The Secrets of a Savoyard

That Are True to National Type-The Germans and "H.M.S. Pinafore"-Characters That Mirror Ourselves-Gilbert's Versatility-Pedigree of the O

are familiar with all the music and the songs, and who lose no chance of making others as enthusiastic as they are. Literally they are to be found the whole world over-from China to Peru-and the operas are as successful in Australia an

elixir that gives to them the freshness of eternal youth. Imitators have tried hard to capture the secret of their sweet simplicity. That they have failed so far to do so is a misfortune. The Savoy operas still stand alone, unchalleng

y is comparable to a lily or a daffodil-just as unpretentious and just as charming-while the whole has the fragrance of the flowers that bloom in the spring. We love this music because it soothes and delights. It is not too "intellectual." We appre

the problem style-the problem of intricate chords and modern progressions-and just as certainly does it avoid the strident atrocities of the modern ragtime type. It is transparent and simple. It sparkles like the stream in the sunshine, and it is

tured burlesque. And Gilbert was a master of burlesque. Endless arrows are released from his bow, but they hit the mark without disfiguring it, for the tips are not dipped in poison. The Briton can laugh with the best when his own weaknesses and foibles are held up to satire. Certain people would go at once into a tantrum. The Germans, as we know, could never understand

folk in real life we know with the same little oddities! The Duke of Plaza-Toro, though described as a Spanish grandee, is really very much an Englishman. He sings, too, about the human weakness for small titles and orders, and we know that that is not an exclusive weakness

x, under the shadow of the executioner's axe, does not strike a dramatic pose and tell us that it is a far, far better thing he is going to do than he has ever done. Not a bit! In effect, he says its rather hard luck, but there it is anyhow, and after all things might be very much worse. A British officer always was ready to face deat

eady to own up to their weaknesses in some capital song. So like the self-depreciating British! Like the rest of us, too, they are for ever getting into some dilemma or other, and they disentangle themselves without excitement or flurry. Each point is made without the banging of drums or the sounding of trumpets. Contrast this with Wagner, who makes a terrible fuss about the merest trifle, and works up his orchestration in a manner that might suggest

" we enter the fantastic field, and to me there is always something uncommonly whimsical in the idea that Parliament is ruled by the fairies, who thus must be the real rulers of England. "Princess Ida" was a clever anticipation of the women's movement, though it is well-known that Gilbert took the outlines of the story from Tennyson. Then "The Mikado" transports to the romantic and picturesque land of Japan. "Ruddigore" was intended to b

iligent student of the ballads and the operas will find many evidences of the development of ideas from the chrysalis to the butterfly stage. I have to

in Reece," "The Baby's V

l Flare," "The Bum

tly," "Litt

Guard" "Annie Pro

airy Curate," "Th

"The Riva

, and it will be noticed that Captain Corcoran, with his solicitude for his crew and his care

hat lay wi

e comfort

bed had

ers and ho

from the cap

too, to e

ir cradles-was a great favourite with Gilbert. In the ballads it appears in "General John" and "The Baby's Vengeance," which latter poem may have suggested, moreover, certain details in

two poets in "Patience" is modelled on the emulation of the Rev. Clayton Hooper and the Rev. Hopley Porter in "The Rival Curates." Indeed, the parallel between the ballad and the opera was originally so complete that in the opera the dragoons we

reprieved and enabled to outwit his rival for the love of a lady. "Were I thy Bride" is also a song with an obvious affinity to the ballad, "To Ph?be." So we might continue to trace in the ballads ideas which t

that was and still is placed on clear enunciation, distinct vocal phrasing, and refinement of manner and gesture. The beginner who is trained on these lines is thus taught the essentials of genuine artistry, and it is also a great advantage to a new-comer that, early in his professional life, he has playe

about these pages are many practical hints for these amateur players. From an "old hand" they may be of some service, not merely because they are drawn from my own long experience, but because many of these points were given me by Gilbert himself and by great actors

ut yourself, and live that part entirely. Concentrate all your thoughts upon it, an

, and so long as your enunciation is distinct, your words will reach him without a

hether you are actually speaking or not, to wrap yourself up in your part and

were, that the people in front will otherwise not be intelligent enough to "see the joke." Indeed, the more serious and intense he is in many cases, the

a song, should stand well to the front of the stage. Not only does this let you make the best us

and to show off a picturesque costume, but to assist in focussing the interest on the central incident. If, on the other

e." This is impossible if every member of the company-and even the leading principal hims

all "pulling together." Still less should the principals forget what they owe to the chorus for loyally backing them up, and a little kindly ap

ssional stage. For this reason I am anxious to give them all the advice it is in my power to give. First and foremost, therefore, I should insist that before any words are memorised the part itself must be thoroughly studied, so that one knows exactly what the author intends and just what sort of figure one has to depict. Especially have I made it my aim, on my first entrance in any part, to let the audience see just what the character

is, Jack Point is anxious to please the crowd who have roughly chased him and Elsie Maynard in, for if he fails them have they not threatened to duck him in the nearest pond? Jack and Elsie are no ordinary players. In Elizabethan times the street dancer

