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FVKQH ANi JUBY 
 
 BIT THOMAS J±. :&£. "W^A-IE^ID, 
 
 AITOBNEY AT LAW. 
 
PUNCH AND JUDY, 
 
 With Instructions 
 How to Manage the Little 
 
 WOODEN ACTORS; 
 
 CONTAINING 
 
 ARRANGED FOR THE USE OF 
 
 BEGIMERS, DESIROUS TO LEARN 
 How to Work the Puppets. 
 
 -^fgr— 
 
 Sunday Schools, Private Parties, Festivals and 
 Parlor Entertainments. 
 
 »Y THOS. A. 3M. ^WARD, 
 
 Attorney at Law, 
 
 
 JANESV3XLE, WIS.: 
 
 VEEDE9R & LEONARD, ^RISTTERSj 
 
 1874, Sjh 
 
 
 

 
 £Meted acce-Ming fo as Act of Congress, in fie j-ear 18*4, bv 
 
 £HOS. A, M. WABB> 
 
 In the Clerk's Office of tne Distii«t Cc-sit fcr tie E&stttn District cf Pennsylvania. 
 
PREFACE. 
 
 The Invention of Puppet Shows, Tumbling and other public 
 amusements, carries us back to a period in history long anterior 
 to the birth of Moses. 
 
 In fact, Games of Chance, as well as the sports and pastimes 
 usually enjoyed in their Plays, by the early people of Egypt, 
 were in their zenith in the reign of the Rameses. 
 
 Rameses the II, was a magnificent patron of letters as well 
 as art, 
 
 The "Sacred Library,' 1 which Diodorus mentions, has been 
 discovered in his Palace, the Rameseum at Rarnak. 
 
 Nine men of learning were attached to the person of this 
 King, and at their head w T as a certain Kagabu, as "Master of 
 the Rolls, (Books) a man "unrivaled in elegance of style and 
 diction." 
 
 From the pen of this master, who may have helped to train 
 the mind of Moses, the Kings adopted grandson, in "all the 
 learning of the Egyptians," we still possess the oldest Fairy Tale 
 in the world, a moral story, resembling that of Joseph and his 
 Brethren, composed for the King's son Meneptha, who after- 
 wards became the opponent of Moses, at the time of the exodus 
 of the Jews from Egypt. 
 
 Our object is not so much w T ith the antiquity of shows, as it 
 is directly with the introduction of "Punch and Judy" into 
 polite society ; in proper character, free from superfluous verbi- 
 age, and dressing the play in phraseology commensurate with 
 the progress of the age — good taste and refinement. 
 
 The performance of Punch in the streets of European cities, 
 unpurified of the vulgar colloquies put into his mouth, by the 
 man who works the Puppets, would not for an instant be toler- 
 ated by the people of this country. 
 
PUNCH AND JUDY. 
 
 "The Play of Punch and Judy," observes a writer in Har- 
 pers Mon+My, "was exhibited for a short time at a popular 
 place of amusement in >Tew York City, in 1870, but did not 
 take sufficiently with the audience to induce the managers to 
 go on with it." 
 
 The true cause of its failure, at the time, doubtless arose from 
 the vulgar and impure language, used by the fellow that work- 
 ed the Figures. 
 
 Where the little Puppets have been properly conducted, the 
 popularity of the show has been unbounded. 
 
 With the assistance of Mr. Cruikshank's admirable illustra- 
 tions, it may be made the medium of the most amusing whims 
 icalities. We are told that so grave and dignified a personage 
 as an English Secretary of State is certain to be, once paused 
 on his way from Downing street to the House of Commons on 
 a night of important debate to witness the whole performance. 
 
 INSTRUCTIONS. 
 
 How to Perforin the Puppets. 
 
 The Frame should be three feet long and two feet wide : 
 there should be a space of 16 inches high, between the stage, 
 on which the Puppets perform, and the top of the Frame, cor- 
 responding to the ceiling of a room, from which a little curtain 
 hangs and in all particulars resembling a miniature theatre, 
 with small wrings on the sides, like the scenes in a large theatre, 
 and a curtain in front to drop, or slide across the stage, at the 
 end of each act, is necessary. Immediately above the stage is 
 a small stick running across the top, from which a small fringe 
 hangs, in the style of a curtain, between this fringe and the top 
 of the stage, is a space of 16 inches, for the Puppets to perform. 
 
 The night of the stage, or floor on which the Puppets move, 
 from the ground upward, must be regulated by the hight of the 
 person performing the Figures; the stage, therefore, should 
 never exceed two inches higher than the head of the person 
 who stands behind it, inside of the Frame. This will enable 
 
PUNCH AND JUDY. 
 
 the performer to rest his hands on the back part of the stage 
 without being seen by the audience. Without this relief for 
 the hands to rest on, he could not be able to continue the 
 movement of the Figures to any length of time. 
 
 On one end of the Frame (the stage part) is a small socket, 
 in which the end of a movable gallows is fixed. 
 
 The whole of the Frame is covered outside with thick cloth, 
 to conceal all that may be done on the inside. 
 
