Chapter I.--Origin of Punch in Italy, 11

II.--Origin and Progress of Puppet-Plays in England, 12

III.--Antiquity of Punch in America, 14

IV.--On the Construction of the Theatre and the Acting of the Puppets--on the Choice and Selection of Performing Figures--on the Management of the Punch Squeaker, 16

THE TRAGICAL ACTS, OR COMICAL TRAGEDIES OF PUNCH AND JUDY.

Punch and his Dog Toby, 25

Scaramouch with Punch and his Horse, 28

Punch, Judy and the Baby, 29

Punch sees a Ghost, 34

Punch and the Doctor, 34

Punch kills Scaramouch, 36

The Irishman tells Punch a little story, 36

Punch and the Opera Singer, 37

Clown troubles Mr. Punch, 37

The Persecuted Dutchman in Mrs. Barrisnobe's Hotel, 38

Schmidt is waited on by Teddy, Pretty Polly and Mrs. Barrisnobe; he retires to rest, but is disturbed all through the night by strange and uninvited visitors--first by Teddy, who gives him a clubbing, followed by a Clown, Irishman, the Doctor, Adelina, Captain Blowhard, Police Officer, a Lawyer, a Ghost, Mrs. Barrisnobe, with a final struggle betwixt Mary and the Dutchman, who attempts to carry off the bed, 39

Scaramouch and his Fiddle, 49

Punch and his Pretty Polly, 50

Servant orders Punch to Stop his Music, 52

Punch and the Blind Man, 54

Punch and the Constable, 55

Punch hangs the Hangman, 57

Joey and Punch bury Jack Ketch, 59

Punch Alarmed at the Appearance of the Demon, 60

Gradually becoming bolder, he fights His Majesty, 61

Punch Victorious, 61

The Sinking Ship and Storm at Sea, 62

The Black Judge, 65

Punch in his famous 695,000 Box Act, 69

Dialogue for a pair of Ventriloquial Champions, 73

A Young Lady's Conversation, 77

Price List of Punch and Judy Properties, 78

The Royal Marionettes, 79

INTRODUCTION.

With the assistance of information that we have gained, being a practical performer of acknowledged ability, we are about to fill up a _hiatus_ in theatrical history.

It is singular that, to the present day, save by one author of a valuable work, now out of print, no other attempt has been made to illustrate the origin, biography and character of a person so distinguished and notorious as MR. PUNCH. His name and his performances are familiar to all ranks and ages; yet none have hitherto taken the trouble, in this country or abroad, to make any inquiries regarding himself, his family or connections. The "studious Bayle" is recorded to have repeatedly sallied from his retreat, at the sound of the cracked trumpet, announcing his arrival in Rotterdam; and we ourselves, who have often hunted our favorite performer from street to street, saw the late Mr. Windham, then one of the Secretaries of State, on his way from Downing Street to the House of Commons, on a night of important debate, pause like a truant boy until the whole performance was concluded, to enjoy a hearty laugh at the whimsicalities of "the motley hero." But it is needless to particularize. Punch has

"made our youth to laugh, Until they scarcely could look out for tears;"

while the old have stood by, "delighted with delight" of others, and themselves, too, enjoying the ludicrous representation. Why the interest has hitherto been limited to the period of representation, and whether it has not in part arisen from inability to satisfy it, is not for us to explain. We confine ourselves to an endeavor, in some degree, to supply the deficiency.

The contrast between the neglect Mr. Punch has experienced, and the industry employed in collecting particulars relating to other performers of far less reputation, is remarkable. Nevertheless, it is undeniable that his fame has spread "without his stirring" over all the kingdoms of the civilized world. To use the wordy periphrasis of Dr. Johnson,

"Let observation, with extensive view, Survey mankind from China to Peru,"

if it can, and it will everywhere behold Punch dispensing "the luxury of a laugh." It is literally true that some years ago he found his way to Canton; and that since the South American Revolution he has been seen even on the western side of the Andes. He is, perhaps, himself in part to blame for the neglect we have noticed. Several of the principal supporters of our theatres, in our own day, have given their memoirs to the world, either by writing them with their own hands, or by furnishing the materials to others; and the works of this kind by dead actors, "the forgotten of the stage," consist of many volumes. Whether it has arisen from an absence of that vanity (may we call it?) which has at times influenced his histrionic rivals, or from a somewhat haughty reluctance on his part to gratify public curiosity, we know not.