. He tells the gentlemen of Japan that he is "much touched by this reception." Somehow one feels that that speech was written out for him when he received his appointment, that he has since recited it forty times a day, and that now the upstart is trying to make believe it is entirely extempore! Then there is Sir Joseph Porter. Whenever I play this r?le I do m

own facial "make-up." Generally they leave that to an expert, but if they practised it themselves, they would find it a very fascinating, and certainly an important, branch of the actor's profession. Many and many a time have I taken my pencils and colour

ting photographs before me, I would make myself resemble the late Lord Roberts and the late Sir Evelyn Wood, and these were used as a model when I had to be Major-General Stanley. Several visits to the Law Courts gave me valuable hints for the Lord Chancellor. The Duke of Plaza-Toro was studied from an old print of a grandee. Ko-Ko's make up, which was bound to be a difficult one, was the outcome of a

rned not merely the face but the figure, and it was wonderful how Tree, to instance only two of his great parts, could adapt himself either to the portly and blustering Falstaff or to the lean and haggard Svengali. And Barrett, though ordinarily stocky of build, c

lready and by those, the younger generation, who are growing up to know and love them too for what they are-a heritage of pure humour an

melodies to E

the fount from

tender as w

mes of Purcell

the librett

olished, whimsie

umour, and tru

kindly, hearty

lasted, and out

r fantasy to

with laughter

se, so old, a

living for our

iumphs of th

IES OF T

L BY

March 2

operas, the dramatic cantata, "Trial by Jury." Short and slender as it is, this opera has always been immensely popular, and it still appears regularly in the company's programmes. Gilbert, who had himself followed the law before he transferred his talents to the stage, took as his subject an ima

on to try to soften their masculine hearts over the plight of poor Angelina. When the defendant enters the twelve good men and true shake their fists in his face, hail him as a "monster," and bid him "dread our damages." Edwin ventures to suggest that, as they are in the dark as to the merits of his case, these proceedings are strange. He t

easy escape from poverty by marrying a rich attorney's elderly, ugly daughter. He would, his father-in-law said, soon get used to her looks, and in the meanwhile he promised to deluge him with briefs for

a little note, which she kisses rapturously. Yet when he sees the plaintiff, a still brighter vision of loveliness, he orders that the note shall be taken from the bridesmaid and given to her. Judge and jury alike are entranced. Counsel proceeds to open the case, and with bitter reproaches he assails the traitor whose heartless wile victimised his "in

s, now embraces her inconstant lover and calls upon the jury to witness what a loss she has to deplore. Edwin, in the hope in turn of reducing them, declares that at heart he is a ruffian and a bully, and that she could never endure him a day. The Judge suggests that, as the man declares that when tipsy he would thrash her and kick her, the bes

meward as

re my law

auty I'm

ourt reply, "And

SORCE

November

Aline. So happy and romantic a union between two old families deserved to be worthily honoured, and a large and lavishly stocked marquee, we notice, has been erected at one side of the garden. Aline herself is rich, the only daughter of the Lady Sangazure, and the seven thousand and thirty-seventh in direct descent, it seems, from Helen of Troy. Nor are there heart-stirrings only in the homes of

f the nobl

even mil

on me, rapt i

a pale young

he land! Yet even these dreams of yesteryear fail to awaken in him the desires for a joyous to-morrow. Constance's mother finds him quite unresponsive t

t of the marriage, though he confesses that he has little liking for the new kind

red one!" "

pture!" "Unm

t I am mighty well." Even thus did he once pay his addresses to the Lady Sangazure. For once they, too, were lovers! But these reveries are ended by the

d spells, with their wonderful penny curse as their quick-selling speciality. From the moment he enters it is obvious that this glib-tongued charlatan is a hustling dynamo. Alexis, much to Aline's alarm, commissions him to supply liberal quantities of his patent love philtre in order that, from purely philanthropical motives, as he explains, he may distribute it secretly amongst the villagers. Wells, like the pushful tradesman he is, has the very thing in his pocket. He guarantees that whoever drinks it will fall in love, as a matter of course, with the first lady he meets who has also tasted it, and his aff

ming to him in a body and imploring him to join them in matrimony with little delay. The sentimental old bachelor reflects, moreover, how comely all the maidens are, and sighs that alas! all now are engaged! Meanwhile, Alexis has tried to persuade Aline that they should drink the philtre too, for only thus can they ensure their own undying devotion. She refuses and there is a tiff, but later, to prove that her love for him is true, she does drink the

ls. In vain does he lie to her that he is already engaged. In vain does he describe a beauteous maiden with bright brown hair who waits for him in the Southern Pacific. She threatens at last to end her so

agrees to commit this act of self-immolation, and amidst a wreath of fire and brimstone he disappears, melodramatic to the last, through a trap-door in the stage. With his

