The Project Gutenberg eBook, Abraham Lincoln and the London Punch, Edited by William Shepard Walsh

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

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]
Click image to enlarge
Use browser's "previous page" button to return

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

[11]

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 [12] 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 from this new crook-backed Daniel come to judgment, that Ananias and Autolycus were models of punctilious honesty and meticulous truthfulness compared with the average American.

Writing from Boston to Sir Edward Head, in 1854, George Ticknor said: "I am much struck with what you say about the ignorance that prevails in England, concerning this country and its institutions, and the mischief likely to spring from [14] it. From Punch up to your leading statesmen, things are constantly said and done out of sheer misapprehension, or ignorance, that have for some time been breeding ill-will here, and are likely to breed more."

Up to, and even immediately after the war, Punch's sympathies professedly leaned towards the North, though it took occasion to lecture both sides from the standpoint of a disinterested and superior friend, who saw that neither side was absolutely and unconditionally right.

When the news of the secession of South Carolina reached England, in January, 1861, John Tenniel contributed a cartoon to the jester's pages entitled: "Divorce a Vinculo" with the explanatory subtitle "Mrs. Carolina asserts her rights to 'larrup' her nigger." Mrs. Carolina was represented as a vulgar virago holding a cat-o-nine tails in her right hand, and shaking her clenched left fist in the face of a serenely defiant youth, clad in a star-spangled shirt, to whom a little brat of a nigger appealed with clasped hands.

In the same number the following poem breathed a similar anti-secession sentiment.

[16]

SECESSION AND SLAVERY

Later, Punch applauded that portion of Abraham Lincoln's first inaugural, which dealt with the question of secession.

[18]

THE COMMINUTED STATES

When the seceding states were in search of a name, Punch suggested that of Slaveownia, and when at the convention held February 9, 1861, at Montgomery, Alabama, they adopted the title of the Confederate States of America, Punch reopened his battery in this fashion:

Once more when reviewing Jefferson Davis' [22] message to the Confederate Congress, Punch recognized that slavery was really the bone of contention between the two sections:

THE JUST AND HOLY CAUSE OF SLAVERY

Again, when General Beauregard declared in a proclamation to the South that "unborn generations would arise and call them blessed," Punch declared that the reporters, with their proverbial inaccuracy, had omitted the concluding word "rascals."

Yet even now, it appealed to both sections to restrain their hands from flying at each other's throats: [24]

ODE TO THE NORTH AND SOUTH

Still again, Punch showed good feeling in admonishing Lord Palmerston, after firing on Sumter, to keep Great Britain neutral.

"Well Pam," says Mr. Punch to his workman, "of course I shall keep you on, but you must stick to peace-work."

Nor could the North object to the cartoon, in May, 1861, in which Lincoln made his first appearance in Punch. The face, faithfully limned from the early beardless photographs, represented him as a man of clean-cut intelligent features,—in marked contrast to the bearded ruffian, a repulsive [28] compound of malice, vulgarity and cunning which John Tenniel's pencil subsequently delighted to give to the world as a counterfeit presentment of the President of the United States.

In this first picture Lincoln is represented as poking the fire and filling the room with particles of soot, saying with downcast look:

"What a nice White House it would be, if it were not for the blacks."

Nevertheless, the poem with which Punch greeted the news of the fall of Fort Sumter was not calculated to arouse kindly sentiments in the North.

INK, BLOOD AND TEARS

(THE TAKING OF FORT SUMTER.)

[34]

It was the Southern victory of Bull Run and the Northern policy of blockade that finally and definitely changed the attitude of England and of Punch. The victory gave hopes that the Confederates might be successful in overturning a hated and dreaded republic; the blockade aroused fears that the pocket of the British manufacturer might be damaged. All pretence of love for the negro was swallowed up by these more potent and more personal emotions.

On November 2, 1861, in a cartoon and an accompanying poem Punch sought to put its commercial anxiety on an altruistic plane. Here is the poem:

KING COTTON BOUND; OR, THE NEW PROMETHEUS.

Then came an episode which did for the moment set John Bull and Punch on a nobler basis. All [42] during the Trent affair—when the United States was obviously wrong in arresting the Confederate Commissioners, Mason and Slidell, on board an English ship—the Tenniel cartoons rose to the higher level of just indignation.