 Three bags hang in front of the performer — extending across 
 the Frame; and on the right and left hand sides, are four more 
 pockets — two on each side — making seven altogether; about 
 six or eight inches deep. 
 
 In these pockets are placed the little Wooden Actors. Punch 
 and the Doctor, occupy the same bunk. Judy, with her child, 
 and the dog Toby have a bunk to themselves. The Constable 
 and Jack Ketch, room together. The Negro and the Devil 
 h ave separate berths. 
 
 The way to hold the Puppets in order to exhibit them to the 
 public : 
 
 Punch is always held by the showman's right hand, his 
 head is wood of course, and should be five inches, allowing 
 two inches for the length of neck would make it seven inches 
 long, five inches from the neck to the top of the head, with a 
 hole, for the finger to rest in, three inches deep. Into this little 
 hole in the head fits the showman's fore finger while his second 
 finger fits into Punch's right hand, and the exhibitor's thumb 
 sets in Punch's left hand. Thus, by the aid of the exhibitor's 
 fore finger. and thumb, Punch is enabled to wield the club he 
 carries with such consummate dexterity. 
 
 Judy is held by the left hand and managed in the same way : 
 thus, when the exhibitor has Punch and Judy ready to com- 
 mence the show they are said to be well mounted. 
 
 How to make the dresses and to dress the Figures. — The 
 dress of each Puppet is a gown fastened around its neck about 
 thirteen inches long, on to this is sewed the coat, shirt, vest 
 and pantaloons. Inside of the gown the showman thrusts his 
 hand for the working of the little Actor — described above. 
 
PUNCH AND JUDY. 
 
 The Punch Puppet, has a big belly and a haunch on his back 
 between his shoulders, which gives him the appearance of the 
 Lord Mayor of London. 
 
 The Play opens by the appearance of Mr. Punch who calls 
 Judy to his aid. Here commences the dance by Punch and 
 Judy, who bow to the audience, then to each other and at the 
 sound of music move off in the dance. 
 
 It is not necessary that the feet of the Puppets should be 
 seen, consequently they are seldom brought into view. 
 
 The person inside the Frame when dancing the Puppets, 
 must go through all the capers he wishes the Figures to per- 
 form; and as he is entirely concealed from view, he can be just 
 as funny as he pleases; and in proportion to his comic actions 
 will the little Actors appear to the audience. 
 
 And strange as it may seem should the exhibitor fail to carry 
 out these instructions, namely: of moving his body, so as to 
 correspond with the motions he wishes to give the Figures, the 
 dance of Punch and his wife would be flat — without fun or any 
 interest whatever. Therefore, remember and fail not to put in 
 all the comic points, (motions) for in this lies the secret of giv- 
 ing life and merriment to the Punch and Judy Show. 
 
 Act 1. Scene 1st. 
 
 (Punch— is heard below icith a loud squeak: he makes his 
 appearance from the wing on the right hand side of the stage 
 dancing and singing. Enter Punch.) 
 
 Punch. — Good day little people — how do you do? The fun- 
 niest man I ever saw was old Joe Miller. But the smartest 
 chap among them all was Jack the Giant Killer. 
 
 The bigest thing on the ice is an Elephant — he is not a pret- 
 ty bird — and never travels without a trunk. The Pig is a 
 smaller bird — somebody shot his feathers all off. 
 
 Judy, my dear, come up stairs. 
 
 (Judy answers from below.) I am coming darling. {Enter 
 Judy.) Judy. — Mr. Punch, did you call me? 
 
 Punch. — I should think I did — had you been here sooner 
 
PUNCH AND JUDY. 
 
 you would have seen the man that lived in the "House that 
 Jack built." 
 
 Judy. — Did you see him? 
 
 Punch. — I only saw one side of him — that is why I wanted 
 you here — you could have stood on one side, and I on the 
 other, and then we could have seen the whole of him at one 
 time. He was or fid! 
 
 Judy. — Mr. Punch, you are such a funny man : now let us 
 have a nice little dance. 
 
 Punch. — With all my heart. {They join hands — bow to the 
 audience — then to themselves and step off, keeping time with 
 the sound of the music.) 
 
 Judy. — Mr. Punch, I am going down stairs to bring up the 
 Baby. {Exit Judy.) 
 
 (Punch — continues to dance — a negro comes up slyly behind 
 him and hits him a heavy blow_ on the side of his head, and 
 before Punch gets a glance at him, darts out of sight. Punch 
 scratches his head, looks about the stage — seemingly much 
 perplexed — but is soon relieved by the appearance of Judy 
 with the Child. Enter Judy toith the Baby.) . 
 
 Judy. — Mr. Punch, here is our own little darling: you hold 
 the child while I go down in the kitchen and prepare dinner — 
 mind you — don't you slap or pinch it, to make it cry. , {He 
 takes the Child. Exit Judy.) 
 
 (Punch sings) "It is good to be a father," etc. {He tries to 
 
 make it sit up — the Child cries — he again sings.) 
 
 "Lullaby baby in the tree top, JT" : 
 
 When the wind blows the cradle will rock." 
 
