ACT II

_A wild place in Shepherd's Bush_

_Enter the melancholy_ JAMES (_footman to the banished_

DUKE) _with one or two Lords, like Bushmen_.

_James_ [_looking at his watch_]:

'Tis but an hour ago since it was nine

And after one hour more 'twill be eleven;

And thereby hangs a song.

[_Sings it._]

[_Mr. Punch_: Excuse me a moment, but is this Act _very_ bad?

_Mr. Hicks von Rubenstammer_: Very bad indeed.

_Mr. Punch_: Personally I fear that I shall not be able to survive it.

_Mr. H. v. R._: Oh, two or three of us will re-write it after the

first night, you know.

_Mr. Punch_: Then by all means let us wait for that occasion.]

Irving had met with various vicissitudes of criticism at _Punch's_

hands during his career. But latterly admiration prevailed, and, when

the end came, real affection shines through the brief memorial quatrain

printed in October, 1905:--

Ring down the curtain, for the play is done.

Let the brief lights die out, and darkness fall.

Yonder to that real life he has his call;

And the loved face beholds the Eternal Sun.

[Sidenote: _Ellen Terry's Jubilee_]

Irving, as _Punch_ noted in his review of Mr. Bram Stoker's Life, was

if possible more loved by his company than by the idolizing public. The

financial misfortunes which dogged the last years of his life were due

more to bad luck than bad management, and did not impair his serenity.

He died in harness, and there was more tragedy in the latter years

of his contemporary and friend, the famous and prosperous comedian J.

L. Toole, for they were clouded by bereavement as well as infirmity;

and _Punch's_ farewell to his friend in July, 1906, emphasizes the

contrast:--

While Summer's laughter thrills the golden air,

Come, gently lay within the lap of earth

This heart that loved to let us share its mirth

But bore alone the sorrow none might share.

[Illustration: FIFTY YEARS A QUEEN

(_An Author's Tribute._)

(A scheme is on foot for presenting a National Tribute to Miss Ellen

Terry on April 28, the fiftieth anniversary of her first appearance on

the stage.)]

Ellen Terry's Jubilee in the same year was honoured in a cartoon;

but a new and formidable rival to the Muses of legitimate Comedy and

Tragedy reared its menacing head in the following year. The visit of

the _Grand Guignol_ to London in 1907 inspired a prophetic fantasy on

the new cult of "Shrieks and Shudders" which has been easily eclipsed

by the realities of the Little Theatre. As I write these lines the

leading serious weekly, among "Plays worth seeing," includes the

"unabated horrors" of the London Grand Guignol. I have spoken elsewhere

of the dancing mania. In 1909 the _furore_ excited by Miss Maud Allan

led to the following squib in which burlesque is mingled with caustic

ridicule:--

HER RETURN

_Being a wholly imaginative anticipation of the Proceedings at the

Palace on the historic night._

... Before the dancing began an ode to the artiste from the emotional

pen of Sir Ernest Cassel was read by Sir John Fisher, containing these

memorable lines:--

Barefooted Bacchanal, would that I were Kipling

To celebrate thy marvellous arm-rippling!

... The new dances were four in number, and in them She personated in

turn Pharaoh's Daughter in her famous fandango known tastefully as the

Bull Rush; Jephthah's Daughter in her final macabre Hebrew fling, on

hearing of her father's vow and her own fate; Uriah's wife in her _pas

de liberté_ after the battle; and Jezebel in her defiant tarantella

before a waxen Elijah--all new and all marvellously restrained (not

only in dress) and full of scriptural tact.... At the end of the turn

the applause lasted fourteen minutes, and She was led on eleven times.

Free restoratives were then distributed in the theatre, ambulances

removed those admirers who were too far gone to remain any longer, and

the programme proceeded. Late at night She was drawn to her residence

at Frognal in a carriage from which the horses had been removed, the

Prime Minister, Mr. Walkley, Mr. Alfred Butt and a number of other

talented gentlemen taking their places. Never was there such a triumph.

[Sidenote: _The "Follies"_]

Happily there were antidotes to the plague of Biblical Bacchanals;

none better than that supplied for several seasons by the late Mr.

Pélissier and his "Follies," to whom _Punch_ expressed his gratitude

in 1910. It was a "priceless" entertainment, with its "Potted

Plays," admirable burlesques of the music-hall stage, opera, the

Russian ballet, and on occasion, as in "Everybody's Benefit," really

acute satire of the histrionic temperament. "The Follies" have had

reincarnations and successors and imitators, but _Punch's_ doggerel

is not a bad picture of the troupe at its best, before the late Miss

Gwennie Mars left them, and when Mr. Lewis Sydney, Mr. Dan Everard, Mr.

Morris Harvey, and Miss Muriel George contributed nightly to the gaiety

of the London public:--

When life seems drear and hollow,

When Fortune wears a frown,

I haste to the Apollo

And plank my dollar down.

Outside the tempest vollies

Against uplifted brollies;

I care not, for "the Follies"

Are back in London town.

Pélissier, prince of "Potters,"

You earn our grateful thanks,

You and your fellow plotters--

Co-partners in your pranks--

For slating smart inanity,

Or Fashion's last insanity,

Or histrionic vanity,

Or madness _à la_ Manx.

From introspective thinking

In every minor key,

Good Sydney, grimly blinking,

You set my spirit free.

If laughing makes one fatter,

Then listening to your patter,

O very harebrained hatter,

Has added pounds to me.

Nor must my brief laudations

Omit the genial Dan,

Or Harvey's imitations

Framed on a novel plan,

Or Ben, that priceless super

Moustachioed like a trooper,

Who plays like Margaret Cooper

Were she a Superman.

'Twould need the fire of Uriel

To hymn your female stars

For Muriel's most Mercurial

And Gwennie's surnamed Mars.

O Gwennie, you're a miracle

Of mimicry satirical,

Yet when your mood is lyrical

There's not a note that jars.

The "Follies" were benefactors; their satire was in the main most

genial; and they did not cause their audiences "furiously to think."

These aims accorded largely with _Punch's_ own conception of the

function of public entertainers; none the less in his later years

he was by no means antagonistic to the serious drama. In 1907 Mr.

Galsworthy's _Strife_ is welcomed as a great play, greatly acted.

_Punch's_ dramatic critic has nothing but praise for it, though he

did not think that the author bothered about a moral. It was his

business to make other people uncomfortable, to make them think and "do

something." "If _Strife_ has a moral it is simply that the problem of

Capital and Labour will have to be settled."

[Illustration: THE ENEMY THAT WAS

CHORUS OF MUSIC-HALL ARTISTS: "Glad you're one of us now, Sir

Beerbohm."]

_Punch_ still intermittently bewailed the decline of the Harlequinade.

His Lament for King Pantomime in 1910 was based on an article in

the _Daily Telegraph_ welcoming the beneficent revolution which had

substituted _Peter Pan_ for the old Christmas carnival of Clown and

Pantaloon. At the same time _Punch_ had himself become more than

reconciled to the new children's idol and had compared Maeterlinck's

_Blue Bird_ unfavourably with the perennial Peter. The competition

of the film play had not yet become acute, and the Music-Hall, which

_Punch_ had so frequently and even fiercely assailed in its earlier

phases, was now a formidable and fashionable rival of the theatre.

In 1908 Harry Lauder's salary, alleged to average £250 a week, is

compared with that of the Lord Chancellor. There was no longer any

talk of "indignity" in appearing on the boards of the variety stage,

and _Punch_ notices Sarah Bernhardt's appearance at the Coliseum, in

1910, as putting the crown on the new movement, and providing the Halls

with their apotheosis, for she was "still the greatest star in the

Thespian firmament." Her "turn" was in the second Act of _L'Aiglon_;

the only other feature in the programme that called for notice was the

performance of the "Balalaika Orchestra"; the rest of the "artists"

were "very small minnows alongside of this great Tritoness." The

"divine Sarah" could do no wrong, but, when Sir Herbert Tree appeared

in the Halls, in 1911, _Punch's_ cartoon was certainly not honorific.

Nor is the note of "indignity" altogether lacking in the dialogue

between the two knockabout comedians in Mr. Townsend's picture in

1912:--

FIRST MUSIC-HALL ARTIST (_watching Mr. J. M. Barrie's "The

Twelve Pound Look" from the wings_): "I like this yer sketch; the

patter's so good. 'Oo wrote it?"

SECOND M.-H. A.: "Bloke called Barrie, I think."

FIRST M.-H. A.: "Arst for 'is address. 'E writes our next."

The "Balalaika Orchestra," by the way, was a minor sign of the Russian

invasion already at its height. Miss Maud Allan had been unfavourably

received in 1909 in Manchester, and about the same time the Chicago

"Wheat King," Mr. Patten, had been mobbed on the Manchester Exchange,

and _Punch_ ingeniously "synthesised" the two events in the following

stanza:

The types that make the market mad

No doubt inspire the self-same loathing

In spots that spin, as those whose fad

Is chucking up all kinds of clothing.

[Sidenote: _The March of Music_]

The Russian Ballet was a very different thing from the poses and

wrigglings of barefooted Bacchantes, and _Punch_ became lyrical in

his eulogies of these "spring-heeled Jacks and Jills." The exquisite

romance and fantasy of "The Spectre of the Rose," the "Carnival" and

the "Sylphides" were a revelation to those who, like Carlyle, only saw

in the old opera-ballet the conversion of the human frame into a pair

of animated compasses.

The Russian Ballet furnished _Punch_ in his almanack for 1913 with an

excellent formula for caricatures of the idols and butts of the hour,

but his admiration for the originals was sincere.

In the years immediately preceding the war the cinema demands an

evergrowing if not altogether appreciative attention. _Punch_ pays a

left-handed compliment to the versatility of the film actor, but very

properly satirizes the extraordinary representations of English life

and dress in the foreign films produced for the English market. The

invasion of Debrett by chorus girls, recorded in October 1913, is an

old story, but if Punch is to be trusted had then reached dimensions

unparalleled in the annals of aristocratic condescension.

MUSIC

Music has been called "the youngest of the arts" in view of the fact

that, as we now understand it in the Western world, it dates roughly

from the year 1600. But the "heavenly maid" had already ceased to be

the Cinderella of the Muses, though still condemned in restaurants

and places where they feed to the menial function of acting as an

_obbligato_ accompaniment to conversation, deglutition, and digestion.

A pessimistic observer remarked about fifteen years ago that modern

life bade fair to be dominated by music and machinery, and the

correlation of the two factors has since been abundantly illustrated

by the momentous development of the gramophone and the pianola, the

cult of "sonority" and the dynamics of the orchestra. When to these

influences are added the successive experiments in harmony and tonality

and rhythm associated with the names of Strauss and Debussy, Scriabine

and Stravinsky, Ravel and Schönberg, one cannot deny that the ferment

in letters has been more than matched by the exuberant activities of

musical modernists. In the period under review the "whole tone scale"

was partially acclimatized and "rag-time" was domesticated, Wagner

ceased to be regarded as an anarch of discord, and the "Music of the

Future" became the music of the past. It was no longer a guarantee

of enlightenment to worship Brahms or admire Beethoven. Of the three

"B's" Bach alone has maintained his prestige, and to-day counts upon

the allegiance of all schools. Otherwise, and in spite of the renown

of Strauss, Germany ceased to exercise her old musical supremacy,

and, even before the war, Russia, France and Italy had entered into a

formidable competition with the "predominant partner" in the domain

of opera. And though opera is an artificial blend of incompatibles

and must always remain on a lower plane than abstract or absolute

music--the most transcendental thing in the whole range of art--it

claims priority of notice in this record for two sufficient reasons:

its social prestige and the amount of space devoted to it by _Punch_.

Wagner's operas were now established in the Covent Garden repertory,

and as I have already noticed, their new-found and fashionable

popularity was largely due to the appeal of the great singers, notably

Jean and Edouard de Reszke and Mlle. Ternina, who proved that Wagnerian

melody was all the more effective when sung beautifully and not

declaimed or barked as by so many German singers. Moreover when, as in

the artists mentioned, this vocal lustre was combined with a splendid

presence, dignity of bearing, and dramatic intelligence, the appeal

was well-nigh irresistible. I insert the qualification advisedly on

behalf of _Punch_ who, in these years at any rate, was never reconciled

to Wagner, and when he heard Jean de Reszke and his brother in the

_Meistersinger_ in 1897 could not refrain from jocular disparagement of

the score.

[Sidenote: _Foreign Stars and Native Composers_]

Verdi's _Falstaff_ had been produced in 1894, but _Punch_ abstains

from any criticism of that exhilarating work, merely pronouncing the

performance a success, and a few years later further advertised his

inability to recognize the supreme achievements of the later Verdi by

declaring that _Otello_ as an opera was "heavy." In opera he was in

the main an inveterate _laudator temporis acti_ and chiefly enjoyed

himself when opportunities arose for indulging in alliterative quips

such as "merry Mancinelli," "beaming Bevignani," or puns on the

name of the performers, e.g. "Mlle. Bauermeister-singer." Puccini's

operas--_Manon_, _La Bohême_ and _Madama Butterfly_--found favour

in his sight; they had sparkle, elegance and _brio_. But he was

not impressed with _La Tosca_, holding that the "operaticizing" of

successful plays was a mistake; in general his notices are void of

musical criticism and only deal with the singing of Melba and Caruso

and the admirable Destinn. Still _Punch_ had lucid intervals of

vision when he saw a good or great thing and praised it handsomely.

The Santuzza of Calvé, in 1894, was "grand and magnificent" and her

Carmen "marvellous" and unique. The epithets were fully deserved, but

_Punch_ acutely detected that this great artist and actress suffered

from the excess of her qualities, and wittily described her Marguerite

in _Faust_ as "a _Mädchen_ with a past." Madame Patti's reappearance

in opera in 1895 after many years' absence was genially welcomed, none

the less so for her choice of _La Traviata_ for her _rentrée_, for

_Punch_ was faithful to his old operatic loves. In the next few years

English opera and operatic composers claimed _Punch's_ attention. The

scheme of a National Opera House was revived in 1899 when _Punch_

represented Music petitioning the L.C.C. for a site, but the sinews

of war were not forthcoming. Sir Charles Stanford's _Much Ado about

Nothing_, the libretto adapted from Shakespeare by Mr. Julian Sturgis,

with Miss Marie Brema, Miss Suzanne Adams, Mr. David Bispham and M.

