the Whitefriars Library of Wit and Humour

In the pages that follow, I make no attempt to supply a consecutive and comprehensive history of English stage travestie. This would have been impossible within the limits assigned to me. My object has been simply to furnish an introduction to such a history, supplemented by sketches of the various groups into which English stage burlesques naturally fall, with such extracts as might serve to exhibit the respective methods of individual travestie-writers. My business has been with the literary rather than the histrionic side of burlesque—with the witty and humorous, rather than the purely theatrical, features of the subject with which I had to deal. At the same time, I hope that the details I have been able to give concerning dates, and "casts," and so on, may be useful to at least a large section of my readers.

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I ought to say that, while I have endeavoured to mention all the most representative burlesques of which our stage history keeps record, I have intentionally left outside of my scheme all "extravaganzas," "bouffoneries musicales," and other such miscellaneous varieties of comic literature,—confining myself to definite and deliberate travesties of subjects previously existent.

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I have to thank more than one kind friend for information and material supplied, and more than one living writer of burlesque for the opportunity of consulting his "prompt books" and thus quoting from unpublished work.

Davenport Adams, jun.

Note.—Those who desire to extend their acquaintance with the literature of English stage burlesque may be recommended to turn first to the travesties published by Mr. French, which include those by Planché, and many by the Broughs, H. J. Byron, Talfourd, F. C. Burnand, etc. Mr. Gilbert's "Rosencrantz and Guildenstern" is to be found in his volume entitled "Foggerty's Fairy, and Other Stories." A large proportion of the burlesques discussed, quoted, or mentioned in the following chapters are out of print, and to be seen only at the British Museum, on the second-hand bookstalls, or on the shelves of private collectors.

[We beg to acknowledge the courtesy of MM. Walèry, Limited, in permitting us to avail ourselves of their photographs of Messrs. Burnand and Gilbert; and of Mr. Bassano for the same permission in regard to that of Mr. G. R. Sims.—Ed. W. L.]

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A BOOK OF BURLESQUE.

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THE BEGINNINGS OF BURLESQUE.

Who shall say when the spirit of burlesque first made its appearance on our stage? There were traces of it, we may be sure, in the Mysteries and Moralities of pre-Elizabethan days; the monkish dramatists were not devoid of humour, and the first lay playwrights had a rough sense of ridicule. The "Vice" which figured in so many of our rude old dramas had in him an element of satire, and the pictures drawn of his Satanic Majesty were conscious or unconscious caricatures of the popular conception of the Evil One.

In all these cases, however, the burlesque was general. It was of the nature of travestie, and of the vaguest sort. Of particular parody one finds but few signs in the Elizabethan drama. There is a little of it in Shakespeare, where he pokes fun at the turgidity of contemporary tragedy or at the obscurity of contemporary Euphuism. The Pyramus and Thisbe episode is less burlesque than satire. It is an exposé of the absurdities of the amateur performer, for whom Shakespeare, as a professional actor, could have only an amused contempt.

"The Bard" parodied, but he did not burlesque. That was left to the initiative of the gifted literary Dioscuri, Beaumont and Fletcher. "The Knight of the Burning Pestle," which saw the light in 1611, is not wholly a travestie, but it contains a travestie within itself. In the main it is a dramatic exposition of a love story, the scene of which is laid in the middle-class life of the time. Ralph, the Knight of the Burning Pestle, is by no means the hero of the tale; rather is he an excrescence upon it. A grocer and his wife sit on the stage, and suggest to the actors that Ralph, their apprentice, shall take part in the performance. They want a play in which a grocer shall do "admirable things," and Ralph is bound to do them. The apprentice, it would seem, is an amateur actor—he "hath played before," and so finds no difficulty in adapting himself to the situation. When he enters, it is "like a grocer in his shop, with two prentices, reading 'Palmerin of England.'" This gives us the key to the satire. Ralph is to burlesque the romances of chivalry, which were then so common in England, as elsewhere. "Palmerin of England" had been "translated out of French" by Anthony Munday and assistants, and published between 1580 and 1602. Ralph starts with a quotation from it, and then goes on to say:—

Certainly those knights are much to be commended who, neglecting their possessions, wander with a squire and a dwarf through the deserts to relieve poor ladies.... There are no such courteous and fair well-spoken knights in this age.

He whom Palmerin would have called "Fair Sir," and she whom Rosiclear would have called "Right beauteous Damsel," are now spoken of opprobriously. But why should not Ralph be the means of wiping out this reproach?—

Why should I not pursue this course, both for the credit of myself and our company? For amongst all the worthy books of achievements, I do not call to mind that I yet read of a grocer-errant: I will be the said knight. Have you heard of any that hath wandered unfurnished of his squire and dwarf? Thy elder prentice Tim shall be my trusty squire, and little George my dwarf. Hence, my blue apron! Yet, in remembrance of my former trade, upon my shield shall be portrayed a burning pestle, and I will be called the Knight of the Burning Pestle. My beloved squire, and George my dwarf, I charge you that henceforth you never call me by any other name but "the right courteous and valiant Knight of the Burning Pestle"; and that you never call any female by the name of a woman or wench, but "fair lady," if she have her desires; if not, "distressed damsel"; that you call all forests and heaths "deserts," and all horses "palfreys."

After this, Ralph reappears at various points in the action. He interposes, Quixote-like, in the aforesaid love-affair, and gets belaboured by the favoured lover for his pains. Later, he puts up at an inn, and, about to leave, is surprised when the tapster draws his attention to the fact that the reckoning is not paid:—

Host. Thou valiant Knight of the Burning Pestle, give ear to me: there is twelve shillings to pay, and as I am a true knight, I will not bate a penny....

The host, however, insists upon receiving his twelve shillings, and the grocer's wife, in great fear lest harm shall befall her Ralph, requests her husband to pay the money. In a subsequent scene, Ralph conquers the giant Barbaroso, and releases his captives. By-and-by he goes into Moldavia, where he touches the heart of the king's daughter, but tells her that he has already pledged his troth to Susan, "a cobbler's maid in Malte Street," whom he vowed never to forsake. At the end of the play he comes on to explain, at length, that he is dead, taking the opportunity to recount his various performances.

The fun is never very brilliant; and the "Knight of the Pestle," albeit by writers so distinguished, is not, for the present-day Englishman, particularly exhilarating reading. One can imagine, however, how droll it seemed to our ancestors, with whom it remained popular for over half a century, surviving till the time of Mistress Eleanor Gwynne, who once spoke the prologue to it.

Our first burlesque, then, was a satire upon exaggerated fiction. Our second was a satire upon extravagant plays. It is possible that "The Rehearsal" was represented before "The Knight of the Burning Pestle" left the boards. Begun in 1663, and ready for production before 1665, it was first performed in 1671. It is ascribed to George Villiers, Duke of Buckingham; but probably there were several hands engaged in it. It was the outcome of the boredom and the laughter caused by the wildness and bombast of the Restoration plays. There were some things in the stage of that day which the wits could not abide:—

So runs the prologue to "The Rehearsal," which was destined to strike the first blow at the mechanical dramas that had succeeded the masterpieces of the Shakespearian period. Bayes, the playwright whose tragedy is supposed to be "rehearsed," is usually accepted as a skit upon Dryden, whose dress, speech, and manner were openly mimicked by Lacy, the interpreter of the part. But there is reason to believe that Davenant first sat for the portrait, and in the end Bayes became a sort of incarnated parody of all the Restoration playwrights. This preposterous play travesties a whole school of dramatic writing. Dramas by Dryden, Davenant, James and Henry Howard, Mrs. Behn, and Sir William Killigrew and others, are directly satirised in certain passages; but in the main the satire is general. For instance, in one place fun is made of the prevalence of similes in the dramas aimed at. Prince Prettyman, in the rehearsed play, falls asleep, and Chloris, coming in, finds him in that situation:—

Bayes. Now, here she must make a simile.

Smith (one of the spectators). Where's the necessity of that, Mr. Bayes?

Bayes. Because she's surpris'd. That's a general rule: you must ever make a simile when you are surpris'd; 't is the new way of writing.

Elsewhere it is confusion of metaphor, very common among the second-rate "tragedians," that is derided. Says the physician in the play:—

All these threat'ning storms, which, like impregnant clouds, do hover o'er our heads (when once they are grasped but by the eye of reason), melt into fruitful showers of blessings on the people.

Bayes. Pray mark that allegory. Is not that good?

Johnson (another spectator). Yes, that grasping of a storm with the eye is admirable.

In one place, Smith, the aforesaid onlooker, complains that, amid all the talk, the plot stands still; to which Bayes replies, "Why, what the devil is the plot good for but to bring in fine things?" At another juncture we have the first hint of a bit of persiflage which Sheridan afterwards imitated in "The Critic." It has reference to the portentous reticence of some of the dialogue in Restoration plays. An usher and a physician are on the stage:—

Phys. If Lorenzo should prove false (which none but the great gods can tell) you then perhaps would find that—— (whispers).

Usher. Alone, do you say?

Phys. No, attended with the noble—— (whispers).

Usher. Who, he in grey?

Phys. Yes, and at the head of—— (whispers).

Usher. Then, sir, most certain 'twill in time appear,
These are the reasons that have induc'd 'em to't;
First, he—— (whispers).
Secondly, they—— (whispers).
Thirdly, and lastly, both he and they—— (whispers).

[Exeunt whispering.

"Well, sir," says Smith to Bayes, "but pray, why all this whispering?" "Why, sir," replies the dramatist, "because they are supposed to be politicians, and matters of state ought not to be divulg'd."

In its direct travestie "The Rehearsal" is often very happy. Dryden had claimed for his tragedies that they were written by "th' exactest rules"; so Bayes exhibits to his friends Smith and Johnson what he calls his "Book of Drama Commonplaces, the mother of many plays," containing "certain helps that we men of art have found it convenient to make use of." "I do here aver," he says, "that no man yet the sun e'er shone upon has parts sufficient to furnish out a stage, except it were by the help of these my rules." Davenant, in his "Love and Honour," had portrayed a mental and spiritual struggle between those potent forces. Bayes, accordingly, is made to introduce a scene in which Prince Volscius, sitting down to pull on his boots, wonders whether he ought or ought not to perform that operation:—

In the end, he "goes out hopping, with one boot on, and t'other off." Again, there was a passage in the drama called "The Villain," in which the host supplied his guests with a collation out of his clothes—a capon from his helmet, cream out of his scabbard, and so on. In like manner, Pallas, in Mr. Bayes's tragedy, furnishes forth the two usurping kings:—

Of the direct parody in the burlesque a few instances will suffice. Almanzor, in "The Conquest of Granada," becomes the Drawcansir of Mr. Bayes's work; and while the former ejaculates—

the latter caps it with—

Again, while Almanzor says to his rival in love—

Drawcansir, snatching the bowls of wine from the usurpers, cries—

The simile of the boar and the sow has often been quoted; it seems to have been always a favourite with our playgoing ancestors. In "The Conquest of Granada" we read:—

Mr. Bayes imitated this in what he called "one of the most delicate, dainty similes in the world, egad":—

The example set by Buckingham in "The Rehearsal" was followed, more than half a century later, by Henry Fielding, in "The Tragedy of Tragedies, or the Life and Death of Tom Thumb the Great." This was brought out in 1730, in two acts, and was so immediately and largely successful that the author was induced to expand its two acts into three. It was afterwards published, with elaborate notes, setting forth a number of "parallel passages" from Dryden downwards, and with a preface, in which the supposed editor, H. Scriblerus Secundus, gravely assigned the origin of the "tragedy" to the age of Elizabeth. Apropos of parallel passages, the editor says:—

Whether this sameness of thought and expression [on the part of the authors quoted] ... proceeded from an agreement in their way of thinking, or whether they have borrowed from our author, I leave the reader to determine. I shall adventure to affirm this of the Sentiments of our author, that they are generally the most familiar which I have ever met with, and at the same time delivered with the highest dignity of phrase; which brings me to speak of his diction. Here I shall only beg one postulatum—viz., that the greatest perfection of the language of a tragedy is, that it is not to be understood; which granted (as I think it must be), it will necessarily follow that the only ways to avoid this is by being too high or too low for the understanding, which will comprehend everything within its reach.

The editor goes on to say that "our author excelleth" in both these styles. "He is very rarely within sight through the whole play, either rising higher than the eye of your understanding can soar, or sinking lower than it careth to stoop."

