Miss (Stick, acidly). Provided it is free from any helement of coarseness, which we do not encourage-far from it! Und. (suppressing his irritation). You need be under no alarm, Madam. I do not propose to attempt a performance of any kind. Phill. Don't be so solemn, Mr. UNDERSHELL! I'm sure you can be as comical as any playactor when you choose! Und. I really don't know how I can have given you that impression. If you expect me to treat my lyre like a horse-collar, and grin through it, I'm afraid I am unable to gratify you. Stept. (at sea). Capital, Sir, the professional allusion very neat. You'll come out presently. I can see, when supper's on the table. Can't expect you to rattle till you've something inside of you, can we? Miss Stick. Reelly, Mr. STEPTOE, I am surprised at such commonness from you! Stept. Now you're too severe, Miss STICKLER, you are indeed. An innocent little Judy Mow like that! Tredwell (outside). Don't answer me, Sir. Ham I butler 'ere, or ham I not? I've a precious good mind to report you for such a hignorant blunder.... I don't want to hear another word about the gentleman's cloes-you'd no hearthly business for to do such a thing at all! (He enters and flings himself down on a chair.) That THOMAS is beyond everything-stoopid hass as he is! Mrs. Pomfr. (concerned). La, Mr. TREDWEIL, you do seem put out! Whatever have THOMAS been doing now? Und. (to himself). It's really very good of him to take it to heart like this! (Aloud.) Pray don't let it distress you; it's of no consequence, none at all! Tred. (glaring). I'm the best judge of that, Mr. UNDERSHELL, Sir -if you'll allow me: I don't call my porogatives of no consequence, whatever you may! And that feller THOMAS, Mrs. POMFRET, actially 'ad the hordacity, without consulting me previous, to go and 'and a note to one of our gentlemen at the hupstairs table, all about some hassinine mistake he'd made with his cloes! What call had he to take it upon himself? I feel puffecly disgraced that such a thing should have occurred under my authority! The Steward's Room Boy has entered with a dish, and listens with secret anxiety on his own account. Und. I assure you there is no harm done. The gentleman is wearing my evening clothes-but he's going to return them[The conclusion of the sentence is drowned in a roar of laughter from the majority. Tred. (gasping). Hevenin' cloes! Your hevenin' 'ave the goodness to explain yourself, Sir! P'raps you'll TO HANWELLIA FROM EARLSWOOD. skin by its inharmonious shriek, I For an orchestra of Clepsydras con- And it's oh to be a Manatee-I think I shall be soon Dolphins on Riding coffee-coloured He has always eggs at breakfast, has the merry Manatee. Stept. No, no, TREDWELL, my dear fellah, you don't understand Phill. (to UNDERSHELL). Never mind him, pompous old thing! It was awfully cheeky of you, though. You can sit next me if you like. Und. (to himself, as he avails himself of this permission). I shall only make things worse if I explain now. But, oh, great Heavens, what a position for a Poet NEW LAMPS FOR OLD. But at home I'll sit and linger by the soft September fire, MAD AS A HATTER.-The Drapery World says that "the New Woman's hat" is much like the Ordinary Man topper," only a little smaller, and a little more cheeky. The phrase might fitly be ."transferred to the "New Woman" herself. She looks so much like an ordinary man, only a little smaller and a little more cheeky. By the way, is there much difference between "the New Woman's hat" and the woman's new hat? The query would make a good one for a French Exercise Book. ART was once defined as "the creation of new forms of beauty. Our juvenile geniuses have altered all that. "The New Art" is better defined as "the creation of novel forms of ugliness." Its inspiration is Corruption, its auxiliaries are the two hideous imps, Scratch and Smudge. Old Art, with its bosh about beauty, its rot about romance, its fudge about finish, its twaddle about taste, will be good enough to take a back seat. Apollo the Inspirer must give way to the sooty imp and incubus, New Scratch !-- RAPHAEL? Ideal Beauty spoiled his Art! QUOTATION FROM BYRON FOR THE EMPEROR OF JAPAN. Wheel and Whoa! THE popular wheel, so the French doctors say, The devastations of the steed of steel. Attempts in his wild wheel to put a spoke INSTRUMENT FOR AN ANTI-BIRMINGHAM BAND.