Summary

Various Punch, or the London Charivari…

There is no doubt that Sir Robert Peel is the Lafontaine of political mesmerism—the fountain of quackery—and every pass he makes with his hand over poor John Bull serves to bring him into that state of stupefaction in which he may be most easily victimised. While Lafontaine thrusts pins into his patient, the Premier sends poor John into a swoon, for the purpose of, as it is vulgarly termed, sticking it into him; and as the French quack holds lucifers to the nostril, Peel plays the devil under the very nose of the paralysed sufferer.
Source: Gutenberg

Various Punch, or the London Charivari…

She, of course, embraces her lover, and leaves Jack Ketch to embrace his profession with what appetite he may; all, in fact, ends happily, and Sir Gregory goes off to be hanged.
This, then, is the state to which the founders of the Newgate school of dramatic literature, and the march of intellect, have brought us. Nothing short of actual hanging—the most revolting and repulsive of all possible subjects to enter, much less to dwell in any mind not actually savage—must now be provided to meet the refined taste of play-goers.
Source: Gutenberg

Various Punch, or the London Charivari…

The lovers go through the mode of recognition never departed from at minor theatres, with the most frantic energy, and have nearly hugged themselves out of breath, when the executioner papa interrupts the blissful scene, without so much as saying how he got there; but “finishers” are mysterious beings. Barabbas denounces the laird; and when his consent is asked for the hand of Miss Barbara, tells the lover “he will see him hanged first!”
The moon, a dark stage, and Jack Ketch in the character of a foot-pad, now add to the romance of the drama.
Source: Gutenberg

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