Bonaparte

An engaged audience (lower l.) looks upwards towards the stage on which an animated actor (r.), Elliston, gestures broadly and sings his song. In this detailed engraving, Cruikshank has represented the members of the caricatured audience in various moments of attention. The figures standing in front of the stage are common types wearing less than fashionable clothing. These figures, presumably of the middling sort, are drawn in profile, giving Cruikshank the maximum opportunity to explore comic possibilities of caricature. Bordering the stage, a theatre box is full of elegant types. Although many in these seats are paying close attention to the actor, several figures, like the young couple in the right corner of the box, are more interested in observing each other. Spotlighted on stage, the actor appears to be playing towards the audience in front of him, rather than performing exclusively for the wealthy clientele at who watch from their box seats. Performing as Sylvester Daggerwood, Elliston's song extolls the virtues of laughter and lampoons Napoleon's rise to power. His costume, described by George as the "ragged" and "quasi-Spanish dress" of the unsuccessful provincial actor, typified by 'Sylvester Daggerwood," clearly ties the actor to his role. An engaged audience (lower l.) looks upwards towards the stage on which an animated actor (r.), Elliston, gestures broadly and sings his song. In this detailed engraving, Cruikshank has represented the members of the caricatured audience in various moments of attention. The figures standing in front of the stage are common types wearing less than fashionable clothing. These figures, presumably of the middling sort, are drawn in profile, giving Cruikshank the maximum opportunity to explore comic possibilities of caricature. Bordering the stage, a theatre box is full of elegant types. Although many in these seats are paying close attention to the actor, several figures, like the young couple in the right corner of the box, are more interested in observing each other. Spotlighted on stage, the actor appears to be playing towards the audience in front of him, rather than performing exclusively for the wealthy clientele at who watch from their box seats. Performing as Sylvester Daggerwood, Elliston's song extolls the virtues of laughter and lampoons Napoleon's rise to power. His costume, described by George as the "ragged" and "quasi-Spanish dress" of the unsuccessful provincial actor, typified by 'Sylvester Daggerwood," clearly ties the actor to his role. Published by Lawrie and Whittle (or Whittle and Lawrie), 1811-03-25. The representation of an actor in print satire indicates the close relationship between print caricatures and the representation of character on the stage. This relationship is further evident in the many print satires in which the space on the sheet is aranged like the space on the stage. See for example, Broadley 5 and Broadley 853. Caption: Written by Mr. Lawler; introduced by Mr. Elliston, and Sung by him, with unbounded Applause, in the Character of SYLVESTER DAGGERWOOD, at the Surry Theatre. Caption: Published March 25th 1811, by Laurie & Whittle, 53, Fleet Street, London Verse: All the World is a Stage it's well known, Life's a Chapter of Accidents, too, Sir, Everyone has his Fault, we must own, Whether Musselman, Quaker, or Jew, Sir: While the brisk Wheel of Fortune goes round, To Laugh when you can is most hearty, Wherever the cause can be found, From Tom Thumb to the great Bonaparte. Tol de rol, & c. If the World this vast hero had got, Hit or Miss, he would wish to drive further; I will not decide Knave or not, But 'tis plain he thinks Killing no Murder. He's as choleric, too, as King Lear, And some say, 'tis well it's no worse, Sir; He a sad Jealous Wife made last year, When he slyly got up the Divorce, Sir. He found an odd Way to get Married, the Honey-Moon pass'd without strife, Sir; And tho' he his point snugly carried, It was a Bold stroke for a Wife, Sir. Josephine, like a sad Mourning Bride, Saw Hymen's soft fetter's undone, Sir; And the poor Son in Law thrust aside, To make way for the Doubtful Son, Sir. Tol de rol, & c. When he finds Ways and Means rather bare, In his Cabinet such hard the plan is, The Dutch Merchant he never will spare, Any more than the Merchant of Venice. He's fortune's Spoil'd Child, people say, Such luck tho' we don't often meet Sir; There's always the Devil to pay, When he meets with the English Fleet, Sir. Of his Brothers, too, something I'll say, They're not o'erfond of his laurels; And, prudently, some run away, 'Cause they do not like Family Quarrels. But this is not ill-natur's age, Humanity's spark will not cool, Sir; And the Exile that files from his Rage, Will meet a kind friend in John Bull, Sir. Tol de rol, &c. Plate Number: 519