Fielding does not adopt in "Tom Thumb" the machinery of "The Rehearsal." "Tom Thumb" is a burlesque tragedy, standing by itself, and intended for representation in the serious spirit which should animate all true burlesque. Tom Thumb is "a little hero, with a great soul," who, as a reward for his victories over the race of giants, demands in marriage the hand of Huncamunca, the daughter of King Arthur. As he observes:—

"Prodigious bold request," remarks the King; but he decides, nevertheless, to give Huncamunca to Tom Thumb. Unhappily, Lord Grizzle is enamoured of the princess, and, in revenge, leads an insurrection against the Court. He is, however, conquered by the little hero, who is about to be wedded to his charmer, when, alas! as he is marching in triumph through the streets, he is swallowed by "a cow, of larger than the usual size." Queen Dollallolla, who is in love with Tom, slays with her own hand the messenger who brought the news. Thereupon, Cleora, who is in love with the messenger, kills the Queen. Huncamunca, by way of reprisal, kills Cleora. A certain Doodle kills Huncamunca; one Mustacha kills Doodle; the King kills Mustacha, and then kills himself, exclaiming—

We have here a happy satire upon the sanguinary conclusions given to the tragedies of the seventeenth century. Great pains, too, are taken, throughout the "tragedy," to travestie that bête noire of the humourists, the dragged-in simile, to which not even "The Rehearsal" had given the coup de grâce. The ghost of Tom Thumb's father is made to say—

Whereupon the king says, "D—n all thou hast seen!" Grizzle, when on the point of expiring, cries—

Some of the mock similes in "Tom Thumb" are among the most familiar things in literature. We all remember the lines—

And these—

The burlesque contained within the pages of "Tom Thumb" covers a considerable field. Dryden is once more very freely satirised, some nine or ten of his plays being held up to ridicule. But much attention is at the same time paid to dramas which saw the light after the production of "The Rehearsal." Thus, there are allusions to the "Mithridates," "Nero," and "Brutus" of Nathaniel Lee, which belong to 1674-1679; to the "Marius" of Otway (1680); to the "Anna Bullen," "Earl of Essex," "Mary Queen of Scots," and "Cyrus the Great" of Banks (1680-1696); to the "Persian Princess" of Theobald (1711), to Addison's "Cato" (1713), to Young's "Busiris" and "The Revenge," and even to Thomson's "Sophonisba," which had come out only in the year preceding that in which "Tom Thumb" was performed. "O Sophonisba, Sophonisba O" (which had already been parodied in the form of "O Jemmy Thomson, Jemmy Thomson O") is here laughed at in "O Huncamunca, Huncamunca O!" In "Cyrus the Great" the virtuous Panthea remarks to one lover—

And, in a like spirit, Huncamunca, after wedding Tom Thumb, is quite willing to wed Grizzle:—

thereby reminding us of the obliging defendant in Mr. Gilbert's "Trial by Jury," who is ready to "marry this lady to-day, and marry the other to-morrow." In the third act of "Cato" is a simile which Fielding parodies thus—putting it into the mouth of Grizzle:—

Finally, we have this equally well-known passage, suggested by the remark of Lee's Mithridates that he "would be drunk with death":—

It was the fate of "Tom Thumb" to be transformed—so far as it was possible to transform it—into a burlesque of Italian opera as well as of conventional drama. "Set to music after the Italian manner," it was brought out in 1733 as "The Opera of Operas," and had considerable vogue in the new guise thus given to it. It had been preceded in 1727 by Gay's "Beggar's Opera"; but that famous work was a social and political satire rather than a travestie of the exotic lyrical drama. It may be regarded as a species of prototype of the burletta or ballad opera of later days. Not even the transformed "Tom Thumb"[1] could be called an effective reductio ad absurdum of the Italian opera of those days. For that the public had to wait a short time longer.

Meanwhile, four years after the production of "Tom Thumb" came the "Chrononhotonthologos" of Henry Carey, author of "Sally in our Alley." This also is a burlesque tragedy, but the travestie is purely general. No individual play is directly satirised; the satire is aimed at a whole class of dramas—the same class as that which had suggested the composition of "Tom Thumb."

Carey says, in his prologue:—

"Chrononhotonthologos" is a short piece, in one act and seven scenes. It is described in its sub-title as "the most tragical tragedy that ever was tragedised by any company of tragedians," and it bears out the description tolerably well. When the curtain rises, there enter two courtiers of Queerummania—Rigdum-Funnidos and Aldiborontiphoscophornio. Says the latter to the former:—

Chrononhotonthologos is the king, and we learn that he is in his tent, in a kind of waking slumber. Presently he enters, very much put out that he should be so inclined to doze, and very angry, consequently, with the God of Sleep. Says he:—

and "exits in a huff." Whereupon the two courtiers, who have retired, re-enter:—

Rigdum. The King is in a most cursed passion! Pray who is the Mr. Somnus he's so angry withal?

Aldi. The son of Chaos and of Erebus,
Incestuous pair! brother of Mors relentless,
Whose speckled robe, and wings of blackest hue,
Astonish all mankind with hideous glare:
Himself, with sable plumes, to men benevolent
Brings downy slumbers and refreshing sleep.

Rigdum. This gentleman may come of a very good family, for aught I know; but I would not be in his place for the world.

Aldi. But lo! the king his footsteps this way bending,
His cogitative faculties immers'd
In cogibundity of cogitation.

Thereupon the king re-enters, followed almost immediately by the captain of the guard, who informs him that "th' antipodean pow'rs from realms below have burst the entrails of the earth" and threaten the safety of the kingdom. "This world is too incopious to contain them; armies on armies march in form stupendous"—"tier on tier, high pil'd from earth to heaven." The king, however, is not alarmed. He bids Bombardinian, his general, draw his legions forth, and orders the priests to prepare their temples for rites of triumph:—

Happily the Antipodeans (who walk upon their hands) are badly beaten, and all run away except their king, with whom, alas! Fadladinida, the wife of Chrononhotonthologos, promptly falls in love. As she herself says to her favourite maiden:—

Meanwhile, Bombardinian has invited the King to drink wine with him in his tent. The King accepts, but, not content with liquor, asks for something more substantial:—

The cook suggests "some nice cold pork in the pantry," and is instantly slain by the irate monarch, who, deeming that Bombardinian is "braving" him, strikes him. Whereupon the General:—

The doctor, pronouncing the king dead, is killed by the General, who then kills himself. The Queen mourns her widowhood, and Tatlanthe proposes that she should wed Rigdum-Funnidos. To this, however, Aldiborontiphoscophornio objects; and so, to save discussion, the Queen will give no preference to either:—

Produced in 1734, "Chrononhotonthologos" was performed at intervals until 1815, when it was seen at Drury Lane, with Oxberry in the title-part and Dowton as the General. After that it remained out of the theatrical repertory until 1880, when Mr. John Hollingshead revived it, for one representation, at the Gaiety.[2] It is a slight piece of work, but contains some elements of comicality. It will always be esteemed by literary students, if only because the names of Rigdum-Funnidos and Aldiborontiphoscophornio struck the fancy of Sir Walter Scott, who bestowed them, in fun, upon the brothers Constable, the publishers. "Aldiborontiphoscophornio" is surely the perfection of mock-tragedy nomenclature.

It is to Carey that we owe, not only "Chrononhotonthologos," but the first really effective burlesque of Italian opera. In 1737 there was brought out at the Haymarket "The Dragon of Wantley," a "burlesque opera," of which Carey had written the dialogue and songs, and for which John Frederick Lampe had composed the music. Its object, according to the author, was "to display in English the beauty of nonsense, so prevailing in the Italian operas." The story was founded on the old ballad, with which, however, liberties were taken. In the first act, the natives of "that part of Yorkshire near Rotherham" are shown in much excitement, due to the ravages of the dragon, which has just entered the Squire's residence and consumed all the coffee, toast, and butter that was set out for breakfast. Says one Gubbins:—

To which his daughter Margery replies:—

Not far hence lives "a valiant knight," named Moore, of Moore Hall, who may be trusted to destroy the dragon. Moore accordingly is approached, surrenders to the charms of Margery, and undertakes to do the deed. Meanwhile, Mauxalinda, an old flame of Moore's, becomes jealous of Margery, and seeks to slay her with a bodkin—a fate from which Moore happily rescues her. Mauxalinda is then threatened with quarter sessions; but she cries—

Moore thereupon prepares to start for the Dragon's den:

Duly encountering the monster, Moore kills him (say the stage directions) with a kick in the rear, the Dragon crying "Oh, oh, oh! the Devil take your toe!" After that, Gubbins declares:—

Thereupon there is this general chorus:—

Sing, sing, and rorio
An Oratorio,
To gallant Morio,
Of Moore Hall.
To Margereenia
Of Roth'ram Greenia,
Beauty's bright Queenia,
Bellow and bawl.

"The music," says the chronicler, "was made as grand and pompous as possible, to heighten the contrast between that and the words"—thus anticipating the comic method which has been utilised with so much success by Mr. Gilbert and Sir Arthur Sullivan.

From "The Dragon of Wantley," which, as might be expected, had a very considerable vogue, we come to "The Critic, or a Tragedy Rehearsed"—the last, and not the least, of Sheridan's dramatic works, produced in Drury Lane in 1779. Of so familiar a piece, what is there to be said? Is it not played with tolerable frequency at "benefits," for the sake of the "exceptional casts" it can supply? Have not all middle-aged playgoers seen and admired the younger Mathews as Sir Fretful Plagiary and Mr. Puff? Assuredly there are certain features of "The Critic" which everybody remembers. Everybody remembers Sir Fretful's famous lines on the plagiarists, who "serve your best thoughts as gypsies do stolen children—disfigure them to make 'em pass for their own"; as well as his special addendum about the "dexterous" writer who "might take out some of the best things in my tragedy and put them into his own comedy." Everybody remembers, too, Mr. Puffs no less famous catalogue of the varieties of réclame; his remark that "the number of those who undergo the fatigue of judging for themselves is very small indeed"; his explanation of the fact that he and Shakespeare had made use of the same thought; Lord Burleigh's shake of the head, which meant so much, and has become proverbial; the Spanish fleet, which could not be seen because it was not yet in sight; Tilburina, "mad in white satin"—and the like. It must be recollected, however, that "The Critic" as played and "The Critic" as written and printed are two very different things. In the acting version, the earlier scenes between Puff and Dangle and Sneer, as well as the latter portion of the "tragedy rehearsed," are very much compressed—no doubt with advantage to the public, for, clever as "The Critic" is as a whole, certain portions of it are out of date, and would not "go" well with a modern audience.

In glancing through the printed version, one is struck anew by the similarity that "The Critic" bears to "The Rehearsal," not only in form, but in detail. In both cases a dramatic author rehearses a tragedy in the presence of a couple of friends, who interject comments upon the performance. But the likeness does not end here—possibly because the theatrical world of 1779 was, in all essentials, very like the theatrical world of 1671. Bayes, in "The Rehearsal," says that he has "appointed two or three dozen" of his friends "to be ready in the pit" (at the première of his piece), "who, I'm sure, will clap." And so Sneer, in "The Critic," expects that he will not be able to get into Drury Lane on the first night of Puff's play, "for on the first night of a piece they always fill the house with orders to support it." Again, Bayes says that

Let a man write never so well, there are, nowadays, a sort of persons they call critics, that, egad, have no more wit in them than so many hobby-horses; but they'll laugh at you, sir, and find fault, and censure things that, egad, I'm sure they are not able to do themselves.

In a similar spirit Sir Fretful stigmatises the newspapers as "the most villainous—licentious—abominable—infernal—— Not that I ever read them—no. I make it a rule never to look into a newspaper."

In one respect Sheridan's work is quite unlike the Duke of Buckingham's. It contains no direct travestie or parody of any kind. The burlesque is "at large" throughout. The satire embodied in the dialogue between Puff and his friends reflects upon all old-fashioned playwriting of the "tragic" sort. Puff opens the second scene of his "Spanish Armada" with a clock striking four, which, besides recording the time, not only "begets an awful attention in the audience," but "saves a description of the rising sun, and a great deal about gilding the eastern hemisphere." He makes his characters tell one another what they know already, because, although they know it, the audience do not. He hears the stage cannon go off three times instead of once, and complains, "Give these fellows a good thing, and they never know when to have done with it." "Where they do agree on the stage," he says, in another hackneyed passage, "their unanimity is wonderful." In the rehearsed tragedy itself the travestie is general, not particular. Here Sheridan satirises a different class of tragedy from that which Buckingham dealt with. As the prologue (not by Sheridan, however) says:—

The later "tragedy" took another tone:—

Dulness, then, is what Sheridan is chiefly girding at, but he has a keen eye also for the unconscious banalities of the genre he is dealing with. How truly comic, for instance, is the prayer to Mars offered up by Leicester and his companions!—

How delicious, too, in their absolute nonsense, are the lines given to the distraught Tilburina!—

For the rest, the text of the tragedy, as printed, is very dissimilar from the text as played. In representation, most of the fun is got out of intentional perversion of certain words or phrases. Thus, "martial symmetry" becomes "martial cemetery";

becomes

"friendship's closing line" is turned into "friendship's clothes-line"; "My gentle Nora" into "My gentle Snorer"; "Cupid's baby woes" into "Cupid's baby clothes"; "matchless excellence" into "matchless impudence," and so on. This is sorry stuff; and those who desire to appreciate Sheridan's travestie of the tragedy of his day must read "The Critic" in its published shape.

The next notable attempt at the burlesque of conventional tragedy was a return to the methods of "Chrononhotonthologos." In "Bombastes Furioso" (first played in 1816[3]) all satirical machinery was discarded; all that the author—William Barnes Rhodes—sought to do was to travestie his originals in a brief and telling story. "Bombastes" is not now so often performed as it used to be; but not so very long ago it was turned into a comic opera, under the title of "Artaxominous the Great," and its humours are fairly well known to the public. Some of these the world will not willingly let die. One still thinks with amusement of the "army" of Bombastes, consisting of "one Drummer, one Fifer, and two Soldiers, all very materially differing in size"; of the General's exhortation to his troops—

and of the boastful challenge of the General, so promptly accepted by Artaxominous—

And the piece bears re-perusal wonderfully well. Its literary merit is assuredly not less than that of "Chrononhotonthologos": it is perhaps even greater. The opening colloquy between the King and Fusbos is genuinely diverting, embodying as it does one of those mock similes so dear to the satirists of old-fashioned tragedy. The King admits to Fusbos that he is "but middling—that is, so so!" It is not, however, either the mulligrubs or the blue-devils that disturb him:—

By-and-by the King confides to Fusbos that his heart is not wholly faithful to Queen Griskinissa—that he is also hopelessly in love with Distaffina, the acknowledged sweetheart of Bombastes. Under the circumstances he asks for Fusbos' advice:—

These, however, are not the best known of the mock similes in "Bombastes." For those we have to look to the scene in which the King, observing his General's abovementioned challenge, reviles Bombastes and knocks down his boots. Then we have the familiar lines:—

Next comes the fight between the monarch and the warrior; the King is killed, and then Fusbos kills Bombastes. Finally, the two deceased (despite the assertion of Fusbos that they are "dead as herrings—herrings that are red") come to life again, and all ends happily.