 Oh, you little tu-te-tutes — pretty bird, sit up. {He takes it 
 in his lap and tries to make it sit up>.) The baby want he 
 mamma"? yes, he does. {He becomes impatient at the noise of 
 the Child.) If you don't stop I'll give you & good spanking. 
 ( Throws the Child up and catches it.) Catchee, catchee, cat- 
 chee! {Child continues to cry and Punch getting angry 
 throws it out at the window.) He! he! he! {laughing and 
 singing) 
 
 I am not such an ugly man ! ' 
 
 The girls all laugh whenever they can — 
 And they sing, 'there goes the ugly man !' 
 
8 PUNCH AND JUDY. 
 
 {Re-enter Judy.) Judy. — Mr. Punch, where is the Child? 
 
 Punch. — Gone to sleep. 
 
 Judy. — {Looking around and not seeing it.) Where have 
 you put it? — is it in the cradle? 
 
 Punch. — No my dear, I put it into the soup. 
 
 Judy. — Punch where's that child tell me quickly. 
 
 Punch. — The Child cried and I dropped it out at the window. 
 
 Judy. — I'll drop you on the floor— depend upon it — where is 
 my stick? (Exit Judy.) 
 
 Punch. — There she goes — three feet three inches and a chaw 
 tobacco high. (He sings) " there was an old woman who lived 
 in her shoe — shoe — shew !" 
 
 (Re-enter Judy with a stick; she comes in behind him and 
 hits Punch a square blow on the back of the head before he is 
 aware.) 
 
 Judy. — You monster — I'll teach you how to hold a child — 
 you nasty puke. 
 
 Punch. — So-o-oftly — Judy my dear so-o-oftly! (rubbing the 
 back of his head with his hands) don't be a fool ! 
 
 Judy. — You'll drop my poor child out at the window will 
 you? (hitting him continually on his head.) 
 
 Punch. — Don't Judy — stop I tell you — a joke is a joke. 
 
 Judy. — You cruel man — you think it is a joke do you — it is 
 no joke with me to have my poor dear child beat to death ! I'll 
 show you how to use a child. (Hits him.) 
 
 Punch. — I don't want to learn— are you in earnest? 
 
 Judy. — Yes (hit) I (hit) am. (hit.) 
 
 Punch. — Leave off I tell you. What! you refuse? do you? 
 
 Judy. — I won't leave off. (Hits him.) 
 
 Punch. — Very well my lady; now comes my turn. (He 
 snatches the stick from her, and strikes her on the head while 
 she runs about to different parts of the stage to get out of his 
 way.) How do you like that? old gal, and (hitting her) that? 
 
 Judy. — Mr. Punch, you ought to be ashamed of yourself to 
 strike a woman ! a helpless woman like me — get out with you. 
 
 Punch. — If a horse kicks me I'll kick him back if I can — if a 
 dog bites me I'll bite him — you take that (hits) and one- more 
 
PUNCH AND JUDY. 
 
 {hits her again — she falls to the floor; Punch is alarmed.) 
 No, no; I won't hit you again. Judy {he lifts her up) don't 
 cry — let's make up and never quarrel again! {He hisses her, 
 Judy puts her arms around his neck and lovingly forgives 
 him.) 
 
 Judy. — Don't you never strike me any more. 
 
 Punch. — No never! now my dear go down stairs and take 
 
 care of the baby — you be good to me and I'll be good to you. 
 
 {Exit Judy. Punch sings) 
 
 I am a jolly shoe-maker my name is Dick Ale, 
 I am a bit of a beast for I live in a stall, 
 With an ugly old wife and a tortoise shell cat, 
 I mend boots and shoe3 with a rat-a-tat-tat. 
 
 {Re-enter Judy.) Judy. — Mr. Punch, have you seen Polly 
 Hopkins ? 
 
 Punch. — No I haven't seen her since she had the measles. 
 
 Judy. — Well now since you are in such good humor let us 
 join in a nice little dance. 
 
 Punch. — Of woman kind I do admire but one and you are 
 she my dearest dear, therefore it shall be done. ( They bow to 
 the audience, then to themselves and dance off: Punch sing- 
 ing the tune and bothkeeping time to the music. Ejcit Punch 
 and Judy.) 
 
 {Enter Doctor and Servant.) Doctor. — He is not here {to 
 the negro) Joe, you go through the house — find Mr. Pcnch 
 and tell him I want to see him. 
 
 Joe. — Yes sir — I spec he is in de house. {Exit Joe.) 
 
 {Enter Punch, who is addressed by the Dr.) Dr. — Is your 
 name Punch? 
 
 Punch. — Yes I am Punch — who are you ? 
 
 Dr. — Well sir I am a Doctor. 
 
 Punch. — Why I am not sick ! 
 
 Dr. — That may be — I have restored to health your little child. 
 
 Punch. — Dr. you are a good fellow. Come and see me some 
 time when I am not at home. 
 
 Dr. — Mr. Punch, my charge for curing the child is fifty 
 dollars. 
 
 Punch. — Sir: do you take me for the Bank of England? 
 
