30 PUNCH, OR THE LONDON CHARIVAPJ. [Jwaix 17 isoi.
WHAT OUR ARTIST HAS TO PUT UP W.TH.
(hir Artist. "Well, how do you like the Portraits, Miss Bunny? The Sitters are all Old Friends of yours, I believe?"
Miss Bunny {triumphantly). "Yes; and, only think, I 'vb actually managed to Guess them all! "
ARBITRATION.
Seal, suddenly emerging, loquitur :—
Belay, you two lubbers, avast there! avast there I
Whit signifies squalling and squabbling ?
You're both argufying a good bit too fast there,
Whilst that which you stand on seems wobbling.
You'll be in a mess, Messmates, shortly, the pair of you.
Give me a thought in the matter !
My interest's at stake, and it isn't quite fair of you
Me to ignore 'midst your clatter.
If 'twere not for me, Mates, this cold Behring's Sea, Mates,
Would hardly strike you as so tempting.
Do grant your poor prey, if I may make so free, Mates,
From slaughter some annual exempting!
I'm worried and walloped without intermission
Until even family duties
Quite fail, whilst your countrymen cudgel and fish on.
By Jingo, some of 'em are beauties I
My poor wife and children have not half a chance, Mates.
That's not to your interest, I reckon.
Cease shindy, and on a new course make advance, Mates,
Where sense and humanity beckon.
There's not much of either in cruelly clubbing
My progeny all out of season ;
And if you are bent upon mutual'drubbing,
You must quite have parted with reason.
Mare clausum, be bio wed! That's all Bl mite's big bow-wow,
Mates.
Men can't thus monopolise oceans.
Diplomacy must find a compromise now, Mates,
And, well—I have told you my notions.
Give me a close-time,—I shall be very grateful—
And leave the Sea open ! What more, Mates ?
For brothers like you to be huffing, is hateful.
Be friends, think of me, and—bong sioor, Mates !
[Dices under.
UP-TO-TIME TABLE, FROM THE NORTH.
Edinburgh
Waverley Station)
Carlisle
Hawick . . .
Galashiels . . .
Motherwell . . j
St. Margaret's Works
Perth
Glasgow . . .
Aberfeldy .
Dundee
Inverness . . .
Aberdeen . . .
Morning
Mineral
General
Fast.
and Pari.
Express.
7 a.m. to
9-30
11 a.m. A
Noon F
12 15
* • •
4 30
B
9 45
215 G
1 p.m.
)
(Stopped
\ 4 p.m. C
319 H
' by riot)
)
! 3-30
5 D
9-45 a.m.
• • >
11 26 I
12-30 p.m.
«. *
613
1 12 a.m.
3 a.m. to 9
9'23
3:5 J
11-6
7 p.m.? E
1 a m. K
Traflio and
Even. Mail.
9 p.m. L
1 a.m. M
3 20 N
O
A—Takes delayed pig-iron and third-class passengers. B—Half
of train stops here through breaking an axle-Din. C—Passengers,
for protection, get under seats of carriages. D —Stops for repairs.
E—Having had a collision at the junction for Aberfeldy, will come
on. if there are any passengers equal to finishing the journey.
F—Starts under the management of a Director^ and, owing to a
misunderstanding, dashes off to Aberdeen, without stopping.
G—Doesn't stop, but knocks over a station-master. H—Is pelted
as it tears through the station by ex-employes. I—Knocks oyer
another station-master. J—Meets a pilot-engine, which it splits
in half. K—Goes at full speed through the end of the terminus,
depositing the passengers in a heap in the middle of the town.
L—Train starts, made up of horse-boxes and luggage-vans full
of three weeks' arrears of parcels, first-class carriages, Post-office van,
fifty ooal-trucks, and a wild beast show, the Directors wishing to make
up for lost time. M—Train breaking down here, mail and passengers
only forwarded. N—Train attacked by rioters. Pitched battle with
the passengers. O—Telegram from Motherwell saying, that owing to
police intervention, train starts the day after to-morrow.
WHAT OUR ARTIST HAS TO PUT UP W.TH.
