Judge — August 16, 1919

# Analysis This page is **primarily advertising**, not satire or political commentary. It promotes "The Complete Works of Daniel Defoe" in a 16-volume de luxe edition for $1.00. The central image depicts a theatrical or literary scene—likely illustrating one of Defoe's famous works—showing figures in period costume in what appears to be an interior setting with books and furnishings. The advertisement emphasizes Defoe as "Author of the World's Best Seller" and highlights his most famous works: *Robinson Crusoe*, *Moll Flanders*, and *Lady Roxana*. It targets both youthful and mature readers, describing these as "masterpieces of naturalistic fiction." There is a small "Money Back If Not Satisfied" guarantee from Brunswick Book Subscription Co., typical of mail-order advertising from this era. No political satire or cartoon humor is evident on this page.

# "The Man That Everybody Wanted to Brush" This cartoon satirizes a man who becomes the object of universal desire—but specifically to brush him off or attack him. The repeated refrain "Brush you off, sir?" creates the joke through double meaning: while "brush off" colloquially means to dismiss or rebuff someone, the cartoon depicts literal brushing and beating. The comic shows various figures (appearing to represent different social classes and professions) eagerly taking their turn striking this unfortunate man with brushes, brooms, and other implements. The satire likely targets a specific unpopular public figure or politician of August 1919, whom the cartoonist suggests everyone wanted to harm or humiliate. Without additional context, the specific target remains unclear, though the date places this during the turbulent post-WWI period.

# "As the Crow Flies" This illustration by Walter de Maris depicts a woman in classical dress gazing from a terrace toward a distant, idealized landscape. An airplane flies overhead in the upper right. The title "As the Crow Flies" is a common idiom meaning the most direct route between two points. The artwork appears to contrast romantic, pastoral imagery with modern aviation technology—suggesting themes about progress, distance, or the changing relationship between traditional aesthetics and contemporary innovation. The woman's contemplative pose and the inclusion of the airplane likely comment on how modern transportation was transforming perceptions of geography and romance in early 20th-century America. However, without additional context from Judge magazine's publication date, the specific satirical intent remains unclear.

# Analysis of "Ain't Angie Awful!" Page This is a satirical serial by Gelett Burgess about "Angela Bish," a young woman's romantic misadventures. The page shown is Chapter II, "The Adventure of the Peanivorous Rit." The top cartoon depicts a flirtation scene in what appears to be a train car—a woman gives a man a "two-for-five smile" and mentions her telephone number. The illustration below shows the man's exaggerated reaction. The text describes 16-year-old Angela accepting gifts from a wealthy "fat gentleman" during a train encounter, then rejecting his advances by kicking him out a window. The satire mocks both Angela's brazen behavior and the gentleman's presumptions—typical early-20th-century commentary on improper courtship and loose morality among young women.

# Analysis of This Judge Magazine Page This page contains **narrative fiction rather than political satire**. It depicts a serialized romantic story titled "The Plumber, Who Cut Off Her Ear With His Tin Shears, Hardly Knew Her." The single cartoon illustration shows a plumber character interacting with a young woman named Angela. The narrative describes a romantic encounter at a hotel where the plumber meets Angela, with comedic emphasis on his working-class status contrasting with her desperation and beauty. The satirical element, if any, appears mild—poking gentle fun at class differences and romantic melodrama rather than addressing specific political events or figures. This represents **Judge's lighter entertainment content** rather than its typical political commentary.

# Judge Magazine Cartoon Analysis The main cartoon depicts a man in a car stuck under a stone bridge, calling for help about "carburetors"—a reference to early automobile troubles. The humor satirizes the then-new technology of automobiles and their mechanical complexity that befuddled ordinary people. The accompanying text snippets are brief satirical jokes typical of Judge's social commentary: - **"Home Science"** mocks the electric washer industry's aggressive sales tactics - **"His Present Occupation"** ridicules a retired businessman who now annoys others with unsolicited business advice—a common character type in early 20th-century satire - **"The Real Harm"** warns against half-educated know-it-alls - **"Matrimonial Overseas"** jokes about wealthy marriages and trophy wives These pieces reflect Judge's recurring themes: poking fun at new consumer technology, business culture absurdities, and social pretension among the emerging middle class.

# Political Cartoon Analysis This page satirizes post-WWI international politics. The top left shows a figure with outstretched arms saying "Stay in or get out"—likely depicting American isolationism versus League of Nations involvement. The top right depicts "Europe" as a collapsing figure, supported by various nations and labeled resources (food, dollars, gold). The caption "We have got to hold him up!" mocks Europe's financial dependence. The bottom left shows Britannia (Britain, identifiable by "Rule Britannia" label) playing piano while nations dance—suggesting Britain's cultural influence amid post-war chaos. The bottom right depicts a figure tumbling with "Losses" and money, heading toward the "Budget System of Finance" building, satirizing financial instability and government budgeting struggles during the interwar period. The overall theme critiques post-war economic and political instability in Europe and questions America's role.

