Judge — March 29, 1919

# Judge Art Print Advertisement This is primarily **advertising content**, not political satire. Judge magazine offered reproductions of ten popular art prints in full color, priced at 25 cents each or five for $1.00. The prints shown include titles like "A Tribute From France," "Navy Blue," "A Baby Bond," "Telling It to the Marines," "A Jill for a Jack," "Patriotic and Pants," "A Trench Spade," "A Present from Her Sailor Friend," and "War Babies." **Context**: These appear to be **World War I-themed patriotic prints**, likely designed to appeal to Americans supporting the war effort or those with soldiers/sailors in service. The military references ("Marines," "Sailor," "Trench") and domestic sentimentality ("Baby Bond," romantic imagery) suggest prints meant for home decoration, particularly for those welcoming home servicemen.

# "They Shall Not Pass!" - Judge Magazine, March 29, 1919 This cartoon by Frank Moses depicts two military figures (appearing to be Allied soldiers or officers) blocking a passage beneath a large tree, with a fortified castle visible in the background. The caption quotes the famous WWI phrase "They Shall Not Pass!"—originally Pétain's declaration at Verdun (1916). The timing (March 1919, just after WWI's November 1918 armistice) suggests this references post-war military occupation or the enforcement of treaty terms, likely regarding German territory or reparations. The soldiers appear to be guarding against passage—possibly depicting Allied forces preventing unauthorized German movement or protecting occupation zones during the Treaty of Versailles negotiations (concluded June 1919). The image celebrates military vigilance during this delicate post-war period.

# "The Oasis" - Explanation This illustration by Agnes MacDougal depicts a desert scene with three figures: a woman in European dress on the left, a man in military uniform with a camel, and what appears to be local guides or attendants. The title "The Oasis" suggests this is commentary on colonial-era travel or imperialism. The satire likely mocks either: - The contrast between European refinement and harsh desert realities - Colonial attitudes toward non-European peoples and places - The performative nature of imperial exploration Without additional context about Judge magazine's publication date or concurrent events, the specific political target remains unclear. However, the image employs typical early-20th-century colonial imagery and social hierarchies as its satirical subject matter.

# Analysis of "The Luncheon Hour" This is a romantic short story by Mary Graham Bonner with decorative illustrations by Albert Hencke, not political satire. The narrative depicts a Parisian café scene where a woman named Genevieve waits for her gentleman caller, Larry, who arrives late. The story explores period attitudes about courtship: Genevieve's maid Marie notes that men "like to be kept waiting" and that lateness makes women "devoted." When Larry arrives, he compliments Genevieve's new bonnet, and she playfully scolds his tardiness while clearly delighted by his attention. The accompanying illustrations show the café setting and a final dinner scene. This appears to be light romantic fiction typical of Judge magazine's broader content mix beyond political commentary.

# Analysis This page contains a serialized romantic story titled "Co-Education" rather than political satire. The narrative concerns Larry and Genevieve, a married couple experiencing marital strain. The story illustrates their relationship troubles through dialogue: Genevieve fears their excessive love has become problematic, Larry leaves on a business trip, and friends encourage reconciliation by reminding them of their courtship. The two illustrations show domestic scenes—one depicts the couple with friends at leisure, the other shows them reuniting at a countryside location. The final caption's quote about a "stile" references their courtship spot, emphasizing nostalgia and rekindled romance. This is **not political satire** but rather a period romance narrative exploring early 20th-century attitudes toward marriage and emotional restraint.

# Analysis of Judge Magazine Page This page contains several brief humorous pieces typical of early 20th-century satirical magazines: **Top cartoon**: Shows two office workers gossiping about a coworker's stingy honeymoon—a wedding banquet at an Automat (self-service restaurant) and movies at Niagara Falls. The humor targets penny-pinching husbands and modest honeymoons. **Main story**: A longer piece about a couple who rekindled romance by lunching together regularly, presented as heartwarming advice. It satirizes how marital tedium sets in quickly. **Smaller jokes**: Include quips about military discipline relaxing post-WWI, an oyster's indifference to its surroundings, a husband's disappointment with a gift, and rural dialect humor about mild winters. The page reflects 1920s concerns: marriage dynamics, consumer culture (Automats), post-war social changes, and class-based humor. Nothing here requires specialized historical knowledge beyond recognizing this as light domestic satire common to the era.

