Judge — October 18, 1919

# Analysis This page is primarily **advertising**, not political satire. It promotes "The Complete Works of Daniel Defoe" — a 16-volume book set selling for $12.00. The advertisement emphasizes Defoe's famous works like *Robinson Crusoe*, *Moll Flanders*, and *Lady Roxana*, positioning them as foundational literature spanning from children's adventure stories to mature realistic fiction. The illustrated vignette at top appears to depict a scene from one of these narratives, showing period-costumed figures in what looks like a dramatic moment. The marketing copy stresses that Defoe's works contain "inexhaustible teachings for the student of men and of society" alongside entertainment value. The "Money Back If Not Satisfied" guarantee and publisher details (Burt, New York) indicate this is a standard direct-mail book promotion from the early 20th century. No political cartoon or satire is present on this page.

# Cartoon Analysis This Judge magazine cover from October 18, 1919 depicts a humorous scene involving an automobile and multiple figures conducting a transaction. The caption references "Mickey" and "Mrs. Van Oodles," suggesting this is satirizing wealth and consumer behavior among the affluent during the post-WWI period. The joke appears to center on Mickey (likely a chauffeur or servant character) benefiting from Mrs. Van Oodles' extravagant purchasing habits—she "buys all he has and orders fifty more." The cartoon mocks excessive consumption and the relationship between wealthy patrons and service workers who profit from their spending sprees. The illustration, drawn by F. Foster Lincoln, uses the automobile as a symbol of modern commerce and social status typical of 1919 satirical commentary.

# "It's All in the Point of View" This Walter De Maris cartoon illustrates a perspective-based satire. Two figures stand at a gate in what appears to be an urban setting: a man in a cowboy hat and long coat, and a woman in a striped dress holding a small dog. The title suggests the cartoon critiques how the same situation can be interpreted differently depending on one's viewpoint. Without additional context from the magazine's date or surrounding articles, the specific political or social target remains unclear. However, the composition—contrasting the figures' poses and expressions—suggests commentary on differing interpretations of a social scenario, possibly relating to class, propriety, or public perception during the early-to-mid 20th century when Judge published this work.

# "Tabloid Plays for the Tired Business Man" This is a literary/theatrical piece rather than political satire. The page presents "The Mystical Play," part of a series offering escapist entertainment for weary professionals. The top illustration shows a moonlit seaside scene with ethereal figures—a maiden in flowing robes and a turbaned genie emerging from clouds. The accompanying text is a mystical dialogue where the Genie of the Flask offers the maiden unlimited knowledge and truth in exchange for her wisdom in choosing wisely before he returns "no more." This appears designed as whimsical, fantastical entertainment—offering businessmen brief imaginative escape through orientalist imagery and supernatural drama. The illustrations are credited to Laurens Stout, suggesting this was a regular feature in Judge magazine.

# Analysis of Judge Magazine Page This page contains two main elements: **Top cartoon** ("Duffer"): Shows a golfer and caddy. The golfer asks "Duffer—There, caddy, did I do that properly?" This appears to be a simple golf joke about an incompetent player seeking reassurance from his caddy—a common sporting humor theme. **Main article**: "The Brauerei" by Chester W. Shafer is a prose piece satirizing German breweries and beer culture. It mocks their grand historical importance while describing their actual decline—breweries being converted to soap factories or other uses. The satire contrasts their prestigious past with their diminished present status. **Bottom cartoon**: Shows a domestic scene about marriage expectations, with dialogue suggesting tension between a couple regarding work schedules and fidelity—typical early 20th-century relationship humor. The page blends sports, cultural, and domestic satire typical of Judge magazine's format.

# Political and Social Satire in Judge Magazine **The Main Cartoon:** An elderly man ("Old Fogy") attempts to escape modernity by fishing in a pastoral setting, fantasizing about the previous century without "Bolshevism, no strikes, no Plumb plan, no telephones, no automobiles." His reverie is immediately shattered when someone shouts "look at the airplane!"—symbolizing that progress and modern disruptions are inescapable, even in nature. **The Context:** This reflects post-WWI anxieties (references to Bolshevism suggest early 1920s), when traditional Americans feared rapid social change: labor unrest (strikes, the Plumb Plan for railroad nationalization), technological acceleration, and socialist ideology. **The Satire:** The cartoon mocks nostalgic conservatism as futile—you cannot hide from the modern world, no matter how hard you try. The page also contains miscellaneous lighter pieces (poems about baldness, domestic life snippets) typical of Judge's mixed-content format.

