The History of "Punch"

[1] An example of these amusing and confusing contentions is the popular—I might almost say classic—witticism which is often resurrected at the expense of Punch. Once in a company of choice spirits Somebody suggested, when "our leading comic" was being discussed, that it would surely be an original idea and a good speculation to "start a comic Punch." Douglas Jerrold, says one writer, aimed the dart at Mark Lemon. Mr. W. S. Gilbert, according to a world-travelled newspaper paragraph, let off the gibe at his friend Mr. Burnand. Laman Blanchard, says another journalist, surprised Jerrold into silence with the taunt. Mark Lemon, declares another, threatened his proprietors with it in a moment of anger; while Mr. Walford told me that it was certainly first spoken of by George Grossmith, senr., of humorous memory. But Hodder and Vizetelly agree in fathering it on Blanchard's son, Sidney, at the time when Gilbert à Beckett's "Comic Blackstone" and comic histories were delighting all true connoisseurs of burlesque. Sidney Blanchard, Hodder reminds us, was possessed of a quaint wit, which was wont to deliver itself in a manner such as that in which he referred to a cashier who was never behind his desk when money was to be paid out: "Compared with him," said he, "the eel is an adhesive animal."

[2] This little conceit greatly pleased its author. He makes Mrs. Caudle exclaim, when protesting against her spouse's lapse into billiards—"There's the manly and athletic game of cribbage!"

[3] So ignorant were their immediate successors of the events I am relating that in a letter written in confutation of the assertion that Gilbert à Beckett had been an editor of Punch, Shirley Brooks said: "From the first the editorship was in the hands of my predecessor, Mark Lemon; the opening address was from his pen, and he was sole editor from July 17th, 1841 (the day of the birth of the publication) until May 23rd, 1870, the day of his lamented death." In the Jubilee number of Punch this misconception was confirmed upon the authority of this statement of Shirley Brooks.

[4] These prospectuses cost a penny for twenty; they are now worth a guinea each.

[5] When the purchase was completed, a curious making-up of accounts proceeded between the parties as to the wood-blocks which were to accompany the paper. These accounts, referring to the titles of the engravings, read curiously enough. Here is a specimen:—

These cuts were for the most part drawn by Brine, Hine, and Newman.

[6] It is a curious fact that the biographer of Hablôt K. Browne is altogether silent on his Punch work, although it lasted with intervals over a quarter of a century. The particulars of this work are referred to further on, when Punch's artists are passed in review.

[7] The initials and monograms appear in the following order round the Table: 1, Mark Lemon; 2, F. C. Burnand (second carving, after stencil by Prof. Herkomer, R.A.); 3, John Tenniel; 4, Shirley Brooks; 5, Arthur à Beckett; 6, R. C. Lehmann; 7, W. M. Thackeray; 8, Henry Silver; 9, Harry Furniss; 10, John Leech; 11, G. du Maurier; 12, W. Bradbury; 13, Douglas Jerrold; 14, E. J. Milliken; 15, F. M. Evans; 16, Tom Taylor; 17, Linley Sambourne; 18, Phil May; 19, J. Bernard Partridge; 20, E. T. Reed; 21, H. W. Lucy; 22, F. C. Burnand (first carving); 23, Gilbert à Beckett; 24, Anstey Guthrie; 25, Horace Mayhew; 26, Percival Leigh. Charles H. Bennett died before he could complete his monogram, and Mr. R. F. Sketchley neglected the duty—an omission he ever after regretted.

[8] See Punch cartoon, "Who will Rouse Him?" (March 12th, 1859).

[9] Who subsequently put Hood's "Song of the Shirt" to music (published from the Punch office, price 2s. 6d.), as well as the "Songs for the Sentimental," "Punch's own Polka" (printed in Punch September 7th, 1844), and probably also "The Queen's Speech, as it is to be sung by the Lord Chancellor" (Punch, Feb., 1843).

[10] "Daily Chronicle," August 26th, 1892.

[11] This, with the Pharaoh pro-Jewish picture at the time of the Russian persecutions, is said to be the only cartoon founded on a strictly Biblical or Scriptural subject ever published in Punch.

[12] See p. 108, Vol. XXXIII.:—

[13] Compare Shirley Brooks's couplet (1857):—

"Marry (and Don't) Come Up.

[14] See Punch, p. 235, Vol. LXI., 1861.

[15] See p. 191.

[16] Contributed one cartoon on July 12th, 1884, and another November 3rd, 1894, when the expected death of the Tsar Alexander III., on the subject of which Sir John Tenniel's cartoon had been prepared, did not occur. "Cartoon Junior" was then promoted to "Cartoon Senior."

[17] it was on Cardinal Wiseman's door, not upon a wall.

[18] Mangez bien, Jenkinsonian French for "fare well."

[19] Jenkinsonian French for "thread-bare subject."