Even now, however, Punch was unable or unwilling to see the magnanimity of Abraham Lincoln's apology for an error not his own.

This was all the more unjust because Punch was both able and willing to discriminate between the level-headed men of the North and the jingoes, as this extract will show.

OUR DEAR BROTHER JONATHAN

For the benefit of the American jingoes Punch on December 7th, issued the following warning, with an appropriate cartoon:

A WARNING TO JONATHAN;

OR, "DOTH HE WAG HIS TAIL?"

This was followed up on December 14th, with one [50] of Tenniel's finest cartoons, that entitled "Waiting for an Answer."

Two amusing bits of doggerel appeared in the same number, one representing the British nation's view of the international episode.

MRS. DURDEN ON THE AMERICAN DIFFICULTY

The other is a bit of broad fun, in mockery of the profuse volumes of smoke and sound which were emitted by Yankee fire-eaters. [52]

A VOICE FROM WASHINGTON

From our Special Correspondent

The manly and tactful apology which represented the feeling of the better sort of folk in America, and which was wrung from a reluctant cabinet by Abraham Lincoln, softened for a moment the asperity of our old antagonist. The [56] following rather amiable verses were written in anticipation of the amicable settlement which already (January 11, 1862), seemed probable:

A FAIR OFFER FROM JOHN BULL TO MISS COLUMBIA

Yet Lincoln, the peacemaker of the occasion, got little credit from Punch, which, indeed, began now to pursue him with unremitting invective.

The gorilla-like caricature of Lincoln's features makes its first appearance in a cartoon wherein this repulsive face is joined to a raccoon's body.

The "coon" is shown up a tree, Colonel Bull, standing below, has drawn a bead on him with his gun.

[60]

"Air you in earnest, Colonel?" asks the coon.

"I am," replies the mighty Bull.

"Don't fire," says the coon, "I'll come down."

Even Lincoln's proclamation emancipating the slaves in the seceding states did not soften the asperity of the old-time anti-slavery advocate. Punch feigned to see in this message only the ruse of a wily combatant driven to a last resource. This idea is put into a quatrain, as follows:

The American Chess-Players

Although of conquest Yankee North despairs,
   His brain for some expedient wild he racks,
And thinks that having failed on the white squares,
   He can't do worse by moving on the Blacks.

Under the heading "One Good Turn Deserves Another," Old Abe is shown extending musket, sword and knapsack to a negro who refuses to be cajoled by his honeyed words.

"Why I do declare," says Abe, "it's my dear old friend, Sambo! Course you'll fight for us, Sambo. Lend us a hand, old hoss, do."

[62] The same jibe finds vent in the following poems:

ABE'S LAST CARD; OR, ROUGE-ET-NOIR

In September, 1862, the two combatants are represented as sinking exhausted into the arms of negro backers, who are vainly attempting to put them on their feet. In the background stands a self-important eagle arrayed in the Napoleonic uniform and a biped lion dressed in a sack coat and an air of conscious superiority.

Says the eagle to the lion, "Don't you think we ought to fetch the police?"

The legend under the cartoon runs, "Not Up to Time, or Interference Would Be Very Welcome."

In the following January comes a well imagined cartoon entitled "The Latest From Spirit Land," showing the bluff and kindly ghost of George III trying to enter into conversation with the stiffly stupid ghost of Mr. Washington. "Well, Mr. Washington," says George, "what do you think [66] of your fine republic now, eh? What d'ye think? What d'ye think, eh?" To which Mr. Washington retorts with an inarticulate "Humph!"

In May of 1863 a cartoon entitled "The Great Cannon Game" shows Abe Lincoln playing billiards with Jeff Davis. It is the latter's shot.

"Hurrah for Charleston!" he cries; "that's another to me."

Abe Lincoln mutters in an aside, "Darned if he ain't scored ag'in! I wish I could make a few winning hazards for a change."

An accompanying article entitled "The Great American Billiard Match" is amusing enough when read to-day in the light of the great "winning hazards" that were to be made by Abe within less than sixty days.

