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-The Project Gutenberg EBook of Ernesto Garcia Cabral, by 
-George Robert Graham (G. R. G.) Conway
-
-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.org/license
-
-
-Title: Ernesto Garcia Cabral
-       A Mexican Cartoonist
-
-Author: George Robert Graham (G. R. G.) Conway
-
-Illustrator: Ernesto Garcia Cabral
-
-Release Date: September 1, 2019 [EBook #60214]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK ERNESTO GARCIA CABRAL ***
-
-
-
-
-Produced by Chuck Greif, ellinora and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive/Canadian Libraries)
-
-
-
-
-
-
-
-                [Illustration: ERNESTO GARCIA CABRAL.]
-
-
-
-
-                         ERNESTO GARCIA CABRAL
-
-                                  -A-
-
-                          MEXICAN CARTOONIST
-
-
-                                  BY
-
-                            G. R. G. CONWAY
-
-
-                            [Illustration]
-
-                  Issued for private circulation from
-
-               Calle de Marsella No. 47, City of Mexico.
-
-                               MCMXXIII
-
-
-         Of this little book, one hundred and fifty copies
-         have been printed for the amusement of friends,
-         who will admire the genius of the famous Mexican
-         cartoonist and at the same time forgive the shortcomings
-         of the compiler.
-
-         This copy, which is No. ____ is dedicated
-         with friendly greetings
-
-         to ____
-
-         By ____
-
-
-                                            _Xmas. 1923._
-
-
-
-
-CONTENTS
-
-
-                                PAGE
-
-Biographical Foreword        7 to 13.
-
-
-ILLUSTRATIONS
-
-I. Ernesto García Cabral.
-
-II. Sr. Ing. Don Alberto Pani.
-
-III. Lic. Miguel Alessio Robles.
-
-IV. Sr. Ing. Antonio Madrazo.
-
-V. Lic. Benito Javier Pérez Verdía.
-
-VI. Lic. Luis Manuel Rojas.
-
-VII. Sr. Lic. Antonio Pérez Verdía F.
-
-VIII. Sr. Don Carlos B. Zetina.
-
-IX. Don José de la Macorra.
-
-X. The late Don Genaro García.
-
-XI. Sr. Don Carlos Meneses.
-
-XII. Señora Eugenia de Meléndez.
-
-XIII. Dr. Atl.
-
-XIV. Hon. William Howard Taft.
-
-XV. Ambassador Fletcher.
-
-XVI. Mr. George T. Summerlin.
-
-XVII. Mr. Matthew Elting Hanna.
-
-XVIII. Mr. Oscar Maxon.
-
-XIX. Mr. William Randolph Hearst.
-
-XX. Mr. Henry Ford.
-
-XXI. Ramón del Valle Inclán.
-
-XXII. Josef Lhévinne.
-
-XXIII. Anna Pavlowa.
-
-XXIV. Mr. E. R. Peacock.
-
-XXV. G. R. G. Conway.
-
-XXVI. Mr. Claude Marsh Butlin.
-
-XXVII. Georges Carpentier.
-
-XXVIII. Jack Dempsey.
-
-XXIX. Rodolfo Gaona.
-
-XXX. Ignacio Sánchez Mejías.
-
-XXXI. Juan Belmonte.
-
-XXXII.-LVIII. Political, Social and Topical Cartoons.
-
-
-
-
-                         Ernesto García Cabral
-
-    _Once, on a glittering ice-field, ages and ages ago,_
-    _Ung, a maker of pictures, fashioned an image of snow,_
-    _Fashioned the form of a tribesman--gaily he whistled and sung,_
-    _Working the snow with his fingers. Read ye the Story of Ung!_
-
-    _Pleased was his tribe with that image--came in their hundreds to scan--_
-    _Handled it, smelt it, and grunted: “Verily, this is a man!_
-    _“Thus do we carry our lances--thus is a war belt slung,_
-    _“Lo! it is even as we are. Glory and honor to Ung!”_
-
-               .......................
-
-    _Straight on the glittering ice-field, by the caves of the lost Dordogne,_
-    _Ung, a maker of pictures, fell to his scriving on bone--_
-    _Even to mammoth editions...._
-                                          (_KIPLING_)
-
-
-The art of the cartoonist was flourishing in the palaeolithic age, about
-fifty thousand years ago. In the caves of Dordogne, in Southern France,
-the early artist scraped and scratched his figures of reindeers and
-mammoths, and colored them in red, white and black. He was a magic
-worker, using his remarkable art to impress his less skilled brother.