. PINA

May 25t

ander of its jovial crew, and a very fine commander he was, always indulgent to his men and always ready to address them politely. Swearing on board was a thing almost unknown. Corcoran did say "both

they sing in tuneful nautical strains that their "saucy ship's a beauty" and manned by "sober men and true, attentive to their duty." Only one gruff old salt is there amongst them, and we discover him in the ugly, distorted form of Dick Deadeye. He is thoroughly

possible heights. Yet Josephine herself is also sad because of a heart that "hopes but vainly." Corcoran chides her, and tells her how happy she should be when her hand is to be claimed, that very d

eph, attired in the Court dress of his office, proceeds at once to describe his meteoric rise from an office boy in an attorney's firm to become the "ruler of the Queen's Navee." The story is that of an industrious clerk who, having "served the writs with

your desk and

be rulers of the

please." Then he takes Corcoran into the cabin to teach him another accomplishment-dancing the hornpipe. Josephine meanwhile steals out on to the deck. She meets Ralph Rackstraw, who boldly gambles his all on an immediate protestation of love, only to be refused for his presumption and impetuosity. The poor fellow, before

r reticence only to the exalted rank of so distinguished a suitor as the First Lord of the Admiralty. Corcoran afterwards takes his daughter aside and explains to her that love is a platform on which all ranks meet, little mindful how eloquently he is thus pleading the cause of humble Ralph. When the girl has left Dick Deadeye comes to warn the father of the plan for a

ht have bee

or Turk, o

haps I

te of all

g to oth

ns an En

big d--." Sir Joseph hears the bad language and is horrified. He will hear

she practised baby farming, and to her care were committed two infants, "one of low condition, the other a patrician." Unhappily, in a luckless moment she mixed those children up, and the poor baby really was Corcoran and the rich one Ralph Rackstraw. Ralph thereupon enters in a captain's uniform. Corcoran follows him in the dress of a mere

LYT

ORTER" IN "H.

ATES OF

April 3

t a point of honour never to attack a weaker party, and whenever they attempted to fight a stronger one they invariably got thrashed. Orphans themselves, they shrank from ever laying a molesting hand on an orpha

her stupid blunder she let him stay with the pirates, and remained with them herself as a maid-of-all-work rather than return to brave the parental fury. Frederic, at all times the slave of duty, has loyally served out his time, but now he announces that not only will he not continue at a trade he detests, but

a picnic. Frederic, sensitive about his detested dress, hides from them for a while, but soon he reveals himself and entreats them all to stoop in pity so low is to accept the hand and heart of a pirate. Only one of them, Mabel, is ready to take him for what he is, and the

ing the candid recital of his attainments and want of them, he inquires what strange deeds are afoot, and he has no liking either for pirates as sons-in-law or for the prospect of being robbed wholesale of his daughters. But where is the way of escape? Luckily the General has hear

the pirates. For this perilous mission he has gathered together a squad of police, who march in under their sergeant, all of them very nervous and under misgivings that possibly they may be going to "die in combat gory." Soon after they have left there is a whimsical development. Fred

. Once more a member of the band, he is bound also to disclose the horrible fact that the old soldier has practised on the pirates' credulous

eap-years, there re-enter the police. The sergeant laments that the policeman's lot is not a happy one. It is distressing

rising burglar's

hroat isn't oc

ar the little

o the merry

s finished jumpi

lie a-baskin

consideration

's lot is not

y are singing their loudest). They are interrupted, not by the police, but by the appearance of General Stanley. He has had a sleepless night, the effect of a tortured conscience, and he comes in in a dressing-gown and

e ruffians to surrender in the name of the Queen. The command acts like magic. Loyally the pirates kneel to their captives, for it transpires from Ruth's lips that they are really "no members of the common throng; they are all noblemen who

TIE

April 2

against which it was directed must have placed a strain on the patience

ty love-sick maidens" are lamenting that Bunthorne is "ice-insensible." Lady Jane tells them that he loves Patience, the village milkmaid, who is seen regarding them with pity. Lady Angela tells Patience that if she has never loved she can never have known true happiness. Patience replies that "the truly happy always seem to have so much on their minds," and "never seem quite well." Lady Jane explains tha

rrive and the Colon

for that po

world as a He

to the soldiers that Bunthorne has idealised them. Bunthorne meanwhile is to be seen writhing in the throes of composition. "Finished!" he exclaims and faints in the arms of the Colonel. When he recovers, the love-sick maidens entreat him to read the poem. "Shall I?" he asks. Fiercely the Dragoons shout "No!" but bidding the ladies to "Cling passionately to one another," he recites "Oh, Hollow! Hollow! Hollow!" When the Colonel reminds

. I'll go at once and fall in love with-" but stops, startled by a figure almost as grotesque as Bunthorne, and exclaims, "A stranger!" The stranger is Archibald Grosvenor, an idyllic poet, who plunges boldly into a declaration of love with his "Prithee pretty maiden, will you marry me." Patience replies, "I do not know you and therefore must decline." He reveals that he was her sweetheart in childhood's days. Grosvenor begs Patience imagine "The horror of his situation, gifted with unrivalled beauty, and madly loved at first sight by every woman he meets.