Of ordinary parody there is little in the piece, and what there is can scarcely be said to be of the best. There is a suggestion, in one ditty, of "Hope told a flattering Tale." But better than this is the song suggested by "My Lodging is on the Cold Ground," which is happy both intrinsically and as an imitation. Fusbos is the singer:—

At this point, English stage burlesque suddenly takes a new departure, combining, with satire of the contemporary native "boards," satire not less keen of certain products of the foreign muse. The incident came about in this way:—Just before the close of the eighteenth century, the English book-market had been flooded with translations of certain German plays, including Schiller's "Robbers" and "Cabal and Love," Goethe's "Stella," and Kotzebue's "Misanthropy and Repentance" ("The Stranger") and "Count Benyowsky." Canning, Ellis, and Frere, who were then bringing out The Anti-Jacobin, were struck by the absurdities contained within these dramas, and accordingly composed and printed (in June 1798) that well-known skit, "The Rovers, or the Double Arrangement." In this the plays chiefly parodied are "Stella," "The Stranger," and "Count Benyowsky." By "Stella" was suggested not only "the double arrangement" (by which Matilda and Cecilia share the affections of their lover Casimere), but the famous scene in which the two women, before they know they are rivals, become, on the instant, bosom friends. Both admit that they are in love, and then—

Cecilia. Your countenance grows animated, my dear madam.

Matilda. And yours is glowing with illumination.

Cecilia. I had long been looking out for a congenial spirit! My heart was withered, but the beams of yours have rekindled it.

Matilda. A sudden thought strikes me: let us swear an eternal friendship.

Cecilia. Let us agree to live together!

Matilda. Willingly.

Cecilia. Let us embrace.(They embrace.)

"The Rovers," however, would hardly come within the scope of the present volume, were it not that, in 1811, at the Haymarket, there was produced, by Colman junior, a piece called "The Quadrupeds of Quedlinburgh, or the Rovers of Weimar," in which the adapter made use of the squib in The Anti-Jacobin. Colman's aim in this work was to ridicule not only the German plays, including Kotzebue's "Spaniards in Peru" ("Pizarro"), which had lately been brought before the English playgoer, but also the prevailing fancy for bringing animals upon the stage. At Astley's horses had figured both in "Blue Beard" and in "Timour the Tartar," and dogs had previously been seen in "The Caravan." To this, as well as to the unhealthy importations from Germany, allusion was made in the prologue:—

(a hit at "The Stranger"),

"The Quadrupeds of Quedlinburgh" was not printed, and one does not know to what extent Colman took advantage of the text of "The Rovers." It is certain, however, that Casimere, Matilda, and Cecilia, as well as Rogero (a creation of the original parodists), all appeared in the burlesque, being enacted respectively by Munden, Mrs. Glover, Mrs. Gibbs, and Liston, Elliston taking the rôle of Bartholomew Bathos, a lineal descendant (no doubt) of Bayes and Puff. We read that, in addition to the travestie supplied by The Anti-Jacobin, fun was poked at the sentimental sentinel in "Pizarro," and the last scene of "Timour the Tartar" was closely imitated. The piece was acted thirty-nine times, and must therefore have been what, in those days, was accounted a success.

We come now to a travestie of the old-fashioned tragedy which helps to connect the Old burlesque with the New, inasmuch as it was the production of James Robinson Planché. Of his "Amoroso, King of Little Britain: a serio-comick bombastick operatick interlude," played at Drury Lane in 1818, Planché was not particularly proud. He was very young when he wrote it; he wrote it for amateur performance; and it got on to the stage of Drury Lane without his knowledge and consent. Harley, the comedian, appears to have seen or read the little trifle, and to have recommended it to the manager of "the national theatre." He himself represented Amoroso; Knight was Roastando (a cook); Smith was Blusterbus (a yeoman of the guard); Mrs. Bland was Coquetinda (the Queen of Little Britain), and Mrs. Orger was Mollidusta (a chambermaid). The piece was much applauded, and had the distinction of being quoted in the Times. It opens with the King being awakened by his courtiers, to whom he angrily exclaims:—

The Times applied the last line to a Parliamentary incident which had just occurred; and Planché admits that he was flattered by the compliment. But he would not include "Amoroso" in the testimonial edition of his burlesques and extravaganzas,—mainly, I imagine, because the piece is so obviously an imitation of "Bombastes Furioso," which it by no means equals in literary distinction.

The plot is simplicity itself. Amoroso is in love with Mollidusta, Mollidusta with Blusterbus, and the Queen with Roastando. "The King sees Roastando and the Queen salute: he discharges Roastando. The Queen sees the King and Mollidusta together: she stabs Mollidusta. The King stabs the Queen, Roastando stabs the King, the King stabs Roastando." In the end, all come to life again. In the course of the play the King thus declares his passion to Mollidusta:—

Amoroso also sings the following pseudo-sentimental ditty:—

Not to be outdone by the other lovers, the Queen and Roastando warble a duet, in which they confess their feelings for each other:—

Three months after "Amoroso" had been seen at Drury Lane, there was produced at the English Opera House a "serio-comic-bombastic-operatic interlude," written by George Daniel, and called "Doctor Bolus"—yet another burlesque of the old-fashioned drama, owing quite as much to "Bombastes Furioso" as did "Amoroso." In this piece the King, Artipadiades (Harley), is in love with Poggylina, a maid of honour, while the Queen, Katalinda (Miss Kelly), is enamoured of General Scaramoucho (Chatterley). The General revolts, and is defeated by the King. His amour is discovered, and, while the Queen is poisoned with one of Bolus's "infallible" pills, the General is stabbed by Artipadiades. The Queen, however, revives, and is thereupon stabbed by the King, who also stabs himself. But, in the end, as in "Amoroso," all the dead people are resuscitated. There are some gleams of humour in the dialogue, but not many. Bolus was played by John Wilkinson.

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THE "PALMY" DAYS.

After the production of "Amoroso," Planché remained silent, so far as travestie was concerned, till 1831, when he began in earnest his successful career as a burlesque writer. In the interval a new votary of travestie appeared in the person of Fox Cooper, of whose "Elbow Shakers" and "Ion" I shall have something to say by-and-by. Moncrieff and Buckstone, too, followed the example of T. Dibdin, in dealing more or less humorously with the subject of "Don Giovanni," while Buckstone also essayed to do the same with that of "Billy Taylor." None of these effusions, however, were burlesques in the ordinary acceptation of the word; and 1831, therefore, may still be taken as the starting-point of the new theatrical era, of which Planché was the herald.

This era may be said to divide naturally into fairly balanced parts, the first extending from 1831 to 1865, the period covered by Planché's activity in the work; the second from 1865 to 1885, by which time Mr. Edward Terry and Miss Kate Vaughan had retired from the Gaiety. Within the former moiety are comprised the labours of four men who for many years shared with Planché the throne of stage travestie. Need I say that I mean Gilbert Abbott a'Beckett (with whom Mark Lemon so frequently collaborated), Francis Talfourd, and the Brothers Brough? Planché's "Olympic Revels" (1831) was followed by A'Beckett's "Son of the Sun" in 1834, by Talfourd's "Macbeth" in 1847, and by the Brothers Brough's "Enchanted Isle" in 1848. The "Joan of Arc" of William Brough was seen in 1869; its writer had been producing burlesque for over twenty years. Talfourd's career as a dramatist was comparatively brief. Beginning in 1847, it ended in 1860, but was brilliant while it lasted.

Modern burlesque was fortunate indeed in its founders—all of them men of education and refinement, all of them men of letters as well as playwrights. To the literary merit of their products it is unnecessary to bear more than the briefest testimony, for it is everywhere, and by everybody, acknowledged. In the writings of these four men theatrical burlesque was seen at its best. They came fresh to the task, and made the most of their opportunities. They set themselves really to travestie and to parody, and were careful to present, amid their wildest comicalities, a definite, intelligible story. They dropped naturally into the decasyllabic couplet, and made free use of the pun; but in neither case did they become mechanical or strained. The verse of Planché and A'Beckett is smoothness itself, and they do not descend to word-torturing. Talfourd and the Broughs took more licence in this latter respect, but they never sank into drivel. Above all, not one of these five masters of burlesque permitted themselves to be vulgar either in general treatment or in verbal detail. They were nice in their choice of subjects, and, like Mr. W. S. Gilbert in the case of "The Princess," perverted them respectfully. One finds no horseplay in the fun of these genuine humourists. All their effects are made legitimately, and in decent fashion.

They were happy, too, in the good influence they exercised. The list of their colleagues during the period named is notable. One meets early with the names of Charles Selby and W. H. Oxberry. Then come those of Albert Smith, Kenny, and Shirley Brooks, Leicester Buckingham, and Andrew Halliday, by whom much excellent work was achieved in the 'forties and 'fifties. Of lesser note, in this particular department of endeavour, were Leman Rede, Stirling Coyne, and Tom Taylor, who were more distinguished in other fields. Selby and Oxberry had the knack of writing for the stage which so often results from experience in acting. Smith, Brooks, Buckingham, Halliday, Rede, Coyne, and Taylor, were men whose literary skill, acquired in other quarters, was of eminent service to the comic stage. Especially is it to be regretted that the genial and witty author of "Sooner or Later" did not devote more of his time and talent to the service of burlesque, of the qualities and possibilities of which he had so keen a sense.

But to turn now to the second moiety of the period above named—that extending from 1865 to 1885. We find that this, too, has had the good fortune to be dominated by some burlesque writers of very special capacity—to wit, Mr. F. C. Burnand, the late H. J. Byron, Mr. W. S. Gilbert, and Mr. Robert Reece. Mr. Burnand has been bringing out burlesques ever since 1855, when he wrote "Villikins and his Dinah" for the Cambridge A.D.C. His first London production was his "Dido," seen at the St. James's in 1860. His metropolitan career, therefore, has covered more than thirty years. Byron began at the Strand in 1858, and ended at the Gaiety in 1879. Mr. Gilbert's labours as a producer of travestie in the ordinary sense started early in the 'sixties with "Dr. Dulcamara," and closed in 1870 with "The Princess."[4] Mr. Reece opened in 1865 with "Prometheus"; and work in which he had a part was witnessed so recently as 1886.

Mr. Gilbert soon found that his true métier lay outside the bounds of ordinary burlesque, and his "Princess" was the stepping-stone to "The Palace of Truth," and, in due course, to "H.M.S. Pinafore" and its successors. His travesties of "L'Elisir d'Amore," "La Fille du Régiment," "The Bohemian Girl," "Norma," and "Robert le Diable," had, however, what all the best specimens of English stage burlesque have had—a literary quality and an entire absence of coarseness or suggestiveness; and no doubt they had, at the time, their due effect upon the public taste. Meanwhile, the premier burlesque writers of the past thirty years are Mr. Burnand, Byron, and Mr. Reece, whose productions have been as notable for their multiplicity and variety as for their technical excellence. All three, like the ablest of their predecessors, have written extravaganza as well as travestie; and, in travestie, they have gone far afield, essaying and succeeding in all subjects and all styles. They, too, have favoured, in the main, the decasyllabic couplet and the pun, bringing both of them to all the comic perfection of which they were capable. The pun, in particular, has reached its highest phase in the writings of these consummate jugglers with words.

Mr. H. B. Farnie had a considerable vogue in burlesque from 1870 to 1885, but never displayed the neatness or the spontaneity of the writers above mentioned. He was fluent, but that was all. Mr. Alfred Thompson at one time did good things in this direction, and so did Mr. Conway Edwardes. Mr. G. A. Sala composed one burlesque, but has not been induced to give it a successor. Mr. Herman Merivale has been content to write two: that he has not written more is to be regretted. Among other recent writers of travestie may be named—Mr. Gilbert Arthur a'Beckett, Mr. Harry Paulton, Mr. F. W. Green, Mr. Arthur Matthison, Mr. Savile Clarke, Mr. W. Younge, Mr. Edward Rose, Mr. Alfred Murray, Mr. Albert Chevalier, Mr. George Dance, Mr. G. P. Hawtrey, Mr. Horace Lennard, Mr. Geoffrey Thorn, and Mr. Cecil Raleigh. In the provinces great successes have been made by Mr. J. McArdle and Mr. Wilton Jones. Of Messrs. Sims and Pettitt, Stephens and Yardley, "Richard Henry," and "A. C. Torr" and H. Mills, I shall have something to say when I come to consider "The New Burlesque," of which they have been the principal producers. If, within the last twenty years or so, travestie has been confined to a smaller number of theatres than before, and if it has been proportionately "depressed," that has been owing, chiefly, to the popularity of comic opera and farcical comedy, into the composition and exposition of which has been thrown, of necessity, very much of the talent which otherwise would have been devoted to the writing and acting of burlesque.

On the whole, the days between 1831 and 1885 were, for burlesque, "palmy" days indeed. They produced not only many admirable writers of the genre, but many admirable actors thereof. Planché was generous in his praise of the artists who helped so greatly to make his pieces "go"; and he did well to be so, for never, I suppose, was a comic writer so fortunate in his interpreters. During his first years at the Olympic he had the aid of the incomparable Vestris, of Rebecca Isaacs, of Miss Murray, of Mrs. Macnamara, of Mrs. Honey, of John Brougham, of James Bland, of James Vining, and of Charles James Mathews,—all in the first rank of their art. At Covent Garden, from 1840 to 1843, the company included, at different times, not only Mme. Vestris, Mrs. Macnamara, Brougham, Bland, and Vining, but Harley, Wm. Harrison, Morris Barnett, Selby, Miss Fairbrother, Miss Priscilla Horton, Mrs. C. Jones, and Mrs. Alfred Wigan. At the Haymarket, during the three years following, Planché had his ideas carried out, not only by Bland and Miss Horton, and during one year by Mme. Vestris and Charles Mathews, but also by Caulfield, Widdicomb, Tilbury, Brindal, Braid, Julia Bennett, Miss Reynolds, and Mrs. L. S. Buckingham. Continuously lucky in this respect, Planché enjoyed—from 1847 to 1853, at the Lyceum—the services of Miss Fitzwilliam, Julia St. George, Miss Oliver, John Reeve, Robert Roxby, Basil Baker, and Mr. and Mrs. Frank Matthews, in addition to Vestris and Mathews and many others of the artists named above. Finally, and best, when Planché brought out, at the Olympic, his "Yellow Dwarf," his "Discreet Princess," and his "Young and Handsome," his chief comedian was the "great little Robson," the fame of whose tragi-comic outbursts still lingers among us, and who had for his successive supporters Horace Wigan, Emery, James Rogers, Julia St. George, Miss Maskell (Mrs. Walter Baynham), and Miss Swanborough.