Plançon in the cast, was pronounced "an undisputed success" in 1901.

In 1902 there were two native novelties. In Mr. Herbert Bunning's

_Princesse Osra_, founded on "Anthony Hope's" novel, _Punch_ found

little scope for positive praise: it was "musically disappointing

save for accidental reminiscences." Nor was he much more enthusiastic

over Miss Ethel Smyth's _Der Wald_, with its lurid plot "of the penny

plain, twopence coloured type" and "interminable duets." Over one stage

direction, "Peasants turn pale," _Punch_ waxed ribald, and he concludes

his notice with the ambiguous sentence: "Miss Smyth was acclaimed

vociferously, the Duke of Connaught and the occupants of the Royal box

testifying their great pleasure at what may come to be, after judicious

elimination, a satisfactory success." The first of the _Salomes_

who de-decorated the lyric and variety stages was not Strauss's but

Massenet's version, produced in the summer of 1903. Mme. Calvé was

in the cast, but the opera provided no scope for her genius, and

_Punch_ damned it with faint praise as not likely to be retained in the

repertory, a very safe prediction. In the summary of the season _Punch_

puts Richter at the head of the successes, a well-merited recognition

of his direction of the Wagner performances; the list of "stars"

includes the "two Vans"--Van Rooy, the Dutch baritone, and Van Dyck,

the Dutch tenor--Destinn, Calvé and Melba, Caruso and Plançon. In the

winter the San Carlo troupe from Naples visited London, with Sammarco

and Caruso--or Robinson Caruso, as _Punch_ liked to call him--as the

chief male singers, but no new operas were produced. _André Chénier_

in 1907 is described as of the _Tosca_ or lurid type. A new hand is

observable in the notice which acknowledges an unexpected dignity

and refinement in Caruso's always brilliant singing and pronounces

Destinn "adorable." Wagner's star was still in the ascendant in 1908,

and Richter's splendid conducting of the Tetralogy is commemorated in

the cartoon of Hans the _Ring_-master; while the "record operatic

duel" between Melba and Tetrazzini is similarly honoured a little

later. Never before, unless I am much mistaken, had two cartoons with

a musical motive appeared in the same year. In 1910 Strauss was the

grand and conspicuous portent of the operatic world, for _Elektra_,

was produced in the spring and _Salome_ in the winter. The former

was hailed by _Punch_ as a supreme manifestation of the _Maladie de

Siècle_. His verses are quoted not for their literary merit so much

as because they are a fairly compendious record of the fashions and

foibles of "England de luxe" at the time:--

[Sidenote: _"Elektra" and "Salome"_]

O sons of the new generation

Athirst for inordinate thrills;

O daughters, whose love of sensation

Is shown in your frocks and your frills--

Come, faithfully answer my queries

If you would completely assuage

The passionate craving that wearies

Both sinner and sage.

Has Ibsen no power to excite you?

Can't Maeterlinck make you applaud?

Do dancers no longer delight you,

Who wriggle about _à la_ Maud?

Are you tired of the profile of Ainley?

The tender falsetto of Tree?

Do you envy each bonnet insanely

That harbours a bee?

Is the Metchnikoff treatment a failure?

Do you weep when you miss your short putts?

Have you ceased with enjoyment to hail your

Diurnal allowance of nuts?

Are you bored by the leaders of Spender?

Or cloyed by the pathos of Caine?

Do you find that "The Follies" engender

A feeling of _gêne_?

Are you sick of Sicilian grimaces?

Unattracted by Chantecler hats?

Are you weary of Marathon races

And careless in choosing your spats?

Are you jaded with aeroplaning

And sated with social reform?

Apathetic alike when it's raining

And when it is warm?

Do you shy at the strains that are sober?

Does Wagner no longer inflame?

Do you find that the music of Auber

And Elgar is equally tame?

Do you read without blushing or winking

The novels of Elinor Glyn?

Do you constantly hanker, when rinking,

For draughts of sloe gin?

If I am correct in divining

The tortures you daily endure,

Don't waste any time in repining,

But try this infallible cure:

With the sharpest of musical _plectra_

Go pluck at your soul till it's raw;

In a word, go and witness _Elektra_--

Give up the jig-saw.

[Illustration: STARS IN OPPOSITION; OR, THE "RECORD" OPERATIC DUEL]

_Salome_, so far as the book was concerned, was a tertiary deposit.

Heine, in a few masterly stanzas in his fantastic narrative poem _Atta

Troll_, tells the old legend of the unholy love of the daughter of

Herodias for John the Baptist. Therein may be found the essence of

Wilde's play, adapted to form the libretto of the opera. _Punch_, who

attended the dress rehearsal, gives an interesting account of his

experiences, but shirks the task of criticizing the opera: for that,

as he observes, "no vocabulary could be too large or peculiar." But

he mentions one orchestral interlude, in which "there was one sound,

painfully iterated, like the chirrup of a sick hen, which appeared to

come from some part of the violin that is usually left alone." At the

close of June, 1914, Strauss's _Légende de Joseph_ was produced at

Covent Garden by Sir Thomas Beecham with the Russian Ballet. _Punch_

abstained from detailed musical criticism, but condemned the "vulgar

animalism" of the piece which he regarded as "a false move in every

way," and his view cannot be laid down to prudery or Philistinism,

since it was shared by many of the most devoted admirers of Strauss.

Nor can he be charged with a wholesale depreciation of German music

in view of the tribute to Humperdinck's _Hänsel und Gretel_, which

appeared in his pages a few months earlier:--

[Sidenote: _Homage to Humperdinck_]

How strange that modern Germany, so gruesome in her Art,

Where sheer sardonic satire has expelled the human heart,

Should also be the Germany that gives us, to our joy,

The perfect children's opera--pure gold without alloy.

I know there are admirers of the super-normal Strauss

Who hold him, matched with others, as a mammoth to a mouse,

And, though they often feel obliged his lapses to deplore,

His "cerebral significance" increasingly adore.

In parts I find him excellent, just like the curate's egg,

But not when he is pulling the confiding public's leg;

Besides, the height of genius I never could explain

As "an infinite capacity for giving others pain."

No, give to me my Engelbert, my gentle Humperdinck,

Whose cerebral development is void of any kink;

Who represents in music, in the most enchanting light,

That good old German quality, to wit _Gemüthlichkeit_.

I love his gift of melody, now homely in its vein,

Now rising, as befits his theme, to the celestial plane;

I love the rich orchestral tide that carries you along;

I love the cunning counterpoint that underpins the song.

Though scientific pedagogues that golden realm have banned,

He leads us back by pleasant paths to childhood's fairyland,

Till, bald and grey and middle-aged, we watch with childish glee

The very games we learned long since at our dead mother's knee.

* * * * *

There's not a bar of _Hänsel's_ part that's not exactly right;

There's not a note from _Gretel_ that's not a pure delight;

And having heard it lately for (I think) the fifteenth time,

I know I'm talking reason though it happens to be rhyme.

Then let us thank our lucky stars that in a squalid age,

When horror, blood, and ugliness so many pens engage,

One of our master-minstrels, by fashion unbeguiled,

Keeps the unclouded vision of a tender-hearted child.

The sequel is curious, for while the gentle Humperdinck signed the

anti-British manifesto issued at the outbreak of the War by leading

German professors, men of science and artists, the name of Strauss was

conspicuously absent. And as I write Strauss, middle-aged and grey, is

revisiting London and, no longer in the van of musical progress, is

regarded by our emancipated critics not exactly as a "back number" but

certainly as very far from being the "Mad Mullah" of music. Even before

the War German operatic music had been superseded in popularity by the

Russian school. In June, 1914, Moussorgsky's _Boris Godounov_ was the

great feature of the season, and to this, as to Borodine's _Prince

Igor_, Chaliapine, in _Punch's_ phrase, "brought that gift of the great

manner, that ease and splendour of bearing, and those superb qualities

of voice which, found together, give him a place apart from his kind."

In the domain of light and comic opera the severance of the Gilbert

and Sullivan partnership, though a personal reconciliation was

effected, was final so far as collaboration was concerned. Composer

and librettist both formed new or renewed old associations--Gilbert

with Cellier in _The Mountebanks_, and Sullivan with Burnand in _The

Chieftain_--but without repeating their old triumphs. When Sullivan

died in 1900 his services to art and humanity are read aright in

_Punch's_ memorial stanzas:--

In the immortal music rolled from earth

He was content to claim a lowly part,

Yet leaves us purer by the grace and mirth,

Human, that cling about the common heart.

Now on the bound of Music's native sphere,

Whereof he faintly caught some earthward strain,

At length he reads the "_Golden Legend_" clear,

At length the "_Lost Chord_" finds itself again.

[Illustration: SIXTY YEARS OF "PROGRESS"]

In musical comedy the high-water mark of popularity was attained by

_The Geisha_ in 1896, but though _Punch_ speaks handsomely of Mr.

Jones's tuneful numbers--as they deserved--he makes it clear that the

success of the piece was chiefly due to the talent and humour of the

performers--Marie Tempest and Letty Lind; Monkhouse, Huntley Wright

and Hayden Coffin. In 1907 the devastating popularity of _The Merry

Widow_ amounted, in _Punch's_ view, as expressed in his "Dirge" on the

waltz of that name, to a tyranny rather than a delight; and in the

spring of 1913 he was moved to protest, in the name of Music, against

the wholesale importation of American coon songs, "Hitchy Koo!" and

rag-time generally.

In the middle 'nineties the banjo was still fashionable, and the

amateur singer a source of grief and wonderment to _Punch_:--

WHY DOST THOU SING?

Why dost thou sing? Is it because thou deemest

We love to hear thy sorry quavers ring?

My poor deluded girl, thou fondly dreamest!

Why dost thou sing?

Why dost thou sing? I ask thy sad relations--

They shake their heads, and answer with a sigh.

They can explain thy wild hallucinations

No more than I.

Why dost thou sing? Why wilt thou never weary?

Why wilt thou warble half a note too flat?

I can conceive no reasonable theory

To tell me that.

Why dost thou sing? O Lady, have we ever

In thought or action done thee any wrong?

Then wherefore should'st thou visit us for ever

With thy one song?

_Punch_ gave it up; but in 1910 he declared that "one of the finest

efforts accomplished by the gramophone has been the obliteration of the

inferior amateur singer."

[Sidenote: _Pioneers and Prodigies_]

The musical education of the million advanced apace. No more potent

agency for the diffusion of a taste for orchestral music has existed

in our times than the Promenade Concerts, directed since 1895 by

Sir Henry Wood. The creation of this new audience is described with

sympathy and delightful humour in _The Promenade Ticket_ by the late

and deeply lamented Arthur Hugh Sidgwick. While recognizing these new

and beneficent activities, _Punch_ did not forget the splendid pioneer

work done by forerunners--notably Sir August Manns, whose seventieth

birthday in 1895 is affectionately celebrated in punning verse. The

action of the L.C.C. in 1897, which threatened to put a stop to the

Queen's Hall Sunday Concerts, reawakened _Punch's_ anti-Sabbatarian

zeal. Not much account is taken of serious native composers, but the

rise of Elgar's "star" is acknowledged as early as 1904 in the picture

of Richter conducting _The Dream of Gerontius_.

[Illustration: A SHOW OF HANS

(Richter interprets Elgar's _Dream_.)]

In 1903 _Punch_ was seriously perturbed by the glut of prodigies, and

in a cartoon addresses the child violinist, "Get thee to a _nursery_.

Go!" Yet in 1905, though "not as a rule favourably inclined to infant

phenomena," he makes an exception in favour of the thirteen-year-old

Mischa Elman. In 1908, in a burlesque account of "A Day in the Life of

a Strenuous Statesman," the diarist records his reply to a Socialist

Member that "the Government would think not once but twice before they

refused to grant special pensions to the parents of infant prodigies

earning less than £5,000 a year." On the compulsory musical teaching

of the ingenuous youth _Punch_ held views which may be gathered from

his picture in 1911 of the unhappy small boy at the pianoforte, with

the legend: "The only thing that comes between us, Mother, is this

wretched music!" While _Punch_ was benevolent to the little musician,

he was decidedly hostile to the cult of bigness in musical scores and

instrumentation, and more than once assails the prevalent "Jumbomania"

as illustrated by huge bands and the extravagant explosion of all the

sonorities. When Strauss in 1903 was the _dernier cri_ of modernism,

_Punch_ addressed him in perversion of a much-parodied model:--

O teach us that Discord is duty,

That Melody maketh for sin:

Come down and redeem us from Beauty,

Great Despot of Din.

[Sidenote: _Elegies and Eulogies_]

[Illustration: _PLAY'S_ THE THING!

HAMLET (_Mr. Punch_) to OPHIDLIA (the Danish infant

musical prodigy): "Get thee to a _nursery_. Go!"]

Many heroes and heroines of the Victorian musical world passed away

in these years. I have already spoken of Sullivan, but may note the

tribute to Rubinstein in 1894 and the song to Sims Reeves in 1895,

in which _Punch_, who had on occasion handled him severely for his

failures to fulfil his engagements, was now only concerned to chronicle

the triumphs, in ballad and oratorio, of "the king of the tenor tribe"

who had fallen in old age on evil days. Sims Reeves, when well over

seventy, had been reduced to singing in the Music-Halls, and in 1897

_Punch_ cordially supported the appeal for funds issued by the _Daily

Telegraph_. The results of this public subscription, supplemented by a

Civil List pension, helped to relieve his few remaining years.

Corney Grain's death in 1895 removed the most popular musical

"entertainer" of the time. _Punch_, in his farewell salute, gave him

the highest possible praise by describing him as having successfully

succeeded to John Parry. In 1896 _Punch_ bestowed the bâton of musical

Field-Marshal on Lieut. Dan Godfrey on his retirement from the post of

bandmaster to the Grenadier Guards, which he had held for fifty years.

