to prove the demoralising influence of the
; Continental Drama, the German Play of The Robbers might be called
into court, and a conviction obtained without further trouble. The
London apprentice, we are often solemnly assured, has been tempted
to try his hand at petty larceny from studiously surveying some stage
culprit’s success in that peculiar branch of economy. Sanguine youths
emulating their pattern hero in a fringed cocked-hat and jack-boots,
j have, we learn, broken open their master’s safe, eloped with his
daughter, plundered the King’s Mail, and evaporating from limbo, to
which they have been transiently consigned, have reduced demented
turnkeys to despair and want. If this be so, are not heads notoriously
weak about their crowns being turned the wrong way by such a triumph
as that of which Fatherland and Fudge so insolently boast ?
Sometime ago Fatheri and got up a heavy burlesque upon John
Bull’s celebrated “ Constitution,” which, during its short run,
certainly provoked considerable laughter. Here Fatherland might have
paused in serene contemplation of his green bays ; but, no ! he panted
for a tremendous “ hit ” upon a deeper stage, and with additional
properties. In partnership with Fudge (an Austrian Dragoon, and
one whose antecedents will not bear investigation), the German play
of The Robbers has accordingly been produced on an extensive scale,
and supported by a company who despise Hamlet's well-known
injunction, and perpetrate every possible outrage upon humanity. One
word as to these wretched strollers. When inspired by Bacchus they
may be heard shouting in praise of that old rheumatic creature their
Father, and shedding tears of filial devotion over their sauer-kraut. It
is with actors of this stamp that Fatherland and Fudge have pro-
duced a sanguinary sort of Coburg drama, which is justly pronounced a
disgrace to the European stage, while aspiring to rank with that for
which these men are such sensitive sticklers—the Legitimate Drama!
It is consolatory to reflect that no applause has greeted The Robbers
but that which professional claqueurs have been regularly paid lor.
Conscious of their high calling, their minions have trom the gallery
lavished their cheers with impartial fidelity on both their patrons; lor
it has been found, and is worthy of note, that the impassioned advo-
cates of Fatherland are invariably the ardent admirers of Fudge.
One Who Wrote before his Time.
It is very curious that the two masterpieces of Aristophanes should
have slyly alluded to two great reigning powers of the present day.
We refer to the Clouds and the Frogs. The Clouds were intended, of
course, for the Germans, whose habitual dwelling-places they are ; whilst
the Frogs could ciearly have been meant for no other nation than our
good neighbours, the French; for even with us, at this remote period
of time, the name of a Frenchman and a Frog, curiously enough,
always jump together. You rarely meet with a writer gifted with so
much foresight. _
A Forensic Swordsman.—Mr. Serjeant Parry is retained on
behalf of Muller. Certainly Parry is a promising: name for a defence.