10 
 
 PUNCH AND JtJDY. 
 
 Dr. — Well, to be liberal with you I will throw off one half. 
 
 Punch. — I will not be cutdcne in liberality — I will throw cff 
 the other half! 
 
 Dr. — Mr. Punch, if ycu don't pay me I will send the sheriff 
 for you. 
 
 Punch. — (Looking for his stick — the Dr. flies for his life.) 
 Lucky for you old chap or I would have made a pill of ycu. 
 
 {Enter Miss Polly Hopkins.) Polly. — How do you do sir? 
 I am looking for the man who lived in the house that Jack built. 
 
 Punch. — {aside) Oh, good gracious what a pretty girl: in the 
 language of Shakspear, I am the man. 
 
 Polly. — Why your name is Mr. Punch, I know you! 
 
 Punch. — Yes, {aside) how on earth did that little girl learn 
 my name? My little daughter, there are said to be one hundred, 
 rccms in my houee — but I never could find but ninety — where 
 the other ten are I never knew. But there are about one thous- 
 and big Norway rats who live in this house — run riot all night 
 and don't pay no rent. Three days ago I wrote on a number 
 of pieces of papers for the rats to leave — one of these papers 
 was put in every rat-hole in this house. 
 
 Polly.— Have they left? 
 
 Punch. — I dont hear no noise for two days — I think they 
 are making up their minds to seek homes elsewhere. 
 
 Polly. — Did you ever catch any of them ? 
 
 Punch. — Oh, yes, bless you, I made a pot-pie of big fat rats 
 but I could not eat it. I never did like rats any way you can 
 cook them. 
 
 Polly. — What did you do with the pot-pie? 
 
 Punch. — I gave it to my wife's poor relations. 
 
 Polly. — Mr. Punch, 'mother says you are my grandfather's 
 great uncle — when I was a little child yon promised me a dol- 
 lar!' 
 
 Punch.- — I remember it, that was six years ago. {He sings 
 and dances.) It is nice to be a father. (Punch puts Polly 
 through a course of spelling.) 
 
 Polly. — Uncle, you won't forget the dollar ? 
 
 Punch. — No. Now I want you to spell sugar. {She tries 
 
PUNCH AND JUDY. 11 
 \ 
 
 and fails.) Follow me my child — now, s-u-g-a-r. (She repeats 
 the letters but fails to tell ichat they spell.) 
 
 Punch. — What does that spell ? 
 
 Polly. — I don't know. 
 
 Punch. — What does your mother put in her tea ? 
 
 Polly. — A spoon-! 
 
 Punch. — Bah! sugar my child. 
 
 Polly. — Uncle don't forget the dollar. 
 
 Punch. — I'll not forget it — now, Polly, follow me — (he pro- 
 ceeds and she repeats) m-i-l-k — what does that spell ? 
 
 Polly. — Sugar. 
 
 Punch. — No it don't: What do you get in your little mug 
 every morning, when you go round the corner, for your mother? 
 
 Polly. — Whiskey ! 
 
 Punch. — That will do, now go to bed. That child is more 
 than seven years old! He starts Polly off to bed and as she 
 makes her exit, she exclaims, Uncle don't forget the dollar! 
 
 Punch sings — 
 
 "Polly put the kettle on we will all drink ten, 
 Barney let the girls alone and let them quiet be." 
 
 Act II. 
 
 (Enter Policeman, accomp>anied by black Joe, the Doctor's 
 servant.) 
 
 Joe. — Yes sah, I know him— he can't fool dis child : (look- 
 ing about him he espies Punch) dah he — dah he is! Dat him 
 — dat's ole Punch. 
 
 Punch. — Here's a pretty brace of ducks. (The Policeman 
 at the sight of Punch's stick, sneaks off unseen by the negro, 
 leaving poor Joe all alone with Punch.) 
 
 Joe. — I ain't no duck. 
 
 Punch. — I am going to eat a live nigger raw. 
 
 Joe. — Moses in de mountain— you don't catch dis child. 
 (Exit Joe. Punch lies down on the stage and while watching 
 
12 PUNCH AND JUDY. 
 
 for the clarkie falls asleep. Joe slily crawls up to him and 
 plants a fearful hlcw on the right side of Finch's head; and 
 suddenly dodges cut of sight. Punch, spiings vp lut too late 
 to get a sight of his enemy, he conceals himself behind the 
 scenes and remains en watch. Joe slily crawls up to his side 
 of the stage and conceals himself behind the curtains. But 
 Punch sees him and crawling over unseen, on his hands and 
 knees, to Joe's corner, returns j or his club — as before — returns 
 and hits the negro an awfxd blew andfies to his own corner.) 
 
 Joe.. — You nasty ole tin key nose — I'll catch you yet — I'll put 
 hot lead in your ear. (Joe hides behind the curtain.) 
 
 (Punch crawls over to Joe's side again and deals him two 
 blows in rapid succession, Joe falls down and Punch, sup- 
 posing the fellciv to be dead, throws him over the stage/ and 
 then sings, 
 
 Oh, lay me in my little bed. {Exit Punch.) 
 