What, meanwhile, had been the personnel at the other houses of burlesque? At the Strand in the 'thirties, the great favourites were W. J. Hammond, H. Hall, Mitchell, Oxberry, G. Cooke, Miss Daly, Miss Horton. At the Fitzroy one finds Miss Chaplin and W. Rogers; at the Victoria, Rogers and Mitchell; at the St. James's, Hall and Mme. Sala; at Sadler's Wells, Rogers and C. H. Pitt; at the Queen's, T. F. Matthews and Mrs. Selby; and at the Adelphi, O Smith, John Reeve, and Mrs. Stirling. Early in the 'forties we see Wright and Paul Bedford moving from the Princess's to the Adelphi, where Miss Chaplin and Miss Woolgar are also located. At the Strand we find Wigan, Hammond, and R. Romer. Later, we come across Keeley in burlesque at the Haymarket, along with Bland, Miss Reynolds, and Miss Horton. The second half of the century opens brilliantly at the Strand, where Reeve, Rogers, Romer, and Maskell are the male comedians, with Miss Marshall, Miss Romer, Miss Maskell, and Mrs. Horsman as their helpmates. Was not that a truly strong company? And was not the Adelphi fortunate, about the same time, in the possession of Miss Woolgar, Miss Mary Keeley, Keeley himself, and Paul Bedford? At the Haymarket were Buckstone and Mrs. Caulfield. Some of these may be names only to the uninstructed reader; but to the theatrical student they all convey a world of meaning, conjuring up a multitude of delightful associations.

When we come to 1856 we reach a landmark in the history of burlesque acting. William Brough's "Perdita" is "put up" by Charles Dillon at the Lyceum, and in the cast of it we find not only Miss Woolgar and the author, but that very youthful actress Marie Wilton, and that rising young comedian J. L. Toole. Here, then, is the beginning of the modern régime. Robson and Julia St. George are still playing at the Olympic; but the "palmy" days of the Strand Theatre are about to flash upon us. Marie Wilton stays for another year at the Lyceum, but in 1858 she is comfortably lodged at the little playhouse across the way, together with Bland and Poynter and Mrs. Selby, and Johnny Clarke, H. J. Turner, and Miss Ternan. In 1859 Charlotte Saunders is playing a mock Romeo to Marie Wilton's mock Juliet, and Eleanor Bufton and Maria Simpson and "Jimmy" Rogers are also members of the troupe—the one troupe which can regard itself as the legitimate successor to the Vestris-Mathews "combinations." In the year following, a new star arises at the Lyceum in the person of Lydia Thompson; at the St. James's are Nelly Moore and Cecilia Ranoe and Charles Young; at the Haymarket are Chippendale, Compton, and C. Coghlan. A few months more, and the name of Kate Terry appears on the burlesque bill at the St. James's. Fanny Josephs and E. Danvers have been added to the Strand establishment, which shortly welcomes Fanny Hughes and Ada Swanborough, Polly Marshall and George Honey.

Next comes the turn of the little Royalty. We are in 1863, and Mr. Burnand's "Ixion" is announced, with Jenny Wilmore in the title-part, David James as Mercury, Felix Rogers as Minerva, Mrs. Charles Selby as the Queen, and Ada Cavendish as Venus. Here, again, is a landmark, not to be left unnoted; here we have to record the first of many triumphs to come. Next year both David James and Thomas Thorne are in the troupe at the Strand, where they are destined to remain till they open the Vaudeville in 1870. In the year next again, the burlesque company at the Olympic is seen to include a young actress of the name of Ellen Farren, one day to become the chief tender of the "sacred lamp"; along with her are Amy Sheridan, Louisa Moore, Patti Josephs, and Mrs. Stephens. Meanwhile, the Royalty has been running neck and neck with the Strand, and growing greatly in public favour. By 1866 it is ripe for another success—the most remarkable ever achieved on the burlesque boards—secured by the "Black-eyed Susan" of Mr. Burnand, with Fred Dewar as Captain Crosstree, Mr. Charles Wyndham as a Deal smuggler, Miss Oliver as Susan, Miss Nellie Bromley as Dolly Mayflower, and E. Danvers as Dame Hatley. After this one notes the addition to the Strand troupe, first, of Miss Eliza Johnstone, Miss Elise Holt, and Miss Weathersby; and next, of Miss Lydia Thompson. At the New Queen's in 1868, Miss Kate Santley and Miss Henrietta Hodson are playing burlesque with W. H. Stephens and "Lal" Brough. In the same year the Gaiety Theatre is opened, by Mr. John Hollingshead with a new burlesque by Mr. W. S. Gilbert—"Robert the Devil," in which the leading character is undertaken by Miss Ellen Farren.

From this date onwards it is not necessary to do more than indicate a few salient points in connection with burlesque acting in this country. The opening of the Gaiety was the first step towards the expansion of the Old burlesque into the New. In the following year Mr. Edward Terry entered on an engagement at the Strand—an engagement which lasted till 1877, and did as much for the progress of stage travestie as did that of Miss Farren at the other house. In 1869 there was burlesque at the Globe, with Edward Marshall and Miss Maggie Brennan, and at the St. James's with Mrs. John Wood in "La Belle Sauvage."[5] In 1870 Harry Paulton went to the Strand; and at the Royalty were Rachel Sanger, Arthur Wood, and Alfred Bishop. In 1871 there was burlesque at the Court, with Mlle. D'Anka, Miss Oliver, Miss Kate Bishop and Mr. Righton. At the Vaudeville, next year, Miss Nelly Power and Miss Marie Rhodes were supporting Messrs. James and Thorne; while at the Royalty were Miss Emma Chambers, Miss Kate Phillips, and Miss Harriett Coveney.

In 1873 Mr. E. W. Royce goes to the Gaiety, and Miss Lottie Venne is seen at the Court in "The Happy Land." At the Folly, next year, Mr. Edouin takes the fancy of the town as the Heathen Chinee in Mr. Farnie's "Blue Beard;" Belmore, Mr. Odell, and Mr. Leonard Boyne all essay to burlesque Mr. Irving as Hamlet; and Miss Pattie Laverne plays the hero in Mr. Burnand's "Ixion Re-Wheeled." A "Robinson Crusoe," by Mr. Farnie, at the Folly in 1876, brings to the front a droll Will Atkins in the form of Mr. George Barrett.

In 1877, at the Gaiety, Edward Terry joins Miss Farren and Mr. Royce, and in 1878 Selina Dolaro and G. W. Anson are playing at the Folly in "Another Drink," while Alma Stanley and Charles Groves are playing in "Venus" at the Royalty. Miss Kate Vaughan, at the Gaiety, is already beginning to revolutionise stage dancing, making it at once graceful and decorous. At the Royalty, in 1880, are Miss Kate Lawler and Mr. Frank Wyatt; at the Gaiety are Mr. Dallas and Miss Gilchrist. In 1882, Mr. Toole, who has not been seen in burlesque for some time, takes part in a skit on rural melodrama. A year later Mr. Harry Monkhouse figures at the Gaiety; Mr. E. D. Ward and Miss Marie Linden first show, at Toole's, their talent for travestie; and Miss Laura Linden does the same thing at the Strand. In 1884 Mr. Willie Edouin and Miss Alice Atherton make, in "The Babes," their first joint success in London; and Mr. Edward Terry and Miss Kate Vaughan appear at the Gaiety for the last time in burlesque.

It is from this point that we may date the foundation of the New Burlesque, to which I shall return in my last chapter. In the chapters that immediately follow we shall be able to see how numerous were the topics essayed by burlesque writers in the "palmy" days, and also with how much wit and humour those writers were able, for the most part, to charge the stories that they told and the pictures that they presented.

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"CLASSICAL" BURLESQUE.

Planché was not only the founder of modern burlesque: he was the originator, in particular, of that form of travestie which is commonly described as "classical"—which deals with the characteristics and adventures of the gods and goddesses, heroes and heroines, of the Greek and Latin mythology and fable. It is true that comic pieces on classical subjects had been played in England before Planché brought out, at the Olympic, his "Olympic Revels"[6] (January 1831). But these pieces were not burlesques in the present-century sense of the word. Take, for example, the "Midas" of Kane O'Hara, which, produced in 1762, remained popular for so many years, and will always be remembered as including the once famous ditty:—

The gods and goddesses are presented in "Midas" in a light more or less ludicrous, and the dialogue, songs, and choruses are flavoured with contemporary allusion, more or less humorous. But the form given to the work is that of the old-fashioned burletta. Indeed, the chief merit of "Midas," from a historical point of view, lies in the fact that it was its successful revival, with Mme. Vestris as Apollo, which, coupled with the publication of Colman junior's story, "The Sun-Poker," suggested to Planché the composition of his first "classical" burlesque. This had for subject the story of Prometheus and Pandora, and was remarkable, not only for the smooth flow of its versification and the general refinement of its tone, but also for the accuracy and consistency of the costumes, which were throughout "classical," and therefore in strong contrast to the haphazard, incongruous attire in which "classical" characters had hitherto been exhibited on the comic boards.

Prometheus and Pandora, I may note, figured later—in 1865—as the leading personages in Mr. Reece's "Prometheus, or the Man on the Rock,"[7] in which the writer differed from his predecessor in admitting into his dialogue a large infusion of the punning element. In this direction Mr. Reece has always been proficient. Here are a few specimens of his work, picked out at random:—

Planché's "Olympic Revels" proved so brilliantly successful that he was encouraged to follow it up, at the end of the year, with a companion composition—"Olympic Devils, or Orpheus and Eurydice." In this work, James Bland, the son of the lady who "created" Planché's Coquetinda, made his first appearance in burlesque, and among the female Bacchantes who took part in the groupings was a clever young girl, named Leonora Pincott, who was destined one day to be a great public favourite as "Mrs. Alfred Wigan." In "Olympic Devils" Planché's style is seen to excellent effect. Note, as an instance, the remarks addressed by Minos, Lord Low Chancellor, to the Fates:—

Elsewhere Orpheus says to Eurydice:—

But Planché had a higher wit than that of punning. His satire and sarcasm have an agreeable, because not too pungent, cynicism—as in such little scraps of song as this (following upon the scene in which Orpheus, hearing that his wife is flirting with Pluto, cannot resist looking back at her and thus consigning her again to Pluto's tender mercies):—

In after years H. J. Byron wrote two burlesques on the legend of Orpheus and his wife, both of them produced at the Strand Theatre,[8] and it is notable that when Planché made, in 1865, at the Haymarket, his last appearance as a writer of extravaganza, it fell to his lot to treat once more of Orpheus and his surroundings.[9]

Planché's third classical burlesque was "The Paphian Bower, or Venus and Adonis," in which Benjamin Webster was seen for the first time in this class of histrionic work. Mme. Vestris, of course, was Venus, and in the course of the piece had to sing this eminently clever parody of "Sally in our Alley":—

Venus and Adonis have always been great favourites with the producers of travestie. Among those who have made them the central figures of burlesque are Mr. Burnand, whose work was brought out in 1864, and Mr. Edward Rose, whose "Venus," written in collaboration with the Mr. Augustus Harris, and first performed at the Royalty in 1879 (with Miss Nelly Bromley as the heroine), was re-written for revival, and finally taken as the foundation of a third production in 1880.

In "The Deep, Deep Sea," brought out in 1833, Planché selected as the basis of his work the story of Perseus and Andromeda. He treated it with his usual reverence for the original legend. He represented Juno and the Nereids as being angry with King Cepheus, and sending the sea-serpent to devastate his shores. James Vining played the Serpent, and his approach was announced to the monarch in the following strain:—

The Serpent, when he arrives, introduces himself to the king in an engaging fashion:—

The exaggeration which is so characteristic of American humour is here happily satirised. In another passage, Perseus, addressing himself to Andromeda, sings a neatly turned parody of "We met—'twas in a Crowd":—

In 1861 Perseus and Andromeda reappeared upon the comic stage at the instance of William Brough, who made them the hero and heroine of a burlesque at the St. James's.

The story of Telemachus was the subject which engaged the attention of Planché immediately after he had done with Perseus. Fénelon's tale had become extremely familiar to the British schoolboy, who at that time was not thought to have "grounded" himself sufficiently in French until he had read the narrative in the original. Hence Planché's "Telemachus, or the Island of Calypso,"[10] concerning which the author took credit to himself once more for having "preserved the well-known plot with the most reverential fidelity." Ten years later the same subject was treated in the "Telemachus" of Stirling Coyne, played at the Adelphi with Miss Woolgar in the title-part, Wright as Calypso (a ballet-dancer!) and Paul Bedford as the hero's Mentor or "tor-Mentor." In 1863 the story of the parents of Telemachus proved attractive to Mr. Burnand, whose "Patient Penelope" made her curtsey at the Strand, to be followed at the St. James's, two years later, by the same writer's "Ulysses."

Still tracing the course of Planché's labours in burlesque, we come next to the production, at the Haymarket in 1845, of "The Golden Fleece"—perhaps, on the whole, the most delightful of the series. In this ingenious and brilliant piece, the two parts of which were entitled respectively "Jason in Colchis" and "Medea in Corinth," Planché had taken the narrative of Apollonius Rhodius and the tragedy of Euripides, and had built upon them a composition in which he sought less to cast ridicule upon the legends selected than to travestie what he called "the modus operandi of the classical period, which really illustrates the old proverbial observation that there is but one step from the sublime to the ridiculous." He brought again upon the stage the ancient Chorus, incarnated in a single person, who explained the action of the piece as it went on, not hesitating even to interrupt it when the humorous opportunity occurred. Charles Mathews undertook the part, heralded by a jocose announcement on the "bills" to the effect that "The lessee has, regardless of expense, engaged Mr. Charles Mathews to represent the whole body of the chorus, rendering at least fifty-nine male voices entirely unnecessary." In the opening scene, the Chorus thus described his functions:—

Later in the piece, announcing the approach of King Æetes (Bland), the Chorus interposed with:—

Elsewhere occurred this famous bit of badinage between King and Chorus:—

Chorus. Be calm, great King—'tis destiny's decree.

