We older children, too, our loss lament, We of the "Table Round," remembering well How he, our comrade, with his pencil lent Your fancy's speech a firmer spell.
Master of rare woodcraft, by sympathy's Sure touch he caught your visionary gleams, And made your fame, the dreamer's, one with his, The wise interpreter of dreams.
Farewell! But near our hearts we have you yet, Holding our heritage with loving hand, Who may not follow where your feet are set Upon the ways of Wonderland.
[Sidenote: _Magic, Megalomania, and Sham Culture_]
From this wonder world _Punch_ turned to "_le monde où l'on s'affiche_" to castigate the methods of Mr. Hall Caine and Mr. Le Gallienne--the Manx megalomaniac and the Author-Lecturer--and to the realm of blameless banality ruled over by Sir John Lubbock. Sir John's genius for truisms had been guyed in 1894; in 1900 he appears in a special section of "The Book of Beauty" as the author of some enchanting platitudes, e.g. "A man's work will often survive him. Thus, Shakespeare and Watt are dead; but _Hamlet_ and the steam engine survive."
This was the year of the appearance of Lady Randolph Churchill's _Anglo-Saxon Review_, a sumptuous publication which for a brief period revived the glories of the _Books of Beauty_ and _Keepsakes_, edited in the 'thirties and 'forties of the last century by that "most gorgeous" lady, the Countess of Blessington.
Pseudo-intellectuality was one of the social shams which _Punch_ loved to pillory, and there is a good example in 1901 in the "Cultured Conversation" of a lady who observes, "I'm _devoted_ to Rossetti--I _delight_ in Shelley--and I simply _love_ Ella Wheeler Wilcox." _Punch_ himself in the same year "delighted" quite sincerely in _Some Experiences of an Irish R.M._, and "wept tears of laughter" over the episode of "Lisheen Races." This was apparently his first introduction to the work of those two wonderfully gifted Irish cousins, Violet Martin and Edith Somerville, but only towards the end of their long and fruitful collaboration did he recognize in them far higher qualities than those of the mere mirth-provoker.
In 1903 he was destined to make acquaintance with one of the most conspicuous representatives of the opposite tendency, Gorki, the Russian novelist and playwright. In "The Lowest Depths" _Punch_ parodied the dreary, violent and brutal squalors of _The Lower Depths_, and incidentally had a dig at the Stage Society for producing it. It was in the same year that _Punch_ described the "new curse of Caine"--"to be everlastingly coupled with the name of Miss Marie Corelli"--and paid them both grateful homage as purveyors of "copy":--