Dan Godfrey was the first bandmaster who ever held a commission in the

army, and had rendered conspicuous service to the cause of military

music. _Punch's_ honour was well merited, and Dan Godfrey's son, Dan

the Second, conductor of the admirable Bournemouth Municipal Orchestra

for nearly thirty years, has added fresh lustre to the family name. In

the same year _Punch_ records the presentation, at Marlborough House,

of a testimonial to Lady Hallé (Madame Norman Néruda). His account

of the proceedings border on the burlesque, but there is nothing but

admiration for the brilliant artist who had delighted British audiences

ever since the days of her _début_ as a prodigy nearly fifty years

before, and who had been one of the glories of the "Pops" in their

golden prime. Nor did _Punch_ forget to add his congratulations to

Henry Bird when that fine artist, respected and loved by all who knew

him, celebrated his Jubilee in 1910:--

Minstrels, like bards, are irritable folk

Whom trifles oft provoke

To sudden fury or unseemly tears;

But you, blithe spirit, from your earliest years

Have been undeviatingly urbane,

Free from all frills, considerate, courteous, sane,

And to the end will so remain.

Wherefore, with deepest reverence imbued

For your supreme pianofortitude,

And by melodious memories rarely stirred,

_Punch_ hails your Jubilee, O tuneful Bird!

The author of those lines, on another occasion, rendered Mr. Bird a

serious disservice. _A propos_ of the invasion of the Music-Halls by

serious performers, he had published a purely fictitious announcement

that Mr. Henry Bird would shortly appear on the Variety stage as

"The Terrible Transposer"--an allusion to his notorious skill in

that direction. This was copied into the parish magazine of St.

Mary Abbot's, Kensington, where Mr. Bird had been for many years

organist, but the editor's ironical comment was misinterpreted, and

the announcement was taken seriously, with the result that Mr. Bird

was bombarded with inquiries from applicants for the post. A man with

a less angelic temper would have been annoyed; but Mr. Bird was only

amused.

SPORT AND PASTIME

The chronicles of sport and pastime from the early 'nineties down

to the outbreak of the War are one long and instructive commentary

on the old saying that in the long run the pupil always beats his

master. At the opening of this period, though assailed in the domain

of athletic sports by the Americans, and in that of cricket by the

Australians, Great Britain still led the world in games and most

forms of sport. At its close there was no form of organized physical

effort, whether individual or collective, in which we had not been

effectively challenged or defeated by the superior skill or endurance

of competitors from overseas. In cricket, football, rowing, golf, polo,

yachting, lawn tennis and boxing, we had met our match and more than

our match; and the insular complacency which prevailed in the 'nineties

had given place in certain minds to a mood of depression, made vocal in

the Duke of Westminster's letter to _The Times_ in the autumn of 1913,

in which he described our failure to take the Olympic games seriously

and the loss of championships as "a national disaster." In the interval

sport and pastime had become an international preoccupation. _Punch_ in

earlier years had been strongly in favour of international contests as

a means of promoting international good will. He was not so certain on

this point by 1913, but it is to his credit that he viewed the whole

subject in its true perspective, recognizing that the spirit in which a

game was played was a truer test of sportsmanship than the achievement

of success; that the best sportsmen were "good losers"; and, above

all, that national efficiency did not vary directly with the number of

athletic championships collected by the nation. As early as 1892 these

principles emerge in his reference to a boat-race at Andrésy on the

Seine, when the English crew were defeated by the French. The title of

the verses, "Froggie would a-rowing go," is not promising but their

spirit is excellent:--

For in spite of the brag and the bounce and the chaff,

Heigho for Rowing!

The Frog beat the Bull by a length and a half,

With your Mossop and James, licked by Boudin and Cuzin,

Heigho! says R. C. Lehmann!

So in 1893 he hailed the appearance of the French crew at Henley:--

_Punch_ greets you with cheers, may your shades ne'er diminish,

Though you row forty-four from the start to the finish.

Only friendship could result from such contests. At the same time,

in "The British Athlete's Vade-Mecum," he rebukes his countrymen's

contempt for the foreigner's idea of sport. When Oxford beat Yale in

the inter-University sports in 1894, _Punch_ was wise enough to foresee

that the triumph was not final:--

Come again, Yale, come again, and again;

Victors or vanquished such visits aren't vain.

One of these days you will probably nick us.

We don't crow when we lick; we won't cry when you lick us!

A similar spirit animates the cartoon on the Cambridge and Harvard

boat-race in 1906, in which Father Thames, as "The Jolly Waterman,"

takes pride in both crews, while the accompanying verses on "Light Blue

and Crimson" emphasize that _camaraderie_ of rowing which the writer,

"R. C. L.," did so much to foster. The races for the America Cup

were, in their earlier stages, when Lord Dunraven was the challenger,

more productive of friction than cordiality. Sir Thomas Lipton's

indefatigable persistence in his efforts to "lift the Cup" from 1901

onward does not pass unacknowledged, but _Punch's_ consolation is not

free from irony:--

Bear up, Sir T.; remember Bruce's spider;

Build further _Shamrocks_ through the coming-years;

Virtue like yours, though long retirement hide her,

Ends in the House of Peers.

[Sidenote: _Cups, Championships and Olympic Games_]

So an element of ridicule is not wanting in the burlesque diaries

published in 1903 of "Lipton Day by Day" and "Lipton Minute by Minute,"

or in the mock-heroic cartoon of Sir Thomas as "The Last of the Vikings

and the First of the Tea-kings."

Lawn tennis in the middle 'nineties was still a predominantly British

pastime. In his account of the Northern Tournament in 1895 not a

single American or foreign competitor is named, and _Punch_ bewails

the absence of the old heroes, the Renshaws and Lawford, and the

defection of Miss Lottie Dod, who had already given up lawn tennis for

golf. In 1906 the prowess of Miss May Sutton, the American girl who

carried off the Ladies' Championship at Wimbledon, is celebrated in

eulogistic "Limericks." But it was still a far cry to the Wimbledon of

even seven years later, when French and German, as well as American

and Australian players, entered the arena. Uncle Sam had been busy

collecting championships in the interval, and in August, 1913,

_Punch_ represented him, carrying a model yacht, a tennis racket and

a polo stick (he might have added a golf club in view of Mr. Travis's

triumph at Sandwich in 1904), saying to a rather rueful-looking John

Bull in cricketing costume: "Say, John, what's this game, anyway?

Cricket? Well, see here; mail me a copy of the rules, with date of

next international championship. I'm just crazy on Cups." The Olympic

Games _furore_ left _Punch_ cold. The Duke of Westminster's letter on

the "national disaster" of 1912 prompts a satirical cartoon in which

John Bull, "prostrate with shame," remarks: "My place in the Council

of Europe may be higher than ever, but what's the use of that when

the Olympic palm for the kneeling high jump is borne by another?" The

"Olympic Catechism," published in the following number, is a bitter but

not wholly undeserved criticism of the spirit, organization and results

of these contests, and the evasion by their promoters of the difficulty

of discriminating between professionals and amateurs. To the question,

"How is the Olympic spirit acquired?" _Punch_ supplies the following

answer:--

_A._ By taking part in the Olympic games; by subscribing to the

Duke of Westminster's fund; by devoting oneself to the discovery of

champions; by advertising; by organizing a boom; by promising a

public reception to successful athletes; by paying their expenses;

by----

_Q._ I see. Then I suppose Great Britain has no athletics at present?

_A._ No, none of the right sort.

_Q._ What is the right sort?

_A._ The sort that is imbued with the Olympic spirit.

_Q._ Does everybody like the Olympic spirit?

_A._ Yes, everybody who is anybody.

_Q._ But if somebody says he dislikes it?

_A._ Then he is a crank.

_Q._ What is a crank?

_A._ One who has not got the Olympic spirit.

_Q._ Are the subscriptions coming in?

_A._ I refuse to answer further questions.

The search for Olympic talent inspired a succession of burlesque

pictures; and the fostering of the "Olympic Spirit" is reduced to

absurdity by the drawing of the lady presenting a classic wreath to the

winner of the sack-race in some village sports.

The introduction of base-ball in 1892 is chronicled pictorially in

a grotesque illustration of the attitudes of the players. But the

interest now taken in the game, and reflected in the publication of

"base-ball results" on the tape and in the sporting columns of the

Press, was essentially a post-war product. Cricket reigned paramount

in _Punch's_ affections, at any rate in the 'nineties. When Mr. C. I.

Thornton was presented with a silver trophy during the Scarborough Week

in 1894, as a memento of the great part he had taken in the Scarborough

Festival since its institution in 1869, _Punch_ paid lyrical homage

to "Buns," the "great slogger of sixes." The Preface to vol. cviii.

(1895) is headed by a picture of _Punch_, "W. G." and the shade of

Alfred Mynn. Reference is made in the text to the National Testimonial

to Grace which was got up this year, and _Punch_ suggests that "W. G."

ought to receive a knighthood. He was not alone in the suggestion, for

_The Times_ subsequently referred to "Dr. W. G. Grace, whose name has

been everywhere of late--except where it might well have been, in the

Birthday Honours List," and _Punch_ improved on the text in June:--

[Sidenote: _Gentleman and Players_]

True, _Thunderer_, true! He stands the test Unmatched, unchallengeable

Best At our best game! Requite him! For thirty years to hold first

place And still, unpassed, keep up the pace Pleases a stout,

sport-loving race. By Jove! "Sir William Gilbert Grace" Sounds

splendid. _Punch_ says, "_Knight him!_"

In the same summer "W. G." is glorified in "The Cricket Three":--

Men of one skill though varying in race,

Maclaren, Ranjitsinhji, Grand Old Grace.

Ranji was "champion cricketer" of the year in 1896, and _Punch_

indited an "Ode to the Black Prince" with a portrait by Sambourne.

Yet the cricket world was not without its frictions and difficulties.

In this year the professionals had claimed a higher rate of pay than

the regulation £10 for taking part in matches against Australia, and

_Punch_ intervenes in a cartoon in which he gives Grace, Abel and Trott

the toast of the Three F's--"Fair Play, Fair Pay and Friendliness."

_Punch_ a year earlier had congratulated the Committee of the Rugby

Union on their decision that "Professionalism was illegal," thus

showing their determination to "keep the ball out of the Moneygrub's

sordid slime." But while he deplored the prospect of strikes and

lock-outs in the cricket world, he clearly held that here, at any rate,

the status of the professional was securely established and deserved

considerate treatment. England won the rubber, rather unexpectedly,

in 1896, and _Punch_ singles out Grace, Peel, Hearne and Abel for

special honour. The English visiting team were defeated in Australia in

the winter of 1898, and _Punch_, in his "Eleven Little Reasons Why,"

genially satirizes those critics who tried to explain it away:--

Because of course they play cricket in Australia all the year round.

Because it was too hot for anything, and of course the English team

were unaccustomed to the heat.

Because there was a chapter of accidents from the first, and everyone

had bad luck.

Because the coin never would come down the right side on the top, and

consequently the British could not go in first.

Because the ground got hopelessly out of order by the time that the

first innings of the Australians was over.

Because the constant travelling and occasional _fêting_ were enough to

put everyone out of form.

Because there ought to have been more extra men to fill up the ranks

on emergencies.

Because at least one admirable cricketer was left at home whose

services on several occasions would have been invaluable.

Because the tea interval coming after the luncheon pause was confusing

to the Mother Countrymen.

Because the glorious uncertainty of cricket is proverbial, and success

may be deserved, but cannot on that account be always attained.

Lastly, and probably the right reason, because the other side had the

better men.

Loving cricket as he did _Punch_ was yet fully alive to the English

tendency to think that success with the bat or ball qualified a man

for anything, and made good capital out of a letter in _The Times_ in

1899, in which the writer, "LL.B. and M.A., London," had written of the

late Sir Michael Foster, then a candidate for the representation of the

University in Parliament: "Michael Foster was a capital cricketer. He

kept wicket for the first eleven.... No better candidate could possibly

be found." I have elsewhere noted his reference to the clergyman who

in the same year had declared that what his village really needed in

a curate was "a good fast bowler with a break from the off." Towards

the new type of cricketing journalist which emerged about the close

of the century _Punch_ was not exactly benevolent; the duplication

of functions was remunerative, but could not conduce to impartial

reporting when the writer was also a performer. In the last ten years

of this period _Punch's_ references to cricket are much less frequent,

but we may note his excellent Latin joke in 1906 on the discomfiture of

the Players at Lord's--_urgentur ... longa Nocte_, i.e. by long Knox,

the famous amateur fast bowler. The triumph of Warwickshire--champion

county in 1911--is commemorated in the cartoon, "Two Gentlemen of

Warwickshire," with the ingenious legend:--

MR. F. R. FOSTER (Captain of the Warwickshire XI): "Tell Kent

from me she hath lost." (II Henry VI, iv, 10.)

WILLIAM SHAKESPEARE: "Warwick, thou art worthy!" (III Henry

VI, iv, 6.)

[Sidenote: _Lord's and Ladies_]

Cricket was increasingly played by girls, but both at the beginning and

the end of the period the female spectator left much to be desired.

After the Oxford and Cambridge match in 1896 _Punch_ wrote some verses

on the attraction of "Lord's" for ladies, which end on a note of severe

remonstrance:--

If, Phyllis, you your place _must_ take

Between me and the wicket,

Don't chatter, and for goodness' sake

Sit still and watch the cricket.

In 1912 appeared the picture, "At the Eton and Harrow Match." Here an

"important lady" addresses deep square-leg, standing near the boundary,

"Would you kindly move away? It's quite impossible for my daughter to

see my nephew, who is batting."

[Illustration: FIRST OFFICER (to very young Subaltern, who is

packing his kit for South Africa): "What on earth do you want with all

those polo sticks?"

SUBALTERN: "Well, I thought we should get our fighting done by

luncheon-time, and then we should have the afternoons to ourselves and

could get a game of polo!"]

If cricket claims less notice in _Punch's_ pages, it must not be taken

to imply any lessening of his love. The reason is to be found in the

richer field for satire and ridicule provided by other pastimes. The

immense development of Association football as a spectacular game,

and the wholesale importation of hireling players to represent a

district to which they did not belong, found no favour with _Punch_.