the advice of his solicitor, he has put himself up to be raffled for by his admirers. The Dragoons make a fruitless appeal to the ladies in a song by the Duke. The drawing is about to take place when Patience enters, craves Bunthorn

ver, oh never, this heart will range from that old, old love again." Then Grosvenor enters. He walks slowly, engrossed in readi

this, whose

e comes of

ove you," and leaving their Dragoons they kneel round Grosvenor, arousing the fury of Bunthorne and the horror not only of

giance to Grosvenor. She alone is faithful to Bunthorne. Grosvenor enters, followed by the twenty love-sick maidens, pleading for "A gentle smile." He reads t

him out. Lady Jane assures him that she is still faithful, but promises to he

ies. When two of these appear, it is evident that the plan is succeeding, for Lady Angela exclaims, "See! The immortal fire has descended upon them." The officers explain they are doing this at some p

hat he cannot live without admiration. He accuses Grosvenor of monopolising the attentions of the young ladies. Grosvenor assures him that they are the plague of his life, and asks how he can escape from his predicament. Bunthorn

go out

ozels

ing and

ging and

low me a

modelled himself upon Grosvenor. She expresses joy, but then recoils from him as she remembers that, a

r "Archibald the All-right cannot be all wrong," and as he has discarded ?stheticism, "It proves that ?stheticism ought to be discarded." Patience now discovers that she is free to love Grosvenor. Bunthorne is disappointed, but Lady Jane, who is still ?sthetic tells him to cheer up, as she wi

LYT

NE" IN "

LAN

November

the fairy dances. For twenty-five years Iolanthe has been in banishment. She had transgressed

, clad in water-weeds, Iolanthe receives the Royal pardon. Compassion having been exercised, curiosity demands satisfaction. The Queen enquires why Iolanthe should have chosen to live at the bottom of a stream. Iolanthe then reveals her secret. She has a son who was born shortly after her banishment, and she wished to be near him. The Queen and the other fairies are deeply intereste

ger, peril or perplexitee." Strephon is now joined by Phyllis-a beautiful ward of Chancery and his bride-elect. In the prelude to one of the most delightful love-songs ever written, Phyllis reveals her fea

bes, to the strains of magnificent music, ending with a chorus which is

e lower mid

tradesmen, b

Chancellor to bestow her upon the one whom she may select. The Lord Chancellor confesses to being "singularly attracted by this young person" and laments that his judicial position prevents him from awarding her to himself. Phyllis arrives, and after being proposed to by Lord Tolloller and Lord Mount-Ararat, the whole of the peers invite her acc

on in tears. As she tenderly consoles him, Phyllis stealthily re-enters escorted by the peers. Knowing nothing of her lover's fairy origin, and seeing him embracing one who appears equally young and beautiful as herself, she breaks from the hands of the peers just as Iolanthe and Str

y band are seen "tripping hither, tripping thither" among the amazed peers, while the slender Lord Chancellor encounters a rude shock when he collides with the massive form of the Queen. Strephon tells his tale of woe, and there follows an amazing and amusing exchange of reproach and ridic

minster. A solitary sentry is discovered moralising upon the proc

and cereb

o leave that

as their leade

escribe as "a Parliamentary Pickford-he carries everything." A heated argument ensues between the fairies and the peers. It is ended by a song from Mount-Ararat in prai

danger, the Queen calls upon them to subdue this "weakness," Celia retorts that "the weakness is so strong." The Queen replies by protesting that, although she herself is not "insensible to

thy B

cold

great love

m of his rest." Mount-Ararat and Tolloller join him and express their concern at his woebegone appearance. He explains, and they persuade him to make another application to himself for permission to marry Phyllis. Then Phyllis and Strephon encounter each other in the Palace Square. Taunted by a reference to his "young" mother, Strephon discloses that she is a fairy. This leads to a reconciliation. Iolanthe joins them, and when they ask her to appeal to the Lord Chancellor for his consent to their marriage, she reveals the secret of her life. The Lord

eatly relieved when the Lord Chancellor suggests that instead of the fairy law reading "Every fairy must die who marries a mortal" it should be "Every fairy must die who don't marry a mortal." Accepting the suggestion the Queen finds her own life in peril. She propose

CESS

January 5

in accordance with the marriage contract. Some doubt exists as to whether this will be honoured, for Prince Hilarion has heard that his bride has "forsworn the world." It is presently announced that Gama and his train are approaching. His appearance is preceded by that of three bearded warriors clad in armou

hinks I'm such a

an't th

in Castle Adamant, from which all males are excluded. Gama tells Hilarion that if he addresses the lady most politely she may deign to look on him. Hildebrand bids Hilarion to go to Castle Adamant and claim Ida as his wife, but adds that if she refus

ity has not banished jealousy. Ida and the students enter the castle. Hardly have they gone, when Hilarion, accompanied by Cyril and Florian, are seen climbing the garden wall. They don some collegiate robes which they discover, and are appropriately jocular regarding their transformation into "three lovely undergraduates." Surprised by the entry of Princess Ida, they determine to present themselves as would-be students, and she promises them that "if all you say is true, you'll spend with us a happy, happy time." The Princess leaves them alone, but as she goes Lady Psyche enters unobserved. She overhears their conversation, and is amazed by i

