Mr. Punch's Dramatic Sequels — Reading Companion
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The source record for Mr. Punch's Dramatic Sequels — Reading Companion measures this digital text at 28,532 words, 2 hr 5 min estimated reading time, and 6 detected text sections.
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Project Gutenberg metadata also associates the work with “Parodies,” connecting these edition facts with the source record’s subject description.
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uripides did not do was to give us any hint of the subsequent history of the reunited couple. Did they live happily ever afterwards, or----? But the sequel must show. It is written in the woman-hating vein so often seen in Euripides, and its title has been Latinized for the benefit of those who have forgotten their Greek._
SCENE.--_Before ADMETUS' Palace. That worthy enters hurriedly through the Royal doors, which he bangs behind him with a slight want of dignity. He soliloquises._
Ye gods, how long must I endure all this, The ceaseless clamour of a woman's tongue? Was it for this ye granted me the boon That she might give her life in place of mine, Only that Heracles might bring her back, Torn from the arms of Death to plague me thus? This was your boon, in sooth no boon to me. How blind is man, not knowing when he is blest! Fool that I was, I mourned Alcestis' death Almost as much as I should mourn my own. Indeed I thought, so great my grief appeared, I would almost have laid my own life down --Almost I say--to bring her back to earth. Yet, now she lives once more she makes me weep More bitter tears than I did ever shed When I believed her gone beyond recall.
Oh, what a doubtful blessing is a wife Who saves your life And then doth make it doubly hard to live! Alas, she doth but give A gift we cannot prize But count it in our eyes As nothing worth--a thing to spurn, to cast away, To form the theme of this depreciatory lay!
Alcestis, what a shame it is to find This kingly mind So much disturbed, this kingly heart so wrung, By thy too active tongue Thou gav'st thy life for his But oh, how wrong it is To make that life which thou so nobly didst restore A thing he values not at all, in fact a bore!
O wretched race of men, When shall we see again The peace that once ye had Ere woman bad, Or mad, Did cross your happy path In wrath, And doom you to a tedious life of fear and fret, Of unavailing tears and unconcealed regret!
O Heracles, what shame Shall cloud thy previous fame Who brought this lady back Along the black Steep track, Where Death and she did fare, A pair (At least, as far as we can ascertain) content To those Tartarean halls which hear no argument!
[_Enter ALCESTIS. She is in a bad temper, and is weeping as only Euripides' characters can._
Ah! woe is me! Why was I ever born? And why, once dead, did I return again To this distressful earth? Oh, Heracles, Why did you bear me back to this sad place, This palace where Admetus sits enthroned? Oh, what a disagreeable fate it is To live with such a husband--hear his voice Raised ever in complaint, and have no word Of gratitude for all I did for him! Was there another creature in the world Who willingly would die for such a man? Not one! His father, aged though he was, Scouted the proposition as absurd. His mother, when approached, declined in terms Which I should hesitate to reproduce, So frank and so unflattering they were. But I, I gave my life instead of his, And what is my reward? A few cold words Of thanks, a complimentary phrase or two, And then he drops the subject, thinks no more About the matter and is quite annoyed When, as may happen once or twice a day, I accidentally allude to it!
[_Bursting into indignant stichomuthia._] Not once or twice but fifty times a day.
Nay, you can have too much of a good thing.
I don't agree. Speech is a good to men....
Your drift, as yet, I do not well perceive.
... Yet too much speech is an undoubted ill.
Ah, you rail ever at a woman's tongue.
Where the cap fits, why, let it there be worn.
You spoke not thus when I redeemed your life.
No, for I thought you gone ne'er to return.
'Twas not of mine own will that I came back.
I'm very certain that 'twas not of mine!
Tell that to Heracles who rescued me.
I will, next time he comes to stay with us.
You say that, knowing that he cannot come.
Why should he not? What keeps him then away?
Cleansing Augean stables: a good work!
Idiot! He never will let well alone.
[_Tired of only getting in one line at a time._]
St. John Hankin's Mr. Punch's Dramatic Sequels (1901) takes up where well-known plays leave off, offering fourteen imagined continuations in a parodic vein. The prefatory poem sets the tone: 'Plays end too soon. They never show / The whole of what I want to know.' Hankin, a playwright and critic associated with Punch magazine, applies a sharp, satirical eye to both classical and contemporary drama. The catalog subjects list 'Parodies; English drama,' and the excerpts bear this out—but the parodies are less about mocking the originals than about extending their social dynamics into domestic comedy. The sequel to Caste, for instance, dwells on class tensions and in-law friction rather than plot mechanics. Hankin's voice is dry, precise, and fond of exposing hypocrisy through dialogue.
Parody as Social Commentary
The excerpt from the Caste sequel reveals Hankin's method: he takes the original's class-crossing marriage and explores its aftermath through bickering. George complains to Esther about her father's drinking and the 'Cockney accent' of their son, acquired from playing with the Gerridges' children. The humor derives from George's polite desperation—'I am torn between my devotion to you and my abhorrence of your relations'—and Esther's sentimental refusal to see the problem. Hankin does not simply rehash the original; he invents new tensions, like the son's accent becoming a source of 'intense physical discomfort' for George. The parody works by treating the characters as real people stuck in mundane irritations, a technique that aligns with the catalog subject 'English drama' but pushes it toward social satire.
Structure and the 'Sequel' Formula
Each sequel in the collection follows a recognizable pattern: a brief prose summary of the original play's ending, then a new scene set some time later. The Alcestis sequel, titled Hercules Victus, begins with Admetus banging the palace doors 'with a slight want of dignity' and soliloquizing about 'the ceaseless clamour of a woman's tongue.' This deflation of classical heroism is typical. Hankin's stage directions are minimal but pointed, and the dialogue carries the weight of characterization. The sequels are not full plays but single scenes, often ending on a wry note rather than a resolution. The structure allows Hankin to focus on a single comic predicament, such as the return of a troublesome relative or the persistence of a social faux pas. The excerpts suggest that the humor depends on readers' familiarity with the originals, but the scenes stand alone as vignettes of marital and domestic strife.
Recurring Motifs: Class, Accent, and In-Laws
Across the excerpts, certain motifs recur. Class anxiety is central: in Caste, George frets about his son's Cockney accent and the social consequences of his wife's family. The in-law relationship is a persistent source of comedy—Mr. Eccles enters 'having a tipsy altercation with the maid' and addresses George as 'yer old father-in-law.' The motif of the embarrassing relative appears in multiple sequels, suggesting Hankin's interest in the friction between personal affection and social propriety. Accent and speech are used as markers of class: George describes the Cockney accent as 'indescribable' and worries about public school prejudice. These details ground the parodies in specific, observable social codes, making the humor feel less like literary criticism and more like a commentary on Edwardian manners. The catalog subject 'Parodies' is thus fulfilled through precise social observation rather than broad caricature.
Readers approaching Mr. Punch's Dramatic Sequels will benefit from some familiarity with the original plays, but Hankin's wit is accessible even without deep knowledge. The sequels reward attention to dialogue rhythms and the way characters reveal themselves through complaint. The illustrations by E. J. Wheeler, listed in the contents, add a visual dimension to the satire. This edition preserves the text as originally published, with the author's prefatory poem intact.
I keep thinking about Hankin’s sequels—how the funniest jokes land only after you’ve sat with the original’s sorrow. It’s the same quiet ache I found in Two plays for dancers — Reading Notes, where the lightness feels borrowed, like laughter held just a moment too long. That lingering sense stays with you, softly.
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