His picture of Football Fever in the Midlands on Saturday afternoon in

1892 is deliberately grotesque and hostile. By 1904 the achievements of

the Dominions and of Wales in the Rugby game lend point to _Punch's_

burlesque forecast of the "Football of the Future." International

matches are to be "refereed" by well-known statesmen; Esperanto is to

be spoken; and Great Britain is represented by a team of fourteen New

Zealanders and one Welshman. In 1910 a weekly paper advocated weeping

for men as "the true elixir of energy and the greatest of Nature's

restoratives." This pronouncement was turned to good account in "A

Cup Tie Episode," relating how a team, with three--love against them

at half-time, turned the tables on their opponents after a copious

outburst of tears. Again, when a daily paper in 1913 conducted a

referendum amongst its readers to ascertain what subjects of public

interest were insufficiently treated in its columns, _Punch_ asserts

that "to the Editor's question 465,326 readers replied, football;

235,473, golf; 229,881, flying; and 2, foreign politics." The burlesque

snapshots published in the same year if reprinted to-day would hardly

be an exaggeration of the latest inanities of the camera in the

football field.

While _Punch_ might plead guilty to an "insufficient treatment" of

professional football, and glory in his guilt, he could not be charged

with a similar neglect of golf. As a solace to the unsuccessful lady

lawn-tennis player it is recommended, as early as 1894, in an audacious

travesty of Goldsmith:--

When lovely woman tries to volley,

But finds that men refuse to play,

What charm can soothe her melancholy?

What game can take her grief away?

The means her spirits to recover,

To still the jeers of those that scoff,

To fascinate the tardy lover,

And gain his favour is--to Golf.

[Sidenote: _Punch and Tom Morris_]

[Illustration: ONE OF THE BOYS

FIRST CADDIE: "Who're ye foor this morning, Angus?"

SECOND CADDIE: "A'm foor the petticoats."]

Sacrilegious hands are laid on Mrs. Browning, in 1902, in the lament

of "The Golf Widows"--i.e. women whose husbands do nothing but play or

talk golf--an excellent satire on the selfishness, the "shop," and the

strong language of the "strong man off his game." But there are golfers

and golfers; and _Punch_ recognized one of the real heroes of the game

in his "Royal and ancient friend," old Tom Morris, whose resignation

of his post as green-keeper at St. Andrew's inspired this genial

salutation:--

Well have you borne your fourscore years and two,

Faithful in service, as in friendship true;

Now, pacing slowly homewards from the Turn,

Long may it be before you cross the Burn,

And, ere you tread your well-loved links no more,

May eight-two (plus twenty) be your score.

The popularity of golf in France has led to the framing of a complete

glossary of French equivalents for the terminology of the game.

_Punch_, as a good humanist, essayed a similar task at a time when the

revival of Latin for conversational purposes was proposed by some hardy

classicists. As he justly remarks: "The advantages of Latin in this

context will not have escaped the notice of even the most superficial

observers. Thus the bad effect on caddies of using strong language in

the vernacular is entirely obviated. Again, when the ball is lying

dead, only a dead language can render justice to the situation."

[Illustration: WILLIAM THE WHEELMAN

"'I can only emphasize the fact that I consider that physically,

morally, and socially, the benefits that cycling confers on the men

of the present day are almost unbounded.' (_Aside_) Wish I were on a

'Safety'!!"]

[Sidenote: _Bicycling, Croquet, Swimming_]

Of the brief vogue of bicycling among the "smart set" I have spoken

already. The abuse of this indispensable machine inspired a new version

of "Daisy Bell, or a Bicycle Made for Two"--"Blazy Bill or the Bicycle

Cad"--of which it may suffice to quote the last stanza:--

Blazy! Blazy!

Turn up wild wheeling, do!

I'm half crazy,

All in blue funk of you.

The "Galloping Snob" was a curse, Sir,

But the Walloping Wheelman is worser;

I'd subscribe half a quid

To be thoroughly rid

Of all Bicycle Cads like you.

As a set-off, however, in "_Facilis Descensus_" _Punch_ sings gaily

and genially of the "dear little Bishop" who had bought a new "bike"

and found that in the joys of the wheel nothing could come up to

"coasting." The picture of Mr. Gladstone on the old "ordinary" is not a

representation of fact, but I print it as a reminder of the appearance

of that remarkable and perilous-looking machine. Croquet, which had led

a submerged existence for several years, reasserted itself in 1894, and

_Punch_, in affected astonishment, asked, "Are we back in the 'sixties

again?" The revival was attributed by the _Pall Mall Gazette_ to the

abolition of "tight croqueting," a phrase which gave _Punch_ openings

for facetious comment. In the previous year he had disrespectfully

spoken of croquet as the "feeblest game," and yet admitted that, given

a pretty partner, it beat golf and polo. Swimming, in its heroic

form, loomed large in 1905, and in _Punch's_ picture the Channel is

black with male and female athletes, while an article is devoted to

a fictitious account of an hotel at Dover specially equipped to meet

their needs. Women had by now taken so kindly to all kinds of sport and

pastime that _Punch_ sought to reduce their competition to absurdity in

the dialogue of two stalwart young men who preferred arranging flowers

to shooting or golfing, because they had become "so effeminate." The

sporting woman, by the way, was no favourite of Du Maurier's. Ten years

earlier he had portrayed an odious specimen of the new womanhood in

Miss Goldenberg, who, in reply to the question of the charming vicar's

wife whether she had had good sport, replies jauntily: "Oh, rippin'! I

only shot one rabbit, but I managed to injure quite a dozen more!" The

"Ballad of the Lady Hockey-player" in 1903 ascribes to her a distinctly

matrimonial purpose:--

And to-day I'm so excited that I feel inclined to scream,

But a certain sense of modesty prevails;

For this very afternoon I am to play against a team

That will be composed of eligible males.

Though I do not care two pins

Which side loses, or which wins,

I may get some introductions if I hit 'em on the shins.

Winter sports in Switzerland make their _début_ in _Punch_ in 1895 in

an article on tobogganing dated "_Canton des Grisons_." Mention is

made of curling, "bandy" and figure-skating, but nothing is said of

ski-ing, which though practised as a sport in Norway from 1860, did

not reach Switzerland till the end of the century. Another foreign

importation, this time from Japan, was ju-jitsu, to the value of which

_Punch_ pays a dubious tribute in 1899 in a burlesque interview with a

burglar on whom a householder had ineffectually tried the new art of

self-defence. In the same mood are the farcical suggestions for dealing

with various awkward situations in 1905, and the overthrow of a butler

by a page-boy, to the petrifaction of the servants' hall. There was

a recrudescence of roller-skating in 1909 which _Punch_ deals with

in pictures, prose and verse. The inexpert and self-protective lover

sings, after Ben Jonson:--

Rink with me only with thine eyes,

And do not clutch my frame;

Clasp yonder expert's hand instead,

And I'll not press my claim.

[Sidenote: _The Tyranny of Ping-pong_]

There are many allusions to "Rinkomania," but not nearly so many as to

Ping-Pong, which attained the proportions of a pestilence in 1901, 1902

and 1903. _Punch_ began by calling it a "ghastly game," but kept in

close touch with its progress until the tyranny was overpast. He gives

us pictures of ping-pong in the kitchen; of people searching beneath

the table and in corners for missing balls; a sketch of a ping-pong

tournament, with local champions and devotees of all ages and callings.

In his "Cry of the Children" the younger generation lift up their

voices in protest:--

We shall never know what peace is till we land upon that shore

Where the fathers cease from pinging and the mothers pong no more.

In 1902 the _Table Tennis Gazette_ issued its first number, and _Punch_

speculates on the contents:--

Here you may learn if it is true

That Tosher's got his Ping-Pong Blue.

The epidemic abated in 1903, and in "The Lost Golfer" _Punch_ has

some excellent chaff (after Browning) of the "parlour hero," his mind

temporarily unhinged by a "piffulent game." The verses begin "Just for

a celluloid pilule he left us," and end with the anticipation that the

"lost golfer" will yet return to his old haunts:--

Back for the Medal Day, back for our foursomes,

Back from the tables' diminishing throng;

Back from the infantile ceaseless half-volley,

Back from the lunatic lure of Ping-Pong.

Ping-pong departed, to be revived in 1920, but another and equally

devastating craze ran its course in 1907, when "Diabolo"--the old

"Devil-on-two-sticks"--was the ruling passion of the hour. It was

honoured with a cartoon showing John Redmond playing the "Divil of

a Game," the reel being "Leadership," and numerous illustrations

are devoted to the progress of the mania. _Punch_ affected to have

discovered a new disease, "Diabolo Neck," which he compares and

contrasts with "the Cheek of the Devil," and records the observation

of an ill-tempered old gentleman, as he watched some performers

"diabolizing" in Kensington Gardens: "A month or so ago that sort of

thing was only being done in our Asylums."

[Illustration: FIRST THRUSTER (guiltily conscious of having

rather pressed on hounds): "Now we're goin' to catch it; that's the

master comin', isn't it?"

SECOND THRUSTER (his host): "It's all right. We've got two

masters. That's the one that supplies the money; the other supplies the

language."]

The vogue of Bridge dates from the last years of the old century.

According to the veracious _Daily Mail_, in 1899 a Cambridge Professor

was earning handsome fees by giving instruction in the game to members

of the University, and _Punch_ embroiders the text according to his

wont. In 1901 _Punch's_ cartoon "Discarded" shows Fashion, in her

fool's cap, accosting "Mr. Bridge": "Come along, Partner! That dear

old Mister Whist is such a bore! He is so _vieux jeu_!" Bridge figures

as a gallant and picturesque cavalier, while Whist is a sour-visaged

old pedant. _Punch_ was not always of one mind about the triumphant

new-comer, but he cordially echoed the sentiments of the _Morning

Post_ when that journal asserted that Bridge made for the abolition

of the drawing-room ballad and the drawing-room ballad-monger; and it

gave him abundant scope for comment and parody, e.g. his perversion of

Longfellow's lines into "I played on at Bridge at midnight." Bridge,

however, had not always a monopoly of attraction even in the days when

its tyranny was at its height. In 1902 we encounter the tragedy of

the four men driven to the nursery to play Bridge because "they are

playing Ping-Pong in the dining-room, and 'Fives' in the billiard-room,

Jack's trying to imitate Dan Leno in the drawing-room, Dick's got that

infernal gramophone of his going in the hall, and they are laying

supper in the smoking-room."

[Sidenote: _Hunting and Prize-fighting_]

It is a relief to turn from these mostly futile indoor pastimes to the

robuster sports of the chase, the turf and the prize-ring. _Punch_

was fortunate in this period in having at his command, in Mr. Armour,

an artist who restored the hunting pictures to a higher level of

draughtsmanship than they had ever reached before. This implies no

disparagement of the incomparable geniality of Leech's drawings, which

in that respect have never been equalled, unless by Randolph Caldecott.

But for the correct drawing of hounds, horses and riders, and for the

discreet handling of the hunting landscape, Mr. Armour's equipment

is above reproach. References to the turf in the early years of this

period are mostly connected with Lord Rosebery. His success in winning

the Derby with _Ladas_ in 1894 lends point to the "highly improbable

anticipation" of _Punch's_ artist in which the Premier, in parson's

garb, announces his conversion to the tenets of the Nonconformist

conscience. In September of the same year we have the wail of a

"disgusted backer" over the defeat of the favourite in the St. Leger:--

_Ladas, Ladas,_

Go along with you, do.

I'm now stone-broke

All on account of you.

It wasn't a lucky Leger;

I wish I'd been a hedger,

Though you did look sweet

Before defeat!--

But I've thoroughly done with you.

In a more serious vein of irony _Punch_, in 1906, muses on the

popularity of the turf and ends with this reflection:--

Is it not odd that hitherto no poet

Has thought to mention how, with lord and serf,

Whether they plunge thereon, or rest below it,

There is no equaliser like the Turf?

Whatso our claim,

_The starting price is one, and Death the same_.

The problem of the future of the horse exercises _Punch_ in 1911. Mr.

Morrow's suggestions are always original, if fantastic, but he is on

safe ground when he declares that the horse could always be of use in

pageants. Motor-cars in ceremonial processions remind one of nothing so

much as huge beetles.

[Illustration: The picture of a boxer as published fifty years ago.]

[Illustration: And the picture of a boxer as published to-day.]

The great revival of boxing came at the end of the period, but in 1908

there is an amusing reference to Jack Johnson who, after defeating

Tommy Burns, had become very unpopular in New South Wales, but,

according to the _Daily Mail_, found consolation for adverse criticism

in reading Shakespeare, Milton and Bunyan. The statement was not thrown

away on _Punch_, who, while welcoming the evidence that Jack Johnson

was able to keep his temper sweet, observed that it would be sweeter

still to know what Shakespeare, Milton and Bunyan thought of his

devotion. On the eve of the War, as I have noted in the first chapter,

the man in the street was thinking a good deal more about Carpentier

than the Crown Prince Franz Ferdinand.

INDEX

À Beckett, Gilbert, Thackeray on, i. 4;

_Comic Blackstone_, i. 90, 232

Aberdeen, 4th Earl of, pro-Russian sympathies, i. 5, 125;

smoking pipe of peace, _illustration_, i. 124;

defends Prince Albert, i. 183

Abyssinia, King of, ii. 196

Abyssinia, war with, ii. 27 _seq._

Academy, British, scheme of, attacked by _Punch_, iv. 275

Academy, Royal: suggestions for improving, iv. 301;

"problem" pictures at, iv. 302;

Visitors at, _ibid._

Actors, salaries, i. 274;

and society, iii. 349 _seq._;

_see also_ Drama.