Æetes. How dare you talk of destiny to me!
What right have you with such advice to bore us?

Chorus. Sir, I'm the Chorus.

Æetes.Sir, you're indecorous.

In the course of the piece Mathews sang, among other things, an excellent ditty, to the tune of "The Tight Little Island":—

But perhaps the most successful parody in "The Golden Fleece" was that on "The Fine Old English Gentleman," assigned to Mme. Vestris as Medea. This is worth quoting in full:—

"Medea," it will be remembered, was the title and subject of a burlesque by Robert Brough, brought out at the Olympic in 1856, with Robson in the title-part, Emery as Creon (King of Corinth), and Julia St. George as Jason. Medea ("the best of mothers, with a brute of a husband," as the sub-title has it) was one of Robson's most impressive rôles, being charged at more than one point (notably in the closing scene, which was played by all the characters in serious fashion) with real tragic intensity. In the lighter vein were such episodes as the duet with Jason (to the air of "Robinson Crusoe"), which I quote as illustrative of the neatness and humour with which Brough constructed such trifles:—

The last of Planché's classical burlesques was produced at the Lyceum in 1848. It was on the subject of "Theseus and Ariadne," and was fortunate in the services of Charles Mathews as Dædalus. In this character Mathews sang a song which Planché had written for private performance and had brought "down to date" for the occasion. It is one of the happiest mélanges ever put together, beginning—

The only song, of the kind, worthy to compare with this, is the description of the Heavy Dragoon sung by Colonel Calverly in the "Patience" of Mr. Gilbert, who, as a master of light badinage and intricate rhythm and rhyme, is the lineal descendant of the author of "Theseus and Ariadne."

After Planché, the most notable of the deceased writers of "classical" burlesque is undoubtedly Francis Talfourd. Planché's knowledge of the Greek mythology and drama was admittedly derived from translations and from dictionaries; Talfourd was a university man, and had an at-first-hand acquaintance with the masterpieces which he so skilfully travestied. The marks of this are visible in all his "classical" pieces, and notably in the first of them—"Alcestis, the Original Strong-minded Woman, being a most Shameless Misinterpretation of the Greek drama of Euripides." This was played at the Strand in 1850. The "argument" prefixed to it is an excellent bit of punning:—

Admetus, being due to Death, and as such totally unprepared to take himself up, is about to betake himself down, according to previous arrangement, when Orcus, who had meanwhile been trying his mean wiles on Alcestis (Admetus' very much better half), expresses himself willing to receive her as a substitute; her husband, friends, and relations not feeling quite so disposed to be disposed of. Alcestis, however, consents, packs up her traps, and then obligingly goes packing down those of Orcus. At this melancholy juncture, Hercules chances to be passing through Thessaly, on his return from his provincial engagements, and, having a knack of turning up a trump at a rub, plays his club so judiciously as to retake the queen, in spite of the deuce, and restores her to her family and friends.

In the dialogue of "Alcestis" we have such quips as these:—

In one place Alcestis, apropos of the marriage which is being forced upon her, cries bitterly:—

Phædra sings a parody on "I'm afloat, I'm afloat!":—

In 1851 came "Thetis and Peleus," in which Talfourd had a collaborator. In 1857 he produced, at the Haymarket, "Atalanta, or the Three Golden Apples," inserting in the "bill" a comic note to the effect that "Lest he should be accused of murdering a good subject, the Author begs to state that it was Foun' Ded from unknown causes many years ago." Miss Oliver was the Atalanta, and Miss Wilton the Cupid. Among the other characters is Mississarris, Atalanta's duenna, "the Guard of the Old Greek Stage, with, in this instance, an eye to the Males, subsequently attached to the old Coach, Paidagogos," played by Compton. One of the cleverest scenes in the piece is designed and written in parody of the balcony scene in "Romeo and Juliet." Hippomenes, the hero, is seen climbing "over the garden wall," guitar in hand. Descending, he soliloquises:—

Elsewhere Hippomenes delivers himself of a superexcellent pun. Some one says to him, referring to his studies,—"But think of your degree"; to which he replies:—

After "Atalanta"[11] came Talfourd's "Pluto and Proserpine, or the Belle and the Pomegranate," played at the Haymarket in 1858, and his "Electra in an Electric Light," performed at the Haymarket the year following. In "Pluto and Proserpine," as in his other pieces, the original myth is followed closely. One passage supplies a happy parody of the famous "palace-lifting-to-eternal-summer" speech in "The Lady of Lyons." Pluto has appeared to Proserpine as a young man, and has laid siege to her heart in proper form. He is careful not to disclose his identity. At last Proserpine says:—

"Pluto and Proserpine" has the usual supply of puns, as in the following couplet:—

But Talfourd, like Planché, could rise above mere jeux d'esprit, and furnish, when necessary, bits of persiflage which deserve to linger in the memory. Thus, in one of the scenes, Pluto addresses Cerberus in a fashion intended to suggest Launce's colloquy with his dog in "The Two Gentlemen of Verona":—

I have already referred to three classical burlesques by H. J. Byron. A fourth exists in the "original classical pastoral" called "Pan," which first saw the light at the Adelphi in 1865. Pan, it may be recorded, was impersonated by Mr. J. L. Toole. He had a good deal to say, and much of it was in the form of jeux de mots. Take, for example, the passage in which Pan discovers that Syrinx, whom he loves, is in love with Narcissus. He calls down thunder from the skies; and then follows this tirade:—

This is a very fair specimen of Byron's rather careless method; and another is at hand in the following lines, which are spoken after the Carian captain has shown to Pan a jar of wine:—

To the burlesques by William Brough already mentioned may be added "Endymion, or the Naughty Boy who cried for the Moon" (St. James's, 1860), and "Pygmalion, or the Statue Fair" (Strand, 1867). The former,[12] of course, has to do with the fabled fondness of Diana for Endymion, and vice versâ. The goddess sees the youth lying asleep upon Mount Latmos, and, descending, kisses him:-

Before Endymion has seen Diana, he is asked by Actæon whether he is in love; to which he replies:-

Here he drops into a parody of "Our Hearts are not our Own to Give":—

When, again, Actæon asks Endymion whether he ever shoots, he replies, "No, I don't care about it":—

Among the personæ in the piece is Pan, whom we find addressing the fauns in this punning style:—

In "Pygmalion"[13] we are asked to suppose that Venus is indignant with the sculptor for his lack of susceptibility to female charms. Cupid therefore undertakes to punish him by making him fall in love with his new statue, Galatea. To this statue Venus, at Pygmalion's request, gives life; but she withholds the power of loving. Galatea, therefore, is for ever slighting the sculptor's affection. Here is the opening of their first interview, which the curious may compare with the similar situation in Mr. Gilbert's "Pygmalion and Galatea:"—

In the end, Psyche infuses soul into Galatea, and she and the sculptor understand each other.

In 1883 Mr. H. P. Stephens submitted to Gaiety audiences a one-act piece which he called "Galatea, or Pygmalion Re-versed." In this Galatea was the sculptor, and Pygmalion the statue; and with Miss Farren as the former, and Mr. Edward Terry as the latter, the result was eminently laughable. Cynisca, by the way, was turned into a man (Cyniscos), and was played by Elton.

Two mythological burlesques stand to the credit of Gilbert Abbott a'Beckett—"The Son of the Sun, or the Fate of Phaeton," played at the Fitzroy Theatre so long ago as 1834; and "The Three Graces," a two-act piece, seen at the Princess's in 1843, with Oxberry, Wright, and Paul Bedford in the cast. Both of these travesties are very smoothly and gracefully written, with fewer puns than the author afterwards permitted himself. "The Three Graces," moreover, is not very prolific in contemporary allusion; though here and there, as in the following passage, between the heroines—Aglaia, Thalia, and Euphrosyne—there is some gentle satire:—

In "The Son of the Sun" there is an episode which helps to illustrate the condition of the drama in London at that period (1834). Apollo is questioning the Muses who have just returned from London to Olympus:—

Mr. Burnand has written more "classical" burlesques than any man living or dead. A university man, like Talfourd, he has displayed complete mastery of mythologic themes, submitting them to ingenious perversion, and adorning them with a wealth of pun and parody of which it is impossible, in these brief limits, to give more than a few samples. He has shown special interest in the legends connected with the siege of Troy,[14] producing three burlesques more or less connected with that event. First, in 1860, came "Dido," at the St. James's, with Charles Young as the heroine; next, in 1866, "Paris, or Vive Lemprière," at the Strand;[15] next, in 1867, "The Latest Edition of Helen, or Taken from the Greek," at Liverpool.[16] Helen of Troy, I may note, en parenthèse, had been the heroine of two other travesties: one by Vincent Amcotts—"Fair Helen" (Oxford, 1862); the other by Mr. Robert Reece—"Our Helen" (Gaiety, 1884).

In "Dido," Mr. Burnand's genius for word-play is agreeably manifested. I take some lines at random:—

Æneas comes on first as a begging sailor, with "I'm starving" inscribed on a paper suspended from his neck. He strikes up a song, but soon stops it:—

In 1863 Mr. Burnand brought out, at the Royalty, "Ixion, or the Man at the Wheel,"[17] which proved to be one of the happiest of his efforts. This he followed up, at the same theatre, two years later, with "Pirithous," in which the adventures of Ixion's son were as humorously depicted. In the interval he had produced at the Olympic "Cupid and Psyche" (December, 1864), a burlesque on an ever-popular subject. Years before—so early as 1837—a piece called "Cupid," written by Joseph Graves, had been represented at the Queen's and Strand, with Wild and Miss Malcolm at the one house and Hammond and Miss Daly at the other as the God of Love and his beloved. In "Cupid," however, there was little verbal wit. The god figured as a gay deceiver, who had promised marriage to Psyche, but had refused to "implement" the undertaking. Whereupon Jupiter decides that Cupid shall be shot dead by Psyche; but she, using the god's own arrows, does but transfix him with the love she yearns for. Cupid sings, early in the piece, a parody of "The Sea! the Sea!" beginning—

But, otherwise, Graves's "book" is not particularly brilliant, Though smoothly written and fairly brisk in action.

In "Cupid and Psyche" Mr. Burnand made Psyche the daughter of a king, who, because she will not marry and thus relieve him of the anxiety caused by a certain Prophecy, chains her to a rock on the sea-shore. To this he is incited by Venus, who regards Psyche as her rival in beauty. Psyche is duly rescued and espoused by Cupid, who (as in the old myth) remains invisible to her until her curiosity gets the better of her prudence; and, in the end, Venus abates her enmity, and the union of the pair is duly recognised. In one place, Psyche, entering, distractedly, in search of Cupid, cries:—

Elsewhere Mars says to Cupid:—

At another point Cupid himself says that

At the very end of the piece, there is a skilful bit of rhyming. Psyche "comes down" and says:—

Among other "classical" burlesques may be mentioned Mr. Burnand's "Arion," seen at the Strand in 1871, with Mr. Edward Terry, Mr. Harry Paulton, and Miss Augusta Thomson; and H. B. Farnie's "Vesta," produced at the St. James's in the same year, with Mr. John Wood and Mr. Lionel Brough. Mr. Burnand's "Sappho" (1866), and "Olympic Games" (1867), also call for mention. John Brougham's "Life in the Clouds" belongs to 1840; Tom Taylor's "Diogenes and his Lantern" to 1849; the Brothers Brough's "Sphinx" to the same year; William Brough's "Hercules and Omphale" to 1864; and Mr. Reece's "Agamemnon and Cassandra, or The Prophet and Loss of Troy," to 1868.

---

BURLESQUE OF FAËRIE.

As Planché was, in effect, the Father of Classical Burlesque, so was he also, even more irrefragably, the Father of the Burlesque of Faërie—of the fairy tales of the nursery, and especially of those derived from French sources. Memorable, indeed, was the production of Planché's "Riquet with the Tuft[18]"; this piece was the precursor of something like twenty others from the same pen, all written on the same principle and in the same vein. Planché had been to Paris, and had there seen Potier playing in "Riquet à la Houppe." He came home and straightway wrote his own version of the story, partly in verse, partly in prose, having in Charles Mathews a Riquet not equal indeed to Potier, but with obvious merits of his own. Vestris was the Princess Emeralda, and James Bland Green Horn the Great—Rebecca Isaacs, then only a little girl, being the Mother Bunch. The result was complete success, carrying with it great encouragement to the dramatist to persevere in the new path on which he had entered.

These fairy pieces of Planché's were not burlesques quite in the sense in which his classical pieces were, but they belong, nevertheless, to the burlesque genre. Each treats lightly and humorously a story already in existence; each includes parodies of popular lyrics, as well as songs written to the airs of popular ditties; and the burlesque spirit animates the whole. Every now and then, the writer, rising superior to parody, produces a lyric which has a definite accent of its own. Here, for example, in "Riquet with the Tuft," is a song accorded to the grotesque and misshapen hero. It has genuine wit as well as genial philosophy:—

The origin of "Riquet with the Tuft" is to be found in Perrault's "Contes de ma Mère l'Oye." Planché went to the same source for his "Puss in Boots: an original, comical, mews-ical fairy burletta" (Olympic, 1837), in which Charles Mathews was an incomparable Puss, with Bland as Pumpkin the Prodigious, Vestris as the Marquis of Carabas, and Brougham as a very Irish ogre. In this there was a good deal of prose dialogue, of which the following scene between Puss and the three maids-of-honour may be taken as a diverting specimen:—

Chatterina. You're in the army, I presume?