-The Ban-Joe. Dorothy. "I WONDER WHY MEN TAKE THEIR HATS OFF IN CHURCH, AND WOMEN DON'T!" Michael. "OH, DOROTHY, JUST THINK OF ALL THE LOOKING-GLASSES THERE'D HAVE TO BE IN EVERY PEW!" THE YOUNG PRETENDER. ["Immediately after the death of his father, the Duke of ORLEANS addressed the following telegram to all the Sovereign Princes of Europe: 'A SA MAJESTÉ, &c.-J'ai la douleur de faire part à Votre Majesté de la mort de mon père PHILIPPE, Comte de Paris, pieusement décédé à Stowe House le huit Septembre. PHILIPPE.' Great significance is attached to the fact that the Duke signs himself with regal simplicity 'PHILIPPE.' His father under similar circumstances, on the occasion of the death of the Comte de CHAMBORD, signed 'PHILLIPE, Comte de Paris,' thus ignoring his Sovereign rank."-The Daily Graphic.] Madame la République museth :AH! "Vive la France!" If words were only deeds, I might perchance secure a new defender. As AMURATH to AMURATH succeeds, 46 E'en so succeeds Pretender to Pretender. Aye. plus ça change plus c'est la même chose!" All Fancy their words 'the writing on the wall." Street corner scrawls are not the script of fate. All chalked my walls; "devotion to the Eh? Right Divine? That old, old weapon still [me. Pretenders fain would furbish up to fright Would I bear weary strife, or bow my will To human wrong if "Right Divine" could right me? No; right divine to rule must prove affinity, To the divine ere I trust its divinity. 'PHILIPPE!" Ah! boldly written! You admire' Its flowing form, the freedom of its flourish. And "Vire la France!" To what may you aspire? What is the scope, Sir, of the hopes you nourish? [writing, Your sire "ignored his Sovereign rank "-in But Philippe-Roi-de- - humph!-that might mean fighting. Chalk, youngster! Purpose scribbled on the wall, Not graven in the rock with pen of iron, Affrights not the Republic. It may fall Amidst the perils that its path environ, But scarce to summons of the bravest boys, Or, like old Jericho, to the power of noise. Yes; "the Pretender's dead," and who will [throngs, now Cry"Long live the-Pretender"? Courtly Crafty intriguers, may parade and bow, But for the People? Will they deem their wrongs Like to be cured by the old royal line, Or righted by the rule of Right Divine ? What will you do-save scribble an 1 orate? Were you indeed-ah, me!-that strong man armed For whom so long I've waited, and still wait; Then, then, perchance. I might - who knows?-be charmed To lily-girt Legitimist ways of yore. ODE ON A DISTANT PARTRIDGE. (By an Absent-minded Sportsman.) WELL, I'm blest, I'm pretty nearly Speechless, as I watch that bird, Saving that I mutter merely One concise, em phatic wordWhat that is, may be inferred! English prose is, to my sorrow, Insufficient for the task. Would that I could freely borrow Hang it! there, I clean forgot QUERY.-Would an ideal barrister be a counsel of perfection? THE YOUNG PRETENDER. Madame a République. "WHAT WILL YOU DO-SAVE SCRIBBLE AND ORATE ? WERE YOU INDEED-AH ME!-THAT STRONG MAN ARMED THEN, THEN PERCHANCE, I MIGHT-WHO KNOWS?-BE CHARMED AT PRESENT 'TIS BUT-ONE PRETENDER MORE!" THE MOBILISED MANDARIN If so, he threatens to deface, Oldest of old traditions, has Time out of mind begun by Ignoring now the ancient bards, The doctrine which Ah Sin at cards When, flush of duplicate supplies, And prophets of a prior age STUDIES IN ANIMAL LIFE. MR. HIPPOPOTAMUS AS HE MIGHT HAVE BEEN. IN THE MUSEUM. 'Twas almost dusk; the galleries Lay silent and deserted Where happy knots of twos and threes The country-bred relations The art of many nations. No more the rigid censor viewed Yet two remained; a youth and maid They talked in whispers, and although An Art more ancient far, one thinks, Seems juvenile and sprightly; Young as the very latest tale, Old as the oldest stories, It kept them there, this happy pair, That Art-the ars amoris! The mummies round them seemed to smile, Ah, long ago, one fancies, Those withered faces by the Nile Had known their own romances. The old-world gods have passed away, But Love alone retains his throne On being asked to play Croquet, A.D. 1894. ["It is impossible to visit any part of the country without realising the fact that the long-discredited game of Croquet is fast coming into vogue again. This is partly owing to the abolition of 'tight croqueting.""-Pall Mall Gazette.] EH? What? Why? How? I am rubbing my eyes-is it then, or now? Hoop, Ball, Stick, Cage? Eh, fetch them all out once more? Why, look, they 're begrimed and cracked with age, And their playing days are o'er! Well-yes-here goes For a primitive chaste delight! |