Punch, or the London Charivari, Volume 99, July 19, 1890 By: Various
Punch, or the London Charivari, Volume 99, July 19, 1890 is a fascinating collection of satirical cartoons, essays, and poems that provide a humorous and critical look at the social and political landscape of the late 19th century. The illustrations are cleverly drawn and the writing is witty and sharp, offering insight into the culture and attitudes of the time. Readers with an interest in history and satire will find this volume to be both entertaining and enlightening. Overall, this book is a valuable resource for understanding the cultural context of the Victorian era and the ways in which humor was used to critique the society of the time. First Page: PUNCH, OR THE LONDON CHARIVARI VOL. 99 JULY 19, 1890 OUR BOOKING OFFICE. [Illustration: PARALLEL. Joe, the Fat Boy in Pickwick, startles the Old Lady; Oscar, the Fad Boy in Lippincott's, startles Mrs. Grundy. Oscar, the Fad Boy . "I want to make your flesh creep!"] The Baron has read OSCAR WILDE'S Wildest and Oscarest work, called Dorian Gray , a weird sensational romance, complete in one number of Lippincott's Magazine . The Baron, recommends anybody who revels in diablerie , to begin it about half past ten, and to finish it at one sitting up; but those who do not so revel he advises either not to read it at all, or to choose the daytime, and take it in homoeopathic doses. The portrait represents the soul of the beautiful Ganymede like Dorian Gray , whose youth and beauty last to the end, while his soul, like JOHN BROWN'S, "goes marching on" into the Wilderness of Sin. It becomes at last a devilled soul. And then Dorian sticks a knife into it, as any ordinary mortal might do, and a fork also, and next morning "Lifeless but 'hideous' he lay," while the portrait has recovered the perfect beauty which it possessed when it first left the artist's easel. If OSCAR intended an allegory, the finish is dreadfully wrong. Does he mean that, by sacrificing his earthly life, Dorian Gray atones for his infernal sins, and so purifies his soul by suicide? "Heavens! I am no preacher," says the Baron, "and perhaps OSCAR didn't mean anything at all, except to give us a sensation, to show how like BULWER LYTTON'S old world style he could make his descriptions and his dialogue, and what an easy thing it is to frighten the respectable Mrs... Continue reading book >>

Punch, or the London Charivari, Volume 99, July 19, 1890 By: Various

Punch, or the London Charivari, Volume 99, July 19, 1890 is a fascinating collection of satirical cartoons, essays, and poems that provide a humorous and critical look at the social and political landscape of the late 19th century. The illustrations are cleverly drawn and the writing is witty and sharp, offering insight into the culture and attitudes of the time. Readers with an interest in history and satire will find this volume to be both entertaining and enlightening. Overall, this book is a valuable resource for understanding the cultural context of the Victorian era and the ways in which humor was used to critique the society of the time.

First Page:

PUNCH, OR THE LONDON CHARIVARI

VOL. 99

JULY 19, 1890

OUR BOOKING OFFICE.

[Illustration: PARALLEL.

Joe, the Fat Boy in Pickwick, startles the Old Lady; Oscar, the Fad Boy in Lippincott's, startles Mrs. Grundy.

Oscar, the Fad Boy . "I want to make your flesh creep!"]

The Baron has read OSCAR WILDE'S Wildest and Oscarest work, called Dorian Gray , a weird sensational romance, complete in one number of Lippincott's Magazine . The Baron, recommends anybody who revels in diablerie , to begin it about half past ten, and to finish it at one sitting up; but those who do not so revel he advises either not to read it at all, or to choose the daytime, and take it in homoeopathic doses. The portrait represents the soul of the beautiful Ganymede like Dorian Gray , whose youth and beauty last to the end, while his soul, like JOHN BROWN'S, "goes marching on" into the Wilderness of Sin. It becomes at last a devilled soul. And then Dorian sticks a knife into it, as any ordinary mortal might do, and a fork also, and next morning

"Lifeless but 'hideous' he lay,"

while the portrait has recovered the perfect beauty which it possessed when it first left the artist's easel. If OSCAR intended an allegory, the finish is dreadfully wrong. Does he mean that, by sacrificing his earthly life, Dorian Gray atones for his infernal sins, and so purifies his soul by suicide? "Heavens! I am no preacher," says the Baron, "and perhaps OSCAR didn't mean anything at all, except to give us a sensation, to show how like BULWER LYTTON'S old world style he could make his descriptions and his dialogue, and what an easy thing it is to frighten the respectable Mrs... Continue reading book >>

Genres for this book
Essay/Short nonfiction
Non-fiction

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