-The caricaturist belongs to a much later period; but he, too, was in
-evidence in Greece during the days of Aristophanes, a century or two
-before the artistic genius of the Maya race carved and modelled their
-quaint, grotesque figures of men and animals. That the art of caricature
-is an ancient one in Mexico we have abundant evidence. The artist
-usually worked in clay, but he also made drawings with pointed obsidian
-knives or charcoal on stone. Representations of his art craft can be
-seen in many of the ancient codices. In Padre Sahagun’s illustrations
-(the Florentine Codex) we find many whimsical and fantastic sketches,
-grim with sardonic humor. Except here and there, on rare occasions, the
-art of caricature which flourished in Europe during the Spanish Colonial
-period, was dormant in Mexico. In the Codex of San Juan Teotihuacan,
-which dates from the middle of the sixteenth century, we see the Indian
-artist caricaturing the portly Augustinian friars, and revealing with
-tragic earnestness the suffering of the poor natives whom the monks
-compelled to build their beautiful churches to the “Glory of God.”
-
-But the art of satirical expression can only be developed when some
-degree of freedom obtains. Under Spanish rule and the rigid jurisdiction
-of the Inquisition no freedom of thought was possible. With the changed
-conditions brought about by the separation of New Spain from the mother
-country there was liberty enough--and even license--for the
-caricaturist, which he used with biting satire against the ever-changing
-political heroes. To-day, the political cartoonist in Mexico is a
-powerful factor in moulding public opinion against influential persons.
-Since the fall of Porfirio Diaz the daily and weekly journals have been
-enlivened by the cartoons of a brilliant group of young men--foremost
-and leader of them all is Ernesto Garcia Cabral, the fertile genius who
-has daily depicted and delineated every phase of Mexican life and
-politics.
-
-Cabral, who is quite young, was born in the year 1891, in Huatusco, a
-picturesque village in the State of Veracruz. As a child of three or
-four years he amused himself by tracing figures on the ground and before
-the age of fourteen he delineated figures of animals and saints on the
-walls of the village church. At that time he also discovered his future
-artistic bent in making profile caricatures of his younger brothers and
-school-fellows. His school teacher, early recognizing the ability of
-the boy in draughtsmanship, persuaded the “Jefe Politico” of the
-district to solicit a scholarship from Señor Don Teodoro Dehesa, the
-enlightened Governor of the State. Señor Dehesa, a patron of art, who
-frequently acted as a Maecenas to struggling artists, granted the young
-Ernesto the coveted bursary which entitled him to enter the San Carlos
-Academy in the Capital of the Republic. There he was able to improve his
-technique, but the scholarship did not make him independent. To live and
-continue his studies it was necessary for him to earn money. He
-therefore commenced to draw for the public, collaborating in the
-publication of a lithographed political paper called “La Tarantula.” In
-this paper, directed by Fortunato Herrerías, he dedicated himself
-exclusively to the art of caricature. At the end of six months he joined
-the staff of the short-lived comic weekly “Frivolidades” which soon had
-to stop publication for want of funds. The next important step in
-Cabral’s career was his collaboration with Mario Vitoria, in the
-well-known political weekly “Multicolor” and through the medium of this
-paper his drawings became known to a wider and more influential circle.
-“Multicolor” had great political influence during the three years it was
-published (1911-1914), and helped very powerfully towards the making and
-unmaking of the political idols of the hour.