Puss. No, ma'am.

Chatt. Why, you wear moustaches.

Puss. Yes, ma'am, yes; but that's because—because I can't help it, you see. I belong to a club, and all the members are obliged to wear them.

Chatt. What club?

Puss. It's a sort of Catch Club.

Arietta. What, musical?

Puss. Very.

Ari. And where do you meet?

Puss. We meet alternately upon each other's roof.

Skipperella. Upon each other's roof?—that's quite a new step.

Puss. I beg pardon, did I say upon? I meant under.

Ari. You can sing, then?

Puss. I can squall a little, à la Cat-oni.

Ari. Who taught you?

Puss. Cat-alani.

Skip. And dance, too?

Puss. I remember the time when I would have run anywhere after a ball.

Skip. What is your favourite dance?

Puss. The Cat-alonian Cat-choucha.

Chat. Well, never mind about singing and dancing; suppose we fix upon some game to pass away the time, at which we can all play?

Ari. I'm content.

Skip. And I.

Puss. And I. What shall it be?

Chat. "Puss in the Corner."

Puss. No, no, I don't like that.

Chat. Choose one yourself, then.

Puss. My favourite game is "Cat's Cradle."

All. Oh no, we can't bear that!

Chat. Come, name another from your catalogue.

Puss (aside). Cat-alogue! They grow personal!

The subject of "Puss in Boots" was afterwards handled by H. J. Byron.[19] In this case we find the monarch of the piece called Noodlehead IX.; the Princesses are named Biddi, Coobiddi, and Chickabiddi; and there are two woodcutters called Gnarl and Knot. The puns in the dialogue on the word cat are even more numerous than in the older piece, and somewhat more varied. As thus:—

Again:—

Once more:—

In the course of the piece King Noodlehead sings a song in which some fun is made of the conventionalities of Italian opera:—

One of the prettiest and wittiest of Planché's adaptations from Perrault's store was "The Sleeping Beauty in the Wood," seen at Covent Garden in 1840. The Beauty was the Princess Is-a-Belle—of course, Mme. Vestris; the inevitable King—Thomas Noddy of No-Land—was the inevitable Bland; James Vining was Prince Perfect; and Brougham was a woodcutter—one Larry O'Log. But the most whimsical character in the piece was played by Harley—the Baron Factotum, "Great-Grand-Lord-Everything," who may be compared with Pooh-Bah in Mr. Gilbert's "Mikado." In "The Mikado," Ko-Ko is "Lord High Executioner of Titipu," and Pooh-Bah is "Lord High Everything Else"—he is "First Lord of the Treasury, Lord Chief Justice, Commander-in-Chief, Lord High Admiral, Master of the Buckhounds, Groom of the Backstairs, Archbishop of Titipu, and Lord Mayor, both acting and elect, all rolled into one." The Baron Factotum is even more embarrassed with offices and duties. As he says at one juncture:—

He then sings, to the tune of "Where the bee sucks":—

The programme of the "The Sleeping Beauty" bore the following notice:—

In strict accordance with the Modern School of Melodramatic Composition, Eighteen years are to be supposed to have elapsed between the First and Second Parts; One Hundred years between the Second and Third Parts; and considerably more than One Hundred after the piece is over.

Planché went again to Perrault—directly or indirectly— for his "Blue Beard" (1839) and his "Discreet Princess" (1855). The last named (from "L'Adroite Princesse") was notable as including in its cast Robson as Prince Richcraft, and Emery as Gander the Stupendous. In "Blue Beard" Bland played the Baron Abomelique (the hero), Mme. Vestris the heroine (Fleurette), and John Brougham, the actor-dramatist, an Irish character—the O'Shac O'Back. How often has this fascinating subject been dealt with since! Dozens of pantomimes have had it for a basis; the burlesques founded on it are not quite so numerous. The best known are those by H. J. Byron (1860) and Mr. Burnand (1883); there are also two others by H. T. Arden and Frank Green.

But it was to the "Contes des Fées" of Madame D'Aulnoy that Planché was most largely indebted for his fairy stories. The list (extending from 1842 to 1854) is quite an imposing one. First came "Fortunio, and his Seven Gifted Servants," based on "Belle-Belle, ou le Chevalier Fortuné." Next, "The Invisible Prince, or the Island of Tranquil Delights," taken from "Le Prince Lutin." "Le Rameau d'Or" suggested "The Golden Branch," and "The King of Peacocks"[20] had its origin in "La Princesse Rosette." From "Le Serpentin Vert" was derived "The Island of Jewels"; from "L'Oiseau Bleu," "King Charming, or the Blue Bird of Paradise"; from "La Grenouille Bienfaisante," "The Queen of the Frogs"; from "La Biche au Bois,"[21] "The Prince of Happy Land, or the Fawn in the Forest"; from "La Princesse Carpillon," "Once upon a Time there were Two Kings"; and from "Le Nain Jeune," "The Yellow Dwarf and the King of the Gold Mines." "Beauty and the Beast" was taken from a tale by Mme. le Prince de Beaumont; but Planché claimed that the treatment was wholly new. He had Vestris for his Beauty, Harrison the tenor for his Beast, and Bland for his Sir Aldgate Pump, the father of Beauty. "The Good Woman in the Wood" was from a story by Mme. de la Force; and "Young and Handsome" from a faërie by the Countess de Murat. "Graciosa and Percinet" likewise had a French origin.

It was, however, in each case only for the fable that Planché had to give thanks: everything else—even in most instances the nomenclature—was his own. And that nomenclature was often very ingenious and amusing. Thus, in "Fortunio," we have an impecunious noble called Baron Dunover (played by Morris Barnett). In "The Invisible Prince" the name of the Queen of Allaquiz is Blouzabella; her son is the Infante Furibond;[22] and among her courtiers are the Marquis of Anysidos, Count Palava Torquemova (who introduces the ambassadors), and Don Moustachez de Haro y Barbos (Captain of the Guard). In the same piece, the Princess of the Island of Tranquil Delights is called Xquisitelittlepet, and her ladies in waiting are Toxaloto-tittletattle and Itsaprettipetticoat. Soyez Tranquille (with a clever suggestion of Soyer) is the chef de cuisine in "The King of the Peacocks," in which there is also an Irishman, The O'Don't Know Who, and a German, the Baroness Von Huggermugger. Planché's kings and queens have mostly comic names. There is Giltgingerbread the Great, with Tinsellina, his consort, in "The Island of Jewels." There is Henpeckt the Hundredth in "King Charming"; there is Fulminoso the Pugnacious in "The Queen of the Frogs"; there is Periwigulus the Proud in "Once upon a Time there were Two Kings." Henpeckt, again, has a valet called Natty, and a porter called Nobby. Elsewhere we come across an usher named Antirumo, an Indian named Tan-tee-vee (of the tribe of Tal-hee-ho), and an evil genius named Abaddun. The Yellow Dwarf is christened, very appropriately, Gambogie.[23]

"The Yellow Dwarf," it may here be chronicled, is the title of a burlesque by Gilbert Abbott a'Beckett and by Mr. Robert Reece; A'Beckett's being produced in 1842, Planché's in 1854, and Mr. Reece's in 1882. "Beauty and the Beast" has been made the subject of travestie by Mr. Burnand. The "Fortunio" of Planché was also rivalled in the "Lady Belle Belle, or Fortunio and his Seven Magic Men" of H. J. Byron (Adelphi, 1863).[24] This last was in a thoroughly H. J. Byronic vein, with a Count Collywobbol among its characters and the usual supply of puns and parodies. Here are a few of the best of the puns. The Princess Volante is a very Atalanta in her fondness for race running:—

"The White Cat," by Planché (1842), has among its personæ Wunsuponatyme, King of Neverminditsnamia; Prince Paragon; and Jingo, a Court fool. In "The Fair One with the Golden Locks" (1843), the King is called Lachrymoso,[25] and the woman of the bedchamber Molly-mopsa. Finally, there is "The Seven Champions of Christendom" (1849), in which Charles Mathews played Charles Wag, Esq., "in attendance on" St. George of England. With this ends the list of Planché's compositions of this kind—a remarkable contribution to the stage literature of wit and humour.

From Planché's "Seven Champions of Christendom" to the "St. George and the Dragon" of Gilbert Abbott a'Beckett (1845) and the "Sir George and a Dragon, or We are Seven" of Mr. Burnand (1856) is a natural and easy transition. In A'Beckett's piece, Kalyba, the sorceress, has stolen St. George when a child, in order that he might fall in love with her, and so rescue her from prophesied destruction. Getting rid of her with a wave of her own wand, he turns up with his fellow Champions at Memphis, where King Ptolemy is in a state of impecuniosity, the Dragon having swallowed up all his resources. The monster demands the King's daughter Sabra, but St. George contrives to trick him out of the legal securities he holds, and eventually destroys him by the power of the steam press. There is a vein of allegory running through the piece, which has, however, its share of jeux de mots. Thus, Kalyba's handmaid says to her:—

Elsewhere there is some sarcasm at the expense of the newspapers. St. George says to Sabra:—

In Mr. Burnand's version, which is the longer of the two, there is much more story, and there are many more puns. St. George has not so prominent a place in the action, which is more elaborate and varied; while the dialogue is in the writer's most rollicking mood. Take, for example, these, lines of Kalyba's, addressed to her sirens:—

1st Siren. Madame, there is a four-oared boat in view without a steerer.

Kalyba (using pince-nez). P'raps the Harvard crew.
No, they don't row half hard enough for that;
Take care! they'll go ashore upon the flat.
They don't row well, but with uncommon pluck;
The stroke wants art—p'raps he's a stroke of luck.
I wonder where they come from! maybe Dover!
A crab! as sure as eggs is eggs they're ova!
Attract them here; you must not let them pass;
Some visitors—give me my looking-glass (they offer telescope).
Not that (they give her a hand-mirror).
Now sing, as Sirens did before us;
We lure all here with tooral looral chorus.
To practise bathing arts we've our diploma.
(All have by this time produced the hand-mirrors and combs.)
To attitudes! (All pose themselves combing hair, etc.)
We're in a state of comber.

Here, again, is a specimen of daring pun-making:—

A popular subject with the writers of burlesque for Christmastide has been the time-honoured one of Cinderella. The first travestie of any importance was by Albert Smith and Kenny, seen at the Lyceum so long ago as 1845. Next came H. J. Byron's version at the Strand in 1860, followed by Mr. Green's in 1871, Mr. Wilton Jones's (at Leicester) in 1878, and Mr. Reece's (at the Gaiety) in 1883. A provincial burlesque on this topic was called "Done-to-a-Cinderella," and in America there has been a "Cinder-Ellen." Mr. Reece's piece was called, simply, "Our Cinderella"; Mr. Jones's, "Little Cinderella." Byron's was christened "Cinderella, or the Lover, the Lackey, and the Little Glass Slipper." It has been a great favourite with the public ever since it was first played with Maria Simpson as Cinderella, Miss Oliver as the Prince (Popetti), Miss Charlotte Saunders as his valet Dandino, John Clarke as the Baron Balderdash, and Rogers and Miss Lavine as Clorinda and Thisbe. Over and over again has this clever piece of work served as the basis of pantomime "openings" both in town and country.

Following the traditional story closely enough, it bristles with the puns in which Byron revelled, and which he poured forth with singular and somewhat exhausting lavishness. Thus, we find Dandino saying:—

A little farther on Dandino and the Prince, who are about to exchange characters for the nonce, have the following little contest in pun-making:—

An even better instance of Byron's tendency to run a pun to death is to be found in this colloquy between the Prince and Cinderella. The latter says:—

More acceptible in, pantomime than in travestie, "Little Red Riding Hood" has nevertheless been the heroine of at least one burlesque which has made its mark—namely, that which Leicester Buckingham brought out at the Lyceum just thirty years ago, under the auspices of Edmund Falconer. He had Miss Lydia Thompson for his Blondinette (Red Riding Hood), and Miss Cicely Nott for the young lady's lover, Colin. The fairy element was freely introduced, and instead of the wolf of the original there was a Baron Reginald de Wolf ("the would-be abductor of Blondinette, who finds he is sold when she 'ab duck'd herself to escape him"). Here and there one gets in the "book" a glimpse of parody; as in—

Or, again, in—

Passing over "Jack the Giant Killer," which H. J. Byron made the subject of a burlesque, and "Jack and the Beanstalk," which was treated in the same vein by the late Charles Millward, we come to the travesties suggested by stories in the "Arabian Nights' Entertainments." These are fairly numerous. We may note, in particular, some of the versions of the tales of Aladdin, Ali Baba, Prince Camaralzaman, and Abon Hassan, which seem to have offered most attractions to our comic writers.

The first "Aladdin" of importance was that given to the world by Gilbert Abbott a'Beckett in 1844. This was entitled "The Wonderful Lamp in a New Light," and had Wright for its Aladdin and Paul Bedford for its Magician. Next in order of time comes H. J. Byron's "Aladdin, or the Wonderful Scamp,"[26] which has shared the fate of his "Cinderella" as a basis for pantomimes. In this his fondness for jeux de mots is as patent as ever, as well as the ease (without conspicuous finish) with which he fitted words to the songs of the day. Of direct parody there is little in this "Aladdin," which, however, opens with a brief suggestion of "The sea, the sea," sung by the Vizier:—

During the last twenty years there have been four other notable burlesques on the "Aladdin" subject—Mr. Alfred Thompson's (1870), Mr. Green's (1874), Mr. Reece's (1881), and Mr. Geoffrey Thorn's (1890). With Mr. Reece's are associated pleasant memories of the bright "street boy" of Miss Farren, Mr. Edward Terry's whimsical magician, and the grace and refinement of Miss Kate Vaughan's Badroulbadour.