The boasted "neutrality" was put to a rather severe test when, in less than "ninety days," the victory of which Abe's backers were "cock sure" proved a double barrelled one at Vicksburg, in Mississippi, and at Gettysburg, in Pennsylvania. The news of these tremendous events set all the Federal States of America shouting with triumph on the succeeding Fourth of July. There were no international cables in those days. Consequently it was not until two weeks later that the news reached England.

[72]

In the interim, on that very July 4, certain Northern Americans in London, all unconscious of what had happened, celebrated their national anniversary almost in earshot of the Punch office to the great disgust of the gentlemen on its staff.

In conclusion Punch makes this comment on the fact that in honor of the anniversary the flag of the United States had been hoisted on the summit of certain buildings, "Shouldn't it have been hoisted halfmast high?"

The answer came in the form of a thunderous negative with the next mail from America.

Thereafter Punch lost his supreme interest in the great Civil War. He made no allusions to Gettysburg or to Vicksburg. The "neutral hope" was painfully dampened by Northern triumphs. His commercial sympathy was all with the losing side. The wish was father to the not very neutral thought that the negro might prove the undoing of his Northern allies. On August 15 appeared a cartoon entitled "Brutus and Cæsar, from the American Edition of Shakespeare." To the tent of Brutus (Lincoln) enters at night the ghost of Cæsar, a black spectre. This colloquy occurs:—

In October appeared a cartoon headed with [76] unconscious satire, "John Bull's Neutrality." John Bull standing with his arms akimbo in the doorway of his shop is glaring defiantly at two bad boys, clad respectively in federal and in confederate uniforms, who slink away before his glance and drop the stones they were preparing to hurl at his windows.

"Look here, boys," says John, "I don't care twopence for your noise, but if you throw stones at my windows I must thrash you both."

The same moral is enforced in the following poem:—

MR. BULL TO HIS AMERICAN BULLIES

In a succeeding cartoon Punch called for a separation between the fighters, for now, said he, "dis-union is strength." Another cartoon hails the fraternization—reported to have taken place between negroes bearing the flags of the rival armies—with the epigram "When black meets black then comes the end of war." [80]

Henry Ward Beecher's visit to England, in the autumn of 1863, is celebrated by a cartoon and by a poem in which due praise is given to the vigor of his oratory and to the excellence of his intentions.

BRITISHER TO BEECHER

[84]

Later, Punch published this:

ADIEU TO MR. BEECHER

The re-election of Abraham Lincoln, in November, 1864, called forth a grotesque and unpleasant caricature of Lincoln as the "Federal Phœnix." It was accompanied by these verses:

THE FEDERAL PHŒNIX

On December 10th, Punch published this brutal burlesque anticipation of that noble speech made by President Lincoln at his second Inauguration, which has now taken its due rank among the great masterpieces of forensic English:

PRESIDENT LINCOLN'S INAUGURAL SPEECH

(By Ultramarine Telegraph)

[98]

On April 15, 1865, came a cartoon, a really superb one, which is sometimes reckoned Tenniel's masterpiece, entitled "Habet!" It represents the combatants as gladiators before the enthroned and imperial negroes ("Ave Cæsar!").

But in sentiment at least a nobler was to come, the affecting picture of Britannia's tribute and Punch's amende, called simply "Abraham Lincoln, foully assassinated April 14, 1865."

The accompanying verses, by Tom Taylor, not, as has sometimes been asserted, by Shirley Brooks, were a complete recantation for former misunderstanding and wrongdoing. They will bear quoting again:—

ABRAHAM LINCOLN

Foully Assassinated April, 14, 1865

From that time forward Punch took seriously to heart the lesson he had taught himself, and his relations with Brother Jonathan were thereafter of a very different and a far more cordial kind. of a very different and a far more cordial kind.

That these verses made a profound impression in the United States is undoubted. It has even been opined that they were largely instrumental [113] in preventing an imminent war between Great Britain and the United States.

Perhaps the effect would have been less if we on this side had known how grudgingly the amende was offered. Mr. A. H. Layard in his recent "Life of Shirley Brooks" has invited us to take a peep behind the Punch curtain. He shows that the editorial staff of the paper was divided in the matter, Shirley Brooks leading the opposition against the publication of the poem. In Brooks' diary Mr. Layard discovered the following entry:—

"Dined Punch. All there. Let out my views against some verses on Lincoln in which T. T. (Tom Taylor) had not only made P. eat humble pie, but swallow dish and all."