Adelaide, Dowager-Queen, tribute to, i. 198

Admiralty Arch, prospect obstructed, iv. 201

Advertisements, educational, i. 35;

growth, i. 161

Aerial steam carriage, _ill._, i. 73

Aeronautical Exhib., 1868, ii. 142

Aeronautics, i. 72 _seq._

Aeroplanes, beginnings, iv. 184, 186

Æsthetic movement, iii. 254 _seq._, 313, 329, 336 _seq._

Æsthetic pioneers, _ill._, i. 263

Afghan campaigns, iii. 3, 18

Afghan war, outbreak, iii. 25 _seq._

Afghanistan, Ameer of, iii. 18

Agitators, i. 52; ii. 58, 65, 81; iv. 111-2, 132-4

Agnosticism, attitude of _P._ towards, iii. 162

Agricultural depression, iv. 103, 113-4

Agricultural Gangs Act, ii. 46

Agricultural labourers, wages, i. 17;

food consumption of, iii. 72 _seq._;

conditions, iii. 89

Agricultural Land Rating Bill, 1896, iv. 114

Agriculture, machinery in, iii. 210;

shortage of hands, iv. 114

Ainsworth, Harrison, _Jack Sheppard_ censured, iii. 143

Air, conquest of the, iv. 181

Air Force, beginnings, iv. 90, 93

Airships, flights, iv. 183

_Alabama_ case, ii. 3, 20, 95

Albany, Duke of, iii. 223 _seq._;

recommends cookery lessons for the poor, iii. 76;

speech, iii. 218; marriage, iii. 221

Albemarle, 6th Earl of, i. 96, 206

Albert Gate, i. 149

Albert Hall opened, ii. 190

Albert Medal, ii. 182 _seq._

Albert Memorial, ii. 182

Albert, Prince Consort, ii. 169-70, 179 _seq._, 182;

unpopularity, i. 166, 171;

love of uniforms, i. 171, 172;

as sportsman, i. 173-6;

as farmer, i. 180;

Chancellor of Cambridge Univ., i. 181;

"Prince _P._ to Prince Albert," i. 182;

alleged interference in State affairs, i. 183

Alexander, Prince, of Bulgaria, iii. 55

Alexander II, of Russia, ii. 196, 204; iii. 30

Alexander III, of Russia, death, iv. 16

Alexandra, Queen, ii. 181;

and pigeon shooting, iii. 222;

sets fashions, iii. 222;

visits Ireland, iii. 225

Alfonso XIII, King. _See_ Spain

Alfred, Prince, Duke of Edinburgh, offered Greek crown, ii. 19;

decorated by King of Prussia, ii. 22;

tour in Egypt and Palestine, ii. 175;

refuses Greek crown, ii. 181;

marriage, ii. 188;

inaugurates Westminster Aquarium, iii. 100;

_P.'s_ toast to, iii. 223;

death, iv. 220

Alice, Princess, Grand Duchess of Hesse Darmstadt, married, ii. 181;

death, iii. 218

Allan, Maud, iv. 229, 326, 330

Allen, Grant, _The Woman who Did_, iv. 163

Almack's, i. 208; ii. 240;

Grantley Berkeley on, i. 209;

attempted revival, iii. 247

Alpine climbing, ii. 211

America, relations with, i. 134; iv. 11;

Monroe doctrine, iv. 8;

influence of millionaires, iv. 246;

freak dinners and _enfants terribles_, iv. 246

American blockade, ii. 68

American Civil War, ii. 3, 17 _seq._, 20, 22, 66 _seq._

American humorists, ii. 277

American journalism, i. 72; ii. 145 _seq._

American millionaire art collectors, iii. 276

American women of fashion, ii. 214

Americanisms, ii. 216

Amundsen, Roald, iv. 181;

reaches South Pole, iv. 190

Anæsthetics, discovery of, i. 77

Andersen, Hans Christian, child's letter to, i. 89

Anderson, Mary, iii. 347

Andover Union, i. 4, 20

Angell, Norman, _Foundations of International Policy_, iv. 97

Anglo-Danish Exhibition of 1888, iii. 289

Anglo-French _Entente_, iv. 6, 11, 48, 56, 125

Anglo-Japanese Alliance, iv. 6, 11

Anstey, F. (T. A. Guthrie), iii. 286, 289, 325

Antarctic exploration, iv. 181, 190-1

Anti-clericalism in France, iv. 159

Anti-war party, iv. 44-5

Arabi Pasha, iii. 3

Archer, William, translates Ibsen, iii. 355

Archery, ii. 238, 346

Arctic exploration, iv. 181, 190;

by Captain Nares, iii. 328

Argyll, 8th Duke of, ii. 68;

and Armenian atrocities, iv. 18

Aristocracy, i. 201 _seq._;

ignorance of peers, i. 204;

"bloated haristocrat," _ill._ i. 205;

journalists pander to, ii. 172;

and new rich, ii. 198;

take to journalism, iii. 242 _seq._

Armenian atrocities, iv. 18

Armoured ships, use of, criticized, ii. 140

Army, as a profession, i. 114;

flogging in the, i. 116;

Militia, reorganized, i. 116;

Brook Green volunteer, i. 116;

surgeons, i. 120;

Volunteer rifle clubs, i. 122;

undue differentiation between ranks, i. 131;

barracks system, inquiry into, i. 134;

purchase, i. 138; ii. 43;

Volunteers discouraged by military authorities, iii. 68 _seq._;

regular, enforced expenses in, iii. 70 _seq._;

Recruiting Commission, iii. 109;

_P.'s_ attitude towards, iii. 109 _seq._;

Volunteer review at Windsor, iii. 111;

Balaclava survivors, iii. 112;

and Ulster, iv. 94;

popular prejudice against, iv. 128.

_See also_ Crimean war, Uniforms.

Army reform, ii. 38; iv. 49

Arnold, Matthew, ii. 268; iii. 317;

through _P.'s_ eyes, iii. 322

'Arry, and 'Arriet, iii. 106 _seq._;

disappearance of, iv. 255, 256

Art, i. 249 _seq._;

English, discouraged at Court, i. 190;

criticism, i. 296;

Victorian, i. 301;

caricatures of impressionists, iv. 306;

and popular painters, 1902, _ibid._;

_nouveau art_, _ibid._;

_P.'s_ art glossary, iv. 307;

_The Times_ art critic burlesqued, iv. 308;

Futuristic method applied to popular painters, _ill._, iv. 309;

opening of Tate and National Portrait Galleries and

Wallace Collection, iv. 310.

_See also_ Royal Academy

Artillery, long-range, _P.'s_ prophecy, ii. 142

Artists, women, exhibition of, i. 252;

English, French medals conferred on, i. 303;

models, iii. 250

Ashanti expedition, ii. 38; iv. 8, 19

Ashley, Lord; _see_ Shaftesbury, 7th Earl of

Asquith, Rt. Hon. H. H., iv. 62, 64, 95, 99;

as legislator, iv. 4;

and Boer war, iv. 45;

and national defence, iv. 66;

and Upper Chamber reform, iv. 67-9, 72;

"wait and see" policy, iv. 69-70;

and Ulster, iv. 85, 94, 97;

legislative activity, iv. 86, 88;

and Lord Curzon, iv. 90;

Home Rule Bill of 1914, iv. 98;

and Trafalgar Square meetings, iv. 111;

and Lloyd George's land campaign, iv. 118;

and old age pensions, iv. 130;

and Woman Suffrage, iv. 174, 178

Astley's Circus, i. 155; ii. 289

Athleticism, among women, ii. 238;

cult of, iv. 152

Athletics at school, iii. 292

Atholl, 5th Duke of, i. 18, 202

Atlantic cable, ii. 139

Atlantic liners, improved speed of, iii. 209

Augusta, Princess, of Cambridge, married, i. 193

Austin, Alfred, _P.'s_ attacks on, iv. 274

Australia, emigration to, i. 58;

industrial conditions, i. 57;

gold mines, i. 76;

Navy, iii. 56;

federation of colonies, iii. 66;

eight-hours day for domestics, introduced, iv. 120

Australian Commonwealth Bill of 1900, iv. 41

Austria, relations with Serbia up to 1914, iv. 10;

declares war on Serbia, iv. 100

Austro-Prussian war, ii. 3, 26

Authors, distressed, i. 85

Avebury, 1st Lord, ii. 87 _seq._; iv. 287

Ayrton, A. S., ii. 39, 152, 291

Babbage, Charles, ii. 99

Baden-Powell, General Sir Robert, defends Mafeking, iv. 39;

arrives in England, iv. 45;

founds Boy Scout movement, iv. 107

Baghdad railway, British subsidy proposed by Germany, iv. 48

Baker, Sir Samuel, ii. 216

Balfe, Michael W., attacked, i. 293;

success of _Bohemian Girl_, i. 278;

_Puritan's Daughter_, ii. 300

Balfour of Burleigh, Lord, iv. 58

Balfour, Rt. Hon. Arthur J., iii. 6, 32; iv. 4, 33, 44;

at the Irish Office, iii. 50;

and _The Times_, iii. 65;

Leader of the House of Commons, iii. 66;

and golf, iii. 298;

and Venezuelan arbitration, iv. 22;

and Boer war, iv. 39;

Prime Minister, iv. 48;

negotiates with Germany _re_ Baghdad railway, iv. 48;

legislation in Ireland, iv. 49;

administration collapses, iv. 56 _seq._;

holiday at Nice, iv. 92;

and Tariff Reform, iv. 51, 116;

and Education Act of 1902, iv. 148;

gives a ball, iv. 236-238

Balkans, trouble in, iii. 12, 14; iv. 90;

war of 1912, iv. 10, 80-83;

war of 1913, iv. 83-4

Ballantine, Serjeant, ii. 328

Ballet, Russian, iv. 229, 327, 330, 331

Ballet-girls, their cause espoused by _P._, ii. 234 _seq._

Balliol as a nursery of cranks and coming men, iv. 254

Ballooning: Charles Green, i. 73;

Captain Warner, i. 74;

to California, _ibid._

"Balmorals," ii. 331

Bancroft, Sir Squire and Lady, ii. 290-1;

influence on acting, iii. 351

Banjo, popularity of, iii. 278; iv. 339, _ill._

Bank smashes, i. 77

Banting, William, ii. 201

Bar, women and the, ii. 250

"Bardery," Welsh, ii. 220

Barnett, Canon, and art exhibition in Whitechapel, iv. 106

Barnum, Phineas T., return to England, iii. 289

Barrett, Wilson, as Hamlet, iii. 351

Barrie, Sir James, iii. 317;

_Window in Thrums_, iii. 323;

parodied, iii. 325;

plays of, iv. 313, 323;

two views of _Peter Pan_, iv. 328

Barrow-in-Furness, ii. 83, 84 _seq._

Barry, Sir C., i. 148, 304

Baseball, iii. 297; iv. 348

Bass, Michael, M.P.; his Bill to restrict street music, ii. 99

Battenberg, Prince Alexander of, abdicates, iii. 47;

death of, iv. 218

Battenberg, Prince Henry of, governor of Isle of Wight, iii. 231;

death of, iv. 218

Bazalgette, Sir Joseph, ii. 152

Beaconsfield, B. Disraeli, Earl of, and "Young England," i. 24;

supports Bill for Regulation of Factory Labour, i. 25; _Sybil_,

i. 26; literary style, i. 27;

opposes repeal of Corn Laws, i. 28;

ignorance of arithmetic, i. 86;

as "political Topsy," _ill._ i. 107;

_P.'s_ distrust of, i. 108;

design of monument to, i. 109;

_Life of Lord George Bentinck_, i. 109;

policy of, ii. 4, 29, 30 _ill._, 40, 42, 79, 82, 85, 113 _seq._;

religion and ancestry, ii. 117 _seq._, 121, 148, 181, 187, 214,

215 _ill._, 272, 273 _seq._, 341; iii. 4 _seq._;

earldom, iii. 12, 14 _seq._, 16 _seq._; declines "people's tribute,"

iii. 24;

waning prestige, iii. 24 _seq._;

and Afghan war, iii. 26;

death of, iii. 30;

quoted, iii. 139;

and Public Worship Regulation Bill, iii. 158;

on visit of Prince of Wales to India, iii. 215;

names Queen Victoria Empress of India, iii. 216

Beaufort, 9th Duke of; edits Badminton Library series, iii. 298

Beales, Edmond, ii. 80 _seq._

Beardsley, Aubrey, attacked by _P._, iv. 283, 301, 304, 305

Beatrice, Princess, her _Birthday Book_, iii. 221;

married, iii. 225 _seq._

Becker, Lydia, and Woman Suffrage, iii. 128

Beckett, Gilbert Arthur à, ii. 291

Bedford, 9th Duke of, and Covent Garden, iii. 182 _seq._;

and Bloomsbury, iii. 184, 186

Beecher-Stowe, Mrs., visits England, i. 255

Beers, Jan Van, artist, criticized by _P._, iii. 340

Beesly, Professor E. H., ii. 42, 70

_Beggar's Opera, The_, iii. 359

Belgium, Royal tour in, i. 191;

suggested French occupation of, ii. 34;

and Congo, iv. 55, 66

Bellini, Vincenzo, operatic composer, ii. 301

Benedict, Sir Jules, ii. 300; iii. 373

Bengal tiger, _ill._, ii. 5

Bennett, Arnold, iv. 289

Benson, Archbishop, iii. 34;

and Mr. Joseph Chamberlain, iii. 57;

headmaster of Wellington College, iii. 149

Benson, Sir Frank; productions criticized, ii. 352

Béranger, Pierre Jean de, ii. 101

Beresford, Admiral Lord Charles, and national defence, iii. 69;

resignation of, iii. 230

Berlin, Congress of, 1878, iii. 4, 17;

amenities of, iv. 55

Berlioz, cult of, in England, iii. 370

Bernhardi, General, iv. 85

Bernhardt, Sarah, visits to England, iii. 345 _seq._; iv. 316, 320;

at the Coliseum in 1910, iv. 330

Besant, Mrs. Annie, iii. 254

Besika Bay, naval demonstration in, iii. 16

Bethmann-Hollweg, Dr., introduces German Army Bill, iv. 84

Bicycles, appearance of, ii. 138; iii. 200;

evolution of, iii. 300;

fashionable, iv. 244-5;

invade schools, iv. 255;

uses and abuses of, iv. 355;

