Judge, 1916-04-29 · page 7 of 28
Judge — April 29, 1916 — page 7: what you’re looking at
What you’re looking at
This page satirizes the tension between theatrical realism and artistic convention—a debate prominent in early 20th-century drama. Two characters, Carter (apparently a playwright) and Jim (likely a collaborator or actor), argue over whether a burglar character should accidentally knock over a statue. Carter defends the scene on grounds of "art" and "dramatic effect," invoking "canons of art" that supersede realistic behavior. Jim protests that real burglars are skilled and wouldn't be clumsy—the statue-knocking violates life as it actually occurs. The satire mocks Carter's pretentious artistic justifications, particularly the malapropism "canons" (which Jim mistakes for "cannons," weapons), suggesting Carter's pompous jargon masks hollow reasoning. The joke culminates when Carter asks if Jim ever committed murder—implying that theatrical realism isn't the real concern; the scene simply works dramatically. The cartoon critiques early modernist theater's rejection of naturalism in favor of stylized convention, poking fun at artists who subordinate truth to aesthetic effect.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
A WEEK’S END e it away like that fingers contemptuou: glar’s going to do th lim snapped his “No sensible bur- “But that’s the way it’s got to be done in this"play.” “Rotten!” “No, it isn’t.” “Don't you. s’spose 1 know?” | “Yes; but never a mind. It’s art that “counts, art that inter- prets life rather than delineating it exactly.” Carter. waved an eloquent, gesturing hand at the bewildered Jim. “If the man, as you maintain, would naturally fecl a rush of air from the open window, it is art that tells me to subordinate that clement. You must always realize, Jim, that we have to act according to the canons of art.”” “Cannons?” asked Jim, surprised “Yes, the canons of art.” “Cannons? It looks to me like carrying concealed weapons. It’s underhanded.” “Not at all. It’s part of the technique. Besides, Jim, the audience would never think of it the way you did.” “Not unless you put the play on at Sing >,” Carter resumed his explanatory “when the burglar steps i jc tne room he accidentally knocks over a statue, the man turns quickly, and——" “Wait a minute! around knocking statues over. “But this one in the play does on this occasion, in order to attract the man’s at- tention.” Ain’t there other ways to attract his attention?” “Yes, but not as dramatically artistic.” “But that ain't true to life. Burglars ain’t clumsy people. They can move through the reception rooms of the best houses in town and never budge a single knick-knack, while your society swells would be knock- ing over statues, vases, and chandeliers, and. sd Burglars don’t go All the same, Jim, I tell you that my burglar is going to knock this statue over. “He is not!” replied Jim, with rising indignation. “Yes, he is,” Carter returned emphati- call, “Then L qui “What?” “Yes. IT quitcha cold. 1 won't help write a play what—what violates the art like that.” What art does it vi The art of burglary Dh, come now, Jim.” Nope. I’m throygh, cisively and moved towards the door going home.” “You aren’t mad, are you?” No, but I can’t work with your ideas.” “One moment, Jim.” Jim halted half- he declared de- “Tm way to the door, and Carter inquired ear- nestly: “Did you ever commit a murder?” “IT should say not.” at explains Carter’s tone indi- cated that the situation was suddenly clarified. ixplains what?” WANTS TO KNOW The modern girl—Hello! Give me ~ Information,” please. comicbooks.com