Judge — December 6, 1919

# Camel Cigarettes Advertisement This is **not satire or political commentary**, but rather a straightforward **cigarette advertisement** from Judge magazine. The page promotes Camel cigarettes, manufactured by R.J. Reynolds Tobacco Co. in Winston-Salem, North Carolina. The ad emphasizes Camel's blend of Turkish and domestic tobaccos, claiming superior quality and flavor. Key selling points include: - No unpleasant aftertaste - Smooth, delightful "mellow-mildness" - Satisfaction without coupons or premiums The product image shows a carton displaying multiple cigarette packages. The advertisement reflects early 20th-century tobacco marketing, when health concerns were not yet widely publicized and cigarette advertising appeared regularly in mainstream publications without restriction.

# "Their Christmas List" - Judge Magazine, December 6, 1919 This cartoon satirizes a couple reviewing their extensive Christmas gift list, which is surrounded by caricatured faces of relatives, friends, and acquaintances they must buy for. The illustration humorously depicts the burden of holiday shopping and gift-giving obligations. The labeled faces represent various social roles and relationships—"Uncle," "Aunt Mary," "Cousin Ed," "The Maid," "Policeman," "Grocer," "School Teacher," and "The neighbors' children" among others. This reflects post-WWI American middle-class life and the social expectation to gift people across one's entire social circle. The satire targets the commercialization of Christmas and the financial/emotional stress of maintaining numerous gift-giving relationships—a timeless complaint that remains relevant today.

# A Christmas Son-Rise This sketch by Angus MacDonall depicts a domestic Christmas morning scene. A woman in a nightgown stands beside a bed where a man lies stretched out with arms extended, appearing to wake or rouse himself. A small child stands nearby watching the scene unfold. The title "A Christmas Son-Rise" is a pun playing on "sunrise" versus "son-rise"—the appearance or rising of a son (child) at Christmas morning. The satire likely mocks the disruption Christmas mornings bring to household peace, with the child's early awakening rousing the father from sleep in an exaggerated, theatrical manner. The humor targets the domestic chaos of holiday family life rather than political content.

# Analysis of "Christmas At Lost Lodge" This page contains the beginning of a short story by Arthur C. Brooks titled "Christmas At Lost Lodge: A Tale of the Canadian Northwest." The narrative depicts a solitary man named Hardley isolated in a cabin during a harsh Manitoba winter, struggling with loneliness and poverty. The illustration at the top by Calvert Smith depicts a humorous scene of Santa supposedly joining the "Eight-Hour Working Class," with Santa apologizing: "Hi! Five A.M.! Sorry, but I can't fill any more stockings this year!" This cartoon satirizes labor disputes of the era—likely referencing demands for an eight-hour workday—by suggesting even Santa cannot meet Christmas expectations due to work restrictions. The joke targets contemporary labor debates by using the holiday gift-giving tradition as a vehicle for commentary on working-class demands.

# Analysis of Judge Magazine Page This page contains a short story with illustrations rather than political satire. The narrative follows a character named Hardley who discovers Santa Claus (an actual person in a red suit) has entered through a chimney and collapsed in his home during a Manitoba winter. The story's humor derives from the mundane reality interrupting Christmas fantasy—a man dressed as Santa, exhausted from travel, literally falls down the chimney. The exchanges between Hardley and a woman (possibly his wife or companion) involve practical domestic concerns: cleaning the chimney, preparing Christmas dinner, and managing an unexpected guest. The illustrations by W.K. Starrett and Charles A. Hughes support this comedic narrative about Christmas day disruption, not political commentary.

# Judge Magazine Page Analysis This page contains three separate satirical pieces typical of early Judge magazine: 1. **"Ye Awful Anachronisme"** (top): A visual joke mocking artistic anachronism. A character complains that an artist has foolishly included telegraph poles in what appears to be a historical or period scene, breaking the historical authenticity. 2. **"How It Was"** (left): A dialect-heavy parody of religious sermon delivery, mocking both a caricatured Black preacher's speech patterns and anxious parental concern. The humor relies on offensive period stereotypes. 3. **"Too Late"** (right): A frontier tall-tale about a child playing with a rattlesnake. The joke celebrates the child's fearlessness and quick action in killing the snake—celebrating frontier toughness and independence as virtuous traits. The page reflects Judge's style: visual gags, ethnic/racial caricature, and exaggerated Americana humor typical of late 19th/early 20th-century American satirical magazines. Much of this content would be considered offensive by modern standards.