 {Enter Blind Man; at the same time an Irishman /rem the 
 opposite side of the stage.) 
 
 Irishman. — Is your name Punch? 
 
 Blind Man. — No, I am blind. 
 
 Irish. — Sure, and how should I know that? troth I would 
 rather see than be blind — it is an unlucky counthry — this that 
 makes a man go blind before he gets hungry — bad luck to the 
 day I left Ireland. {Exit Irishman.) 
 
 {Enter Punch.) Punch. — Ah, is that you Blindy. Where 
 are you from last? 
 
 Blind Man. — From beyond the sea. 
 
 Punch. — Old man, you used to be good at jumping once, 
 how is it now ? 
 
 B. M. — I was something of a jumper in my day. 
 
 Punch. — {Leading him to an old well.) Now, here is a 
 level place, let me see how far you can jump — there's a half a 
 dollar for you. 
 
 (B. M. gets ready, makes a jump and lands at the bottom of 
 the well.) 
 
 B. M.— Help — help, help me out, I am blind! 
 
 Punch. — Stick to it old fellow— keep the thing going and I 
 

 PUNCH AND JUDY. 
 
 13 
 
 will go for assistance. {He starts off, singing.) 
 
 " Down in the coalmines underneath the ground, 
 Where a gleam of sun-shine never can be found, 
 Digging dusty diamonds all the season round: 
 Down in the coalmines underneath the ground." 
 
 {Exit Punch. End of Act II) 
 
 Act III. 
 
 {Enter Alderman Mallen and Capt. Frank.) 
 
 Frank. — He is said to be a mighty smart man, but I think 
 
 we can take him. 
 
 Ald. M. — Well, if we can't no one else need try. 
 
 {Enter Punch, singing!) 
 
 For I am one of the olden time, 
 And may be thought too g*y, 
 Like Jersey Sam the Farmer's man, 
 Hurrah ! hurrah ! hurra. 
 
 Frank. — Leave off your singing, Mr. Punch, for we have 
 come to make you sing on the other side of your mouth. 
 
 Punch. — "Well sir, who are you? 
 
 Frank. — Don't you know me ? 
 
 Punch. — Never saw you before. 
 
 Frank. — That is all gammon: I know you well enough; I 
 had a pretty hard fight with you once. 
 
 Punch. — I always like a man better after I have fought with 
 him. Who sent you here? 
 
 Ald. M. — You are wanted at the Mayor's office. Col. Wood 
 says you once killed a Policeman in Chicago. 
 
 Punch. — No body cares for that. I won't go. 
 
 Frank. — Besides, you killed the Doctor's servant, black Joe. 
 
 Pinch. — He killed me. 
 
 Ald. M. — How can that be? 
 
 Punch. — I was dancing by myself and the fellow came up 
 behind me and knocked me down — if you don't believe it, I 
 can show you how it was done. 
 
 Ald. M. — Well, for one, I should like to see about how it 
 was done. 
 
 (Punch hits him a heavy blow on the side of his head and 
 suddenly makes his exit.) 
 
14 PUNCH AND JUDY. 
 
 {The Alderman and the Constable conceal themselves be- 
 hind the curtains and remain on the loatch for their enemy.') 
 
 Ald. M. — I say Frank, he is a tricky old fellow. 
 
 Frank. — Yes, one wants to be on his guard. He is as quick 
 as lightning, but we must take him — cost what it may, and we 
 have got to do it before he reaches the engine house, on the 
 corner of 10th and Filbert street, the firemen are all friendly to 
 him — so are the children of the city. 
 
 Ald. M. — I'll take him if I have to summon the whole of the 
 Fourth Ward. 
 
 (Punch is heard from beloic; the parties quickly conceal 
 themselves behind the curtain and await his approach. En- 
 ter Punch singing.) 
 
 Charley Buff has money enough, 
 
 Charley Buff lives over the shore, 
 
 And when he dies he'll close his eyes and never see money more. 
 
 {At this part of the play the Alderman and the Policeman 
 spring up behind him and after a hard struggle they pin him 
 in a comer i and finally carry him off, ichile he lustily calls 
 out, "Help! murder!" etc. Mid of Scene I.) 
 
 SCEJSfJE II — The curtain rises at the back of the stage, 
 and discovers Punch in Prison. 
 
 (Jack Ketch enters with a gallows on his shoulders. lie 
 fixes it on the platform of the stage, and exit.) 
 
 Punch. — There goes a hang-dog looking fellow whom they 
 doubtless keep to feed hogs — the fellow's face resembles a side 
 of sole leather, with a slit in it which he calls a mouth. 
 
 {Enter the Constable. He examines the Gibbet and exits.) 
 
 Punch. — There goes the man that stole the butcher's dog. 
 
 [Enter two men with a coffin — they set it down on the platform 
 and exit.) 
 
 Punch. — Hello, there goes two scoundrels — -body snatchers. 
 What grave have they been robbing 1 ? 
 
 {Re-enter Jack Ketch.) Jack Ketch. — Now, Mr Punch, 
 you may come out. 
 
