DOI Heft:
October 13, 1883
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17755#0186
PUNCH, OR THE LONDON CHARIVARI. [October 13, 1883.
AMENITIES OF THE TENNIS-LAWN.
She. “Yours or Mine, Sir Charles?”
He. “Yours—aw’fly Yours!”
LE GAMIN DE PARIS.
“ Paris is an Immense Hospitality.”—Victor Hugo.
Alas ! great poet of spout and spasm,
Between your dream and the dreary fact
There yawns a wide and tenebrous chasm.
What profits now the rhetorical pact
Between your Muse and—we ’ll say Immensity,
For abstract vastness to you is dear—
In face of your Paris’s gamin propensity,
Mournfully manifest here ?
This “ light and liberty ” ? Hospitality
Shown in howlings, and marked by mud P
Churl demeanour of Cbten quality, '
Fretful rudeness in frantic flood P
Will you laud them in prose o’er-lyrical,
[Windy puffings of flaunting tropes,
Whilst plain fact with force satirical
Shakes e’en soberest hopes ?
lour “modem Mecca,” voluble Yictor,
^ Is less than Arab, and seems to call
1 or stern-souled Draco, and strong-armed lictor,
To keep its ead-dom in civic thrall.
The friendliest wish for Madame Republic,
By urchin-insolence put to shame,
Is that she may soundly her ill-favoured cub lick.
Him only lash may tame.
“ Here is a stranger ! Heave half a brick at him ! ”
That’s the style of our rustic lout.
How is yours better P Sense grows sick at him.
Temple ? He ’ll pull it your ears about.
“ A has everything ! ” There the soul of him
Speaks in honesty. Anarchy’s shout;
Anarchy is the hope, the goal of him,
Vicious and vengeful lout!
Bed ragamuffin ! Mischievous Pickle !
Enfant gate whom law should birch !
Craven as bloodthirsty, foul as fickle,
Helpless save to destroy or smirch.
France’s Gutter-Pest ever resurgent,
Peace and credit she ’ll never enjoy
Till civic discipline, sharp, detergent,
Cleanses her Dirty Boy.
LA BELLE AMERICAINE :
OR, OUR FAIR EXCHANGE AT THE LYCEUM.
We have real horses, real water, real everything on the stage, but
rarely do we see real acting. This exceptional treat may now be
enjoyed, in rather a small way it is true, at the Lyceum, which,
having given its Henry Irving to America, has taken in return Miss
1 Mary Anderson. We had heard that Miss Mary Anderson was a
beautiful person. We went to see her performance of Parthenia in
Mrs. Lovell’s Ingomar. Within a few minutes we were.under the
spell, and had exclaimed, ‘ ‘ She is more than fancy painted her;
she is lovely! she is divine! ” and at that point, for reasons best
known to ourselves, but perfectly intelligible to our friends and
acquaintances, we cut short the quotation.
Miss Mary Anderson’s Parthenia is charming. The American-
isms of speech must sound as defects in our English ears, and there
are certain stage-tricks and mannerisms not peculiar to Miss Ander-
son alone, but to every American Actress we have seen in this
country; and these tricks are copied, and, of course, absurdly
exaggerated by such English Actresses as have acquired whatever
art they possess in the States.
The "tricks we especially note as “transatlantic” are: first, long
pauses, frequent and. wearisome, and a drooping of the eyelid, which
imparts a “ leeriness —there is no other expression of it that we are
aware—to the glance quite out of keeping with any serious situation,
and utterly incompatible with the outward semblance of classic
dignity. It is in the graceful and pathetic portions of Ingomar
i that Miss Anderson excels; but the note of tragedy does not
AMENITIES OF THE TENNIS-LAWN.
She. “Yours or Mine, Sir Charles?”
He. “Yours—aw’fly Yours!”
LE GAMIN DE PARIS.
“ Paris is an Immense Hospitality.”—Victor Hugo.
Alas ! great poet of spout and spasm,
Between your dream and the dreary fact
There yawns a wide and tenebrous chasm.
What profits now the rhetorical pact
Between your Muse and—we ’ll say Immensity,
For abstract vastness to you is dear—
In face of your Paris’s gamin propensity,
Mournfully manifest here ?
This “ light and liberty ” ? Hospitality
Shown in howlings, and marked by mud P
Churl demeanour of Cbten quality, '
Fretful rudeness in frantic flood P
Will you laud them in prose o’er-lyrical,
[Windy puffings of flaunting tropes,
Whilst plain fact with force satirical
Shakes e’en soberest hopes ?
lour “modem Mecca,” voluble Yictor,
^ Is less than Arab, and seems to call
1 or stern-souled Draco, and strong-armed lictor,
To keep its ead-dom in civic thrall.
The friendliest wish for Madame Republic,
By urchin-insolence put to shame,
Is that she may soundly her ill-favoured cub lick.
Him only lash may tame.
“ Here is a stranger ! Heave half a brick at him ! ”
That’s the style of our rustic lout.
How is yours better P Sense grows sick at him.
Temple ? He ’ll pull it your ears about.
“ A has everything ! ” There the soul of him
Speaks in honesty. Anarchy’s shout;
Anarchy is the hope, the goal of him,
Vicious and vengeful lout!
Bed ragamuffin ! Mischievous Pickle !
Enfant gate whom law should birch !
Craven as bloodthirsty, foul as fickle,
Helpless save to destroy or smirch.
France’s Gutter-Pest ever resurgent,
Peace and credit she ’ll never enjoy
Till civic discipline, sharp, detergent,
Cleanses her Dirty Boy.
LA BELLE AMERICAINE :
OR, OUR FAIR EXCHANGE AT THE LYCEUM.
We have real horses, real water, real everything on the stage, but
rarely do we see real acting. This exceptional treat may now be
enjoyed, in rather a small way it is true, at the Lyceum, which,
having given its Henry Irving to America, has taken in return Miss
1 Mary Anderson. We had heard that Miss Mary Anderson was a
beautiful person. We went to see her performance of Parthenia in
Mrs. Lovell’s Ingomar. Within a few minutes we were.under the
spell, and had exclaimed, ‘ ‘ She is more than fancy painted her;
she is lovely! she is divine! ” and at that point, for reasons best
known to ourselves, but perfectly intelligible to our friends and
acquaintances, we cut short the quotation.
Miss Mary Anderson’s Parthenia is charming. The American-
isms of speech must sound as defects in our English ears, and there
are certain stage-tricks and mannerisms not peculiar to Miss Ander-
son alone, but to every American Actress we have seen in this
country; and these tricks are copied, and, of course, absurdly
exaggerated by such English Actresses as have acquired whatever
art they possess in the States.
The "tricks we especially note as “transatlantic” are: first, long
pauses, frequent and. wearisome, and a drooping of the eyelid, which
imparts a “ leeriness —there is no other expression of it that we are
aware—to the glance quite out of keeping with any serious situation,
and utterly incompatible with the outward semblance of classic
dignity. It is in the graceful and pathetic portions of Ingomar
i that Miss Anderson excels; but the note of tragedy does not