# Judge Magazine Page Analysis This page contains satirical short jokes and a longer poem, all Christmas-themed, typical of Judge magazine's humor circa early 20th century. **The jokes mock contemporary situations:** - "Touching Thoughtfulness" satirizes postal service paranoia—a mail carrier rushes delivery assuming the package contains a "time bomb," reflecting anxieties about anarchist violence common in that era. - "The Doctor—Wrong Ring" plays on miscommunication. - "Took a Mean Advantage" jokes about a butcher cheating a newlywed by selling undersized poultry. - "A Model Young Man" mocks a vain young man obsessed with advertising his expensive collar. **The long poem "Ballad of 'The Good Old Times'"** (by Richard LeGallienne) is nostalgic satire—an old man mourns the loss of Christmas cheer and traditional merriment, blaming modern "Pedant and Prude" for killing joy. The poem ironically celebrates disappearing "folly and fun." **The illustration** shows two figures in an outdoor scene, captioned "This Is Christmas, Eve" / "I don't give, Adam"—likely referencing the biblical Adam, playing on "give" versus "Adam" as a pun or moral commentary on generosity. The page emphasizes Judge's satirical tone about modern life's absurdities and nostalgia for earlier traditions.

# "Human Faces" by Walt Mason This is a satirical essay with caricature illustrations exploring the false premise that a person's character can be read from their facial features—a popular pseudoscience of the era. Mason argues this theory is nonsense through examples: a benign-faced gentleman who is actually a mining shark that swindles people; Colonel Pace, who appears wise but is intellectually empty and only discusses beer; and a millionaire with an unfortunate face who nonetheless succeeds through cunning. The satire's point: **you cannot judge a person's morality, intelligence, or true nature from appearance.** Dishonest or shallow people can look respectable, while the virtuous may appear unremarkable. The illustrations by Ralph Barton caricature these types to emphasize the disconnect between external presentation and internal character—a critique of physiognomy and surface-level social judgment common in early 20th-century American satire.

# Explanation for Modern Readers This page contains several unrelated satirical pieces typical of *Judge* magazine's humor: **"He Also Served"**: A joke about a Greek immigrant hot dog vendor displaying a sign claiming "Two Years' Service in the Army." When asked about his military service, he admits he only ran a hot dog stand at Camp Sherman. The satire mocks both the vendor's misleading patriotism and likely the prevalence of such exaggerated claims after WWI. **"Effects of Drink"**: A brief joke where Victor claims liquor shortened his life—not because it harmed him, but because prohibition (then in effect) has made days feel "sixty-seven hours long," suggesting alcohol's absence made time drag unbearably. **"A Christmas Love-Letter"** and smaller pieces ("Nuptial Mathematics," "Peace at Last"): Domestic humor about a bachelor's mounting gift collection, a woman calculating alimony before marriage, and a child seeking parental peace. These reflect early 20th-century middle-class concerns and family dynamics rather than political satire. The cartoons are sentimental or mildly humorous rather than hard-hitting social commentary.

# "The Breath of Scandal" This story satirizes wealthy post-WWI society and its moral hypocrisy. Mr. Welland, a war profiteer who "added millions to millions during the war," openly maintains an affair with Mrs. Scarlett while she remains married. To preserve appearances, he hires a young widow, Mrs. Ashton, as a nominal "chaperone" aboard his yacht *The Witch*—a transparent fig leaf for respectability. The satire targets both the wealthy's brazen conduct and society women's complicit gossip. They whisper disapprovingly while recognizing money enables such scandals. Mrs. Ashton's acceptance of this dubious position—despite being "stunning" and potentially respectable—illustrates how financial desperation forces even genteel women into compromising situations. The cartoon illustrates this on-deck tableau of hollow propriety.

# Content Analysis This page contains **illustrated serialized fiction** rather than political satire. The narrative concerns wealthy characters aboard a yacht called *The Witch* bound for Halifax. The illustration (credited to G.B. Inwood) depicts a snowman and a child in winter, though its connection to the yacht dinner scene is unclear—possibly a flashback or symbolic element. The text presents a drawing-room drama: Character Welland reveals to Scarlett that decades ago he fell in love with a young girl (around thirteen) during a college visit, remained devoted to her memory despite travels to South America, and never married because of this attachment. He's just learned she grew up and married someone else. This appears to be **sentimental Victorian-era romance fiction**, not satire. The "Judge" magazine, while primarily satirical, clearly published serialized stories alongside its political cartoons. The themes—nostalgic love, social propriety among the wealthy, maritime leisure—reflect early 20th-century popular fiction conventions rather than political commentary.