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Punch, or the London Charivari, Volume 103, October 29, 1892   By:

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"Punch, or the London Charivari, Volume 103, October 29, 1892" is a fascinating collection of satirical cartoons, humorous articles, and witty commentary from the late 19th century. This edition covers a wide range of topics, from politics and current events to social issues and popular culture.

The humor in this volume is sharp and clever, with the writers and illustrators poking fun at the absurdities of everyday life. The cartoons are particularly well done, with detailed and expressive illustrations that bring the jokes to life.

One of the highlights of this volume is the variety of contributors, including well-known writers and artists of the time. Their distinct voices and styles add depth and diversity to the publication, making it an enjoyable read for anyone interested in historical satire.

Overall, "Punch, or the London Charivari, Volume 103, October 29, 1892" is a delightful snapshot of Victorian humor and wit. It offers a fascinating glimpse into the minds of the people of the era, and is sure to entertain readers with its clever observations and clever jokes.

First Page:


VOL. 103

OCTOBER 29, 1892



ACT I. SCENE 2. Leonora's confidant evidently alive to the responsibilities of her position. Watch her, for example, when her Mistress is about to confide to her ear the dawn of her passion for Manrico . She walks Leonora gently down to the footlights, launches her into her solo, like a boat, and stands aside on the left, a little behind, with an air of apprehension, lest she should come to grief over the next high note, and a hand in readiness to support her elbow in case she should suddenly collapse. Then, feeling partially reassured, she goes round to inspect her from the right, where she remains until her superior has completed her confidences, and it is time to lead her away. Operatic confidant sympathetic but a more modern heroine might find one "get on her nerves," perhaps. Manrico a very robust type of Troubadour but oughtn't a Troubadour to carry about a guitar, or a lute, or something? If Manrico has one, he invariably leaves it outside. Probably doesn't see why, with so many competent musicians in the orchestra, he should take the trouble of playing his own accompaniments. And why does the Curtain invariably come down as soon as swords are drawn? Tantalising to have all the duels and fighting done during the entr'actes... Continue reading book >>

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