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Browsing named entities in a specific section of Thomas Wentworth Higginson, Women and Men. Search the whole document.

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Pontius (search for this): chapter 50
ly introduced to those also, and begin to dream about them, perhaps, in the slumbers that follow. I do not wish to put all the blame of Punch and Judy on our English ancestors, for it is much older than they. The very figure of this hero was familiar on the Roman stage, and an ancient statuette has been found which represents him essentially as now. The play is not much coarser than some of the old mystery plays of the Middle Ages; and the very name is by some supposed to have come from Pontius cum Judaeis--Pontius Pilate with the Jews. The drama itself is Italian, and belongs to the seventeenth century, where it had a highly spiritual conclusion and a moral bearing. The English version strikes off all these redeeming traits, and the American is worse than the English. For instance, the English performance has usually a little dog (Toby) added, the only live member of the dramatis personae, and the only decent one, his worst offence being to leap up and snap at everybody's nos
Toby (search for this): chapter 50
. The play is not much coarser than some of the old mystery plays of the Middle Ages; and the very name is by some supposed to have come from Pontius cum Judaeis--Pontius Pilate with the Jews. The drama itself is Italian, and belongs to the seventeenth century, where it had a highly spiritual conclusion and a moral bearing. The English version strikes off all these redeeming traits, and the American is worse than the English. For instance, the English performance has usually a little dog (Toby) added, the only live member of the dramatis personae, and the only decent one, his worst offence being to leap up and snap at everybody's nose. The noses being only those of puppets, this can hardly be counted as a moral offence; and the shouts of laughter it excites are at least innocent. But our ordinary performances of Punch and Judy exhibit nobody so alive and so harmless as a real puppy; it is one dreary series of quarrels and fights, and proceedings that would be very blood-thirsty e
Gazette (search for this): chapter 50
tion only fitted to be shown, as it seems to me, before the children of prize-fighters or cock-fighters. It is something that could only have originated, in its present form, among a race of very coarse fibre, which the English stock unquestionably is; and now that a more refined race is being developed from this parent stem, it is a shame to transplant its very coarsest amusements. No sane parent would paper a child's bedroom with representations of murders and executions from the Police Gazette; and yet the exhibition of Punch and Judy offers this and nothing more, and does it in the more pernicious form of action instead of picture. From beginning to end the performance has not one redeeming trait. All the fun lies in the fact that Punch successively knocks on the head or otherwise slaughters his baby, his wife, the doctor, the policeman, the servant, and such others as the varying ingenuity of the operator may introduce; that he counts the corpses over, hustles then about, an
Judy (search for this): chapter 50
L. The brutality of Punch and Judy. Whenever the season of picnics and children's excursions draws near, I feel disposed to renew my protest against a performan which has in some inexplicable way crept into decent society. I mean Punch and Judy. It is an exhibition only fitted to be shown, as it seems to me, before the chiders and executions from the Police Gazette; and yet the exhibition of Punch and Judy offers this and nothing more, and does it in the more pernicious form of action in the slumbers that follow. I do not wish to put all the blame of Punch and Judy on our English ancestors, for it is much older than they. The very figure of ther it excites are at least innocent. But our ordinary performances of Punch and Judy exhibit nobody so alive and so harmless as a real puppy; it is one dreary seriesther it be licentiousness, as on the French stage, or brutality, as in Punch and Judy, involves a deeper danger — that such things may not only grow familiar as a spe
Italian (search for this): chapter 50
the slumbers that follow. I do not wish to put all the blame of Punch and Judy on our English ancestors, for it is much older than they. The very figure of this hero was familiar on the Roman stage, and an ancient statuette has been found which represents him essentially as now. The play is not much coarser than some of the old mystery plays of the Middle Ages; and the very name is by some supposed to have come from Pontius cum Judaeis--Pontius Pilate with the Jews. The drama itself is Italian, and belongs to the seventeenth century, where it had a highly spiritual conclusion and a moral bearing. The English version strikes off all these redeeming traits, and the American is worse than the English. For instance, the English performance has usually a little dog (Toby) added, the only live member of the dramatis personae, and the only decent one, his worst offence being to leap up and snap at everybody's nose. The noses being only those of puppets, this can hardly be counted as