قراءة كتاب Punch, or the London Charivari, Vol. 108, May 4th, 1895

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Punch, or the London Charivari, Vol. 108, May 4th, 1895

Punch, or the London Charivari, Vol. 108, May 4th, 1895

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دار النشر: Project Gutenberg
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one of the unities through waiting for them.

  • Q. All must be well that ends so well. Is there a problem or enigma?
  • A. There is always the insoluble riddle—why did he write it?
  • Q. Is it full of situations?
  • A. Not inconveniently so; but there is a dramatic moment.
  • Q. Which?
  • A. I do not know.
  • Q. Then why do you say there is one?
  • A. Because the Author-publisher says so.
  • Q. But is it not wasteful to have three acts, and only one dramatic moment?
  • A. I should have thought so; but the Author-publisher says he has shown economy.
  • Q. Could you give me an idea of the manner? Select a striking incident or a passage where there is subtle characterisation.
  • A. One situation impressed me very much. I think it must have been the dramatic moment. I reserve it for my next.
  • (To be continued.)


    FILIA PULCHRA, MATER PULCHRIOR.

    I loved a girl, divinely sweet,

    An unsophisticated creature;

    I did not scruple to repeat

    She was divine, you could not meet

    More charms displayed in form and feature.

    I loved her youthful grace, her slight

    And dainty form, an angel's seeming.

    Crowned by sweet hair, as dark as night,

    Her face would charm an artist's sight,

    A poet's thoughts, a lover's dreaming.

    I loved her dark and lustrous eyes,

    Which love might light with glowing passion,

    Her lips, her neck—you will surmise

    I wrote her rhymes, all tears and sighs

    In lovesick versifier's fashion.

    I loved her like a childish pet,

    I felt I could not love another,

    Until the day when first I met

    Her widowed mother, charming yet,

    And now, instead, I love her mother.

    I love the woman, for the rose,

    Full blown, excels the rosebud's beauty,

    Nor think of girlish charms since those

    No more inspire my Muse, which shows

    My Muse is fit for any duty.

    I love her, stately as a queen

    Whom Veronese might have painted,

    Blue-eyed, with hair of golden sheen—

    That's just the one thing which has been

    A trouble since we've been acquainted.

    I love not charms I loved before,

    Dark as the night, or, say a hearse is.

    Now auburn beauty pleases more,

    My wasted hours I deplore—

    I've had to alter all those verses.


    Epping and Overstepping.—At a meeting of forest borderers, Wanstead, it was asserted that since the Corporation had had control of the forest, upwards of 100,000 trees had been felled. If true, the members of the Corporation-Epping-Forest-Committee will henceforth be known as "those fellers!"


    'ANIMAL SPIRITS.'

    "ANIMAL SPIRITS."

    No. XII.—Outside Exeter Hall.


    TO CIRCE.

    "If doughty deeds my lady please,"

    Though somewhat old and gouty,

    The first occasion I will seize

    Of doing something "doughty";

    "If gay attire delights your eye,

    I'll dight me in array"

    Which every casual passer-by

    Will think extremely gay.

    "If sweetest sounds can win your ear,"

    I'll cheerfully begin

    (Though somewhat late in life, I fear),

    To learn the violin;

    In fact, whatever task you set,

    You'll speedily discover

    That in the writer you have met

    A most submissive lover.

    I could exemplify the fact

    Through several extra verses,

    How I would please, by every act,

    My kindliest of Circe's;

    And yet by destiny malign

    You've happened just to choose

    The single task which, though divine

    The bidder, I refuse.

    The single task—and pardon, pray,

    If, not without compunction,

    Reluctantly I disobey

    Your positive injunction:

    Ask what you will, I'll undertake

    The deed, however big,

    But do not——blind my eyes and make

    Me try to draw a pig!


    TO A PICTURE.

    You pretty face, upon my wall,

    Enshrined in glass and oak and gold,

    Most charming deaf-mute—and withal

    My confidante—whate'er befall,

    My trust in you will rest untold,

    You pretty face!

    What do they call you? Is it "Spring"?

    Or "Blossoms"? or "The Coming Race"?—

    It matters not in any case,

    Your name may be just anything

    For all I care, you pretty face.

    You bring me back old scenes anew,

    You've something of my lady's grace,

    Of her sweet features just a trace,

    And so I have re-christened you—

    I won't say what—you pretty face!

    I have no portrait to recall

    The sweetest of all maids to me,

    Nor have I need of one at all,

    Yet, seeing you upon my wall,

    By pleasing "make-believe" I see

    Her pretty face!


    BABY'S DIARY.

    ["The Nursery Tricycle contains two seats, one for the mistress and one for the maid and her charge, and has two pairs of pedals."—Daily Paper.]

    Baby's Diary

    This is rather fun! Ever so much better than those crawling old mail-carts and perambulators. Wonder mother and nurse never thought of it before. A pneumatic tandem, too, I notice. Hope they understand blowing tire up again when it bursts.

    Nurse a duffer at pedalling. A mere passenger! Have to keep her up to the mark by crying. Frightened a pony in a trap. Sarcastic driver said, "You don't want a bell to your machine with that child yelling like a tom-cat on fire." Gives me a hint—I must see how our cat does yell when it's on fire.

    Really, I never saw such steering! Mother has just run us into a brick wall. Disgraceful! Why wasn't she taught tricycling when she was young? Her education has certainly been horribly neglected.

    Why should I sit in the middle, though? Can't see the country properly. Make another protest—louder, if possible. Passing pedestrian observes, "You should call your machine a crycycle, not a tricycle." Put out my tongue at him. Nurse offers to give me a "pick-a-back"; says she can pedal too! The old humbug! Scratch her face. Mother offers me a seat on front

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