The German Showman.

The German Showman.

[Enlarged illustration] (400 kB).

An elevated stand he takes,
And to the fiddle’s squeak, he makes
A loud and entertaining lecture
On every wonder-working picture:—
The children cry “hark!—look at that!”
And folks put money in the hat;
Or buy his papers that explain
The stories they would hear again.

This [engraving] is taken from one by Chodowiecki, of Berlin, to show the German showman, on his stage of boards and tressils, as he shows his pictures. These are usually prints stretched out, side by side, on an upright frame, or sometimes oil paintings representing characters or situations of interest. For instance, in the present exhibition there is the mode of keeping the festival of the new year, a grand ball, a feast, a wedding, a “high sight” of the court, and, in all, thirteen subjects, sufficiently beyond the intimacy of the populace to excite their curiosity. The showman commonly details so much concerning every thing in his grand exhibition, and so elevates each, as to interest his auditors to the height of desiring further particulars. The stories are printed separately in the shape of ballads or garlands, and “embellished with cuts;” by the sale of these to his auditors he obtains the reward of his oratory.

The qualifications for a German showman are a manly person, sonorous voice, fluent delivery, and imposing manner. In dress he is like a sergeant-major, and in address like a person accustomed to command. He is accompanied in his speeches by a fiddler of vivacity or trick, to keep the people “in merry pin.” This associate is generally an old humourist, with a false nose of strange form and large dimensions, or a huge pair of spectacles. Their united exertions are sure to gratify audiences more disposed to be pleased than to criticise. With them, the show is an affair of like or dislike to the eye, and beyond that the judgment is seldom appealed to on the spot. If the outlines of the showman’s stories are bold, and well expressed, they are sure to amuse; his printed narratives are in good demand; both exhibitors and auditors part satisfied with each other; and they frequently meet again. This is the lowest order of the continental street comedy. In England we have not any thing like it, nor are we likely to have; for, though strange sights almost cease to attract, yet the manager and musician to a rational exhibition of this sort, in the open air, clearly come within the purview of recent acts of parliament, and would be consigned to the tread-mill. What recreation, however, can be more harmless if the subjects are harmless. “Death and the Lady,” the “Bloody Gardener’s Cruelty,” and the numerous tribe of stories to which these garlands belong, continue to be pinned on lines against a few walls of the metropolis, but they cease to attract. The “common people,” as they are called, require a new species of street entertainment and a new literature: both might be easily supplied with infinite advantage to the public morals.

NATURALISTS’ CALENDAR.

Mean Temperature 50·72.