[20] On the occasion of Punch's Jubilee, July, 1891, the "Times" remarked; 'May we be excused for noting the fact that he [Punch] has generally, in regard to public affairs, taken his cue from the "Times"?'

[21] "Fortnightly Review," December, 1886.

[22] His publisher.

[23] Edmund Yates believed that Bunn was Thackeray's model also for Mr. Dolphin, the manager, in "Pendennis."

[24] "Dictionary of National Biography."

[25] "Anti-Punch, or the Toy-shop in Fleet Street; a Romance of the Nineteenth Century." By the Author of "Anti-Coningsby." 16mo. 1847.

[26] This declaration, if not absolutely accurate, has often been repeated, and was confirmed at the Church Congress of 1893 by Dr. Welldon, who held up Punch as the one clean paper for the rest of the Press to follow!

[27] Mr. George Dalziel writes to me: "For myself I was somewhat intimately connected with the publication from its birth; being associated with Landells as an engraver, it fell to my lot to engrave ... the first drawing contributed by John Leech, under the title of 'Foreign Affairs,' with many of the cartoons by Kenny Meadows, as well as many of the drawings of every artist engaged upon the journal, so long as Landells had anything to do with Punch."

[28] With the exception of the Almanac cartoon, for which the engraver has ample time.

[29] See p. 2.

[30] Douglas Jerrold writes to Hodder under date September 9th:—"I have been worked to death for Punch, having it all on my shoulders, Mark, à Beckett, and Thackeray being away. Nevertheless, last week it went up 1,500." Jerrold, it may be added, would at that time undertake some of the editorial as well as the literary work.

[31] This was "The Little Frenchman's Second Lesson," an important poem occupying a whole page.

[32] Under "Editor" were entered all, except very special, contributions coming from outside.

[33] See p. 141.

[34] An example of Henry Mayhew's quaint presentation of his own experiences is to be found in the paragraph he contributed under the title of "Tavern Charges at Dover":—"Waiter! How much is my glass of brandy-and-water?" "The bill, sir." "What! 10s. 6d.?" "Yes, sir, brandy's 2s.; never charge less." "Well?" "Sugar 6d.; never charge less." "Go on." "Waxlight and apartment, 5s." "Why, I've only been here five minutes." "That's not our fault, sir; we never charge less." "Go on." "Servants, 2s." "What?" "Me, boots and chambermaid; never charge less." "Well, what next?" "The use of plate, glass, and linen, 1s." "What do you mean?" "Teaspoon, tumbler, and table-cloth; never charge less; but—we makes you a present of the biling water." "Very well, there's your 10s. 6d., and I shall write to the 'Times.'" "Yes, sir—pen, ink, and paper, 1s.; never charge less."

[35] A "Petition," supposed to come from the inmates (written by Percival Leigh), appeared in Punch (p. 101, Volume IX.), in which the petitioners begged that some of the kitchen refuse and pigs'-wash, hitherto used to overfatten swine, might be reserved for them. This petition had an admirable effect.

[36] Hodder incorrectly gives the mot to Thackeray.

[37] Dr. Strauss's attribution of this repartee to Robert Brough in reproof of James Hannay appears to be quite without foundation.

[38] See p. 113 et seq.

[39] See p. 227 et seq.

[40] The inclusion of the article entitled "A Plea for Plush," in the volume of "Contributions to Punch" in "Complete Works," published by Smith, Elder & Co., is a mistake. The article in question was by Thackeray's friend, "Jacob Omnium."

[41] Mr. Frederick Mullet Evans.

[42] Mark Lemon.

[43] The author here quotes in a footnote a few lines from the poem, beginning

and then observes: "The whole of this Poem (!!!) is worth reading, in order to see to what depths of silliness the human intellect can descend."

[44] Lord Ellenborough.

[45] See p. 85.

[46] I have been fortunate in ascertaining Mr. Milliken's own estimate of 'Arry in a private letter to a friend. Although it was not written for publication, I have received permission to quote the following sentences:—

"'Arry—as you say—the essential Cad, is really appalling. He is not a creature to be laughed at or with. My main purpose was satirical—an analysis of and an attack on the spirit of Caddishness, rampant in our days in many grades of life, coarse, corrupting, revolting in all. I might have confined myself to the 'Humours of 'Arry,' when my work would have been more genial, and, to many, more attractive. But then I should have missed my mark. On the other hand, I might have made it a more realistic study, but then I should have got very few readers, and certainly no place in the Punch pages. So it was a compromise; not a consistent study of an individual Cad, but of the various characteristics of Caddishness. It has been said that an ordinary cad could not have done or said or known all that my 'Arry did. Quite true, quite well known to me while writing; and indeed I forestalled the objection in the preface of the book.... As to 'Arry's origin, and the way in which I studied him, I have mingled much with working men, shop-lads, and would-be smart and 'snide' clerks—who plume themselves on their mastery of slang and their general 'cuteness' and 'leariness.' I have watched, listened, and studied for years 'from the life,' and I fancy I've a good memory for slang phrases of all sorts; and my 'Arry 'slang,' as I have said, is very varied, and not scientific, though most of it I have heard from the lips of street-boy, Bank-holiday youth, coster, cheap clerk, counter-jumper, bar-lounger, cheap excursionist, smoking-concert devotee, tenth-rate suburban singer, music hall 'pro' or his admirer," etc. etc.

