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Punch, or the London Charivari, Volume 102, May 28, 1892   By:

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Punch, or the London Charivari, Volume 102, May 28, 1892 is a delightful collection of satirical cartoons, humorous essays, and clever poems that capture the spirit of the late 19th century. The publication offers a unique glimpse into the social and political issues of the time, while also providing plenty of laughs along the way.

The cartoons in this volume are particularly noteworthy, featuring exaggerated caricatures of famous figures and poking fun at the absurdities of everyday life. The essays and poems are equally entertaining, showcasing the wit and creativity of the writers and contributors.

Overall, Punch, or the London Charivari, Volume 102, May 28, 1892 is a charming read that is sure to entertain readers of all ages. Whether you're interested in history, humor, or simply appreciate a good joke, this volume has something for everyone. Highly recommended for anyone looking for a lighthearted and entertaining read.

First Page:



VOL. 102.

May 28, 1892.



On the Stage, the Scene represents "A Public Place before the Arsenal," where a number of artisans are apparently busily engaged in making horse shoes on cold anvils in preparation for the launch of " The Adriatica ." On extreme R. enter Antonio , who expresses commercial embarrassment by going through a sort of dumb bell exercise on a bridge. On extreme L. enter Bassanio , Lorenzo , and Antonio , who observe, with mild surprise, that there are several other persons present, and proceed to point out objects of local interest to one another with the officious amiability of persons in the foreground of hotel advertisements. ( Here a Small Boy in a box, who has an impression he is going to see a Pantomime, inquires audibly "when the Clown Part will begin?" and has to be answered and consoled. ) Bassanio perceives Antonio afar off, and advances towards him with stately deliberation, throwing out signals with one arm at intervals; Antonio goes to meet him; they shake each other by both hands with affectionate cordiality, and then turn their backs on one another, as though, on reflection, they found they had less to say than they had imagined. Presently Bassanio recollects why he wanted to see Antonio so particularly, and, by describing a circle in the air, and pointing from the electric lights above to the balcony stalls in front, and tapping his belt, puts Antonio at once in possession of his chronic impecuniosity, his passion for Portia , and his need for a small temporary loan... Continue reading book >>

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