fresco luncheon. Cyril becomes tipsy, discloses the secret of the int

know the

heart af

rrest. As they are marched away Melissa brings news of an armed band without the castle. Speedily Hildebrand, at the head of his soldiers, confronts Ida. The three sons of Gama, still clad in armour, warn her

eviews her forces, she meets with disappointment. The lady surgeon declares that, although she has often cut off legs and arms in theory, she won't cut off "real live legs and arms." The armourer explains that the rifles have been left in the armoury "for fear ... they might go off." The band-mistress excuses the absence of the band who "can't come out to-day." Contemptuously, Ida bids them depart. Lamenting the failure of her plan, she is surprised by the arrival of her fathe

ves to you," and resigns the headship of the University to Lady Blanche. Sadly Ida admits the failure of her scheme. She had hoped to band all women together to adjure tyrannic man. To Hildebrand she says that if her scheme had been successf

fanity for p

vanity the s

lity or pr

ality its s

LYT

" IN "PRIN

MIK

March 1

vastly different to ours in matters of Royalty. The opera concerns much more closely the adventures of Nanki-Poo, the Mikado's son and heir, w

e is labouring under great excitement, and begs for information as to the dwelling of "a gentle mai

ring min

shreds an

, songs an

eamy l

r, he had left Titipu in despair. Learning that Ko-Ko has been condemned to death for flirting, he now hoped to find Yum-Yum free. Alas! for Nanki-Poo's hopes, they inform him that not only has Ko-Ko been reprieved, but that he has been elevated to the highest rank a citizen can attain, and is n

tomic globule," he mortifies his family pride. In proof of this he points out that, when all the other high officers of State had resigned because they were too proud to serve under an ex-tailor, he had accepted all their po

ncerning Yum-Yum. This is Ko-Ko's first public appearance as Lord High Executioner, and after thanking the nobles for their welcome, he promises strict attention to his duties. Happily, he remarks, "there will be no

rrives escorted by a bevy of dainty schoolfellows, who sing of their "Wonder

t a world

s set

auty but

break e

alaces and

ies th

ory of its

s of a

ms. Presently Nanki-Poo and Yum-Yum manage to get the Courtyard to themselves. During their tête-a-tête Nanki-Poo reveals his secret to Yum-Yum. They are interrupted by the appearance of Ko-Ko and escape in different directions. As Ko-Ko soliloquises upon his beloved, he is interrupted by Pooh-Bah with a letter from the Mikado. This is an intimation that, as no executions have taken place in Titipu for a year, the office of Lord High Executioner will be abolished and the city reduced to the rank of a village unless somebody is beheaded

of the Public Executioner." To this Nanki-Poo agrees on condition that Ko-Ko permits him to marry Yum-Yum. Reluctantly Ko-Ko accepts the condition, and when Pooh-Bah returns to enquire what Ko-Ko has decided to do in regard to an execution, he replies, "Congratulate me! I've found a volunteer." Whilst the townsfolk of Titipu are bantering Nanki-Poo on the prospect of marriage and death, their revelry i

ids her "Sit with downcast eye; let it brim with dew." Pitti-Sing tells her also that "modesty at marriage tide well becomes a pretty bride," but this admonition seems lost upon a b

s it is only for a month, he tells of his discovery that when a married man is beheaded his wife must be buried alive. Naturally, Yum-Yum demurs to a wedding with such a hideous ending to the honeymoon, and Nanki-Poo declares that, as he cannot live without Yum-Yum, he intends to perform the "happy dispatch." Ko-Ko's protest is followed by the entry of Pooh-Bah to announce the approach of the Mikado and his suite. They will arrive in ten minutes. Ko-Ko, believing that the Mikado is coming to see whether his or

to the strains of "Miya sama, miya sama." The Mikado extols himself as "a true philanthropist" and declares "my object all sublime, I shall achieve in time; to let the punishment fit the crime." His list of social crimes and the penalties prescribed for each class of offender are equa

(At the time this opera was originally produced there was a Japanese colony in Knightsbridge.) Just then Katisha, reading the coroner's certificate, discovers that it contains the name of Nanki-Poo and shrieks her dismay. Pooh-Bah, Ko-Ko, and Pitti-Sing grovel at the Mikado's feet, and apologise abjectly. The Mikado urges them not to distress themselves, and just a

atisha." But Nanki Poo fears that, in her anger at his marriage, Katisha will persuade the Mikado to order his execution, thus involving Yum-Yum in a worse fate. He therefore refuses to re-appear until Ko-Ko has persuaded Katisha to marry him. Then "existence will

has just married "this miserable object," indicating Ko-Ko. The Mikado is remarking "But as you have slain the heir-apparent" when Nanki-Poo enters saying "the heir-apparent is not slain." He is heartily welcomed by the Mikado, while Katisha denounces Ko-Ko as

shout and r

e our new

DIGO

January 2

ruthless sport. But there came a day when he was roasting alive an old witch on the village green. The hag uttered a terrible curse both on the baronet and on all his descendants. Every lord of Ruddigore was doomed to commit on

essional bridesmaids, who are bound to be on duty from ten to four o'clock every day, but whose services have of late been in little request. The girls can only hope that they may soon be able to celebrate the betrothal of Rose Maybud, the belle of Rederring, a precise little maid whose every action is regulated by a book of etiquette, written by no less an authority than the wife of a Lord Ma

the morals of a Methodist." Now, this same Robin Oakapple, we afterwards learn, is himself the real owner of Ruddigore, but ten years ago he so dreaded the thought of becoming the victim of the witch's malediction that he fled from his ancestral home, assumed the style and name of a