[47] Connection with Punch has run strangely in families—as the reader may see by reference to the "Family Trees" on the next page.

[48] Having mentioned the name of Edmund Yates, I may here contradict the statement that that distinguished journalist ever wrote for Punch. The belief arose partly through Martin F. Tupper's "My Life as an Author":—"I remember also how he dropped in on me at Albany one morning, just as I happened to be pasting into one of my books a few quips and cranks anent my books from Punch. He adjured me 'not to do it! for Heaven's sake spare me!' covering his face with his hands. 'What's the matter, friend?' 'I wrote all those,' added he in earnest penitence, 'and I vow faithfully never to do it again!' 'Pray don't make a rash promise, Edmund, and so unkind a one too; I rejoice in all this sort of thing—it sells my books, besides—I'se Maw-worm—I likes to be despised!' 'Well, it's very good-natured of you to say so, but I really never will do it again;' and the good fellow never did—so have I lost my most telling advertisement" (p. 326). Considering, however, that Yates was on the worst of terms with Mark Lemon, we may easily believe that he did not contribute to his paper, and as during his early friendship with Mr. Burnand he never hinted at writing for Punch as an outsider, the statement may be dismissed. Moreover, so fantastic is the scene described that, if strictly accurate, it was most likely a practical joke played off upon the egotistical old gentleman, whose worst enemies never accused him of a sense of humour.

[49] "Fors," 1874 (p. 125).

[50] See Punch, p. 237, Vol. I.

[51] It may be stated that Doyle contributed a ewe-lamb of literature to Punch (May 13th, 1843), entitled "High Art and the Royal Academy" (Vol. XVI., p. 197).

[52] This conversation took place in April, 1889.

[53] Since 1892, I may explain, Sir John Tenniel and Punch have moved with the times. Sir John now draws his cartoons upon the Chinese-whitened surface of cardboard, and they are photographed on the block in the usual way.

[54] But when, in 1866, Keene contributed three cartoons, Sir John Tenniel's appeared side by side. This was the result of a revived experiment to add to the attractions of the paper by giving two cartoons—an experiment resumed in later years in the case of Mr. Sambourne and Mr. Furniss.

[55] See Mr. Layard's "Life and Letters of Charles Keene," p. 387.

[56] Speech at Royal Academy Banquet, May 2nd, 1891.

[57] English humour is under a great debt to the English Church. Not only, of course, are Sydney Smith and "Tom Ingoldsby" of immortal fame—to name no others—in the front rank of our wits, but Punch has received the homage of "Cuthbert Bede," Dean Hole, the Rev. W. F. Callaway, Canon Ainger, and the Rev. Anthony C. Deane. The Irish Catholic priest Father James Healy, by the way, indirectly contributed a number of capital jokes.

[58] It is to be observed, however, that there is no mention of these engravings in Mr. Swain's "Punch Cut Book."

[59] Mr. Henry James, jun., considers ("Century Magazine," 1883) that "since 1868, Punch has been, artistically speaking, George du Maurier."

[60] See "Encyclopædia Britannica."

[61] See "Magazine of Art," 1891.

[62] "The Art of England: The Fireside," p. 174.

[63] The other ladies are Miss Coode, Mrs. Romer (Mrs. Jopling-Rowe), Mrs. Field, Miss Fraser, Miss Mansell (Mrs. Bull)—merely a sketch, and Miss Maud Sambourne.

[64] Mr. Sambourne's cartoons are dealt with in the chapter devoted to that subject.

[65] It may be as well to give here the names of the diners, so that the reader may identify them in the reproduction which forms the frontispiece to this volume. Mr. Burnand, at the head of the table, with his left hand outstretched towards the figure of Punch, is giving the toast of the evening; on his left is Mr. Anstey, and then Mr. Lucy and Mr. E. T. Reed, the late Gilbert à Beckett and Mr. Milliken, Sir W. Agnew, the late Mr. W. H. Bradbury, Mr. du Maurier, Mr. Furniss and Mr. R. C. Lehmann, Mr. Arthur à Beckett, Mr. Sambourne, and Sir John Tenniel. The portraits and busts along the wall are (from left to right) of Mark Lemon, Gilbert Abbott à Beckett, with, under it, Douglas Jerrold, Thackeray, Doyle, Hood, Leech, Shirley Brooks, and Tom Taylor. On the easel is a portrait of Charles Keene, then recently dead.

[66] This is all very well; but as the alleged visit took place in 1870, the year in which Caldecott came up to London, and as Mark Lemon died on the 23rd of May in that year, and that not suddenly, the story is hardly above suspicion.