Mr. Punch's History of Modern England, Vol. 3 (of 4).—1874-1892Graves, Charles L. (Charles Larcom)
History
Mr. Punch's History of Modern England, Vol. 3 (of 4).—1874-1892
Graves, Charles L. (Charles Larcom)
Great Britain -- History -- Victoria, 1837-1901 -- Humor
References to "Zazel," the acrobat who was nightly shot from a cannon,
and to Zazel's successor, "Zæo," abound in protests not only against
the enterprising manager, and the cynical indifference of the Home
Secretary, but above all against the public who went simply because
of the risk, the chance of seeing accidents. "Zazel's" performance,
as a matter of fact, was not as dangerous as it appeared; it proved
a theme of fruitful burlesque on the part of Nellie Farren at the
Gaiety Theatre; and when it was rumoured that Zazel was going to marry
an Archdeacon, _Punch_ did not refrain from a ribald allusion to her
passing "out of the mouth of a Canon into the arms of an Archdeacon."
At the same time he was equally critical of the ostentatiously
labelled "Entertainments for the People" organized as a sort of
compromise between High Art, the Penny Reading and the Variety
Stage. The efforts of the Kyrle Society to "bring Beauty home to the
working-classes" left him cold or facetiously intolerant of patronizing
preciosity. So, too, the performances at the Victoria Coffee Music-Hall
in 1881 are damned with less than faint praise in a criticism put into
the mouth of one of the class they were intended to reach, on the
grounds that they were not only teetotal, but third-rate music-hall,
and dull at that. The whole thing was spoiled by an atmosphere of
conscious edification and of condescending patronage.
_Punch's_ attitude to the series of annual exhibitions which began
with the "Fisheries" in 1883, underwent many phases. It began in hope
and mild praise, but ended in disillusion, as the side-shows, _al
fresco_ entertainments, bands and illuminations, and the everlasting
"Welcome Club," became the stereotyped and dominating attractions of
each successive show. _Punch_ wanted the site of the Fisheries made
into a permanent Public Garden with a shilling gate money. But while he
applauded the good intention of the promoters, he represented the West
End fishmonger as "none the worse for it": the price of fish had not
come down as it was thought it would.
[Sidenote: _Exhibition Absurdities_]
Public-domain text, read in full here on John Shaqi.
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