 (Punch walks out.) Punch. — Jack, what have you got on 
 your face ? 
 
 J. K. — I wear a mask because I am thd public executioner. 
 
PUNCH AND JUDY. 15 
 
 It was my ancestor who cut off the head of Ann Bowlin, Cath- 
 erine Howard, Lady Jane Gray and Mary, Queen of Scots, and 
 now I am going to execute you — for killing the De.'s servant. 
 
 Punch. — No you don't, if you do I'll be hanged. 
 
 J. K— Why did you kill old Joe? 
 
 Punch. — In self defence. 
 
 J. K. — Punch that won't do — you are too tough to live. 
 
 Punch.— Jack, the old devil will never get all that is due 
 him, until he gets you in his bony arms. 
 
 J. K. — That's all bosh: your time is nearly up. I want 
 you to put your head into this halter and I'll give you the best 
 swing you ever had. 
 
 Punch. — Jack, if my head was in that rope, I would not 
 take it out, but, as it is out, I'll never put it in. 
 
 J. K. — Mr. Punch, be a good fellow — you are a consider- 
 able burden to me and I want to get the load off my hands ; 
 oblige me by being hung, here is the noose, just put your head 
 in here. 
 
 Punch. — Through that place there? {Pointing to the noose.) 
 I don't know how. 
 
 J. K. — It is very easy: only put your head in that loop, — 
 here, — take the noose. 
 
 Punch. — What so? (Pokivg his head on one side of the noose 
 then on the other side.) 
 
 J. K. — Not so you fool. 
 
 Punch. — Mind, who you call fool: try if you can do it your- 
 self: enly show me how it can be done — old pestilence and I'll 
 try. 
 
 J. K. — Very well ; I will, you see my head and you see this 
 loop. Put it in, so. (Putting his head through the ncose.) 
 
 Punch. — And pull it tight, so! (Re jovlls the body forcibly 
 down, and hangs Jack Ketch.) Huzza ! huzza! (Punch takes 
 down the corpse and places it in the crjjin. Enter two men who 
 remove the gallows and then carry away the coffin a ntainivg the 
 body of Jack Ketch and exit. 
 
16 PUNCH AND JUDY. 
 
 Punch. — There they go they think they have got me in that 
 coffin. (He sings) 
 
 Let the wild world wag as it will 
 
 I'll be merry merry still. 
 
 Jack Ketch is dead and I am free 
 
 I don't care if old Nick himself should come for me. 
 
 {During his singing he beats time with his stick.) 
 I am the man to manage them al', 
 Here's a stick to thump old Nick, 
 If ever he pays me a call. 
 
 (Enter the Devil. Peeps in at the corner, and exit.) 
 
 Punch. — (Much frightened, and retreating as far as he can.) 
 Oh dear! oh Lord! What is that? That's old Nick, sure 
 enough. (The Devil comes forward. Punch stands on the 
 defensive ) 
 
 Punch. — Keep off Mr. Devil. ( The Devil advances ) Look 
 out for your eyes. ( The Devil darts at Punch, who escapes and 
 aims a blow at him: the Devil eludes it, as well as many other 
 bl< ws which Punch aims at him, laying his head on the platform, 
 and slipping it rapidly backward and forward, so that Punch in- 
 stead of striking him, only repeatedly hits the boards. Exit Devil.) 
 
 Punch. — He, he, he! (laughing.') He is off: He who runs 
 away will live to fight another day. 
 
 (A noise in the background is heard.) 
 
 (Punch alarmed by hearing a strange, whirring noise, like that 
 made by a spinning-wheel, retreats to the corner of the stage.) 
 
 (Re-enter the Devil, with a stick. He makes up to Punch, irho 
 retreats round the back of the stage, and they stand eyeing one 
 another and fensing at opposite sides. At last the Devil makes a 
 blow at Punch whieh tells on the back cf his head) 
 
 Punch. — Take care of my head ! What is that for? Old boy 
 can't we be friends. ( The Devil hits him again. Punch now 
 begins to be angry.) Well, if you won't be a friend, we will be 
 enemies, now, old Devil I take the chances in this contest, 
 your head or mine, we must try which is the best man Punch 
 or the Devil. 
 
 (Here commences a terrific combat between the Devil and 
 Punch. Compared with which the fight between the French and 
 the Prussians, if you, leave out the guns, ivas more than boy play. 
 In the beginning, Punch has much the worst of it ; but, at length 
 succeeds in planting several heavy blows in the small of the Devil's 
 back. This vjeakens the old Father of evil, and towards the con- 
 clusion Punch drives his enemy before him. The Devil stunned 
 by repeated blows, falls down, ivhen Punch kills him ; and putting 
 him on his shoulder carries him round, exclaiming,) Huzza! huz- 
 za! the Devil's dead." 
 
ADVERTISEMENTS. 
 
 17 
 
 PUN€H AM) JUDY! 
 
