Judge, 1891-06-27 · page 7 of 17
Judge — June 27, 1891 — page 7: what you’re looking at
What you’re looking at
This page from *Judge* magazine contains several satirical sketches mocking social pretension and immigrant stereotypes: **"What's in a Name?"** ridicules wealthy Jewish banker Isaac de Rothschild. A guest brags about his family name, only to be exposed by acquaintances ("Yawcup") who reveal he's a fraud now forced to steal for survival. The heavy Yiddish-accented dialect and caricature reflect period anti-Semitic stereotypes common in 1890s American humor. **"A Young Diplomatist"** jokes about a child's manipulative logic—he eats the cake, anticipating his mother's permission. **"A Total Loss"** punches down at a starving artist: his unsold, unframed paintings have no market value. Minor sketches mock Irish dialect ("Orrupty burrUpetee"), a child's lack of empathy, and train-station confusion. The page also includes a sentimental poem about rural solitude. The overall tone reflects *Judge's* class-conscious, immigrant-mocking sensibility typical of late-19th-century American satire.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
“Will you register, please?” Guest —"' Ya.as, I vill register. My name is Isaac de Rothschild: Perhaps you heard of me sometime.” A YOUNG DIPLOMATIST. s6D)EAR mamma, may I-have the piece of cake you left on the bureau? I'll be awful good.” “Yes; you may go take it’ ut Ican't; you see I knew you'd let me, so I've eaten it already.” A TOTAL LOSS. Hotel clgrk—" You know the artist that was in 449 and killed himself. I am afraid we shall have to charge up his bill to profit and loss.” : Proprietor —* Why, didn’t he leave a lot of pictures?" Hotel clerk—Yes; but they were not framed.” AN ASSURED DESTINY. She— Do you think Ibsen's drama is the drama of the future ?” (teil SIPLEY (to his friend the cashier) minute and have something with me GripLey—"' Sorry, but I can makes me wear divers’ boots while I'm on duty.” WHAT'S IN A NAME? OR, THE EXPOSE. * Won't you step out a See here; the old man CLERK —"'So you are a member of that great banking-house ?” Isaac DE R ‘HSCHILD —"*Choost so; I be- long to dot vamily. Yawcur—" Dot vas a careless peesness, mein Lruder, Vy you told dem anydings aboud it? Now, I vill haf to do somedings to make a living, like yourselef !" ON THE “L.” Blithers —" What station is this?” Guard —“Orrupty bur- Tupetee.”” Blithers — “Well — er — does this train go to Harlem or Fifty-eighth street ?” Guard —“Of course it does.’ Blithers —* Thanks.” NO FUN FOR BOBBY. Mamma—" Bobby, don’t you want to go over and play with the little Brewster boy?” Bobby — No; 1 don't.” Mamma —"Why, Bobby, he's a nice bo} Bobby—"Yes; he’s too nice. Every time I hit him he yells.” disgust)—‘*It's green goods, by farmer from de city we jest held up.” Pepptex —"'Yawcup, Yawcup, mein twin bruder! Do I'see you vunce more ?” THE CLEARED-UP LOT. UT here in the ‘‘cleared-up" lot Thave all the world before me. What is there that I have not? Roughened creek and willow clumps, Hills whose piny summits show ‘Gainst the soft clouds scattered o'er me, Glimpse of farmsteads lying low— Out here ‘mong the beechen stumps. _ There the maple-woods lift green, Feathered tops, or tender yellow, With the balsams dark between ; And a pungent breath floats light From the fresh-cleft trees waxed old. All the May-day air is mellow, And the bluets have sprung bold, And the shad-blow blossomed white. No intruding human life ; But a great crow slowly steering, And two jays in gentle strife, ‘And a woodpecker’s red poll And loud rap on the stump fence. Somehow, out here in the clearing I draw in long breaths, and “sense” All the poetry in my soa! EMMA A. OPER, A SAD DISAPPOINTMENT. First HIGHWAYMAN—" Why do yer look so glum, Bill?” SECOND HIGHWAYMAN (surveying the spoils with gosh! Dat was a comicbooks.com