Second only to "Aladdin" in acceptability both to authors and to public, is the story of "Ali Baba, or the Forty Thieves." Here, again, A'Beckett is (with Mark Lemon) to the fore with the travestie called "Open Sesame, or a Night with the Forty Thieves." This was produced at the Lyceum Theatre, and had Mr. Frank Matthews for its Ali Baba, Mrs. Alfred Wigan for its Ganem, Wigan himself for its O'Mustapha (he was an Irish Mussulman), the beautiful Miss Fairbrother for its Abdallah, Keeley for its Hassarac, Miss Georgina Hodson for its Cogia, and Mrs. Keeley for its Morgiana. There was a cast for you! How many burlesque casts of our own time could lay claim to so much talent and beauty? Cassim, in this piece, had to make one admirable pun:—

Elsewhere, O'Mustapha, who was a shoemaker, had to say:—

A'Beckett, however, did not lay himself out for punning in and out of season. His chief merit is the neatness of his style and the pervading nature of his wit.

The most famous of all the Ali Baba travesties was that "joint-stock" burlesque, "The Forty Thieves," written by members of the Savage Club, and performed by the authors themselves at the Lyceum, in 1860, for the benefit of the families of two literary men just then deceased. Planché wrote the prologue for this piece, and it was at once so brilliant and so admirably delivered by Leicester Buckingham that it nearly obtained the extraordinary honour of an encore. It was followed, three years later, by H. J. Byron's "Ali Baba, or the Thirty-Nine Thieves (in accordance with the author's habit of taking one off!)."[27] Abdallah, the captain of the thieves (played by Miss Ada Swanborough), was here depicted as a rascal of the quiet, elegant order, in sharp contrast to the Surrey-side villainy of his lieutenant, Hassarac. A colloquy between these gave Byron an opportunity of satirising the melodramatic criminal of the "good old times":—

In 1872 Mr. Reece wrote for the Gaiety a piece called "Ali Baba à la Mode"; in 1880 he prepared for the same theatre another version called "The Forty Thieves."[28] This latter, if I remember rightly, was the first of the burlesques in three acts. It presented in Mr. Terry (Ali Baba), Miss Farren (Ganem), Mr. Royce (Hassarac), and Miss Vaughan (Morgiana), a quartett which is specially well remembered for the verve and vivacity of its performance.

The fortunes of Prince Camaralzaman have been pictured on the burlesque stage by the Brothers Brough, by Messrs. Bellingham and Best, by H. J. Byron, and by Mr. Burnand.[29] "Camaralzaman and Badoura, or the Peri who loved the Prince," was the Broughs' title, and they had the assistance of Mrs. Keeley, of Keeley (as a Djinn), of Bland (as the Emperor Bung), of Miss Reynolds (as Badoura), and of Miss Horton (as the hero). Dimpl Tshin was the name given to one of the characters, and Skilopht that of another. The original story was followed in the main. Camaralzaman declines to marry at his father's request, and is incarcerated. In that position he soliloquises:—

Camaralzaman then breaks out into the following little bit of vocal parody:—

The Broughs were always ingenious in their word-plays. Says one of the characters in this burlesque:—

Again:—

Says Badoura to a suitor whom she does not favour:—

to which he replies:—

In the piece by Messrs. Bellingham and Best—"Prince Camaralzaman, or the Fairies' Revenge"[30]—we find, amid many well-conceived and well-executed puns, a rather successful adaptation of the "To be, or not to be" soliloquy, possessing the merit of being quite in keeping with the character of the matrimony-scorning Camaralzaman:—

In another passage, the "spiritualistic" craze is satirised in a so-called "chant":—

Two of the burlesques on "Arabian Nights" topics are from the pen of Francis Talfourd. First came—in 1852, at the Olympic—"Ganem, the Slave of Love" (with Miss Fanny Maskell as Fetnah, the caliph's favourite); and later—in 1854, at the St. James's—"Abon Hassan, or the Hunt after Happiness" (with Mr. Toole as Haroun-al-Raschid). In the former piece the wealth of felicitous punning is remarkable. Thus, in his very, first speech, Ganem, coming in intoxicated, says:—

In other places we read:—

(which is as true as it is witty);

"Abon Hassan" is less freely endowed with verbal pleasantry, but it has its fair share of puns, and the songs are numerous and bright. At the close, the hero, addressing the audience, allows himself to drop into the reflective mood:—

On German faërie our comic dramatists have not drawn at all largely. Such pieces as Gilbert Abbott a'Beckett's "Knight and the Sprite, or the Cold-Water Cure," with Ondine as its heroine; H. J. Byron's "Nymph of the Lurleyburg, or the Knight and the Naiads," based on the Lurline legend; and Mr. Burnand's "Rumpelstiltskin, or the Woman at the Wheel," founded on one of the Brothers Grimm's narratives, are exceptional incursions in this field. The first was seen at the Strand in 1884, with Mrs. Walter Lacy as Sir Hildebrand, and with Hall and Romer in other parts. "The Nymph of the Lurleyburg" has often done duty for the purposes of Christmas extravaganza. When it was first performed—in 1859—Miss Woolgar was the Sir Rupert the Reckless, Mr. Toole the Seneschal, and Paul Bedford the Baron Witz, the locale being the Adelphi. Mr. Burnand introduced into "Rumpelstiltskin" (Royalty, 1864) a few modifications of the German tale, inventing and importing new characters. In one of the scenes he furnished a diverting suggestion of the situation in "The Ticket of Leave Man," when there comes the sudden and effective revelation of "Hawkshaw the Detective!" Among the personæ are King Tagarag the Tremendous, Prince Poppet, Baron Higgle-de-Piggle, Wriggleletto (the court spy), Jolinosio (a miller), and Fraulein Splitaharter (the belle of the village). Miss Ada Cavendish was the Princess Superba.

"The Vampire"—a burlesque by Mr. Reece, which was played at the Strand in 1872—appears to have owed its origin about equally to the German legend, the romance which Lord Byron wrote on the subject, and the play which Dion Boucicault founded on the topic in 1852. As, however, the legend was the inspiration alike of romance, play, and travestie, the travestie may be mentioned here. Mr. Reece had drawn the Vampire as a being so fond of "blood," that he sought to possess it in the shape of the notebooks of two "sensation"-novelists, one of whom, Lady Audley Moonstone, was admirably represented by Mrs. Raymond.[32] The following specimen of the dialogue has been handed down to us. Some one says to a Welsh corporal:—

In the realm of Spanish legend there have been still fewer explorers. Albert Smith took one of Washington Irving's tales of the Alhambra, and fashioned it into "The Alhambra, or The Beautiful Princess," played at the Princess's in 1851, with the Keeleys, Wigan, Harley, Flexmore, and Miss Vivash. H. J. Byron afterwards went to the same source for "The Pilgrim of Love," in the first cast of which—at the Haymarket in 1860—we find the names of Mrs. Buckingham White as the Pilgrim, Chippendale as his tutor, Compton as the King of Toledo, Rogers as the King of Granada, and C. Coghlan as Mafoi, a Frenchman: a rather notable collocation of distinguished players.

The Fables of Æsop have inspired at least one travestie—"Leo the Terrible," by Stirling Coyne and Francis Talfourd. In this piece (brought out at the Haymarket in 1852) all the characters but four wore the heads of beasts or birds—a lion (Bland), a wolf (Buckstone), a fox, an owl, a ram, a poodle, a cat (Miss Maskell), and so on. The four exceptions were Sir Norval de Battersea, Timoleon Sindbad Potts (Keeley), Æsop, and Gay; and the play opened with a rencontre between the two last-named worthies. Æsop began with a vocal parody on "The Light of other Days":—

In the end, the various animals express repentance for the wrong they have committed; and Æsop, in recognition thereof, restores them to the shapes they formerly presented.

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BURLESQUE OF HISTORY.

In this department the artists in travestie have not done so much as might have been expected. Even when we include in the word "history" such things as myths, legends, and traditions, we find that the historical, in comparison with the other fields open to the parodists, has been quite "second favourite." Particularly little has been achieved in the burlesque of foreign persons and events; and, in the case of our own celebrities, the only really familiar figure on the comic stage has been that of "Bluff King Hal." King Arthur, Alfred the Great, Elizabeth, Oliver Cromwell, have made rare appearances in motley. In the by-paths of history, general and local, the burlesque writers have devoted themselves most frequently to popular personages like Herne the Hunter, the Lady Godiva, Robin Hood, Dick Whittington, Guy Fawkes, Claude Duval, and Richard Turpin.

The story of Rome has supplied subjects for two of the most notable burlesques of the past twenty years—the "Romulus and Remus" of Mr. Reece, and the "Field Marshal Julius Cnæsar" of Mr. Burnand. The former was played at the Vaudeville in 1872, and had for its chief interpreters Messrs. James and Thorne, who had not yet wholly surrendered burlesque for comedy. Mr. James was Romulus, and Mr. Thorne was Remus; and they came on in the first scene as children, dressed in pinafores and socks, and carrying toys. The pair begin by quarrelling as to which of them was born first. Remus rests his claim on his superior size:—

To which Romulus replies:—

When the two grow up (as they do between the first scene and the second), the question is, which is to be King of Rome—a question decided eventually by personal combat, in which Remus falls. Ultimately the pair decide to be partners in the throne—an obvious allusion to the position held by the two actors in reference to the Vaudeville Theatre.

The date of the production of "Romulus and Remus" (1872) could be fixed by the aid of a brief passage introduced in travestie of a scene between Cromwell and the King in Mr. Wills's "Charles I.," then "running" at the Lyceum. Early in the piece we have these lines:—

Later, Remus says to Romulus:—

In this piece Apollo (Miss Nelly Power) figures as a sort of Chorus, commenting on the action and interposing in it; while Baccharia (Miss Maria Rhodes) is represented as the sister of Tatius and a husband-huntress. The burlesque has all Mr. Reece's ingenuity in jeu-de-mot work. For instance:—

Mr. Burnand's "Julius Cnæsar" made the walls of the Royalty resound with laughter in the autumn of 1870. In the spring of 1869 William Brough had brought out at the Strand his version of the tale of Joan of Arc, whom he represented as the leader of a troop of Amazons, extremely interested in Woman's Rights. She comes, as in history, to the French king's assistance; but, falling in love with a young English soldier, is captured by the invaders and condemned to resume female attire,—a sentence which in the end she manages to evade. A leading part is played by the Duke of Burgundy, who is for ever uncertain on which side he shall fight, and whose name provides frequent opportunity for punning. Thus:—

Again:—

Here, too, is a clever bit of word-play:—

On this occasion Joan was impersonated by Mr. Thomas Thorne, Mr. David James being the Duke of Burgundy, Miss Eleanor Button the King, Miss Bella Goodall the Dunois, and Miss Amy Sheridan the Lionel. In the present year Joan of Arc has again become the subject of "respectful perversion,"—this time by Messrs. J. L. Shine and "Adrian Ross," and after a fashion to which I shall draw attention in my final chapter.

Of foreign notabilities, the only other subject of burlesque worth mentioning is Christopher Columbus, who gave the title to, and was the principal character in, a piece written by Mr. Alfred Thompson, and performed at the Gaiety two-and-thirty years ago. He was also the hero of a travestie by John Brougham, played in America.

The first English personage in burlesque, in point of historical order, is the legendary King Arthur, who was the chief figure in an "extravaganza" produced at the Haymarket in 1863.[33] Of this the author was William Brough, who owed considerably more to Malory than to Tennyson. There was a scene in which, as in the "Idylls," Vivien makes Merlin the victim of his own spell; but otherwise the laureate's withers were unwrung. Arthur (Miss Louise Keeley) becomes King of Britain by virtue of his power to draw the magic sword from the stone in which it is embedded. He is looking forward to wed Guinevere (Miss Wright), when suddenly she is captured by Cheldric, the Saxon invader, from whom, however, she is successfully re-captured by the aid of Vivien (Miss Romer) as the wielder of Merlin's wand. Sir Launcelot (Miss Lindley) is exhibited less as the lover of Guinevere than as a warrior; another prominent knight is the cowardly Sir Key, represented by Compton. Of direct parody, as I have said, the piece has little; of punning, as usual, it is all compact. Vivien says to Merlin:—

And again,—

Arthur says to Guinevere:—

Also, when he has lost his ladle-love:—

Guinevere, on her part, is equally afflicted with the punning mania. While immured in Cheldric's castle, she soliloquises:—

In Australia, twenty-three years ago, there was produced a burlesque called "King Arthur, or Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table, and other Furniture"; the perpetrator's name was W. M. Akhurst. Of recent years, the only prominent travestie of the subject has been that produced in 1889, by Messrs. Richard Butler and Henry Chance Newton ("Richard-Henry"), who entitled their work "Launcelot the Lovely, or the Idol of the King." Here, again, Tennyson and Malory were both very loyally and lightly treated, and, though Mr. Arthur Roberts as Launcelot was eminently funny, the prepossessions of the audience were in no way shocked.

The romantic tale of the loves of Fair Rosamond and His Majesty Henry II. has naturally attracted the notice of the travestie writers. In one instance, I regret to record, it fared very ill at the hands of the "dramatist." One T. P. Taylor brought out at Sadler's Wells in the 'thirties a one-act piece which he called "Fair Rosamond according to the History of England," in which the story was at once modernised and degraded. Henry became a Mr. Henry King—"a ruler, having been a stationer"; the Queen necessarily figured as "Mrs. Ellinor King." Rosamond herself was transmogrified into "a black girl, fair yet faulty," talking in "darkey" patois, and furnished with a father, black like herself, who combined the profession of fiddler and boot-black. The piece appears to have been successful in its day, but, to read, it is both vulgar and without a spark of wit.

