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HAMLET; OR, KEEPING IT DARK.
SCENE I.—At the Haymarket.—Darkness
visible. Out of it come
Voices.
First Voice (probably on stage). “Who’s there?”
Second V. (probably in auditorium). I can’t see. Is it TREE?
Third V. “Nay, answer me: stand and unfold yourself.”
Fourth V. I wish I could unfold the seat to let people pass.
Third V. “You come most carefully upon your hour.”
Fourth V. Why on earth can’t people be more punctual?
First V. “’Tis now struck twelve.”
Fourth V. About a dozen people have hit my head scrambling past in the dark.
Third V. “For this relief much thanks.”
Fourth V. They seem to have got in at last.
Third V. “’Tis bitter cold.”
Fifth V. Oh, EDWIN, dear, I do wish they’d send away the ghost, and turn up the lights.
Third V. “Not a mouse stirring.” [Crash.
Sixth V. There goes my opera-glass! Deuce of a job to find it.
Third V. “Stand, ho!”
Seventh V. Bless my soul, Ma’am, are you aware that you’re standing on my foot?
Third V. “BERNARDO has my place.”
Sixth V. Here’s someone taken my seat!
First V. “What, is HORATIO there?”
Eighth V. Hullo, dear boy, how are you? Couldn’t see you—but now the light’s a bit up—(_&c., &c._).
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A CRITERION OF MORALS.—Astutely doing “The Puff Preliminary” in a letter to the papers before the production of The Fringe of Society (i.e., Le Demi-monde freely adapted), Mr. CHARLES WYNDHAM observes that “there is no such class, in any recognisable degree, as the demi-monde in England.” “Recognisable” is good, very good, it saves the situation, as of course the demi-monde is not, on any account, to be recognised. Cheery CHARLES evidently belongs to that half of the world which never knows what the other half is doing. If The Fringe, as it at first went in to the Licenser, had to be trimmed, CHARLES our Friend might have announced his latest version as re-"adapted from the Fringe.”
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“AILING AND CONVALESCENT,”—ORME. [No others count.]
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MR. PUNCH’S AGRICULTURAL NOVEL.
BO AND THE BLACKSHEEP.
A STORY OF THE SEX.