. Luckily or otherwise, Richard has just returned from the sea, and this hearty British tar sings a rollicking song in the Dibdin manner about how his man-o'-war, the "Tom-Tit," met a little French frigate, and how they had "pity on a poor Parley-voo." When "Ruddigore" was produced, this number gave grave offence t

ed into a proverb, that if in the world you wish to advance "you must stir it and stump it and blow your own trumpet." But Richard, when he sees the girl, acts as his heart dictates and falls in love with her himself, the courtship scene being delightfully quaint. Robin re

LYT

APPLE" IN

uniforms of Wellington's time, the period to which the opera is supposed to belong-and after them the gloomy Sir Despard. The crowd shrink from him in horror, while he, poor man, tells how he has really the heart of a child, but how a whole picture gallery of ancestors threaten him with death if he hesitates to commit his daily crime. Then Richard re-enters. Either because of his anger that Robin has claimed Rose's hand or because, at

nd he retorts by threatening to commit them to a dungeon. This the sailor thwarts by waving a Union Jack. Then Rose prevails upon the wicked relative to relent. Left alone, the unhappy man addresses the portraits of his ancestors, bidding them to remember the time when they themselves welcomed death at last as a means of freedom from a guilty existence, and urging them to let the thought of that repentance "tune your so

ody does that," they tell him, when he declares that he has falsified his income-tax return, and they are also unmoved when he says that, on other days, he forged his own will and disinherited his unborn son. They demand that he must at le

n, who hears that his record of infamy includes not only the crimes he has committed during the week, but all those perpetrated by Despard during the ten years he reigned at Ruddigore. He decides, even at the cost of his life, to bid his ancestors defiance. But now Old Adam returns, not with a beautiful maiden, but with old Dame Hannah. She is a tiger cat indeed, and despite the baronet's declaration that h

thus not stand logical analysis! Sir Roderic concurs, and as the natural deduction is that he himself ought never to have died at all, he and Dame Hannah are able at last to bring joy and laughter within the grim walls of Ruddigore. Robin, having found a week as holder of a title ample enough, determines to ear

MEN OF T

October 3

t could have been no ordinary jester. Some years before he had been in the service of the Archbishop of Canterbury, and he mortally offended his Grace by his conundrum that the only difference between the two of them was that "whereas his Grace was paid ￡10,000 a ye

ould allow them to marry. Certainly Jack Point had a pretty wit, and beneath the motley there beat a true heart of gold, too soon to be broken by tragedy. It was the old, old story of the

, whose heart and hand is being sought in vain by the grim and repulsive-looking Wilfred Shadbolt, who links the office of head jailor with the "assistant tormentorship." It is part of this uncouth fellow's duty to twist the thumbscrew and turn the rack to wring confessions from the prisoners. So far from Ph?be being attracted to Shadbolt, her thoughts are tu

thereupon schemes a deception. Leonard's future career is to be with the Yeomen of the Guard, but as his arrival is unknown, it is arranged that he shall hide himself for a while and his place be filled by the imprisoned Fairfax. Just after this the Colonel himself comes into view, under an escort commanded by the Lieutenant, and on his way to the Cold Harbour Tower "to await his end in solitude." He treats death lightly-has he not a d

ty and with all rapidity give us quip and quiddity." The choice of the wandering minstrels is their duet, "I have a song to sing, O

lord, and who

f the merry-m

sad, and whose

sup, and who c

for the lov

is still unmarried, "for though I'm a fool," quoths the jester, "there is a limit to my folly." The Lieutenant then outlines his plan to make her a bride for an hour, and as the bargain seems a sound one and money is scarc

limented on his successful campaigns. And then there tolls the bell of St. Peter's. The crowd enter, the executioner's block is brought on, and the masked headsman takes his place. But when the Yeomen go to fetch the prisoner

the jester's vocation, and the lugubrious fellow tells how deft and successful are his own delicate shafts of wit in the torture chamber and cells! Jack Point agrees, for a consideration, to teach Shadbolt "the rules that all family fools must observe if they love their profession." The consideration is that the jailor must declare that he shot Fairfax with an arquebus at night as he was attempting to swim over the Thames. The bargain is struck, and in a short time a shot is heard, and

of the fickleness of womankind and outwitted in love, is reflected in that haunting number, "When a wooer goes a wooing." Events now race towards their end-an end that to two at least has all the joyous warmth of romance, but to the one pathetic figure in his motley the blackness of despair. Leonard hastens in with the belated reprieve, and Elsie soon learns with happiness that the gallant Ye