Mr. Gladstone on, _ill._, iv. 354

Bieberstein, Baron Marschall von, German ambassador, iv. 80

Big Ben, i. 150

Biggar, Mr. J. G., M.P., iii. 21

Billingsgate, new buildings, i. 150;

condition of, iii. 183

Bird, Henry, iv. 343, 344

Birkenhead, Lord, iv. 6

Birmingham, Reformatory Institution, i., 29;

school of brewing established at University of, iv. 155

Birrell, Mr. Augustine, iv. 62, 95, 134;

as Irish Chief Secretary, iv. 67;

and Sir E. Carson, iv. 86;

leaves Education Office, iv. 149

Bishop, Irving, thought-reader, iii. 252

Bisley, headquarters of N.R.A., iii. 69

Bismarck, Prince, ii. 29, 32, 34; iii. 10, 201; iv. 49;

hostility to, ii. 26;

Socialists and, iii. 19;

_P.'s_ view of, iii. 40;

cartoon of, iii. 51;

Army Bill, iii. 52;

Triple Alliance and, iii. 54, 59;

relations with Wilhelm II, iii. 54;

with Empress Frederick, iii. 55; iv. 222;

dismissed by Wilhelm II, iii. 61;

in retirement, iii. 64; iv. 21, 26, 45, 65

Black Country, white slavery in, ii. 61 _seq._;

workmen's extravagance in, ii. 92

Black Sea Conference, ii. 38

Blackwell, Elizabeth, M.D., i. 250

Blake, William, ii. 64; iii. 329

"Blanche," letters of, iv. 246

Blavatsky, Madame, iii. 254

Blériot, M., cross-Channel flight, iv. 186

Blessington, Countess of, i. 221

Blomfield, C. J., Bp. of London, i. 45, 95

Blondin, tight-rope walker, ii. 211, 238, 244 _seq._, 308; iii. 100;

in Westminster Aquarium, iv. 203

Bloomerism, i. 250, 251 _ill._, 262; iii. 305

Bloomsbury, state of, iii. 184 _seq._

Boat races, Oxford v. Harvard, ii. 345 _seq._;

with French at Andrésy, iv. 345;

Cambridge and Harvard, iv. 346;

French crews at Henley, _ibid._

Bodichon, Mme. Barbara, ii. 252, 260

Boer war, iv. 11;

causes of, iv. 36 _seq._;

progress of, iv. 38-46

Bombalino. _See_ Francis IV of Naples

Boneshakers. _See_ Bicycles

Bonheur, Rosa, ii. 243

Booth, Charles, and old age pensions, iv. 119

Booth, Edwin, actor, ii. 283

Booth family, attitude of _P._ towards, iii. 170 _seq._

Booth, General, and Trade Union Congress in 1908, iv. 162;

death, iv. 162

Booth, J. L. C., iv. 78

Borradaile case, ii. 327 _seq._

Borthwick, Peter, M.P., i. 312

Botha, General Louis, in London, iv. 46;

Premier of Transvaal, iv. 62

Boucicault, Dion, ii. 288; iii. 353

Boulanger, General, bid for dictatorship, iii. 8, 55;

visits England, iii. 57 _seq._;

commits suicide, iii. 58

Boulogne: "_Bradshaw_: a mystery," i. 71;

English colony at, i. 221

Bowers, Miss G., ii. 238

Bowles, Mr. T. Gibson, iv. 58;

and Declaration of London, iv. 77

Boxing, ii. 340 _seq._;

by women, iii. 132;

Slavin and Smith, iii. 290

Boy Scout movement, iv. 107-10, 145

Braddon, Miss, ii. 274; iii. 318

Bradlaugh, Charles, M.P., ii. 190;

vicissitudes in Parliament, iii. 26 _seq._;

and Royal grants, iii. 232

Bradley, Dean, iii. 167

Brahms, Johannes, his genius, iii. 368

Bret Harte, iii. 319

Briand, M., iv. 73

Bridge, negative value of, iv. 247;

whist ousted by, iv. 358

Briggs, Mr., murder of, ii. 136

Bright, Jacob, ii. 258

Bright, John, i. 5; ii. 8, 13, 26, 68, 70, 116, 227; iii. 4, 6, 9, 16,

26, 34;

opposes Bill for Regulation of Factory Labour, i. 25;

and Cardinal Wiseman, i. 104;

onslaught on, i. 132;

speech criticized, ii. 64 _seq._;

secedes from Gladstonian party, iii. 50;

death, iii. 60, 228

Brighton, i. 156

British Academy, proposed founding of a, iii. 327

Brock, Sir Thomas, R.A., sculptor of Victoria Memorial, iv. 207

Brodie, Sir Benjamin, ii. 197

Brodrick, Hon. St. John (Lord Midleton), and exclusion of peers from

Commons, iv. 18;

and Army reform, iv. 49, 58

Bromhead, Lieut., V.C., hero of Rorke's Drift, iii. 23

Brompton swallowed up in South Kensington, iii. 177

Bronte, Charlotte, ii. 234

Brook Green Volunteer, i. 116

Brooks, Shirley, _Essence of Parliament_, i. 91; ii. 187 _seq._, 223,

269; iii. 226

Brougham, Henry, Lord, i. 307 _seq._;

palinode to, i. 310;

commended, ii. 58, 263

Broughton, Rhoda, Miss, ii. 236, 274; iii. 324

Brown, John, Queen Victoria's attendant, death of, iii. 223

"Brown, Tom." _See_ Hughes, Tom

Browne, Hablot K. ("Phiz"), _P.'s_ criticism of, iii. 340

Browning, Robert, ii. 204; iii. 317;

his greatness, iii. 318

Browning Society, iii. 318, 324

Brummell, Beau, i. 188, 221

Brunel, Isambard K., ii. 27;

and Stephenson, iii. 199

Brunel, Sir M. I., i. 149

Bryce, Viscount, iv. 148

Buccleuch, 5th Duke of, ii. 152

Buckingham Palace, i. 149, 190

Buckingham, 2nd Duke of, i. 18

Buckland, Professor, i. 181

Buckstone, J. B., actor, i. 275; ii. 291;

death, iii. 350

Budget, the Radical, of Sir W. Harcourt, iv. 4;

the People's Budget, iv. 132

Buffalo Bill, "Wild West" show in W. Kensington, iii. 289

Bulgaria, crown offered to Prince Ferdinand, iii. 51

Bulgarian atrocities, iii. 3, 12

Buller, General Sir Redvers, iv. 46

Bull-fighting, ii. 343

Bull's Run, ii. 18

Bülow, Count von, German Chancellor, iv. 55;

and Socialists, iv. 62

Bulwer-Lytton, E. (1st Baron Lytton), his _Claude Duval_ criticized,

iii. 143;

Tennyson's reply in _P._ to his attack in _The New Timon_, iv. 224

Bunn, Alfred, "Poet Bunn," i. 235

Burdett-Coutts, Miss (afterwards 1st Baroness), i. 254; ii. 227;

efforts to check plumage scandal, iii. 310

Burgon, Dean, attacked by _P._, iii. 151

Burlington Arcade, i. 156

Burlington House exhibitions, iii. 328

Burnand, Sir Frank: _Cox and Box_, i. 155; ii. 235, 273; iii. 363;

editor of _P._, iii. 150, 171;

as a parodist, iii. 325;

as playwright, iii. 343;

resigns editorship of _P._, iv. 300;

his "Few Words at Parting" and "R. C. L.'s" tribute, _ibid._

Burne-Jones, Sir E., criticized by _P._, iii. 331, 334; iv. 303

Burns, Rt. Hon. John, as Socialist, iii. 76, 78;

in Mr. Asquith's Cabinet, iv. 135;

and Trade Union Congress of 1908, iv. 162

Burt, Right Hon. T., M.P., ii. 43, 88

Butler, Mrs. Montagu, ii. 261

Butler, Mrs. (afterwards Lady Butler), iii. 116

Buxton, Mr. Sydney (afterwards Earl Buxton), President of Board of

Trade, iv. 133

Byng of Vimy, General Lord, iv. 8

"Ca' canny," practice of, ii. 95

Cable, submarine, to France, i. 72, 75 _ill._;

Transatlantic, i. 72;

laid in 1866, ii. 27

Cabs, i. 141, 142;

taxis foreshadowed, i. 77;

competition with taxis, iv. 195-6

Caine, Sir Hall, less entertaining than _Bradshaw_, iv. 285.

_See also_ iv. 287, 288

Cairns, 1st Earl, ii. 116; iii. 37

Caldecott, Randolph, iii. 221, 334

Californian goldfields, i. 76

Callan, Philip, M.P., cartooned, iii. 21

Calls, practice of paying, iv. 254

Calvé, Mme., iii. 362; iv. 333

Calverley, C. S., ii. 270; death, iii. 320;

parodist, iii. 325

Cambridge, Adolphus Frederick, Duke of, i. 194, 195

Cambridge, Duke George of, and Indian Mutiny, ii. 7;

attitude to Volunteers, iii. 68 _seq._, 70;

and education in the ranks, iii. 110;

and barrack life, iii. 110 _seq._;

on neutral-tinted uniforms for active service, iii. 111 _seq._;

opposes Channel Tunnel, iii. 204, 224;

resigns post of Commander-in-Chief, iv. 217;

death, _ibid._

Cambridge University, Bill, i. 87;

Prince Albert, Chancellor of, i. 181

Camouflage foreshadowed, iv. 193

Campbell, Mrs. Patrick, iv. 317

Campbell, Sir Colin (Lord Clyde), ii. 6, 8, 16

Campbell-Bannerman, Sir Henry, iii. 46;

leads Liberals, iv. 33;

and Boer war, iv. 45;

campaign against the Lords, iv. 62;

death, iv. 6, 64;

and Chinese labour, iv. 130

Canada, Federation of, ii. 28

Canada, relations with England and the U.S., iii. 65 _seq._

Canadian Pacific Railway completed, iii. 199

Canning, Lord, Governor-General of India, ii. 4, 7

Cantillon, Lieut., Napoleon's legacy to, i. 201

Capital and labour, iii. 80 _seq._;

iv. 103-35

Capital punishment, ii. 97; iii. 100

Caprivi, Count, and Bismarck, iii. 64

Cardigan, 7th Earl of, Leech's drawing of, i. 131;

charges against, i. 135;

Indian Mutiny, ii. 7

Cardwell, Rt. Hon. Edward (Viscount Cardwell), and Army Reform, ii. 39

Carlyle, Thomas, on the ballet, i. 280; ii. 275; iii. 16;

death, iii. 317 _seq._

Carnarvon, 4th Earl of, ii. 50; iii. 16, 18;

Viceroy of Ireland, iii. 44

Carnegie, Andrew, gift to Scottish universities, iv. 156

Carnot, President, iii. 58, 206;

cartooned, iii. 64;

assassinated, iv. 16

Carpentier, Georges, iv. 99

"Carroll, Lewis," i. 266; ii. 269;

_P.'s_ farewell to, iv. 286-7

Carson, Sir Edward, and Ulster, iv. 80, 85-6, 96-7

Caruso, Enrico, iv. 333, 334

Carver, Dr., shooting performances at Crystal Palace, iii. 103

Casement, Sir Roger, and Congo atrocities, iv. 55

Catholic Emancipation, i. 108

Catnach, bookseller, i. 161

Cattle plague, ii. 76

Cavour, Count, ii. 11, 19

Cecil, Lord Hugh, and Education Act of 1902, iv. 148

Cecil, Lord Robert, and Marconi inquiry, iv. 88

Censorship, dramatic, iv. 314

Central Criminal Court, iii. 101

Central Metropolitan Board, i. 161

Cervera, Admiral, gallantry of, iv. 11

Cetewayo captured, iii. 23

Chaliapine, Russian singer, iv. 99, 338

Chamberlain, Rt. Hon. Joseph, ii. 192;

the "Brummagem Lion," _ill._, ii. 193; iii. 6, 85;

and Home Rule in 1886, iii. 44 _seq._;

Unionist, iii. 57;

Leader of the Liberal-Unionists in the Commons, iii. 66;

on disestablishment, iii. 173;

joins Lord Salisbury's Cabinet, iv. 18, 19;

handling of Jameson Raid, iv. 20;

Colonial Secretary, iv. 20;

and Venezuelan arbitration, iv. 22;

on expedition to Khartum, iv. 24;

and Bloemfontein conference, iv. 36;

Australian Commonwealth Bill, iv. 41;

resignation, iv. 50;

Tariff Reform campaign, iv. 50-1;

death, iv. 99;

views on old age pensions, iv. 119

Chamberlain, Rt. Hon. Austen, and Ulster crisis, iv. 97

Channel Tunnel scheme, ii. 138; iii. 202, 204; iv. 191-2

Chaperon, decline of, iii. 265

Chaplin, Rt. Hon. Henry (afterwards Viscount Chaplin), iv. 4;

and agricultural depression, iv. 113-14;

on old age pensions, iv. 119;

defeated in 1906, iv. 58

Chard, Lieutenant, V.C., hero of Rorke's Drift, iii. 23

Charing Cross Road opened, iii. 180

Charing Cross Terminus built, ii. 153

Chartism, i. 49 _seq._;

Great Petition, i. 9, 49;

defended, i. 10, 50 _ill._;

Ebenezer Elliott and, i. 51;

_P.'s_ petition, i. 54.