ILLUSTRATIONS

Click image to enlarge
Use browser's "previous page" button to return

[114]

DIVORCE A VINCULO.
Mrs. Carolina Asserts her Right to "Larrup" her Nigger.
[Punch: January 19, 1861]

To top
of list

[115]

THE AMERICAN DIFFICULTY.
President Abe. "WHAT A NICE WHITE HOUSE THIS WOULD BE,
IF IT WERE NOT FOR THE BLACKS!"
[Punch: May 11, 1861]

To top
of list

[116]

"CÆSAR IMPERATOR!"
OR, THE AMERICAN GLADIATORS.
[Punch: May 18, 1861]

To top
of list

[117]

NAUGHTY JONATHAN.
"YOU SHAN'T INTERFERE, MOTHER—AND YOU OUGHT TO BE ON MY SIDE—AND IT'S A GREAT SHAME—AND I DON'T
CARE—AND YOU SHALL INTERFERE—AND I WON'T HAVE IT."
[Punch: July 6, 1861]

To top
of list

[118]

HOW THEY WENT TO TAKE CANADA.
"For the outrage offered in the Queen's Proclamation, the
United States will possess itself of Canada,"—New York Herald.
[Punch: August 17, 1861]

To top
of list

[119]

A FAMILY QUARREL
[Punch: September 28, 1861.]

To top
of list

[120]

KING COTTON BOUND;
Or, The Modern Prometheus.
[Punch: November 2, 1861.]

To top
of list

[121]

THE GENU-INE OTHELLO.
Othello. "KEEP UP YOUR BRIGHT SWORDS, FOR DE DEW
WILL RUST DEM. · · · · BOTH YOU OB MY INCLINING, AND DE REST."
[Punch: November 9, 1861.]

To top
of list

[122]

Mr. Bull. "OH! IF YOU TWO LIKE FIGHTING BETTER THAN BUSINESS,
I SHALL DEAL AT THE OTHER SHOP."
[Punch: November 16, 1861.]

To top
of list

[123]

THE WILFUL BOY.
Jonathan. "I WILL FIGHT—I WILL HAVE A NATIONAL DEBT
LIKE OTHER PEOPLE"
[Punch: November 23, 1861.]

To top
of list

[124]

LOOK OUT FOR SQUALLS.
Jack Bull. "YOU DO WHAT'S RIGHT, MY SON,
OR I'LL BLOW YOU OUT OF THE WATER."
[Punch: December 7, 1861.]

To top
of list

[125]

A BAD CASE OF THROWING STONES.
Mr Bull. "Now mind You, Sir—no Shuffling—an ample Apology—or
I put the Matter into the hands of my Lawyers, Messrs. Whitworth and
Armstrong."
[Punch: December 7, 1861.]

To top
of list

[126]

WAITING FOR AN ANSWER.
[Punch: December 14, 1861.]

To top
of list

[127]

A LIKELY STORY.
Captain Jonathan, F.N. "JIST LOOK'D IN TO SEE IF
THAR'S ANY REBELS HE-ARR."
Mr. Bull. "OH, INDEED!—JOHN! LOOK AFTER THE PLATE-BASKET,
AND THEN FETCH A POLICEMAN."
[Punch: December 21, 1861.]

To top
of list

[128]

COLUMBIA'S FIX.
Columbia. "WHICH ANSWER SHALL I SEND?"
[Punch: December 28, 1861.]

To top
of list

[129]

BOXING DAY.
Mr Punch. "NOW THEN! WHICH END WILL YOU HAVE, JONATHAN?"
[Punch: January 4, 1862.]

To top
of list

[130]

"UP A TREE."
Colonel Bull and the Yankee 'Coon.
'Coon. "AIR YOU IN ARNEST, COLONEL?"
Colonel Bull. "I AM."
'Coon. "DON'T FIRE—I'LL COME DOWN."
[Punch: January 11, 1862.]

