The first appearance of THOMAS HOOD as a comic writer was in the year 1826, when he published the First Series of “Whims and Oddities.” The critics in many instances took offence at his puns, as might have been expected, for his style was new and startling. His book was full of word-play, and it is easy to conceive--as he wrote in his address to the Second Edition--“how gentlemen with one idea were perplexed with a double meaning.” However, the public approved if the critics did not, and called for a second and soon after a third edition. Finally, after the publication of a second series, a fourth issue, containing the two series in one volume, was demanded. “Come what may,” said HOOD, “this little book will now leave four imprints behind it--and a horse could do no more!” He had by this time commenced the Comic Annuals, a series which he carried on for many years, and by which he established his fame as the first wit and humourist of his day. When this publication ceased he wrote first for _Colburn’s New Monthly_, of which he was appointed Editor on HOOK’S death; and subsequently, and up to the time of his death, in his own periodical, _Hood’s Magazine_. Puns have been styled the lowest form of wit, and the critics have fallen foul of them from time immemorial until the present day. But a pun proper--and there should be a strict definition of a pun--is, it is humbly submitted, of so complicated a nature as to be anything but a low form of wit. A mere jingle of similar sounds, or a distortion of pronunciation does not constitute a pun--a double meaning is essential to its existence--a play of sense as well as of sound. That the latter was in HOOD’S opinion the more important feature of the two is to be inferred from his statement that “a pun is something like a cherry: though there may be a slight outward indication of partition--of duplicity of meaning, yet no gentleman need make two bites at it against his own pleasure.” In other words, the sense is complete without any reference to the second meaning. Tested by this rule, the majority of so-called puns, which have brought discredit on punning, would be immediately condemned, the only excuse for the form in which they are written being the endeavour to tack on a second meaning, or too often only an echo of sound without meaning. Perhaps the best defence of punning is to be found in the following stanzas of “Miss Kilmansegg:” “There’s strength in double joints, no doubt, In double X Ale, and Dublin Stout, That the single sorts know nothing about-- And the fist is strongest when doubled-- And double aqua-fortis, of course, And double soda-water, perforce, Are the strongest that ever bubbled!