Punch (78.1880)

February 7, 1880 ] PUNCH, OR THE LONDON CHARIVARI.

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FAYOURITE LITTLE GAMES.

{Of States and Statesmen, Organs and Classes.)

‘ Tell me what you play at and I ’ll tell you
what you are.”

Prince Bismarck—Beggar my neighbour.

Lord Beaconsfield — Hazard and Blind
man’s buff.

Prince Gortschakoff— Brag.

M. Gambetta—The waiting game.

The Pope—Single wicket.

The Sultan—Blind Hookey.

Russia—Prisoners Base.

German Empire—Tug of War.

The French Republic—Outside Edge (Ice
marked “Dangerous.”)

Sir Henry Layard—Bull in the China-
shop.

Lord Salisbury — Cross questions and
Crooked answers.

Lord Lytton—Follow my Leader.

The Right Hon. Sir Stafford Northcote—
Open your mouth and shut your eyes.

Mr. Parnell—Bull-baiting.

Mr. Biggar and the Lrish Obstructionists
-Bill-sticking.

Messrs. O' Connor Power, Davitt, Kilien,
Brennan fy Co.—Pat-riotism.

The Right Hon. W. H. Smith and Col.
Stanley—Ducks and Drakes.

Mr. Cross.—Paving (in a certain place).

Mr. Gladstone—Felling a tree and taking
the stump afterwards.

Sir William Llarcourt—Yivisection, and
sticking things in Cabinets on points.

Sir Wilfrid Lawson—Bowls (flowing only
with tea and coffee).

The Pall Mall Gazette—Bait the Bear.

The Times—Bound about the gooseberry-
bush.

The Daily Telegraph—Montagues Russes.

The British Matron—Thimble-rig.

John Bull—Fog-signalling.

The Civil Service Commissioners—Paper
Chace.

Mr. Punch. — Electric lighting and
Heliography.

Irish. Obstructives to Irish Aid.

IJncle Sam; is showing his sense by
sending his liberal contributions in relief
of Irish distress through all channels ex-
cept the cruelly warped ones of Messrs.
Parnell and Dillon. The arch-agitator
has the impudence to accuse the Duchess
of Marlborough’s and all other relief
agencies, except his own, of political bias.
This is the Gracchi complaining of sedition
with a vengeance ! Pigs, we know, cut
their own throats in trying to keep their
heads above water. This Irish Mis-leader
seems involuntarily to be imitating the
short-sighted Irish animal. If any man
could have frozen the current of charity—
in New World and Old—it would be such
a bitter and malignant advocate of mutual
hate, civil strife, anarchy, and insecurity
of life and property, as Charles Stuart
Parnell.

The Jolly Beggars ’

In the Swiss Cantons bordering on Ger-
many, we are told, there is much complaint
of the influx of German beggars, who, even
when conducted across the frontier, speedily
return. Happy beggars, who can get away
from Yaterlana just now! Under the ad-
ditional weight of military service, lately
laid on German backs by the Great and
Busy B., it is only the beggars who are able
to be choosers—and seem to choose wisely
■—on the principle of any place rather than
home, as Bismarck and Militarism have
made it.

IN POSSESSION.

Lady {who wants to sit down). “ Will you sit in my Lap, Darling?”
Darling. “Sank you—I’ve dot a Chair !”

HINTS FOR A NEW AND ORIGINAL DRAMATIC COLLEGE.

Chapter Y.

Position—Society— One Remark—Rule—Example— Considerations— Conscientiousness—■ j
Theory—Lecture—Future—Examination.

Position, like possession, is nine points of the law.

The Position of the Actor depends upon character and situation. This is equally true;
whether on or off the stage. Every Actor resembles a servant out of place, inasmuch
as he is always on the look-out for a first-rate situation. We will now consider his
position on the stage—taking for granted that the stage is elevated to about its usual height
above the level of the orchestra.

Now, Gentlemen, let us consider “position on the stage.” Position on the stage is not a
social question, it is simply artistic. What is to be his position off the stage depends entirely
on himself. If he has had the advantages of a Public School and University Education, then
he commences on an equal footing with most of the “ aristocracy and gentry,” and a consider-
able proportion of the so-called liberal professions. There are true Gentlemen in all grades
of society, from the Courtier to the Costermonger; so the social question may be dismissed,
once and for all, with this remark, that Actor or Artist, unless he has consorted as a boy on
equal terms with the “Swells,” who subsequently admit him within their charmed circle,
is in danger of “ kootooing ” to such leaders of contemporary fashion as affect to patronise
and charitably tolerate those, who, but for their success in their art, would be among the i
great unclassed; for though the Actor is a “Professional” Actor, and the Artist a “ Pro-
fessional” Artist, and the Author a “ Professional Writer,” yet neither Stage, nor Painting,
nor Literature is ranked as a profession, to be recognised equally with the Church, the Law,
the Army or Navy. So to resume.

The Actor is sufficiently accustomed to the inquiry, “ What will he stand ?” but he cannot
always so readily reply to the question, “ How he will stand, or where he will stand.”

Let it be the purpose of this day’s lecture to consider seriously the elementary rules of
our noble dramatic art for the study of which this glorious College was founded.

Rule 1st.—Always take the centre of the stage. Should anybody else be there before you,
get in front of him. Your object being to be heard and seen by the audience, it is your duty
to place yourself in as prominent a position as possible.

This elementary principle is equally applicable to Supers who have a line to speak, as, for