-
-It was during this period that the brilliant young artist came to the
-notice of President Madero, who decided to send him to Paris to continue
-his studies at the expense of the Mexican Government. Cabral settled in
-Paris in 1912 and pursued his studies at the free academies of Colorossi
-and the Grande Chaumiére. Cabral’s native land was soon afterwards
-passing through the agonies of revolution and the tragic death of Madero
-left the artist penniless, as the new Government stopped all the
-bursaries of Mexican students then studying under official patronage in
-Europe. Deprived of all means of subsistence, Cabral, as he once told
-the present writer, was, for a time, actually starving. Some
-amelioration came to him as the result of winning a competition
-inaugurated by an official Academy of Painting at No. 80 Boulevard
-Montparnasse, the prize being free admission to the upper class of
-drawing from the nude. The competitors, who were fifteen in number, were
-required to make in five hours--one hour a night--a crayon drawing of a
-Greek statue. The starving artist’s success, ironically enough, was
-communicated by the Mexican Consul in Paris, to the Minister of Public
-Instruction and Fine Arts in Mexico, and the local press made Cabral the
-subject of flattering comment. Cabral was then able to continue his
-studies without expense, but was compelled at the same time to struggle
-gallantly for a pittance, by selling the productions of his pencil
-through the “Marchand de Tableaux”--and shortly afterwards he was taken
-on the staffs of “Le Rire” and “Bayonette.”
-
-When the Great War broke out, Cabral was again in difficulties. Paris
-cared only for her own cartoonists, and it was then that he lived the
-bohemian life of the Latin Quarter--that centre of cardiac
-energy--described so graphically by Du Maurier and Murger, with the
-usual companionship of a sweet, pious and self-sacrificing blonde
-“Midinette” who shared the dark days of his misery. At that time, he has
-told us, he was in the habit of casting lots with his bohemian
-companions, to see who would procure sufficient funds for the satisfying
-of their ravenous stomachs--a motley lot of comrades in adversity,
-including would-be painters, musicians, poets and journalists. Garcia
-Cabral had, on more than one occasion, the experience of resorting to
-extraordinary stratagems to obtain sufficient food for their wants.
-
-During 1918, when the Constitutional Government of Mexico was presided
-over by Don Venustiano Carranza, there was residing in Paris as the
-special envoy of the President, Lic. Isidoro Fabela, and under Sr.
-Fabela’s generous protection Cabral was appointed an Attaché in the
-Mexican Legation, his duties being the pleasant task of illustrating a
-book of narratives which Señor Fabela was intending to publish. Shortly
-afterwards, he accompanied Señor Fabela on his official missions to
-Madrid and Buenos Ayres and in the Argentine capital they stayed fifteen
-months. There, in the interest of a Mexican national propaganda, Cabral
-contributed his cartoons to the principal newspapers and reviews,
-achieving a very considerable reputation in the Argentine. In the
-beginning of 1919, after an exile of seven years, Cabral returned to his
-native land and his work immediately began to appear in the weekly
-“Revista de Revistas” and in the influential daily newspaper
-“Excelsior.” Since that time his career has been one of unbroken success
-and of extraordinary popularity.
-
-Cabral’s amazing drawings are worthy of taking rank with those of the
-most distinguished foreign cartoonists. He can, with equal facility,
-produce the most humorous of cartoons or the most satirical of
-caricatures. In his cartoons of representative people, he seems to
-extract by critical penetration--sympathetically--the quintessential
-expression of his subject. He is always an artist, a consummate designer
-and a psychological observer who analytically peers into the minds of
-men and lays bare their personalities. His art is versatile. In line, he
-excels as no other Mexican artist; but he is also a master of
-chiaroscuro, and as an illustrator his understanding of the massing of
-color is extraordinary.
-
-During the past three or four years, Cabral must have produced several
-thousand cartoons and caricatures. His cartoons of representative people
-in Mexico have been drawn mostly from life, each sketched rapidly and
-surely in a little over half an hour. His political, social and topical
-cartoons form a kaleidoscopic history of contemporary Mexico. A great
-political question, such as the official American recognition of
-President Obregon’s Government, finds Cabral sympathetically
-interpreting the international aspirations of the Mexican people. The
-danger of Bolshevism in the State of Veracruz becomes a subject for many
-convincing cartoons, of more influence than dozens of leading articles.
-Mexico City, due to an exceptional drought, is called upon to economize
-in its use of electric energy and daylight-saving is officially
-established for a time. Cabral, during the crisis, daily illustrates the
-necessity. He wages war upon incompetent medical men, portrays the risk
-the pedestrian takes on the crowded streets of the Capital, the evil
-effects of unlawful strikes, and so on;--every phase in the everchanging
-life of the Capital is eloquently depicted. In some of his cartoons of
-persons he subordinates caricature in favor of true portraiture, and in
-others, the kindly sympathetic personality of the artist changes rapidly
-into the satirist and cynical student of life with an ineradicable
-memory of its shams and miseries.