 This amusing entertainment, comprises twenty-four little Actors 
 (wooden puppets), sixteen of which are 
 
 TALBIfffc ■A/fti+MMS, 
 
 Perform all tbe parts of the Fairy Play of 
 
 PUNCH AND JUDY: 
 
 Introducing, therein, characters from 
 
 LITTLE RED RIDING HOOD, ROBIN HOOD, JACK 
 
 THE GIANT KILLER, and the Funny Little Man who 
 
 lived in the HOUSE THAT JACK BUILT, 
 
 CAN BE SECURED ON REASONABLE TERMS 
 
 For Evening Parties, Birthday Festivals, Sun- 
 day-schools, Fairs, Societies, or Excursions. 
 
 Communications by mail or otherwise promptly answered. 
 
 Office, 821 Filbert Street, Philadelphia. 
 
 THOMAS A. M. WARD. 
 
 D. H. EOCKHILL, 
 SETH THOMAS. 
 
 I. MILTON RAAB. 
 «'m. M. PURNELL. 
 
 SIT I TKDK&S. 
 EMKEII.L AID WILSGSt. 
 
 Tailors and Clothiers. 
 
 mu mv boys> weab> 
 
 603 and 605 Chestnut Street, 
 
 PHILADELPHIA. 
 
18 
 
 ADVERTISEMENTS. 
 
 Trego's Teaberry Tooth Wash. 
 
 A Superior Dentifrice, 
 
 F0H IEESEEVING- THE TEETH AND IMPARTING A 
 DELIGHTFUL FEAGRANCE TO THE BREATH. 
 
 This Wash has long been in use in Philadelphia where it 
 is highly recommended as a dentrifrice ; incomparably, 
 
 TEE PUREST AND BEST ARTICLE 
 
 OF THE KI3fl> EVER 
 
 OFFERED TO AN MTElUGEftST PUBLIC 
 A. M. WILSON, Proprietor, 
 
 Apothecary, 78, W. Corner of Ninth and Filbert Streets, 
 PHILADELPHIA. 
 
 LARGE TEMPLE OP FANCY! 
 
 CHILDREN'S CARRIAGES, 
 
 OF J^LTL. KINDS. 
 
 Wagons and Carts, Base Balls, Bats, 
 
 MABBLES, ROLLING HOOFS, JUMPING ROPES 
 
 CROQUET, 
 
 J^ISTJD OTHBB GhAJVIIIES, 
 
 BwiTOts* ©aNfe Slates and) WmQll§» 
 Flap, Rest iS^^i^ha^cn icidH o>t fctt? ^I^m, 
 
 Amber Tubes, Beads, Canes Mounted with Gold and Sil- 
 ver, Ivory and Plain, of our own Make. 
 New Toys, Fancy Goods and Novelties always receiving 
 and selling at the lowest prices. 
 
 SUNCH AND JUDY FIGURES CONSTANTLY ON HAND. 
 
 GEORGE DOLL &c CO., 
 
 Importers, 
 NOS. 10 AND 13 NORTH SIXTH ST., PHILADELPHIA. 
 
 N. B.— CANES and PIPES neatly mounted and repaired. 
 
ADVERTISEMENTS. 
 
 19 
 
 ESTABLISHED 1857. 
 
 OF ALL KINDS 
 
 BOUGHT AND SOLD. 
 
 Mr. Kline would invite the attention of collectors to his 
 extensive stock of 
 
 Coins, Medals, Minerals, Fossils, Gems, Antiques, 
 Shells for collections and work, Articles of Vertu, 
 Postage, Revenues, Match, Proprietary, and 
 Department Stamps, India, Canton, 
 Sevres and rare China, Clocks, 
 Watches, Candlesticks and 
 Snuffers, Indian Stone 
 Implements and 
 Pottery, 
 Bronzes, Mosa- 
 ics, Seals and Armor, 
 Pipes, Birds' Eggs and 
 Nests, Engravings and Scrap 
 Prints, Idols from India and China, 
 Skeletons and Crania, Crests and Mon- 
 ograms, Corals and Sponges, Stamp and 
 Monogram Albums, etc. 
 
 Price Catalogue Sent Free on the Receipt of the Address. 
 
 Wanted to purchase, United States Revenue, Match, Medicine, Proprie- 
 tary, Department and Confederate Stamps, Coins, China, and curiosities 
 of every description. 
 
 In remitting money, if over two dollars (which may be sent either in 
 currency or un-used U. S. postage stamps) always send P. 0. order or 
 Banker's draft, payable to order. 
 
 JOHX W. KLINE, 
 
 Importer of IPostage Stamps, &c. 
 113 SOUTH EIGHTH ST., PHILADELPHIA, PA S 
 
20 
 
 ADVERTISEMENTS. 
 
 -FOR- 
 
 PARTIES Ml If HUMS 
 
 J, 
 
 wess^: 
 
 1119 Spring Garden Street. 
 
 IMPORTERS AND DEALERS IN 
 
 Upholstery Goods, Curtains and Window Shades, 
 
 And all kinds of Cabinet Maker's Materials. 
 
 No. 11 North Charles Street, 
 
 bj^ltiz^oK/E, im:. id. 
 
 J. H. PILLEY & SON, 
 
 ililllllill 
 
 33 
 
 WINDOW SHADES, 
 
 1103 Spring Garden Street, 
 
 PHILADELPHIA. 
 