# Judge Magazine Page Analysis This page from the satirical magazine *Judge* contains several brief humorous pieces mocking early 20th-century American social anxieties and pretensions. **Top cartoon** ("Getting Off Easy"): Jokes about wealth and casual indifference—a dog ate $100 worth of food, but the owner treats it as trivial. **"Patience Ceases" poem**: Satirizes intellectuals obsessed with classical antiquity (Circe, Helen, Cleopatra, Salome, etc.). The speaker argues modern women are preferable to romanticized historical figures, mocking both excessive classicism and the tension between nostalgia and modernity. **Short jokes**: Mock upper-class anxieties (putting a bishop in the wine cellar; insurance policies protecting burglars) and marital infidelity presented matter-of-factly. **"Close Formation" cartoon**: Features what appears to be African American dialect humor—a common (and offensive) comedic device of the era—about avoiding military service while claiming patriotic duty. The page reflects *Judge*'s target audience: educated urbanites concerned with propriety, modern life, and social status.

# Explanation for Modern Readers **The Main Cartoon** (top): A domestic scene where a man claims he forgot he was supposed to stay in town on business—implying he'd made plans to go out instead. His wife's cutting response suggests she sees through the excuse, implying he was actually pursuing an affair or other illicit activity. The satire targets marital infidelity and male dishonesty. **"Uncle Jass Says"** and **"Egg View News-Notes"**: These are humor columns using folksy wisdom and small-town gossip. The jokes are gentle observations about human nature (wives' thoughts, idol-smashing, school teachers' intelligence) and local characters in a fictional town called Egg View—featuring names like Plato Prouty and Corny Paine engaged in minor comic misadventures like collecting dollar bills or trying to resell low-grade prunes. The page represents Judge's typical mix of domestic satire and Americana humor common to early 20th-century American magazines.

# Explanation for Modern Readers This page from *Judge* magazine contains several short satirical pieces typical of early 20th-century American humor: **"Her Specialty"** mocks a woman (Almira) whose constant sighing and pessimistic demeanor dampens others' spirits—she doesn't gossip, but her sad sighs imply terrible secrets about everyone, poisoning community morale through passive-aggressive disapproval. **"Blue Monday Epigrams"** are brief witty observations, including references to Prohibition ("Don't give up the nip!") and "John Barleycorn" (personification of alcohol/drinking culture), mocking anti-alcohol sentiment. **The cartoon** (drawn by Ray Ross) shows a quarreling couple exchanging rings and locks of hair—typical romantic tokens—with dark humor about the transactional nature of breakups. **"Propinquity"** is light verse about physical proximity leading to romance, playfully acknowledging predictable outcomes while claiming to regret telling such hackneyed tales. The overall tone reflects pre-Prohibition-era American magazine humor: cynical about social pretense, relationships, and moral campaigns.

# Analysis of Judge Magazine Page This page collects WWI-related humor satirizing discharged soldiers' difficulty readjusting to civilian life. **"Force of Habit"** (main feature) lists absurd behaviors returning soldiers exhibit—shouting military commands at traffic cops, yelling "lights out" in homes, snapping to attention at animal sounds, ducking at car backfires. The satire mocks how military conditioning has become so ingrained that veterans cannot simply shed their training. **"How It Stood"** is a separate joke about marriage hesitation, unrelated to the war theme. **"Deceptive Sounds"** satirizes acoustic misjudgment—a stranger assumes frogs represent a large family; Gap Johnson similarly overestimated frog quantity by their noise. The remaining short gags ("Remorse," "Up to Date," etc.) appear disconnected from the main war theme, likely filler content typical of such magazines. The page reflects post-WWI American culture's recognition that soldiers faced genuine psychological adjustment challenges, though Judge treats this seriously through comic exaggeration rather than mockery.

# "Chawlie Takes His 2nd Degree" — A Masonic Satire This is a comic strip mocking Freemasonry initiation rituals. The protagonist "Chawlie" (likely a working-class character, suggested by the dialect) seeks admission to a Masonic lodge. The strip satirizes the secretive, elaborate ceremonial degrees of Masonry—particularly the "Second Degree." The humor derives from: 1. **Contrast between expectation and reality**: Chawlie expects something grand; instead, he experiences bizarre, uncomfortable rituals involving large tubes/barrels and cryptic instructions. 2. **Mocking secrecy**: The lodge members repeatedly emphasize that Masonic practices are hidden ("suppose I'm two degrees superior"), while the comic openly ridicules them. 3. **Class satire**: The working-class Chawlie's befuddlement contrasts with the lodge's pretentious ceremony. This reflects early-20th-century American skepticism toward Masonry—a period when secret societies faced public suspicion and frequent satirical attacks in publications like *Judge*.