-
-For the selection of the cartoons reproduced in this book the writer is
-responsible; it does not profess to represent Cabral’s best work, and he
-himself would probably have chosen quite differently from the thousands
-he has done. The cartoons have suffered by reduction and reproduction,
-as the majority of them have been copied direct from the “Excelsior.”
-Nos. I., XVII-XXIV and XXV, were reproduced from the original drawings.
-
-The writer’s apology for a selection that may not represent the best of
-the artist’s work is due to the cartoonist, as those reproduced have
-been selected on account of their personal appeal to the friends for
-whom this limited edition is intended. Cabral hopes, at an early date,
-to publish a representative collection of his work--which all lovers of
-his art will joyfully welcome.
-
-A critical study of the Mexican cartoonist’s genius will some day be
-attempted. This little book does not pretend to be anything more than an
-appreciation by an admirer, who lacks the critical and artistic
-knowledge to determine Cabral’s true place among cartoonists in Mexico
-and abroad.
-
-                                                     _G. R. G. CONWAY._
-
-[Caption for following illustration: I.
-
-ERNESTO GARCIA CABRAL.
-
-As he sees himself.]
-
-[Illustration]
-
-[Caption for following illustration: II.
-
-SR. ING. DON ALBERTO PANI.
-
-Has held the Portfolios of Foreign Affairs, and of Commerce and
-Industry. Was formerly Mexican Minister accredited to France and is now
-Minister of Hacienda. He is the “handy man” of the Mexican Government: a
-cultivated engineer, a technical and political writer, and a lover of
-art. A genial spirit, perpetually smiling and smoking.]
-
-[Illustration]
-
-[Caption for following illustration: III.
-
-LIC. MIGUEL ALESSIO ROBLES.
-
-Recently Minister of Commerce and Industry. Formerly Mexican Ambassador
-to the Court of Madrid.]
-
-[Illustration]
-
-[Caption for following illustration: IV.
-
-SR. ING. ANTONIO MADRAZO.
-
-During President Carranza’s administration acted as Sub-secretary of the
-Department of Finance; and under President Obregon has been Governor of
-the State of Guanajuato.]
-
-[Illustration]
-
-[Caption for following illustration: V.
-
-BENITO JAVIER PEREZ VERDIA.
-
-Lawyer, journalist and man of letters. One of the founders of the
-Fascisti movement in Mexico.]
-
-[Illustration]
-
-[Caption for following illustration: VI.
-
-LIC. LUIS MANUEL ROJAS.
-
-One of the originators of the Mexican Constitution of 1917; the founder
-of the “Revista de Revistas” and a prominent mason.]
-
-[Illustration]
-
-[Caption for following illustration: VII.
-
-SR. LIC. ANTONIO PEREZ VERDIA F.
-
-An eminent lawyer and Chairman of the Mexican Bar.]
-
-[Illustration]
-
-[Caption for following illustration: VIII.
-
-SR. DON CARLOS B. ZETINA.
-
-A progressive and democratic captain of industry who realizes that the
-old order passeth giving place to the new. Many of his friends would
-like to see him a future President of the Republic; but he prefers a
-more tranquil pathway along life’s pilgrimage.]
-
-[Illustration]
-
-[Caption for following illustration: IX.
-
-DON JOSE DE LA MACORRA.
-
-A representative Spanish merchant and manufacturer of paper.]
-
-[Illustration]
-
-[Caption for following illustration: X.
-
-THE LATE DON GENARO GARCIA.
-
-A scholarly historian of Mexico, who gave to the world for the first
-time an exact transcript of the Guatemala manuscript of “The True
-History of the Conquest of New Spain” by that lovable and garrulous old
-conquistador, Bernal Diaz. Genaro Garcia’s fine library is now a
-treasured possession of the University of Texas.]
-
-[Illustration]
-
-[Caption for following illustration: XI.
-
-SR. DON CARLOS MENESES.
-
-A notable Mexican musician. Founder of the School of Pianists and
-organizer of the first symphonic concerts in Mexico; one who has done
-much for the advancement of music in his native land.]
-
-[Illustration]
-
-[Caption for following illustration: XII.
-
-SEÑORA EUGENIA DE MELENDEZ.
-
-A well-known Mexican woman writer.]