GONDO

December

ual." Kingship does, indeed, seem rather less abhorrent to their ideas when they are summoned to fill that exalted office themselves, but at the same time they do concede that neither their courtiers nor their menials are their inferiors in any degree. Indeed, when they rise in the scale of social importance the

choose their brides from amongst this comely throng. So that, amidst such a bevy of loveliness, fate itself may select whom their partners shall be, the brothers decide to be blindfolded and to undertake to marry whichever two girl

s not been as imposing as his station requires, but the halberdiers and the band are mercenary people, and their services were not available without pre-payment in cash. Luiz is sent to announce the arrival of the ducal party to the Grand Inquisitor. While he is absent the Duke and Duchess tell their daughter the reason of their visit

prestige is enormous, he is having himself floated as a company, the Duke of Plaza-Toro, Limited. He does not regard the proceeding as undignified. This Duke never did follow the fashions. He has made it his business to lead them, an

LYT

AZA-TORO" IN "T

ectedly called upon to assume the functions of Royalty. Unfortunately he cannot introduce her to her husband immediately. The King's identity is a little uncertain, though there is no probable, possible shadow of doubt that he is one of two men actually in the town and plying the modest but picturesque calling of the gondolier. It seems that, after the little prince was stolen, he was placed i

wkward their declaration that they are heart and soul Republicans. He does not tell them that one is married already-married to Casilda in infancy-but he does startle them by the news that one of them is a King. Sturdy Republicans as they are, they are loath to accept the idea of immediate abdication, and it is agreed that they shall leave for their country straight

idly garbed. The Kings neither expect nor receive the deference due to their office, but they try to make themselves useful about the palace, whether by polishing their own crowns, running little errands for their Ministers, cleaning up in the kitchens, or deputising for sentries who go "in search of beer and beauty." It gives them, as Guiseppe sings, the gratifying feel

ir of spar

ever an

rciful

d their mi

assed th

air of r

gure trim

admirati

icular i

ender li

th dainty

-in pare

hese, you

eep them i

nce without their menfolk was dull and their womanly sense of curiosity strong. The re-union is celebrated by a bo

volence, promoted so many favourites to the top of the tree that "Lord Chancellors were cheap as sprats, and Bishops in their shovel hats were plentiful as tabby cats-in point of fact, too many." The plain conclusion was that "when everyone is so

the Duchess's those of chaperoning dubious ladies into high-class society. The Duke ceremoniously receives the two gondoliers, but he has to take exception to the fact that his arrival has been marked by no royal salutes, no guard of honour, and no triumphal arch

is none other than Luiz. He promptly ascends the throne and claims the hand of Casilda, while Marco and Guiseppe, their days of regal splend

A, LIM

October 7

at is to say, until they first heard of the wonders of England, for then it was that they determined that their land must be swiftly and completely Anglicised. The reformation was undertaken with the utmost zest. King Paramount's eldest daughter, the beautiful Princess Zara, has spent five years in Eng

ocial propriety he is to be denounced to the Public Exploder. It would then be this Court official's duty to blow him up-he always has about him a few squibs and crackers-and doubtless he would discharge this function with greater alacrity because he is himself Heir-apparent. Clearly the King's lot is not a happy one, and no less so because the Wise Men insist that al

In particular they are to reveal the arts of courtship, showing how it is proper for the young lady to be coy and interestedly agitated in turn, and how she must always rehearse her emotions at home before the looking-glass. In the meanwhile the King, very deferential in manner, has an interview with his two Wise Men, Scaphio and Phantis. Notwithstandi

lm. The King and his subjects are then and there introduced to these six "Flowers of Progress." One of them, Captain Fitzbattleaxe himself, is to re-model the Utopian Army. Sir Bailey Barre, Q.C., M.P., is a logician who, according to his brief, can demonstrate that black is white or that two and two make five, just as do the clever people of England. Then there is Lord Dramaleigh, a Lord High Chamberlain, who the Princess says is to "cleans

y, of eighteen-pence, and yet be safe from liability. "If you succeed," he declares, "your profits are stupendous," whereas "if you fail pop goes your eighteen-pence." It strikes the King as rather dishonest, but if it is good enough for England, the first commercial country i

that have come about since the country determined to be Anglicised. The King, when he enters soon afterwards, wears the dress of a British Field Marshal. He is to preside, according to the articles of association, over the first statutory Cabi

ly is su

orough An

about-Utopia's q

terprisin

land-with

ully offer to

g Room. All the ladies are presented in due form to his Majesty.

