Abraham Lincoln and the London Punch Cartoons, Comments and Poems, Published in the London Charivari, During the American Civil War (1861-1865)
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Abraham Lincoln and the London Punch Cartoons, Comments and Poems, Published in the London Charivari, During the American Civil War (1861-1865) - William Shepard Walsh
The Project Gutenberg eBook, Abraham Lincoln and the London Punch, Edited by William Shepard Walsh
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Title: Abraham Lincoln and the London Punch
Cartoons, Comments and Poems, Published in the London Charivari, During the American Civil War (1861-1865)
Editor: William Shepard Walsh
Release Date: November 19, 2011 [eBook #38056]
Language: English
Character set encoding: ISO-8859-1
***START OF THE PROJECT GUTENBERG EBOOK ABRAHAM LINCOLN AND THE LONDON PUNCH***
E-text prepared by Chris Curnow, Eric Skeet,
and the Online Distributed Proofreading Team
(http://www.pgdp.net)
from page images generously made available by
Internet Archive
(http://www.archive.org)
ABRAHAM LINCOLN
AND THE
LONDON PUNCH
THE AMERICAN JUGGERNAUT
[Punch:
September
3, 1864]
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CARTOONS, COMMENTS AND POEMS, PUBLISHED
IN THE LONDON CHARIVARI, DURING THE
AMERICAN CIVIL WAR (1861-1865)
EDITED BY
WILLIAM S. WALSH
Author of A Handbook of Literary Curiosities,
"Curiosities of
Popular Customs,
Faust, the Legend and the Poem," etc.
NEW YORK
MOFFAT, YARD AND COMPANY
1909
Copyright 1909, by
WILLIAM S. WALSH
New York
Published March 1909
LIST OF ILLUSTRATIONS
ABRAHAM LINCOLN
AND THE
LONDON PUNCH
Tell me what a man laughs at, and I will tell you what he is,
was one of Goethe's pregnant apothegms.
Laughter, one of the chief lines of cleavage between man and beast, is one of the chief points of differentiation between man and man. From the good-natured banter which kins all the world to the envenomed sneer that sunders it, laughter runs the whole gamut of human emotions.
It is always sincere, even in its own despite. No subterfuge, when subterfuge underlies it, is more easily unmasked. A man may smile and smile and be a villain, but villainy by the seeing eye can be infallibly detected beneath the smile.
A counterfeit laugh may be uttered, as counterfeit coin is uttered, but it does not ring true. Its baseness reveals itself to more senses than one.
Now for more than sixty years the recognized organ of British laughter has been the London Punch. The contemporary mood of John Bull towards Brother Jonathan has always voiced itself through the grinning lips of this chartered jester.
It cannot be said that even before the outbreak of the Civil War Punch had shown itself friendly to America or Americans. Why should it? The British mob disliked us and flouted us. Punch as the mouthpiece of the mob, followed suit. In the original prospectus of that journal, issued in 1845, it was expressly announced that the paper was to be devoted in part to Yankee yarns,
to the naturalization of those alien Jonathans whose adherence to the truth has forced them to emigrate from their native land.
It would appear