_See also_ Corn Laws

Chelsea Bun House, i. 158

Chevalier, Albert, coster songs, iii. 373

Chignons, ii. 324 _seq._

Child labour, ii. 58 _seq._

Childers, Right Hon. Hugh, ii. 54, 139; iii. 21

Children, precocity, i. 88, _ill._;

letter to Hans Andersen, i. 89;

_Comic Blackstone_ on, i. 90;

actors, i. 275;

Employment Commission, ii. 60;

education, ii. 60; iv. 136

_seq._;

acrobats, ii. 63;

tormentors of, ii. 127;

fairy tales for, ii. 128-9; iv. 138-9;

poor, condition of, iii. 86 _seq._;

fashions, iii. 313 _seq._;

Country Holiday Fund, iv. 106;

modern children, iv. 136-7, 140;

Christmas presents of, iv. 255

Chimney Sweepers' Regulation Acts, ii. 59, 63; iii. 306

China, war with, ii. 4, 16;

and foreigners, iii. 64;

"Boxer" rising, iv. 8, 41;

commercial interests of Powers in, iv. 31

Chinese labour, iv. 125, 130;

for domestic service, rumour of, iii. 272

Choate, Mr. Joseph, American ambassador to England, iv. 36

Cholera epidemic, i. 152, 239

Christian Science, iii. 254; iv. 160

Christmas cards, fashionable, iii. 278

Church Army, iii. 171

Church of England, i. 91 _seq._;

wealthy bishops, i. 95 seq.;

poor curates, i. 97 _seq._; 172;

Church schools, i. 99;

_P._ opposes extremists, i. 104;

"The Pet Parson," i. 105 _ill._;

doctrinal controversies in, i. 106;

Church Congress, 1869, ii. 45;

_P.'s_ Protestantism, ii. 101;

comprehension and toleration, ii. 102;

sale of pew rents, ii. 104;

_P._ on the richest and poorest Church in the world, ii. 105;

Church services, ii. 106;

attacks on ritualism and mock monks, _ibid._;

Mackonochie and Purchas cases, ii. 108;

Puseyism, ii. 109;

_Essays and Reviews_, ii. 109;

heresy-hunting of Jowett and Colenso, ii. 110-112;

Irish Church Disestablishment, ii. 113-114, 116;

Pan-Anglican Synod, ii. 119 _ill._, 120;

Public Worship Regulation Act, iii. 157-158;

attacks on Anglican intolerance, on Mr. Tooth and Mr. Mackonochie,

iii. 160;

"Mitred Misery," iii. 172;

doctrinal opportunism, _ibid._;

disestablishment scare in 1885, iii. 173;

trial of Bishop King of Lincoln, iii. 174;

Bishop Jayne commended, _ibid._;

education controversies, iv. 146-50;

curates and cricket, iv. 158;

Kikuyu controversy, iv. 160

Church, Roman Catholic: Hierarchy for England, i. 99;

_P.'s_ anti-Papal crusade, i. 100 _seq._;

Catholic emancipation, i. 108;

_P.'s_ anti-Vaticanism, ii. 101-102, 106;

welcome to Père Hyacinthe, ii. 113;

priests and Fenians, ii. 114;

Gladstone's pamphlet on _Vatican Decrees_, iii. 158-9;

hostility to Manning, iii. 162;

treatment of Roman Catholics in the Abbey, iii. 167;

Burnand's position, iii. 172;

obituary verses on Manning, iii. 174;

tribute to Cardinal Wiseman, in 1898, iv. 158;

comment on French interdict of religious orders in 1906, iv. 159;

tribute to Leo XIII, iv. 160

Churchill, Lord Randolph, iii. 6, 50 _seq._; iii. 32, 34; iv. 6, 14,

25;

in Salisbury Cabinet, iii. 43;

and Ulster, iii. 46;

at the Treasury, iii. 47;

on national defence, iii. 69

Churchill, Mr. Winston, iv. 6, 94;

on Upper Chamber reform, iv. 67;

on Navy Estimates (1912), iv. 78;

scheme for naval holiday, iv. 85, 91;

and aerial armaments, iv. 93

Cigarettes, appearance of, ii. 142

Cinematograph, iv. 123, 181, 189

Civil Service, candidates for, i. 226;

open competition instituted, ii. 43

Civil List pensions, i. 234

"Claimant," the, ii. 206-10, 320

Clairvoyantes, ii. 203

Clanricarde, 1st Marquess, ii. 197

Clarence, Duke of, birth, ii. 181;

death, iii. 234

Clarendon, 4th Earl of, i. 79; ii. 31

Classical scholarship, _P._ on, i. 88

Cleopatra's Needle, iii. 179

Clerkenwell Prison, Fenian attempt to blow up, ii. 27

Clerks, condition of, iii. 91 _seq._;

female, iii. 125

Cleveland, President, iv. 11;

and Venezuelan arbitration, iv. 22

"Clicquot, King." _See_ Frederick William IV, King of Prussia

Clifford, Dr., and education, iv. 150

Clifford's Inn demolished, iv. 204

"Climbing-boy" scandal, ii. 58-9, 63-4; iii. 86

"Close, Poet," i. 234; ii. 272

Club, a fashionable, i. 217 _ill._;

library in, i. 218;

ladies', i. 244;

_P.'s_ allusion to the Athenæum, ii. 222

Coal, extortionate tolls, i. 59;

mining, _ibid._;

future of, ii. 83;

high price of, ii. 92 _seq._;

strike of December, 1893, iv. 111;

crisis in 1912, iv. 134

Cobbe, Miss Frances P., iii. 310

Cobden, Richard, i. 5;

and gold mania, i. 76;

and arbitration, i. 118;

subservience to America, i. 132;

attacks sinecures, i. 190;

death, ii. 24;

enraged with Palmerston, ii. 72

Cock-fighting, iii. 103

Cockney dialect, iii. 197

"Coffin-ships," ii. 99 _seq._

Cole, Sir Henry, ii. 190

Colenso, Bishop of Natal, case of, ii. 101, 111 _seq._

Coleridge, John, 1st Lord, ii. 133, 209

Colet, Dean of St. Paul's and founder of St. Paul's School, iii. 148

Collins, C. A. "Convent Thoughts" caricatured, i. 299

Collings, Mr. Jesse, M.P., iii. 99

Colonial and Indian Exhibition, iii. 288

Colonial Governors Act, ii. 25

Colorado beetle, advent of, iii. 208

Colosseum, the, in Regent's Park, i. 155

Colvile, General, iv. 45

Colvin, Sir Sidney, and Burne-Jones, iii. 334

Comédie Française troupe, ii. 284

Comedy and melodrama, ii. 288 _seq._

Comedy, musical, _P.'s_ burlesques of, iv. 321, 322, 324;

popularity of, iv. 338

Comet, of 1857, ii. 202;

of 1858, ii. 40

_Comic Blackstone, The_, i. 90, 232

Commercial travellers, female, iii. 125

Commune, French, ii. 37

Compulsory service, iv. 58, 66

Comte de Paris, iii. 58

Concert music, i. 289 _seq._; ii. 306 _seq._;

promenades, iv. 340;

Queen's Hall Sunday, iv. 341

Connaught (Prince Arthur), Duke of, ii. 19; iii. 223;

Royal grant for, ii. 187;

marriage, iii. 218 _seq._;

resigns succession to Dukedom of Saxe-Coburg-Gotha, iv. 220

Confessional, the, ii. 101, 106, 109

Congo atrocities, iv. 66

Conrad, Joseph, iv. 291-2

Conscience clause in Education Act of 1870, ii. 123, 126

"Conscientious objectors" to vaccination, iv. 118

Conservative Reform Bill, ii. 96

Conspiracy Bill, indignation at, ii. 9

Constantine, King, of Greece, iv. 83

Constantinople Conference, iii. 14

Constitution Hill, "Quadriga" on, iv. 207

Convocation, Houses of, sessions, ii. 54

Cook, Dr., Arctic explorer, iv. 190

Cook, Thomas, & Son, travel agency, iii. 269

Cookery, i. 245;

British, ii. 200

Cooks and teachers, wages of, i. 33

Co-operative societies, ii. 200

Copyright, international, advocated, i. 234

Coquelin, M., visits England in 1887, iii. 347;

in _Cyrano de Bergerac_, iv. 319

Corelli, Miss Marie, a rival to Shakespeare, iv. 280;

her novels reviewed, iv. 281, 284

Corn Laws, campaign against, i. 5;

Disraeli opposes repeal of, i. 28;

repealed, i. 51; ii. 43

Corporal punishment, ii. 132; iii. 142

Corsets, iii. 307, 310

Cosmetics, ii. 326 _seq._, 330; iv. 247

_Cospatrick_, burning of the, iii. 86

Costa, Sir Michael, i. 294; ii. 305, 307

Coup d'Etat of 1851, i. 120, 196

Court, the, i. 165 _seq._;

crowds at drawing-rooms, i. 189 _ill._;

_bal poudré_ ridiculed, i. 190; ii. 169-96; iii. 215-34; iv. 215-27

_Court Circular_ criticized, i. 179

Covent Garden Market, i. 151;

state of, iii. 182 _seq._; iv. 210

Covent Garden Theatre, burned in 1808 and 1856, re-opened in 1858,

i. 157; ii. 302 _note_

Coventry ribbon trade, distress, ii. 324

Cowper, 7th Earl, iii. 373

Coxwell, H., aeronaut, ii. 142; iii. 207

Crabbe, George, iv. 105

Craig, Gordon, iv. 306

"Cramming" in schools, ii. 131

Cranborne, Lord, _see_ Salisbury

Cranbrook, 1st Earl of, iii. 37

Crane, Walter, iii. 221

Crawford and Balcarres, 25th Earl of, ii. 204

Crawley, Peter, prize-fighter, ii. 341

Crawshay, Mrs., of Cyfarthfa, and "lady helps," iii. 270

Craze for writing memoirs, iii. 250 _seq._

Cremation legalized, ii. 223; iii. 275

Cremorne Gardens, i. 159;

fête at, ii. 241;

closed, iii. 177

Crewe, 1st Marquess of;

on anti-Lords campaign, iv. 63;

in Mr. Asquith's Cabinet, iv. 91

Crichton-Browne, Sir James, and higher education of women, iii. 123;

report on Board schools, iii. 138;

on vegetarianism, iii. 209

Cricket, ii. 344 _seq._; iii. 292 _seq._;

cricket schoolmasters, ii. 131;

played by women, iii. 132;

visits of Australian team, iii. 292, 294;

England _v._ Australia, iv. 349;

explaining it away, _ibid._;

cricket as a passport to politics, iv. 350;

Warwickshire's triumph, iv. 351;

ladies at, _ibid._

Crime, iii. 100 _seq._; iv. 123;

fostered by harmful literature, iii. 143 _seq._

Crimean war:

declared, i. 124;

hospital scandals, i. 126 _seq._;

postal service breaks down, i. 126;

"Jolly Russian Prisoners," i. 129;

brave deeds unrecognized, i. 129, 130;

profiteering, _ill._, i. 130;

peace party's efforts, i. 131;

corps of navvies, _ibid._;

Sebastopol inquiry, i. 132;

discontent with peace terms, _ibid._;

_P._ advocates "frightfulness," _ibid._;

peace rejoicings, i. 133;

post-war parallels, i. 134; iii. 109

Crimes Act, iii. 44, 50

Crinolines, i. 258 _seq._; ii. 174 _seq._, 225 _ill._, 320 _seq._;

threatened revival of, iii. 311; iv. 265

Critics, dramatic, iv. 320

Crockford's Gambling Club, i. 221

Crompton, Samuel, inventor of spinning mule, ii. 73

Cromwell, Oliver, suggested statue of, i. 196, 197 _ill._;

iv. 205, 206

Croquet, ii. 238, 346; iii. 303; iv. 355

Crossley, Frank, iii. 171

Crown and Court, _see_ Court

Cruikshank, George, ii. 335;

death, iii. 332 _seq._

Crystal Palace:

name coined by Douglas Jerrold, i. 40;

moved to Sydenham, i. 44;

Queen Victoria opens, i. 47;

humorous handbooks to, _ibid._;

concerts, ii. 308 _seq._, 311;

exhibitions at, iii. 99, 287

Cuba annexed to U.S., iv. 30

Cubitt, Joseph, C.E., ii. 150

Cuffey, the Chartist, i. 55

Cumming, Dr. John, ii. 154;

prophesies end of world, ii. 202

Curragh Camp troubles, iv. 94

Curry powder for the poor, i. 17

Curzon, 1st Marquess, and exclusion of Peers from Commons, iv. 18;

and Oxford University, iv. 157;

and Upper Chamber reform, iv. 67

Cyder Cellars, i. 220

Cyprus annexed, iii. 17

_Daily Mail:_

champions windmills and standard bread, iv. 116;

and middle classes, iv. 126;

founded 1896, iv. 295;

circulation of, _ibid._

Dalkeith, 6th Earl of, defeated by Gladstone, iii. 26

Dances, new and old:

Barn-dance, Washington Post, Boston, Bunny-hug, Morris-dances,

Tango, iv. 234-7, 239, 240

Dancing craze, i. 209; iv. 229;

skating ballet, _ill._, i. 280

Darwin, Charles, ii. 214; iii. 375 _seq._

Davenport Brothers, ii. 205

Death Duties Budget, 1894, iv. 4, 15

Declaration of London, iv. 75

Delane, J. T., editor of _The Times_, i. 235;

eulogized, iii. 327;

Dasent's _Life_ and _P.'s_ comments, iv. 298

Delarey, General, in London, iv. 46

Delcassé, M., French statesman, iv. 78

Delhi, capture of, ii. 7

Denison, George Anthony, Archdeacon of Taunton, ii. 120; iii. 162

Denison, J. E., Speaker of House of Commons, ii. 79

Derby, 14th Earl of, ii. 9, 272;

resigns Premiership, ii. 28, 29;

death, ii. 31;

and Reform Bill, 1867, ii. 42, 85;

and Lancashire cotton famine, ii. 72;

forms Cabinet, 1866, ii. 79;

and Reform League, ii. 83;

and Irish Church Bill, 1869, ii. 116

Derby, 15th Earl of, and Sabbatarians, i. 91;

and Russo-Turkish war, iii. 16

Derby-Disraeli administration, ii. 50

De Reszke, Jean and Edouard, iii. 356, 360 _seq._; iv. 332

Desclée, Aimée, French actress, ii. 286

Destinn (Destinnova), Mme. Emmy, iv. 334

Devonshire, 7th Duke of, opens docks at Barrow-in-Furness, ii. 84;

death, iii. 66

Devonshire, 8th Duke of, at War Office, iii. 111;

joins Lord Salisbury's Cabinet, iv. 18;

integrity, iv. 50;

resigns from Balfour Ministry, iv. 58;

death, iv. 63

De Wet, General Christian, iv. 40;

reception in London, iv. 46

Diabolo, iv. 357

Dickens, Charles, ii. 212;

relations with _P._, ii. 273;

and Leigh Hunt, ii. 281;

patronizes "the Menken," ii. 289

_Dictionary of National Biography_ commences, iii. 326

Dilke, Sir Charles, opposes Royal grants, ii. 187 _seq._;

epigram on, ii. 188;

investigates slum areas, iii. 98;

on state of Thames, iii. 106;

and grant for Duke of Connaught's marriage, iii. 218;

and expedition to Khartum, iv. 34

Dillon, John, and Parnell, iii. 23, 61

Disarmament, Hague Peace Conference, 1899, iv. 34

Disestablishment, iii. 173;

of Irish Church, ii. 101

Disraeli, Benjamin. _See_ Beaconsfield

Divorce Bill of 1856, i. 96;

for poor, i. 21

Dobson, Austin, ii. 325;

criticized by _P._, iii. 321 _seq._

Doctors, and quacks, i. 239;

women, i. 250; ii. 247-50; iii. 114, 124;

Victorian diseases, ii. 200-1;

new cures, iv. 248-50.