(hir Artist. "Well, how do you like the Portraits, Miss Bunny? The Sitters are all Old Friends of yours, I believe?"
Miss Bunny {triumphantly). "Yes; and, only think, I 'vb actually managed to Guess them all! "
ARBITRATION.
Seal, suddenly emerging, loquitur :—
Belay, you two lubbers, avast there! avast there I
Whit signifies squalling and squabbling ?
You're both argufying a good bit too fast there,
Whilst that which you stand on seems wobbling.
You'll be in a mess, Messmates, shortly, the pair of you.
Give me a thought in the matter !
My interest's at stake, and it isn't quite fair of you
Me to ignore 'midst your clatter.
If 'twere not for me, Mates, this cold Behring's Sea, Mates,
Would hardly strike you as so tempting.
Do grant your poor prey, if I may make so free, Mates,
From slaughter some annual exempting!
I'm worried and walloped without intermission
Until even family duties
Quite fail, whilst your countrymen cudgel and fish on.
By Jingo, some of 'em are beauties I
My poor wife and children have not half a chance, Mates.
That's not to your interest, I reckon.
Cease shindy, and on a new course make advance, Mates,
Where sense and humanity beckon.
There's not much of either in cruelly clubbing
My progeny all out of season ;
And if you are bent upon mutual'drubbing,
You must quite have parted with reason.
Mare clausum, be bio wed! That's all Bl mite's big bow-wow,
Mates.
Men can't thus monopolise oceans.
Diplomacy must find a compromise now, Mates,
And, well—I have told you my notions.
Give me a close-time,—I shall be very grateful—
And leave the Sea open ! What more, Mates ?
For brothers like you to be huffing, is hateful.
Be friends, think of me, and—bong sioor, Mates !
[Dices under.
UP-TO-TIME TABLE, FROM THE NORTH.
Edinburgh
Waverley Station)
Carlisle
Hawick . . .
Galashiels . . .
Motherwell . . j
St. Margaret's Works
Perth
Glasgow . . .
Aberfeldy .
Dundee
Inverness . . .
Aberdeen . . .
Morning
Mineral
General
Fast.
and Pari.
Express.
7 a.m. to
9-30
11 a.m. A
Noon F
12 15
* • •
4 30
B
9 45
215 G
1 p.m.
)
(Stopped
\ 4 p.m. C
319 H
' by riot)
)
! 3-30
5 D
9-45 a.m.
• • >
11 26 I
12-30 p.m.
«. *
613
1 12 a.m.
3 a.m. to 9
9'23
3:5 J
11-6
7 p.m.? E
1 a m. K
Traflio and
Even. Mail.
9 p.m. L
1 a.m. M
3 20 N
O
A—Takes delayed pig-iron and third-class passengers. B—Half
of train stops here through breaking an axle-Din. C—Passengers,
for protection, get under seats of carriages. D —Stops for repairs.
E—Having had a collision at the junction for Aberfeldy, will come
on. if there are any passengers equal to finishing the journey.
F—Starts under the management of a Director^ and, owing to a
misunderstanding, dashes off to Aberdeen, without stopping.
G—Doesn't stop, but knocks over a station-master. H—Is pelted
as it tears through the station by ex-employes. I—Knocks oyer
another station-master. J—Meets a pilot-engine, which it splits
in half. K—Goes at full speed through the end of the terminus,
depositing the passengers in a heap in the middle of the town.
L—Train starts, made up of horse-boxes and luggage-vans full
of three weeks' arrears of parcels, first-class carriages, Post-office van,
fifty ooal-trucks, and a wild beast show, the Directors wishing to make
up for lost time. M—Train breaking down here, mail and passengers
only forwarded. N—Train attacked by rioters. Pitched battle with
the passengers. O—Telegram from Motherwell saying, that owing to
police intervention, train starts the day after to-morrow.
Werk/Gegenstand/Objekt
Titel
Titel/Objekt
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 1891
Entstehungsdatum (normiert)
1886 - 1896
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
Rechteinhaber Weblink
Creditline
Punch, 100.1891, January 17, 1891, S. 30