Judge — March 2, 1889 — page 11: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

THE CHALLENGE. SHE TH! SERIOUS thing this love affair— To make him know I quite despair ‘That here's for him my waiting hand. I wonder would he understand If 1a challenge should prepare? TM fling my glove—this mousketaire, And challenge him to combat fair Of love, not war—will he withstand? A serious thing ‘A woman's heart thus to ensnare. How handsome he—none can compare— Those dusky eyes are simply grand. O lovesick me! 1 must command His love or to a convent I'll repair. A serious thing ! HE THINKS. My lady’s glove as it lies there— Dainty. tan, a mousketaire— Reminds me of her little hand, ‘The prettiest one in all the land, Dimpled, soft, and sweetly fair. To kiss that little hand I swear T'd give—what folly, man, take care! Bethink the haughty reprimand. My lady's glove— She flung it with defiant air At me—it fell on yonder chair— By Jove, I think T understand A challenge! that I'l not withstand. Til kiss her! Yes, thro’ you I dare, My lady's glove. RDITH SESSIONS TUPPER, THE AMERICAN ERA OF CRITICISM. T HAS been wisely suggested that we use only genuine American in our dramatic, musical and literary criticism, So hereafter the genius that slings the ink in this sanctum after an organ recital, “by some of the best talent in our fair city,” will follow this suggestion. He will not talk about tremelo, and roulades, and octaves, and staccato, and pianissimo, and orchestration, and cadenza, and instru- mentation, and tempo, and extemporization, and rallentando, and chiaroscuro, and modulation, and cantabile, and fortissimo and coda, and motif, and saissessant. Here is an example of critical analysis in the pure and unadul- terated musical American dialect : * Last night the opera known as“ 'Radamisto” was pitched at an enthusiastic audience, that caught onto the fine points like a cyclone JUDGE 339 catches onto destruction. The piece takes its name from the catch-as- ait vigor with which the different screechers yell their ‘rahs and at each other whenever they get ac “The first heroine shakes her voice at you till it sounds like a milk shake in July with at least a dozen sticks in it. Then her beau jumps his eight notes at one leap and lands in the middle of several bars ahead with the air of a jack-pot “The first girl's rival dashes out from behind a pasteboard dado and lights down on the woman she hates with both feet, and a run in her voice equal to the speed of the victor in a free-for-all race. +“ The hero is all humped up by this performance, apparently, but man- ages to do some bang-up shrieking on his own account as he makes a home-run and gets behind the banjo in a don’t-trif_e-with-me chair. Pick- ing this up in a cover-you-and-go-vou-one-better manner, he thrills the ce, nner. MORNING ON THE SLEEPING-CAR. Mk. Burwar—"'I don't know where you come from, stranger, or who you be, but, b gum! I ain't never refused ter shake with a man yet when he puts out his hand marrows of his two paralyzed gi solo, ‘Don’t tell me there’ “After a panting rest of two bars—during which the responsive audience test the efficacy of the patent concealable bars in their seats by dropping their dimes in the slots and realizing ‘straights’ with cloves—the three raise the roof with the rallying ery of, ‘Oh, who's in the next cabinet?" At this open challenge to their guessing powers the delight of the enraptured audience takes the shape of a combined shout, amid which is dis- tinguishable the approved answer to this popular conun- drum, ‘Oh, —'s there, you bet.” Now from a dozen different cracks in the scenery rush in the grand wind- up chorus, The leader corrals them in a face-the- music - and - never- turn - your - backs - to-the-audience bunch, and in one eleven-story-and-a-mansard-roof Squeal they give vent to the real motive power of the piece, which has lain over the rest of the gymnastics all along. and, true to the American code, they wind up with the national anthem, ' Hi, boys ! what'll you take ?” “This is the under-cadence of every heart present, and with a Texas-mustang-get-there rush, without any tenderfoot polite nonsense, the crowd scoots, calling out their approval to the singers in the welcome words, "See you later.” Is by his gee-whizz cantharides on me." THE DUDELET’S SOLILOQUY. (TO POP OR NOT TO POP.) ALMOST TICKLED TO DEATH. Mr. Kir JaMes (of Saugerties, on the a didn’t expect t6 find th’ tligs so thick in this ‘ere city.” nuc\—" | knowed it wuz a darned open winter, but T She's taking fencing lessons now. Ry Jawve! me mind feaws much That she will foil me when I put ‘Me question to the touch, She's always got the best of me When we with wawds would fence; And now she'll cleaw the topmost wail— Ta bettaw hasten hence, This number contains a 2 page supplement of the Holyoke Envelope Co. comicbooks.com