-
-[Illustration]
-
-[Caption for following illustration: XIII.
-
-DR. ATL.
-
-Originator of the Casa Mundial (I. W. W.) of Mexico. As a writer and
-teacher has done a great deal to popularize the minor arts of Mexico. Is
-a painter with ultra-impressionistic tendencies, and well-known as an
-intrepid climber of Popocatepetl.]
-
-[Illustration]
-
-[Caption for following illustration: XIV.
-
-HON. WILLIAM HOWARD TAFT.
-
-Twenty-seventh President of the United States; now Chief Justice of the
-Supreme Court.]
-
-[Illustration]
-
-[Caption for following illustration: XV.
-
-AMBASSADOR FLETCHER.
-
-Formerly Ambassador of the United States in Mexico; an authority on
-Latin America; now Ambassador in Belgium. Has had long diplomatic
-experience, his whole career having been spent in the service in many
-lands.]
-
-[Illustration]
-
-[Caption for following illustration: XVI.
-
-MR. GEORGE T. SUMMERLIN.
-
-Counsellor of the American Embassy with Ambassador Fletcher when he took
-office in 1917, and since January 1919 has been Chargé d’Affaires.
-“Summie,” as his intimate friends affectionately call him, has served
-his country well and has gained the respect and confidence of the
-Mexican people. His friends hope that his expected promotion will take
-him to the Court of St. James.]
-
-[Illustration]
-
-[Caption for following illustration: XVII.
-
-MR. MATTHEW ELTING HANNA.
-
-Has charge of Mexican affairs in the State Department of Washington.
-“Joe,” as he is known to all his friends in Mexico City, was formerly
-First Secretary of the American Embassy. He is a hard worker, a genial
-host and a welcome guest and is greatly missed in the Capital.]
-
-[Illustration]
-
-[Caption for following illustration: XVIII.
-
-MR. OSCAR MAXON.
-
-Maxy is the wittiest American in Mexico City. Probably he would be
-called in his own home town “a wealthy and prominent realtor.” He
-collects many beautiful things and is always willing to open his packing
-cases to show them to genuine lovers of antiques.]
-
-[Illustration]
-
-[Caption for following illustration: XIX.
-
-MR. WILLIAM RANDOLPH HEARST.]
-
-[Illustration]
-
-[Caption for following illustration: XX.
-
-MR. HENRY FORD.]
-
-[Illustration]
-
-[Caption for following illustration: XXI.
-
-RAMON DEL VALLE INCLAN.
-
-The most skilful musician among modern Spanish poets. As a visitor to
-Mexico he received an indifferent welcome from his “paisanos” owing to
-his outspoken remarks on the reigning Spanish monarchy.]
-
-[Illustration]
-
-[Caption for following illustration: XXII.
-
-JOSEF LHEVINNE.
-
-The eminent pianist who always finds a popular welcome in Mexico City.]
-
-[Illustration]
-
-[Caption for following illustration: XXIII.
-
-ANNA PAVLOWA.
-
-The Queen of dancers.]
-
-[Illustration]
-
-[Caption for following illustration: XXIV.
-
-MR. E. R. PEACOCK.
-
-A Canadian by birth and a graduate in arts of Queen’s University. About
-20 years ago was a senior master in Upper Canada College, Toronto. From
-there he entered the world of finance in London and now has the
-distinction of being the first Director of the Bank of England appointed
-outside of the esoteric circle of “the City”--a tribute not only to
-himself but a compliment to Canada. Is actively interested in many
-British enterprises in Mexico, Spain and South America.]
-
-[Illustration]
-
-[Caption for following illustration: XXV.
-
-G. R. G. CONWAY.
-
-“Cuando había agua.” (Excelsior, 11th February, 1921.)]
-
-[Illustration]
-
-[Caption for following illustration: XXVI.
-
-MR. CLAUDE MARSH BUTLIN.
-
-The best all-round sportsman in Mexico. As becomes an Englishman he
-excels in cricket; has been for many years tennis champion; a scratch
-golfer and withal a fine player of the difficult game of pelota.]
-
-[Illustration]
-
-XXII
-
-GEORGVE CARPENTER
-
-The famous French puglist.
-
-[Illustration]
-
-[Caption for following illustration: XXVIII.
-
-JACK DEMPSEY.]