# Analysis for Modern Readers **"What About Sandwiches?"** is a humorous essay satirizing post-WWI American dining trends. The author complains that sandwiches have become mostly bread with minimal filling—criticized as "almost purely ornamental" rather than practical food. He argues sandwiches should contain substantial meat, cheese, or wieners, not decorative items like nasturtium flowers (popular among the "Culture Club"). The piece mocks both pretentious restaurants serving artsy, calorie-poor sandwiches and the broader "reconstruction" era's tendency toward style over substance. The accompanying cartoons illustrate physical humor unrelated to sandwiches. **"Rapid-Fire Romances"** offers brief, tongue-in-cheek verse about melodramatic scenarios: a hero and villain fighting over a heroine, and a wife who abandons her philandering husband for Reno (then famous as a divorce destination). These parody overly dramatic pulp fiction romances popular in the era.

# Explanation for Modern Readers This page contains two satirical pieces from Judge magazine: **"Unpublished Songs"** (main story): Harry Mulberry, a grocery clerk, responds to an ad from C.C. Pickem Music Company promising to publish amateur songs. The company praises his three song lyrics and offers to publish them—for fifty dollars each. The satire targets predatory music publishing schemes that exploited hopeful amateurs by charging upfront fees while promising success. Mulberry, who has never possessed fifty dollars at once, is devastated. The joke: these "song mills" had no intention of making his work profitable; they profited from submission fees, not royalties. **"An Able Infant"** (lower right): A brief anecdote where Gap Johnson describes his baby's surprising strength and climbing ability, attributing it to evolutionary tree-climbing ancestry. The satire gently mocks pseudo-scientific explanations popular in the era, presenting folk observation dressed up as scientific reasoning. Both pieces ridicule common American hucksterism and pseudo-intellectualism of the period.

# "Wishes" by Walt Mason (Judge Magazine) This is a humorous essay-poem illustrated by Ralph Barton satirizing human discontent. Mason catalogs universal wishes that prevent happiness: - **The fat man** wishes to be thin, exercises obsessively, yet grows fatter - **The lean man** wishes to be stout, eats constantly, yet grows thinner - **The unmarried youth** romanticizes marriage, ignoring its financial burdens (plumbers' bills, doctors' fees, heating costs) - **The married man** wishes he were single again, nostalgic for bachelorhood The central irony: people achieve the opposite of what they desire through futile effort. The illustration shows a chained man at a table with a woman, representing marital entrapment—the ultimate wish's disappointment. The piece concludes with self-promotional humor: reading *Judge* magazine itself offers the only genuine path to happiness. This satirizes both human nature's perpetual dissatisfaction and the magazine's own advertising.

# "Hoo Laps' Last Laps Loudest" - A Silent Comedy Strip This is a slapstick comic strip featuring what appears to be knockabout comedy characters in the style of early silent films. The narrative follows a chaotic sequence: characters discover a large barrel, assume someone is hiding inside, and engage in physical comedy around it. The humor relies on visual gags and mistaken identity typical of 1910s-20s cinema—characters accusing each other of wrongdoing, someone claiming to be an "innocent" heir to an estate, and escalating silliness. References to a "Patrol" and "precinct" suggest police involvement, adding to the comedic chaos. The strip mimics the style of silent film comedies (particularly Charlie Chaplin-era slapstick), as indicated by the note about next week's "Charlie" feature. The satire is gentle—mocking the overwrought melodrama and physical excess of early cinema rather than targeting specific political figures or events.

# "Luck's Labyrinth" - Social Satire on Marriage and Class This is the opening of a serialized story satirizing wealthy, frivolous society. John Malvern, a prosperous stockbroker, represents the stereotypical "tired business man" who frequents theaters and pursues showgirls. He marries Madeline Merry, a former model and performer. The cartoon's caption—"She Insisted Her Chauffeur Also Should be an Ornament"—captures the satire's point: Madeline, concerned only with appearances and beauty, insists the chauffeur be handsome rather than merely competent and safe. This mocks wealthy wives who prioritize aesthetic display over practical concerns, and reflects period anxieties about women's frivolity and materialism. The lavish lifestyle (Rolls-Royce, hotels, jewels) and theatrical connections satirize nouveau riche excess. The story appears to follow how Madeline's shallow vanity creates complications—a common Judge magazine theme criticizing modern consumer culture and status-obsessed society.