To top
of list

[131]

NAUGHTY JONATHAN.
Mrs Britannia. "THERE, JOHN! HE SAYS HE IS VERY SORRY,
AND THAT HE DIDN'T MEAN TO DO IT—SO YOU CAN PUT THIS BACK INTO
THE PICKLE-TUB."
[Punch: January 18, 1862.]

To top
of list

[132]

OBERON AND TITANIA.
Oberon (Mr. President Lincoln) "I DO BUT BEG A
LITTLE NIGGER BOY, TO BE MY HENCHMAN."
Titania (Miss Virginia) "SET YOUR HEART AT REST,
THE NORTHERN LAND BUYS NOT THE CHILD OF ME."
[Punch: April 5, 1862.]

To top
of list

[133]

PEACE.
MR. PUNCH'S DESIGN FOR A COLOSSAL STATUE, WHICH OUGHT TO HAVE
BEEN PLACED IN THE INTERNATIONAL EXHIBITION.
[Punch: May 3, 1862.]

To top
of list

[134]

THE NEW ORLEANS PLUM.
BIG LINCOLN HORNER, UP IN A CORNER,
THINKING OF HUMBLE PIE; FOUND UNDER HIS THUMB,
A NEW ORLEANS PLUM, AND SAID, WHAT A 'CUTE YANKEE AM I!
[Punch: May 24, 1862.]

To top
of list

[135]

THE "SENSATION" STRUGGLE IN AMERICA.
[Punch: June 7, 1862.]

To top
of list

[136]

THE LATEST FROM AMERICA;
Or, the New York "Eye-Duster," to be taken Every Day.
[Punch: July 26, 1862.]

To top
of list

[137]

ONE GOOD TURN DESERVES ANOTHER.
Old Abe. "WHY I DU DECLARE IT'S MY DEAR OLD FRIEND SAMBO!
COURSE YOU'LL FIGHT FOR US, SAMBO. LEND US A HAND, OLD HOSS, DU!"
[Punch: August 9, 1862.]

To top
of list

[138]

LINCOLN'S TWO DIFFICULTIES.
Lin. "WHAT? NO MONEY! NO MEN!"
[Punch: August 23, 1862.]

To top
of list

[139]

"NOT UP TO TIME;"
Or, Interference would be very Welcome.
[Punch: September 13, 1862.]

To top
of list

[140]

THE OVERDUE BILL.
Mr. South to Mr. North. "YOUR 'NINETY DAYS' PROMISSORY NOTE
ISN'T TAKEN UP YET, SIRREE!"
[Punch: September 27, 1862.]

To top
of list

[141]

MORE FREE THAN WELCOME—A PROSPECTIVE FIX.
Nigger. "Now den, Massa Jonathan, what you goin' to do wid dis Child? Eh?"
[Punch: October 18, 1862.]

To top
of list

[142]

ABE LINCOLN'S LAST CARD; OR, ROUGE-ET-NOIR.
[Punch: October 18, 1862.]

To top
of list

[143]

LATEST FROM SPIRIT-LAND.
Ghost of King George III. "WELL, MR. WASHINGTON, WHAT DO YOU
THINK OF YOUR FINE REPUBLIC NOW, EH?—WHAT D'YE THINK? WHAT D'YE THINK, EH?"
Ghost of Mr. Washington. "HUMPH!"
[Punch: January 10, 1863.]

To top
of list

[144]

SCENE FROM THE AMERICAN "TEMPEST."
Caliban (Sambo). "YOU BEAT HIM 'NOUGH, MASSA!
BERRY LITTLE TIME, I'LL BEAT HIM TOO."—Shakspeare.
(Nigger Translation.)
[Punch: January 24, 1863.]

To top
of list

[145]

"BEWARE!"
Keeper."HE AIN'T ASLEEP, YOUNG JONATHAN, SO YOU'D BEST NOT IRRITATE HIM".
[Punch: May 2, 1863.]

To top
of list

[146]

THE GREAT "CANNON GAME."
Abe Lincoln (aside). "DARN'D IF HE AIN'T SCORED AG'IN!—WISH
I COULD MAKE A FEW WINNING HAZARDS FOR A CHANGE."
[Punch: May 9, 1863.]