-
-[Illustration]
-
-[Caption for following illustration: XXIX.
-
-RODOLFO GAONA.
-
-A Mexican “Torero” and the idol of the bull-fighting public. He is
-reputed to be the bravest that ever appeared in the rings of New
-Spain.]
-
-[Illustration]
-
-[Caption for following illustration: XXX.
-
-IGNACIO SANCHEZ MEJIAS.
-
-A very brave and ambitious bull-fighter from Seville. Formerly a student
-of medicine, he abandoned his profession for the plaudits of the middle
-and upper-class frequenters of the bull-ring, who adore him.]
-
-[Illustration]
-
-[Caption for following illustration: XXXI.
-
-JUAN BELMONTE.
-
-The “Phenomenon” from Seville, who thrills his excitable audiences with
-his daring work near the horns of the bull.]
-
-[Illustration]
-
-[Caption for following illustration: XXXII.
-
-FINAL CONSULTATION.
-
-HE WHO IS POINTING (President Obregon): “Energy within the law!” ...
-
-PUBLIC OPINION: “I have confidence in you, Doctor.”]
-
-[Illustration]
-
-[Caption for following illustration: XXXIII.
-
-INTERNATIONAL TAILORING.
-
-President Obregon: When will you let me have the suit, boss?
-
-Uncle Sam: We require many fittings (pruebas) yet, General.
-
-(“Pruebas” in Spanish means both fittings and proofs.)]
-
-[Illustration]
-
-[Caption for following illustration: XXXIV.
-
-THE RECOGNITION QUESTION.
-
-General Obregon, as Ford driver: Ready sir?
-
-Uncle Sam: Does the car go well?
-
-Ford Driver: Just examine (reconozca) it and you’ll see.
-
-(“Reconocer” in Spanish means both examine and recognize.)]
-
-[Illustration]
-
-[Caption for following illustration: XXXV.
-
-WILL HE GIVE HER THE DEATH BLOW?
-
-Cabral here depicts the strangling of Industry in the State of Veracruz
-by Bolshevism.]
-
-[Illustration]
-
-[Caption for following illustration: XXXVI.
-
-TAKE YOUR MUSIC ELSEWHERE.
-
-The Average Man: “What a goat’s whiskers he’s got.”]
-
-[Illustration]
-
-[Caption for following illustration: XXXVII.
-
-WHAT A KNOCK IN THE EYE!
-
-This cartoon refers to an insulting and threatening telegram sent by the
-Strike Committee to General Obregon during a Tramways strike in Mexico
-City, and the President’s vigorous reply.]
-
-[Illustration]
-
-[Caption for following illustration: XXXVIII.
-
-Employer: I won’t give you work because you get drunk so often.
-
-Workman: Not very often, boss; only when I celebrate my name day.
-
-Employer: What’s your name?
-
-Workman: Domingo. (Sunday).]
-
-[Illustration]
-
-[Caption for following illustration: XXXIX.
-
-INFALLIBLE FOR HEADACHES.
-
-“Comment unnecessary.”
-
-In Mexico City the jitney is a terror to the pedestrian. Upon this one
-is an advertisement of a patent medicine “Infallible for headaches.”]
-
-[Illustration]
-
-[Caption for following illustration: XL.
-
-He: I am reading a sensational piece of news.
-
-She: What is it?
-
-He: An automobile knocked a man down and killed him.
-
-She: That’s nothing; many people are knocked down every day.
-
-He: Yes, but in this case they arrested the chauffeur.]
-
-[Illustration]
-
-[Caption for following illustration: XLI.
-
-“Excuse me, sir, has the Colonia-Roma tram gone by?”
-
-“Do you take me for a tram despatcher?”
-
-“No, sir, I mistook you for a gentleman, that’s all.”]
-
-[Illustration]
-
-[Caption for following illustration: XLII.
-
-IS LIGHT NECESSARY?
-
-“Shall we get accustomed to being without light, friend?”
-
-“That is a matter of indifference to me as my wife gives a tremendous
-lot of light.”
-
-(In Spanish, the verb “To give light” means also “To give birth.”)]
-
-[Illustration]
-
-[Caption for following illustration: XLIII.
-
-EL CONFLICTO DE LUZ Y FUERZA
-
-(The Light and Power Conflict)
-
-Who gave you that, brother?