have imported to satisfy the cravings for the English fashions, their customers plead liability limited to a declared capital of eighteen-pence. The King, whom they used to bully to their hearts' content, is no longer a human being, but a corporation. Once he doffed his Crown respectfully before speaking to th

these young ladies is held by themselves to be most thoroughly English. So far from that, the men have to tell them, the girls in the country they come from are blithe, frank and healthy creatures who love the fr

e world and s

u home and s

uch gold and

nd beautiful

ophy, whose primness is merely a cloak for ambition, and the King. Compromising paragraphs in the society paper having been explained away, the two declare t

has been forgotten, and that was-party government! Introduce that bulwark and foundation of Britain's greatness and all will be well! Legislation will thus be brought to a standstill, and then there will be "sickness in plenty, endless lawsuits, crowded jails, interminable confusion in the Army and Navy

n is that mon

dd (but others

RD BIBLI

nd magazines. For the latter the reader should consult Poole's "Index to Periodical Literature" and its successor

LB

rowne. Stars of the Stage Se

hlander (1868-78): gives a list of Gilbert's plays. The operas are dealt with by thems

Gilbert and the Gilbert and Sullivan operas. By Isaac Goldberg

3-146. "The character of Pooh-Bah is perhaps

. W. Smalley. McClure's Magazi

y William Archer. Critic, New Yor

James's Magazine, London, in 1881 (xlix, 287), was one of

Beerbohm. Saturday Revi

lackwood's Magazine (Jul

lter Sichel. Fortnightly Review

Gilbert. By G. H. Powel

J. M. Bulloch. Evening Gazette

also dealt with "The Pretty Wit of Mr. Gilbert" in the Sketch, June 12, 1898; "Mr. Gilbert's Majority as a Savoyard,"

By G. Middleton. Bookman, New Yor

ticle and biography in The Ti

rtrait Index (Washington, 1908: p. 378) including those by Ru

LIV

d Music. By B. W. Findon, London

-82, mother of Sir Arthur. List of Sullivan's works (pp. 204-214): section specially devoted to the Savoy O

Grove. Dictionary of M

ces. By Arthur Lawrence; with critique by B. W. Findon;

the ages of 12, 15, 25, 44, 52 and 57, with eight facsimiles of letters or scor

.V.O.; a brief sketch of his life. By Walter

an and Gilbert" (pp. 15-31): "D'Oyly Carte" (pp. 32-46): "Am

axe Wyndham. London: Geo

whose skill as a musician the never ending delights of Sullivan's music

L.A. Portrait Index (Washington, 1908: p. 1405) including tho

RT

y Carte in 1877 to "My Lord" (unnamed), apropos of a proposal to form a small

the capital from ￡75,000 to ￡41,250 was heard before Mr. Justice Walton, August 26, 1903 (Times, August 27). This l

L.A. Portrait Index (Washington, 1908: p. 259), includi

AVOY

he Savoy and the Savoyards. By Francois Cellier and Cun

of casts at the Savoy (pp. 425-435). The collaboration between Mr. Cellier and Mr. Bridgeman (pp. 3-163) wa

y Fitzgerald, M.A., F.S.A.; with six illus

of the illustrations a

nt. By H. M. Walbrook: with a foreword by Sir Hen

reproduction of the Sullivan Memorial in the Victoria Embankment Garden

alsh [Harrogate?] coach to the principal ope

ntains little stories ab

n of the various companies on t

the O.P. Club in the Hotel

occasion was printed verbatim in the

RIN

rience on the English stage. By Himself; with a preface

e cover. Printed at Plymouth. Dedicated to "My good frien

n. By Himself. London:

including one of H. A. Lytton as th

SSM

es. By George Grossmith. Bri

on Gilbert and Sullivan pp. 91-125. In "Piano and I" (1910), he describe

TT

. A. Lytton. Graphic, Nov. 1

ome extracts from

TIONS OF THE

e. Produced.

alty Mar. 25, 187

Comique Nov. 17, 18

11, 1884 Mar.

, 1898 Dec.

a Comique May 25, 18

6, 1879 Ma

12, 1887 Mar.

1889 Nov.

1908 Repert

e Opera Comique Apl. 3

17, 1888 Ju

, 1900 Nov.

1909 Reperto

mique Apl. 23, 18

10, 1881 Nov.

1900 Apl.

1907 Reperto

Nov. 25, 1882 J

1901 Mar.

1907 Repert

. 19, 1

oy Jan. 5, 1884

ar. 14, 1885 J

1888 Sept.

1895 Mar.

, 1896 Feb.

1908 Repert

Jan. 22, 1887

ard Savoy Oct. 3, 18

1897 Nov. 2

1906 Reperto

. 1, 19

voy Dec. 7, 1889

, 1898 May

, 1898 Sep.

1907 Repert

. 18, 1

NTE

E PRINTI

FLEET

ON,

riber'

tuation erro

ges to see high-

"high-water[-]mark" (p. 111), "school[-

"Mount[-]Ara

s and have not been changed: "light[-]hearted", "Merry[

to "waistcoat" (my striped

"cast" (When George Grossm

to "miniature" (experime

to "one" (and in one

"occurred" (there occurred an inc

ppi" changed

to "aren't" (I'm an ug

removed from tit

d to "disfiguring" (hit the

ged to "playwright" (mas

hanged to "confesses"

ed to "affectation" (my m

nged to "Jane" (Lad

"her" (his intentions to

nged to "to" (go to

Toro" changed t

nged to "propriety" (polit

vian" changed

, 1877" restored