# "The Self-Rising Generation" - Social Commentary on Modern Parenting This story satirizes late 19th/early 20th-century anxieties about changing family dynamics and children's independence. The narrative follows a husband and wife whose children—Buster, Bill, and Baby Jo—roam freely unsupervised, visiting ice cream parlors and movie theaters at night without parental control. The satire targets the "self-rising generation": children who ignore parental authority and do as they please, with parents rendered helpless. The husband admits his complete failure as a "paternal disciplinarian," while the wife's sarcasm ("One word from you and they do as they please") underscores their reversed roles as servants to their children rather than authorities over them. The accompanying cartoon about a drunken man arrested suggests broader societal disorder. Overall, the piece mocks modern parents' inability to discipline their offspring, presenting this as a decline from "happy days" of strict bedtimes and parental control.

# Explanation of This Judge Magazine Page This page contains three separate comic items from an early 20th-century American satirical magazine: **Main Story/Cartoon (top left):** A humorous domestic narrative about a father attempting to frighten his young sons (Bill, age 4, and Buster, age 6) with a "goblin" bedtime story. The joke is that modern children find the threat utterly unbelievable—they scoff at such old-fashioned scare tactics. The reference to a "flivver" (Model T Ford) crashing through the yard establishes contemporary setting. The humor targets changing generational attitudes: children's skepticism toward parental authority and traditional discipline methods. **Small "Modern Adjustment" cartoon (right):** A visual gag about park signs now angled upward "for aviators"—a reference to early aviation interest, suggesting airplanes are so common they've become a concern even in city parks. **Bottom caption joke:** A brief gag about a confused wedding guest kissing the bridegroom instead of bride. The overall tone mocks both outdated parenting and rapid technological change of the era.

# Analysis for Modern Readers **Top Cartoon (Saxons Tooker):** Satirizes wealthy nouveaux riches pretension. Mrs. Newrich rejects a qualified chauffeur applicant solely because his name isn't "James"—she wants her servant to match names from society novels she reads. The joke mocks how the newly rich obsess over superficial social conventions while ignorant of actual aristocratic values. **"Do You Love Green Things?" (Lisle Bell):** A humorous how-to article mocking indoor plant culture among the wealthy. It's deliberately tongue-in-cheek—plants are called "potted pests," watering requires raincoats and mops, and results in water damage requiring expensive repairs. The satire targets both the faddishness of keeping houseplants and wealthy people's impractical pretensions to nature appreciation. **Bottom Cartoon (Paul Henley):** "Paradise Lost—For the woman of moderate means" shows a fashionably-dressed woman excluded from an exclusive boutique. It satirizes class divisions and luxury retail's gatekeeping, suggesting "paradise" (fashionable shopping) is inaccessible to working/middle-class women.

# Analysis **The Cartoon and Story:** This is a humorous commentary on social bores and obsessive sports fans. The illustration shows two men—one gesturing animatedly with a megaphone while discussing baseball, the other appearing resigned—embodying the text's theme. **The Point:** Walt Mason's poem satirizes grown men who monopolize conversation with endless, tedious details about sports (baseball, boxing, golf) and athletes (Jim Blitzen, Corbett, Dempsey, Jake Kilrain). The narrator tries repeatedly to discuss his own interests—his car's performance, a successful drive from Rochester to Troy—but is consistently ignored because listeners are too absorbed in rehashing games and fighters. **The Satire:** The joke targets the shallow enthusiasm and social rudeness of sports fans whose obsession makes them deaf to anything else. Mason presents this as a form of madness—"forty thousand dippy words that no sane man would use"—making fans appear foolish and tiresome rather than passionate. The illustration's exaggerated gesture reinforces this mockery of overwrought fan behavior.

# Political/Social Satire Analysis This comic mocks the "New Thought" movement—a late-19th/early-20th-century self-help philosophy emphasizing positive thinking and mental discipline to overcome life's problems. The cartoon ridicules adherents who claim the doctrine solves all anxieties through belief alone. A character proudly professes faith in "New Thought," insisting worry is unnecessary. But when practical problems arise—a cow needs milking, flies attack, work goes undone—the philosophy proves useless. The character is literally "kicked into luxury" (knocked down), yet still credits "New Thought" for their misfortune. The satire's point: blind faith in trendy self-help philosophies cannot replace actual work or practical problem-solving. The comic suggests New Thought adherents are delusional, prioritizing mental attitude over reality. By the end, even skeptics want to buy "New Thought" bottles—mocking how such movements become commercialized fads. The humor targets intellectual pretension and the gap between idealistic philosophy and messy reality.