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- W2072829364 abstract "“As a jester among jesters,” Jack Point commends himself to a would-be mountebank in Gilbert and Sullivan's The Yeoman of the Guard , “I will teach thee all my original songs, my self-constructed riddles, my own ingenious paradoxes; nay more, I will reveal to thee the source whence I get them.” The “source” in this case is a tome entitled The Merry Jestes of Hugh Ambrose , a compendium of asthmatic wheezes, Gilbert's thrust at not only Elizabethan jestbooks but their Victorian counterparts. At times it must have seemed as if printing had been invented only to enable aspiring comedians to plunder the wit of the past from cheap chapbooks, like the one that gave Joe Miller to the vernacular. In the United States, dissemination of these storehouses of “gags” began as early as 1789, and by the 1860s they were a staple of the bookstalls; the intended market for them was either the laugh-loving churchgoer who wouldn't be caught dead in a theatre, or the parlor entertainer, the “clown of private life,” ready to make unwilling interlocutors of his nearest and dearest. In the 1870s, however, publishers aimed at the professional; Henry J. Wehman's 25¢ paperback Budget of Jokes was meant to fill a need of the evergrowing number of variety performers." @default.
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- W2072829364 date "1978-05-01" @default.
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- W2072829364 title "Variety into Vaudeville, The Process Observed in Two Manuscript Gagbooks" @default.
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- W2072829364 doi "https://doi.org/10.1017/s0040557400005263" @default.
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