To top
of list

[147]

"ROWDY" NOTIONS OF EMANCIPATION.
"The mob on the corner, below my house, had hung up a negro to the
lamp-post. In mockery, a cigar was placed in his mouth. * * * For
hours these scared negroes poured up Twenty-seventh Street, passing
my house. * * * One old negro, 70 years old, blind as a bat, and
such a cripple that he could hardly move, was led along by his
equally aged wife with a few rags they had saved, trembling with
fright, and not knowing where to go."—Manhattan's Letter in the Standard, July 30th.
[Punch: August 8, 1863.]

To top
of list

[148]

BRUTUS AND CÆSAR.
(From the American Edition of Shakspeare.)
The Tent of Brutus (Lincoln). Night. Enter the Ghost of Cæsar.
Brutus. Wall, now! Do tell! Who's you?
Cæsar. I am dy ebil genus, massa Linking.
Dis child am awful Inimpressional.
[Punch: August 15, 1863.]

To top
of list

[149]

THE BLACK CONSCRIPTION.
"WHEN BLACK MEETS BLACK THEN COMES THE END (?) OF WAR.
[Punch: September 26, 1863.]

To top
of list

[150]

JOHN BULL'S NEUTRALITY.
"LOOK HERE, BOYS, I DON'T CARE TWOPENCE FOR YOUR NOISE, BUT IF YOU
THROW STONES AT MY WINDOWS, I MUST THRASH YOU BOTH.
[Punch: October 3, 1863.]

To top
of list

[151]

SCYLLA AND CHARYBDIS, OR THE MODERN ULYSSES.
[Punch: October 10, 1863.]

To top
of list

[152]

THE STORM-SIGNAL.
We know not whence the storm may come,
But its coming's in the air,
And this is the warning of the drum,
   Against the storm, Prepare!
[Punch: October 17, 1863.]

To top
of list

[153]

EXTREMES MEET.
Abe. Imperial son of Nicholas the Great,
We air in the same fix, I calculate,
You with your Poles, with Southern rebels I,
Who spurn my rule and my revenge defy.
Alex. Vengeance is mine, old man; see where it falls,
Behold yon hearths laid waste, and ruined walls,
Yon gibbets, where the struggling patriot hangs,
Whilst my brave myrmidons enjoy his pangs.
[Punch: October 24, 1863.]

To top
of list

[154]

"BEECHER'S AMERICAN SOOTHING SYRUP."
"If I have said anything against England, I'll stick to it.
* * * When I look not to the sentiments of popular assemblies,
but to such significant acts as the detention of those Rams at
Liverpool (cheers); when I look to such weighty words
as those spoken by Earl Russell at Glasgow, and by
the Attorney General at Richmond * * * I feel that the two
nations are still one in the cause of civilisation, of religion,
and I trust we shall continue to be one in international policy,
and one in every enterprise."—Rev. Ward Beecher at Exeter Hall.
[Punch: October 31, 1863.]

To top
of list

[155]

"HOLDING A CANDLE TO THE *****" (MUCH THE SAME THING.)
[Punch: November 7, 1863.]

To top
of list

[156]

NEUTRALITY.
Mrs. North. "HOW ABOUT THE ALABAMA YOU WICKED OLD MAN?"
Mrs. South. "WHERE'S MY RAMS? TAKE BACK YOUR PRECIOUS
CONSULS—THERE!!!"
[Punch: November 14, 1863.]

To top
of list

[157]

SOMETHING FOR PADDY.
O'Connell's Statue (loq). "IT'S A REPALER YE CALL
YOURSELF, YE SPALPEEN, AND YOU'RE GOIN' TO DIE FOR THE UNION."
[Punch: August 20, 1864.]

To top
of list

[158]

VERY PROBABLE.
Lord Punch. "THAT WAS JEFF DAVIS, PAM! DON'T YOU RECOGNISE HIM?"
Lord Pam. "HM! WELL, NOT EXACTLY—MAY HAVE TO DO SO SOME OF THESE DAYS."
[Punch: August 27, 1864.]

