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The Project Gutenberg EBook of Punch, or the London Charivari, Vol. 1, October 9, 1841, by Various 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.net Title: Punch, or the London Charivari, Vol. 1, October 9, 1841 Author: Various Release Date: February 7, 2005 [EBook #14931] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK PUNCH *** Produced by Syamanta Saikia, Jon Ingram, Barbara Tozier and the PG Online Distributed Proofreading Team PUNCH, OR THE LONDON CHARIVARI. VOL. 1. FOR THE WEEK ENDING OCTOBER 9, 1841. * * * * * A MANUAL OF DENOUEMENTS. "In the king's name, Let fall your swords and daggers."--CRITIC. [Illustration: A]A melo-drama is a theatrical dose in two or three acts, according to the strength of the constitution of the audience. Its component parts are a villain, a lover, a heroine, a comic character, and an executioner. These having simmered and macerated through all manner of events, are strained off together into the last scene; and the effervescence which then ensues is called the _denouement_, and the _denouement_ is the soul of the drama. _Denouements_ are of three kinds:--The natural, the unnatural, and the supernatural. The "natural" is achieved when no probabilities are violated;--that is, when the circumstances are such as really might occur--if we could only bring ourselves to think so--as, (_ex. gr._) When the villain, being especially desirous to preserve and secrete certain documents of vital importance to himself and to the piece, does, most unaccountably, mislay them in the most conspicuous part of the stage, and straightway they are found by the very last member of the _dram. pers._ in whose hands he would like to see them. When the villain and his accomplice, congratulating each other on the successful issue of their crimes, and dividing the spoil thereof (which they are always careful to do in a loud voice, and in a room full of closets), are suddenly set upon and secured by the innocent yet suspected and condemned parties, who are at that moment passing on their way to execution. When the guiltless prisoner at the bar, being asked for his defence, an
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