-
-Luz, (Light) my wife.
-
-What energy she used!
-
-Naturally, seeing she has lots of motive power. (fuerza motriz.)]
-
-[Illustration]
-
-[Caption for following illustration: XLIV.
-
-THE OFFICIAL TIME.
-
-Widow: He died at four in the morning, official time, without making a
-will; he didn’t have time to do so....
-
-... God’s will be done; but if he had died at four o’clock astronomical
-time, everything would have been all right!]
-
-[Illustration]
-
-[Caption for following illustration: XLV.
-
-OFFICIAL TIME.
-
-“I’m awfully sorry to tell you, old man, but on Saturday, at 11 o’clock
-at night, I saw your wife with another man.”
-
-“You lie, you idiot!”
-
-“Man!--You insult me!”
-
-“It was twelve o’clock. Don’t you know that we are an hour in advance?”
-
-“You’re quite right--pardon me.”]
-
-[Illustration]
-
-[Caption for following illustration: XLVI.
-
-THE WATER CRISIS.
-
-“Have you noticed that black shirts are fashionable?”
-
-“Certaintly--it is the triumph of Fascismo.”
-
-“Rubbish!--it’s on account of excess of dirt and want of water.”]
-
-[Illustration]
-
-[Caption for following illustration: XLVII.
-
-OUR RESTAURANTS.
-
-Diner: Imbecile!--the fish you gave me a week ago was better.
-
-Waiter: You are the imbecile--because I can prove to you it’s the
-same!]
-
-[Illustration]
-
-[Caption for following illustration: XLVIII.
-
-1st kiddie: My parents bought me new shoes and a little brother in
-Paris.
-
-2nd kiddie: Oh well, mine didn’t bring me shoes because they bought me
-twins.]
-
-[Illustration]
-
-[Caption for following illustration: XLIX.
-
-SAFETY AT NIGHT.
-
-The Young Fellow: My wife has just given birth to twins--at four o’clock
-in the morning.
-
-The Old Boy: Well, that’s very commendable caution. Few people care to
-arrive alone in Mexico at that hour.]
-
-[Caption for following illustration: L.
-
-THE HENPECKED ONE.
-
-Lunch time, and my wife so jealous! What the deuce am I to do to justify
-my late arrival?]
-
-[Illustration]
-
-[Illustration]
-
-[Caption for following illustration: LI.
-
-BETWEEN MILK VENDORS.
-
-“How many liters of milk does your cow give, Don Pancho?”
-
-“About eight liters, Doña Julia.”
-
-“And how many do you sell?”
-
-“Oh, not more than twenty.”]
-
-[Caption for following illustration: LII.
-
-“So you’ve finished crying at last!”
-
-The Kid: “No!” (sniffling)--“I’m only resting a little.”]
-
-[Illustration]
-
-[Illustration]
-
-[Caption for following illustration: LIII.
-
-IRONY.
-
-He: After you Madame!]
-
-[Caption for following illustration: LIV.
-
-FAMILY DISPUTES.
-
-He: And so you are capable of saying I am two-faced!
-
-She: Heavens, no! The one you have is enough!]
-
-[Illustration]
-
-[Illustration]
-
-[Caption for following illustration: LV.
-
-The Padre:--(Teaching his pupil the ten commandments) The fifth--‘Thou
-shalt not kill.’
-
-The Pupil: Not even when I have “fuero,” father?
-
-(“Fuero” is a privilege granted to Congressmen and others which exempts
-them from arrest for crimes committed when holding office.)]
-
-[Caption for following illustration: LVI.
-
-FATHERS OF THE COUNTRY.
-
-“To think I have so many and am so neglected!”
-
-(Congressmen in Mexico are called “Fathers of the Country.”)]
-
-[Illustration]
-
-[Illustration]
-
-[Caption for following illustration: LVII.
-
-THE FAUX PAS.
-
-“What do you think of my wife’s voice?”
-
-“Excuse me, that woman’s making such a noise I can’t hear a word!--What
-were you saying?”]
-
-[Caption for following illustration: LVIII.
-
-“Why don’t you marry Rose?”
-
-“Nothing doing, old man. She’s bitterly opposed to divorce.”]
-
-[Illustration]
-
-[Illustration]
-
-
-
-
-
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