 COMPETENT WORKMEN FOR CITY AND COUNTRY TRADE 
 
ADVERTISEMENTS. 
 
 21 
 
 w* 2*o®wm. jr: 
 
 ■DEALER IN- 
 
 3 
 AND 
 
 * 
 
 ¥!4W ®@@© 
 
 No. 926 Market Street, 
 
 PHILADELPHIA. 
 
 F. EBERHARDT, 
 
 IMPORTER AND DEALER IN 
 
 FRENCH AND GERMAN 
 
 BASKETS. 
 
 TOITS A.1TID 
 PUNCH AND JUDY FIGURES. 
 
 No. 928 Arch Street. 
 PHILADELPHIA. 
 
22 ADVERTISEMENTS. 
 
 xon.ob m&i® 
 
 CAtf BE ENGAGED FOR 
 
 suNDii and pubmg §010018, 
 
 SOCIETIES, LODGES 
 
 AND PRIVATE PARTIES! 
 
 IN THE CITY AND COUNTRY. 
 
 Apply at No. 503 Chestnut Street, or at bis Resi- 
 dence, 1831 Wallace Street. 
 
 Ciegaray Iistiiote 
 FOR YOUNG LADIES AND MISSES, 
 
 Established by Madame Chegaray in New York, 1814. 
 o 
 
 MADAME D'HERVILLY, - - Principal. 
 
 Nos. 1527 and 1529 Spruce Street, 
 
 PHILADELPHIA, PA. 
 
 JOHN THORNLEY, 
 
 503 Chestnut Street, Philadelphia, Pa., 
 
 Manufacturer and Dealer in All Kinds of 
 
 S B ' 
 
 HA IH 11 
 
 wwM&m* 
 
ADVERTISEMENTS. 23 
 
 THEO. I. KARBACE 
 
 IMPORTER OF 
 
 Slides for the Magic Lantern and Stareopticon ! 
 
 Novelties a Specialty. 
 Ittetes® Stamp fat* QaMQgu^e 
 
 809 Filbert Street, Philadelphia, Pa. 
 
 o 
 
 ear MAGIC LANTEKNS AND SLIDES WANTED. 
 
 TEMPLE OP IF'.AJSHIX.OILT! 
 
 MRS* M, &. eilfDEHs 
 
 1101 N. W. Corner Eleventh and Chestnut Streets, 
 
 IMPORTER OF GLOVES M EVERV SHADE, 
 
 MILLINERY FOR LADIES AND MISSES, IMPORTED 
 
 BONNETS AND HATS, LADIES' DRESS TRIM 
 
 MINGS, REAL AND IMITATION LACES, 
 
 Parasols, Fans, Ribbons, Ties, French Jewelry and Fancy Goods, 
 Dress and Cloak Making in the most tasteful and elegant manner. 
 
 PAPER PATTERNS WHOLESALE AND RETAIL. 
 
 WILLIAM A. DROWN & CO., 
 
 UMBRELLA and PARASOL 
 
 MANUFACTURERS, 
 
 246 Market Street, 
 
 PHILADELPHIA. 
 
 Warerooms in New York, 498 and 500 Broadway. 
 
24 ADVERTISEMENTS. 
 
 —IMPORTER OF- 
 
 GERMAN, FRENCH AND ENGLISH 
 
 —ALSO— 
 
 OF ALL SIZES 
 
 FOR PUBLIC AND PARLOR ENTERTAINMENTS, 
 
 OF WOOD AND PAPER-MACHE, 
 
 FANCY CHINA WARE, 
 
 MUSIC BOXES 
 
 —AND— 
 
 OTHER NOVELTIES 
 -A.L"W.A."Z"S BBCBIYING 
 
 -AND— 
 
 Selling at the Lowest Prices. 
 
 Jfo. 1006 Chestnut Street, 
 
 PHILADELPHIA, 
 
HELMBOLD'S 
 
 DRUG STORE, 
 
 ©@mfim©aial H@t©L 
 mmmWmWsE 
 
 ■TOUT iiMMlUll 
 
 —WITH— 
 
 * 
 
 lire Jlf itfjg2 mi 
 
 OPErST ALL NIGHT. 
 
 IMPORTER OF . 
 
 FRENCH, GERMAN AND ENGLISH 
 
 3F» 353 3EI. 3F 1 "O" Xltt 3E 3Ft^S?% 
 
 SOAPS, POMADES, 
 TO.ILDT- ABTIilaBSt IT©, 
 
 COMPLETE LINE OF LADIES' REQUISITES. 
 
 PRINCIPAL AGENT OF 
 
 &TOMWS MSilM'S ara<S LITGMPQR B>'§ 
 PBRPUMBBT. 
 
 SOLE AGENT FOR THE 
 
 ©©Item Sate '.■ WlrnM, 
 
 L'AUREOLINE DE ROB ARE, 
 
 Patronage of the Public is Respectfully Solicited. 
 ALBERT- L. HELMBOLD, 
 
 Philadelphia, Pa. 
 
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