To top
of list

[159]

MRS. NORTH AND HER ATTORNEY.
Mrs. North. "YOU SEE, MR. LINCOLN, WE HAVE FAILED UTTERLY IN
OUR COURSE OF ACTION; I WANT PEACE, AND SO, IF YOU CANNOT
EFFECT AN AMICABLE ARRANGEMENT, I MUST PUT THE CASE INTO OTHER HANDS."
[Punch: September 24, 1864.]

To top
of list

[160]

COLUMBIA'S SEWING-MACHINE.
Mrs. Britannia. "AH, MY DEAR COLUMBIA, IT'S ALL VERY WELL;
BUT I'M AFRAID YOU'LL FIND IT DIFFICULT TO JOIN THAT NEATLY."
[Punch: October 1, 1864.]

To top
of list

[161]

THE BLACK DRAFT.
[Punch: November 19, 1864.]

To top
of list

[162]

THE FEDERAL PHŒNIX.
[Punch: December 3, 1864.]

To top
of list

[163]

GRAND TRANSFORMATION SCENE FOR THE END OF THE YEAR 1864.
[Punch: December 31, 1864.]

To top
of list

[164]

THE THREATENING NOTICE.
Attorney Lincoln. "NOW UNCLE SAM, YOU'RE IN A DARNED HURRY TO
SERVE THIS HERE NOTICE ON JOHN BULL. NOW, IT'S MY DUTY, AS YOUR
ATTORNEY, TO TELL YOU THAT YOU MAY DRIVE HIM TO GO OVER TO
THAT CUSS, DAVIS——" (Uncle Sam Considers.)
[Punch: February 181, 1865.]

To top
of list

[165]

VULCAN IN THE SULKS.
Britannia. "IF YOU TURN SULKY, AND WON'T MAKE MY ARMOUR,
HOW SHALL I BE ABLE TO RESIST MARS?"
[Punch: March 25, 1865.]

To top
of list

[166]

THE AMERICAN GLADIATORS—HABET!
[Punch: April 29, 1865.]

To top
of list

[167]

BRITANNIA SYMPATHISES WITH COLUMBIA.
[Punch: May 6, 1865.]

To top
of list

Transcriber's Note.
(1) Spelling, punctuation and typographical errors have been corrected,
with the exception of those which occur in the illustrations and text
copied directly from "Punch".
(2) The book titles on images 4 and 8 have been removed as unnecessary
duplications.
(3) Most of the 49 pages of text consist of lengthy paragraphs, blockquotes
and poems. Only a small proportion relate to specific adjacent cartoons,
which are nearly all in chronological order, full-size on alternate pages of the
book. As a result of these two factors, normal HTML-version procedures
created an unacceptably uncomfortable read, often breaking with only a few
lines of text between two screen-width illustrations, completely irrelevant
to the nearby text. It was therefore decided to move all the cartoons to the
end of the book, with links to the List of Illustrations.
(4) Resulting from the decision in (3), the page numbers in the List of
Illustrations coincide with the restructured format, not with the original book.

***END OF THE PROJECT GUTENBERG EBOOK ABRAHAM LINCOLN AND THE LONDON PUNCH***

******* This file should be named 38056-h.txt or 38056-h.zip *******

This and all associated files of various formats will be found in:
http://www.gutenberg.org/3/8/0/5/38056

Updated editions will replace the previous one--the old editions will be renamed.

Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution.

*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://www.gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected].  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://www.gutenberg.org/about/contact

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     [email protected]

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://www.gutenberg.org/fundraising/pglaf

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://www.gutenberg.org/fundraising/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.

Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number.  The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.

Most people start at our Web site which has the main PG search facility:

http://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.

EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date.  If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.

http://www.gutenberg.org/dirs/etext06/

    (Or /etext 05, 04, 03, 02, 01, 00, 99,
     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)

EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way.  The year of a release date is no longer part
of the directory path.  The path is based on the etext number (which is
identical to the filename).  The path to the file is made up of single
digits corresponding to all but the last digit in the filename.  For
example an eBook of filename 10234 would be found at:

http://www.gutenberg.org/dirs/1/0/2/3/10234

or filename 24689 would be found at:
http://www.gutenberg.org/dirs/2/4/6/8/24689

An alternative method of locating eBooks:
http://www.gutenberg.org/dirs/GUTINDEX.ALL

*** END: FULL LICENSE ***