_See also_ Medical Students, Surgeons

Döllinger, Dr., and Vatican Decrees, iii. 159

Domesticity, decline of, iv. 230

Domestic service and servants, i. 30-4; ii. 225 _seq._, 228, 230,

232 _seq._

Donizetti, Gaetano, operas, ii. 301

D'Orsay, Count, i. 221, 222

Dover, and Calais submarine cable, i. 72;

Y.M.C.A. episode, ii. 104

Dowbiggin, Captain, i. 206

Doyle, Richard, i. 218, 258;

resigns from _P._ staff, i. 112;

death, iii. 342

D'Oyly Carte, Mr., and English Opera House, iii. 181;

and performance of _The Gondoliers_, iii. 366

Drama, i. 271 _seq._; ii. 282-319; iii. 343-73;

French adaptations, i. 272;

censorship, i. 273;

harlequinade, i. 275;

as part of children's education, iv. 143;

Celtic, burlesqued in 1899, iv. 319;

decayed, revivals of, burlesqued, iv. 323.

_See also_ Theatres

Dress. _See_ Fashion, Uniforms

Dressmakers' long hours, i. 38

Dreyfus case, iii. 166; iv. 28, 34, 160

Drink Question. _See_ Temperance

Druce, Emily, fate of, ii. 56

Drury Lane Theatre, ii. 297, 309

Dublin transport workers' strike, iv. 134

Du Chaillu, P. B., ii. 214

Ducie, 2nd Earl of, i. 24

Duckworth, Rev. B., Canon of Westminster, iii. 167, 373

Duelling, campaign against, i. 114, 115 _ill._

Duma, first opening of, iv. 54

Dumas, Alexandre fils, ii. 286, 289;

_Dame aux Camélias_, i. 228

Du Maurier, George, social contrasts and new types, ii. 198;

flunkeys, ii. 233;

his gentle giantesses, ii. 239, 240;

an apostle of Eugenics, iii. 238-40;

his Limericks, iii. 325-6;

_P.'s_ tribute, iv. 228;

_Trilby_, iv. 284-5, 317

Duncombe, Tom, M.P., ii. 150

Dundee meeting of domestics, ii. 232

Dundrearyism, ii. 310, 336 _ill._, 337 _seq._

Dunlop, John Boyd, inventor of pneumatic tyre, iii. 300

Dunraven, 3rd Earl of, ii. 204

Dunraven, 4th Earl of, and Royal Commission on Sweating, iii. 94, 96;

America Cup challenger, iv. 346

Durham, Union-Workhouse, ii. 48;

University, grants B.A. degree to women, iii. 117

Duse, Mme., iv. 315, 321

Dynamiters, activity in 1885, iii. 40

Early closing, i. 38;

Bill of 1896, iv. 118

East India Company, ii. 6;

abolished, ii. 8

Eastlake, Sir Charles, P.R.A., ii. 314

Eastlake, Charles, of _P._, ii. 314 _note_

Ecclesiastical, courts, ii. 108;

Titles Act, i. 232

Eddy, Mrs. M. B., iii. 254

Edgeworth, Maria, i. 215; ii. 326

Edinburgh, Duke of, _see_ Alfred, Prince

Education, ii. 121-35; iii. 137-56; iv. 136-62;

ignorance of poor, i. 10, 82;

popular, i. 81 _seq._, 82 _ill._;

National Society for Promoting Education of Poor, i. 84;

Lord John Russell's resolutions, i. 86;

Bill of 1856, i. 87;

Montessori system foreshadowed, i. 88;

of Society girls, i. 214;

Elementary Education Act, 1870, ii. 122 _seq._;

fairy tales for children, ii. 128-9; iii. 146 _seq._; iv. 138 _seq._;

foreign nurses for modern languages, ii. 130;

co-education, ii. 131;

systems, English _v._ German, ii. 134;

of schoolgirls, improvements, iii. 119;

Elementary Education Act, 1891, iii. 142;

literature and crime, iii. 143 _seq._;

and stage, iii. 144 _seq._;

precocious children, iii. 145 _seq._;

classics _v._ commerce, iii. 151; iv. 152;

free libraries, iii. 155;

Act of 1902, iv. 125-6;

modern children, independence, iv. 136 _seq._;

theory of self-expression, iv. 140 _seq._;

dramatic method, iv. 143;

Boy Scout movement, iv. 145;

Act of 1871, iv. 145;

Bill of 1896, iv. 147;

Act of 1902, iv. 148;

Bill of 1906, iv. 148-50;

modern language teaching, iv. 154.

_See also_ Schools, Universities

Educationists, ii. 124 _seq._

Edward VII, King, _ill._, ii. 177, 193;

visits Canada and U.S.A., 1860, ii. 175 _seq._;

marries Alexandra of Denmark, ii. 181;

illness, 1871, ii. 191;

visits Birmingham, ii. 192;

promotes _Entente_ with France, iii. 19; iv. 6;

silver wedding, iii. 231;

and Emperor Wilhelm II, iii. 233;

fiftieth birthday, iii. 233;

death, iv. 73, 225;

pastimes, iv. 218;

coronation humours, iv. 223;

coronation postponed, iv. 224;

visits Ireland, iv. 224;

votes in H. of Lords, iv. 226;

lines on his dog Cæsar, iv. 226

Edward, Prince of Wales, birth, iv. 216;

visits Wales, iv. 227

Egypt, Arabi's revolt, iii. 32

Eisteddfodau, spread of, ii. 220

Elcho, Lord, 8th Earl of Wemyss, ii. 86, 336

Electricity, for lighting, i. 72; iv. 194;

telegraph, i. 72;

underground railways, iii. 199

Elgar, Sir Edward, i. 292; iv. 341

Eliot, George, ii. 260, 274; iii. 317

Elizabeth, Empress of Austria, visits Ireland and England, iii. 221;

assassinated, iv. 32

Ellenborough, 1st Earl of, and Indian Mutiny, ii. 4

Elliot, Sir H., iii. 14

Elliott, Ebenezer, i. 51

Emerson, Ralph Waldo, iii. 319

Emigration, remedy for discontent, i. 57;

female, scheme for, i. 58;

attitude of _P._ towards, iii. 108

_Enfant Prodigue_, ii. 285 _ill._; iii. 347

English characteristics, i. 223

English, travellers abroad, manners, ii. 333 _seq._;

tourists in France, iii. 278

English-speaking nations, proposed federation of, iii. 204

Entertainments and Royalty, ii. 192 _seq._

Ernest, Duke of Cumberland, King of Hanover, i. 192, 193

_Essays and Reviews_, ii. 101, 109 _seq._, 111

Etiquette, social, survivals of, in manners and speech, iv. 252

Eton College described, iii. 150

Eugenics satirized, iv. 248

Eugénie, Empress, i. 263; ii. 19, 175;

criticized, ii. 192

Evans's Supper Rooms, i. 220

Evolution, iv. 140-1

Excursions, i. 221; ii. 76; iii. 270

Executions, public, patronized by nobility, i. 216, 220

Exeter Hall, i. 81; ii. 71, 244, 309;

philanthropy, ii. 52

Exhibition of 1851, i. 40;

opening described, i. 42;

praise for Queen and Prince Consort, _ibid._;

dinner for workmen suggested, i. 43;

_Mr. P.'s_ Industrial, _ill._, i. 41;

Exhibition of 1862, ii. 73

Exhibitions in the 'eighties, iii. 287 _seq._

Exploration, iv. 190

Extravagance, in social functions, iv. 242, 243;

dress, iv. 243;

uniforms, iv. 243

Eyre, E. J. (Governor of Jamaica), ii. 25, 81, 99

Factory Act, ii. 43, 58

Fairy tales in education, ii. 128 _seq._; iii. 146 _seq._

Faithfull, Miss Emily, ii. 246

Faith-healers, ii. 205

Falconer, Hon. Ion Keith, iii. 300

Fancy dress balls, craze for, iii. 266

Faraday, Michael, i. 79, 314

Farm labourers, i. 17, 19; ii. 47-8; iii. 72-3, 89; iv. 116-18;

grievances, ii. 48

Farman, Henry, aviator, iv. 184

Farmers' hardships, iv. 113-4

Farragut, D. G., American admiral, ii. 22

Farrar, Dean, iii. 174

Farren, Nellie, actress, iii. 354;

at Gaiety Theatre, iii. 287;

benefit of, iv. 320

Fashions, i. 258 _seq._; ii. 320-38; iii. 304-16;

facial adornments, ii. 326 _seq._;

influence on high art, ii. 332;

approximation of male and female, iii. 304 _seq._; iv. 262, 263;

opposite extremes, iii. 309;

fur coats and boas, iii. 312;

ladies' balloon sleeves, iv. 266;

bolero coats and Russian blouses, _ibid._;

skirts becoming shorter, iv. 268;

effect of motoring on dress, _ibid._;

bathing dresses, iv. 269;

Directoire costume revived, _ibid._;

reduction of materials, iv. 271;

old and new fashion plates, iv. 271;

"Harem" skirts, iv. 272.

_See also_ Uniforms.

Fashoda incident, iv. 11, 28, 30

"Father Ignatius," ii. 106 _seq._

Faure, President, death, iv. 35

Fawcett, Henry, and Royal grants, ii. 187 _seq._; iii. 215;

and Woman Suffrage, ii. 254;

death, iii. 376

Fawcett, Mrs. Henry, ii. 257

Fawcett, Miss Philippa, ii. 261; iii. 122

Fechter, C. A., as Hamlet, ii. 282 _seq._

Fenian conspiracy, ii. 20, 25, 26, 27, 42, 114, 116

Ferdinand I, King, of Bulgaria, offered Bulgarian throne, iii. 57

Feudalism, ii. 47

Fiction, sexo-mania in modern, _ill._, iv. 290;

_P.'s_ conflicting views on, _ibid._

Field, Cyrus, ii. 27

Figuier, L., and fairy tales, ii. 129

Fisher, Sir John, made First Sea Lord, iv. 55;

and German naval menace, iv. 63

"Fisheries" Exhibition, iii. 288

FitzGerald, Edward, _P._ on his parasitic patrons, iv. 286

"Flapper," advent of the, iv. 175-6, 178;

education of, iv. 242

Flats, insanitary conditions, iv. 204

Fleet Prison closed, i. 28

Flogging of criminals, iii. 102;

in the Army, i. 116

Flower, E. F., agitation against cruelty to horses, iii. 103

Flunkeydom. _See_ Servants

Flying machine, invention of, iii. 201

Foley, J. H., R.A., statue to Outram, ii. 151

Folk-dancing revived, iv. 107

Follies, The, iv. 327-8

Food-fads, progress of, iv. 248-50;

no-food cult, iv. 249

Football, ii. 345;

Maori team visits England, iii. 296;

spread of Association game, iv. 352;

football of the future, _ibid._;

dominates the Press, _ibid._

"Fops' Alley," i. 219

Forster, Rt. Hon. W. E., and American Civil War, ii. 70;

his Education Act, ii. 121, 122 _seq._; iii. 72, 137;

and Bill against pigeon shooting, iii. 222;

death, iii. 376

Fox, Sir Douglas, engineer, iii. 212

Fox-hunting, ii. 339 _seq._; iv. 359

France, Royal tour in, i. 191;

relations with, ii. 24; iii. 8;

Second Empire, ii. 38

Franchise Bill of 1884, iii. 36 _seq._

Francis IV, King of Naples, flight, ii. 17

Franco-British _Entente_, iii. 19; iv. 97

Franco-German war, ii. 3;

causes, ii. 29;

outbreak, ii. 32;

Sedan, and after, ii. 34 _seq._

Franco-Russian _Entente_, iii. 63; iv. 16

Frankfort, Peace Congress at, i. 119

Franz Ferdinand, Crown Prince of Austria,

assassinated at Sarajevo, iv. 10, 99

Frederick III, Emperor of Germany, death, iii. 51

Frederick, Empress, iii. 55

Frederick William IV, King of Prussia, i. 192

Free Trade, i. 5; iii. 32;

Budgets, 1859-65, ii. 121

Freeman, Prof. E. A., iii. 4

French Exhibition, ii. 28

French invasion scares, i. 117; ii. 10, 12 _seq._

French militarism, ii. 29

Frere, Sir Bartle, ii. 52;

policy criticized, iii. 24

Frith, W. P., R.A., ii. 316

Fry, Elizabeth, i. 192

Fugitive slave question, iii. 9 _seq._

Fuller, Miss Loie, iv. 229

_Fun_, _Bab Ballads_ and, ii. 280

Funerals, pageantry of, i. 229

Furniture, Victorian, iv. 306

Furnivall, Dr. F. J., iii. 352;

founds Browning Society, iii. 324

Gainsborough, Thomas, Duchess of Devonshire's portrait recovered, iv. 310

Gallows. _See_ Hanging.

Galsworthy, John, iv. 328

Gambetta, Léon, ii. 101;

death, iii. 35

Gambling, i. 221; iv. 113;

suppressed in Bermondsey, iii. 108

Game Laws, harsh sentences under, i. 18; ii. 43;

opposition to, i. 22