Happily, the subject was taken up in our own time by Mr. Burnand, whose "Fair Rosamond, or the Maze, the Maid, and the Monarch," seen at the Olympic in 1862, is among the most vivacious of his productions.[34] Here the writer boldly breaks away from historical tradition. He makes Henry in love with Rosamond, it is true; but Rosamond (Miss Hughes), on her side, has given her heart to Sir Pierre de Bonbon (Horace Wigan)—a Frenchman, as his name betokens. As Rosamond sings in the finale:—

Rosamond, therefore, being innocent, it stands to reason that it would not be fair to poison her, as in the story; and so the Queen (played originally by Robson) is made to excuse her clemency in not forcing the girl to accept the "cup" she offers her:—

One of the most amusing scenes in the burlesque is that in which Ellinor meets Henry for the first time after hearing of his infidelity:—

Following the stream of time, we arrive next at a travestie of the insurrection, in the reign of Richard II., in which Wat Tyler was the prime mover. Tyler deserves celebration in the history of burlesque as the hero of the only work of this kind produced by Mr. George Augustus Sala. This well-known littérateur came out as a writer of travestie at the Gaiety in 1869, but has not been tempted to repeat the achievement. The fact is to be regretted, for his "Wat Tyler, M.P." had many strokes of wit and satire. Wat, being named Tyler, naturally became, in a piece of this genre, a hatter. He is portrayed as aspiring to Parliament, succeeding in his candidature, resisting payment of a tax upon chignons, heading a revolt against the powers that were, penetrating triumphantly into the royal palace, there getting drunk, and being, in the end, overpowered by the forces of the King. In his address to the electors from the hustings, there is a pleasant amalgam of pun and sarcasm. Tyler (who was impersonated by Mr. Toole) begins by saying:—

Beaumanners, who is in love with Tyler's daughter Ellen (Miss Constance Loseby), was represented by Miss Ellen Farren,[35] to whom Mr. Sala assigned the delivery of some of his best puns—as, for instance:—

Jane Shore has been the heroine of a burlesque written by Mr. Wilton Jones, and brought out in the provinces eleven years ago. Messrs. "Richard Henry" have also composed a travestie of her story, as handed down by chroniclers. In Mr. Jones's piece reliance was placed, as of old, upon humorous situation and ear-splitting pun. I give an example of both qualities. Jane has denounced Richard, Duke of Gloucester, as the murderer of the Princes in the Tower, and he now proclaims her doom:—

In three well-known travesties, Henry VIII. plays the most conspicuous part—in William Brough's "Field of the Cloth of Gold" (1868, Strand), in Mr. Burnand's "Windsor Castle" (Strand, 1865), and Mr. Conway Edwardes' "Anne Boleyn" (Royalty, 1872). I name these in the order in which they deal with historical events. In "The Field of the Cloth of Gold" Katherine of Arragon is Queen, with Anne Boleyn (Miss F. Hughes) as maid of honour and (as Her Majesty suspects) a rival. To this suspicion Anne makes reference in the following lines:—

In "Windsor Castle" the King is in love, more or less, with Anne (Mr. Thomas Thorne), but inclined to let his vagrant fancy wander after Mabel Lynwood (Miss Ada Swanborough), who turns out to be Anne's sister. Anne, it is recorded, sang like a siren, and was especially addicted to a few French ditties. Of these Mr. Burnand makes her sing a diverting parody, printed, in "the book of the play," in French "as she is pronounced." The song is called

Charnsunnette d'Anne Boleyn,

Arngtitulay

"Ler Shevaliay ay sar Bellay."

I.

In "Anne Boleyn," again, Anne (E. Danvers) is at last Queen, but with her life embittered by King Henry's flirtations with Jane Seymour (Miss Harriet Coveney). Thus, in one place, Anne exclaims:—

The King himself describes the course of his feelings towards Anne in the following ditty:—

"The Field of the Cloth of Gold" (which was revived in London, with only tolerable success, a year or two ago) has to do mainly with the meeting of Henry VIII. and Francis I. (Mr. David James) on that historic spot—an event which is here surrounded with the most ludicrous circumstances possible. There is a sub-plot which deals with the loves of Constance de Grey (Miss A. Swanborough) and the Earl of Darnley (Miss Lydia Thompson), as interrupted and jeopardised by the pretensions and machinations of Sir Guy the Cripple (Mr. Thomas Thorne). The comic incidents are somewhat pantomimical, and the main merit of the piece lies in the humour of its dialogue, which is always sparkling. One of the puns in this burlesque is among the very best ever perpetrated, and is, indeed, a historical possession. Need I quote it? The King has crossed over from Dover to Calais on a stormy day, and arrives in a very "indisposed" condition:—

But the piece is full of quips almost equally good. Mark the puns that the two kings fire off at each other when they foregather on the Field of the Cloth of Gold:—

After this, one thinks comparatively little of such sallies as:—

At one point we have:—

Surrey, in "Windsor Castle," is represented not only as poet but as composer, and in the combined characters puts together a love song addressed to his Geraldine. Unfortunately, when he comes to sing it to her, he finds he has forgotten some of the words:—

"Anne Boleyn" is particularly prolific in good puns, in the making of which the author showed himself an adept. It would be a pleasure to quote a few of them, but I give instead some lines in which, speaking through the mouth of one of his characters, the writer satirises the methods of the old-fashioned drama:—

Good Queen Bess was added to Mr. Burnand's gallery in 1870, when his "E-liz-a-beth, or the Don, the Duck, the Drake, and the Invisible Armada," was brought out at the Vaudeville, with Mr. Thorne as the Queen, Mr. David James as Whiskerandos, and George Honey as Drake. The "Maiden Queen" has not been greatly tantalised by the burlesque writers, who, on the other hand, have made very free with a gentleman who much disturbed her successor—Guy Fawkes. Mr. Burnand handled him in 1866 (at the Strand); H. J. Byron followed suit at the Gaiety in 1874; last year we had the "Guy Fawkes, Esq." of Messrs. "A. C. Torr" (Fred Leslie) and H. F. Clark; and I believe that Mr. Wilton Jones, too, has written a travestie on the subject. Charles II. was burlesqued by Mr. Gilbert Arthur a'Beckett in 1872, the locale being the Court Theatre, and the full title of the piece "Charles II., or Something like History." In this, as in Mr. Reece's "Romulus and Remus," there was some parody of the Lyceum "Charles I."—Mr. Righton, as Cromwell, imitating both Mr. Irving and George Belmore, besides indulging in the cancan! W. J. Hill was the King, and Mme. Cornèlie D'Anka the Queen (Catherine of Braganza). Pepys, Rochester, and Lily the Astrologer also figured in the piece. Cromwell was afterwards the leading personage in the "Oliver Grumble" of Mr. George Dance (Novelty, 1886).

About the names of such heroes and heroines as the Lady Godiva, Dick Whittington, Robin Hood, Herne the Hunter, and those distinguished footpads Claude Duval and Dick Turpin, there hangs a good deal that is clearly mythical. Still, some myths have more real vitality than absolute fact; and who does not believe firmly that the Lady Godiva rode round Coventry "clothed on" with nothing but her chastity, and, by taking away a grinding tax, "built herself an everlasting name"? Her adventure has been burlesqued at least twice—once by Francis Talfourd and a collaborator, at another time by Mr. H. Chance Newton. The Talfourd piece was called "Godiva, or Y^e Ladye of Coventrie and Y^e Exyle Fayrie" and produced at the Strand in 1851. Mr. Newton christened his work "Giddy Godiva." In the earlier burlesque, "y^e exyle fayrie" Ignota (Miss Romer) is introduced merely as a dea ex machinâ in the interests of the heroine (Miss Marshall), who, in a passage of Shakespearean reminiscence, discusses the undertaking to which she has been incited by her husband:—

A prominent character in the piece is Our Own Reporter, "Y^e Specyall Commyssionere and Correspondente of y^e Busie Bee" (John Reeve), who would fain play the part of Peeping Tom, and who, early in the play, sings a song wittily descriptive of his ordinary avocations:—

Three burlesques have been devoted to the life and adventures of Sir Richard Whittington. There was, first, the "Whittington Junior, and his Sensation Cat," of Mr. Reece (Royalty, 1870); next, the "Young Dick Whittington" of Mr. Wilton Jones (Leicester, 1881); and next, the "Whittington and his Cat" of Mr. Burnand (Gaiety, 1881). Mr. Reece had Miss Henrietta Hodson (Mrs. Labouchere) for his Whittington, while Miss Farren was Mr. Burnand's. Robin Hood has had at least as many burlesque biographies as Whittington. A travestie, written by Stocqueler, Shirley Brooks, and Charles Kenny, and produced at the Lyceum in 1846, with the Keeleys, Wigan and Frank Matthews, was followed in 1862, at the Olympic, by one from the pen of Mr. Burnand. Mr. Reece wrote one, called "Little Robin Hood," which was seen at the Royalty in 1871, and this was revived—in three-act form—at the Gaiety in 1882, with Mr. Arthur Williams as a particularly droll Richard I. Robin Hood, it may also be noted, was a prominent character in Mr. Burnand's "Hit or 'Miss,'" at the Olympic in 1868. Herne the Hunter (who has a place in Mr. Burnand's "Windsor Castle") was made the leading personage in, and gave the title to, a travestie composed by Messrs. Reece and Yardley, and performed at the Gaiety in 1881. Five years later, at the Folly, we had "Herne the Hunted," in which Mr. H. P. Stephens had a hand, as well as Messrs. Yardley and Reece. Claude Duval was turned into a burlesque hero by Mr. Burnand, and strutted his hour upon the stage at the Royalty in 1869; followed longo intervallo by Turpin—here called "Dandy Dick Turpin, the Mashing Highwayman,"—whom Mr. Geoffrey Thorn (Charles Townley) made the chief personage of a travestie performed in London in 1889.

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BURLESQUE OF SHAKESPEARE.

Travestie of the drama and things dramatic has naturally played a large part in the history of English stage burlesque. Side by side with the producers and interpreters of tragedy, melodrama, and plays of sentiment, have been the possessors of the humorous spirit, who—whether as writers or as actors—have been quick to see the points in which works of serious plan and treatment have been open to the shafts of ridicule and raillery. As we have seen, most of the earliest efforts in English stage burlesque were directed against the extravagant tragedies of the seventeenth and eighteenth centuries. As time went on, and the limits of the serious drama became more extended, so did the limits of burlesque expand, and, from the days of John Poole downwards, the large variety of serious dramatic production has co-existed with a corresponding variety in the subject and style of the travesties submitted to the public.

Among those travesties a prominent place has been taken by the pieces devoted to the burlesque of Shakespeare—not because they have been particularly numerous, for they have not been so—nor because they have been uniformly successful, for the earlier specimens were singularly weak—but because of the general daring of the attempts, and because also of the genuine sense of fun exhibited by such baiters of "the Bard" as Gilbert a'Beckett, Francis Talfourd, Stirling Coyne, William Brough, Andrew Halliday (Duff), F. C. Burnand, H. J. Byron, and W. S. Gilbert. The business of burlesquing Shakespeare has never, so far as I can see, been taken up in a wholesale or an intentionally irreverent spirit. The seventeenth and eighteenth-century satirists left "the Bard" severely alone, and it was not until 1810 that the first formal travestie of Shakespeare—Poole's "Hamlet Travestie"—saw the light.[36] The author then made all due apology for his temerity, at the same time pointing out the absurdity of the idea that any amount or kind of burlesque could possibly sully the fame of the dramatist. Two years later, in the course of his preface to the fourth edition of his work, Poole ironically congratulated "those who, on its first appearance, were apprehensive for the reputation of Shakespeare," upon the fact "that, notwithstanding Three Editions already before the public, he is neither expelled from our libraries, nor banished from our stage."

The truth is, a brilliant burlesque does harm to nobody; and a bad burlesque does but recoil upon the head of its author and his exponents. Poole's "Hamlet Travestie" is marked by the best intentions, but, as a whole, it makes dreary reading. The opening colloquy between Hamlet, King Claudius, and Queen Gertrude will give, to those who have not already perused the piece, a notion of the quality of the dialogue:—

It was part of Poole's method to put the soliloquies into the form of songs, and so we find the lines beginning "O that this too too solid flesh would melt!" appearing in the following form:—

The time-honoured "To be or not to be" is sung in this version to the tune of "Here we go up, up, up":—

The "annotations" appended to the text of the burlesque are in parody of the performances of the commentators, who at least are fair game for chaff of this sort, and on whom Poole, in his preface, lavishes some excellent indignation.

Of subsequent burlesques of "Hamlet" there have not been many, but some of them have been really clever and commendable. There was, for instance, Talfourd's, published at Oxford in 1849; there was the "Hamlet à la Mode" of Messrs. G. L. Gordon and G. W. Anson, performed at Liverpool in 1877; there was the "Very Little Hamlet" of Mr. William Yardley, seen at the Gaiety in 1884; and last, but assuredly not least, we have had the "Rosencrantz and Guildenstern" of Mr. Gilbert, which, written originally without thought either of public or of private representation, has been enacted at a benefit matinée during the present year.

In "Rosencrantz and Guildenstern," which is an unpretentious little "skit," covering only some sixteen or seventeen printed pages, Mr. Gilbert supposes that Hamlet is the son (not the step-son) of Claudius. "Rosencrantz is a lover of Ophelia, to whom Hamlet is betrothed, and they lay their heads together to devise a plan by which Hamlet may be put out of the way. Some Court theatricals are in preparation." Now, once upon a time, Claudius had written a tragedy, which was damned, and to which no one is allowed to make reference on pain of death. "Ophelia and Rosencrantz persuade Hamlet to play his father's tragedy before the king and court. Hamlet, who is unaware of the proscription, does so; and he is banished, and Rosencrantz happily united to Ophelia."

In the first act, Rosencrantz, who has never seen Hamlet (apparently, because the former has been abroad), asks Ophelia what the Prince is like, and that gives Mr. Gilbert an opportunity for some characteristic satire. Ophelia says of Hamlet that he is "alike for no two seasons at a time":—

In the second act, the Queen, observing that Hamlet is about to soliloquise, urges Rosencrantz and Guildenstern to "prevent this, gentlemen, by any means":—

The result is as follows:—

Enter Hamlet; he stalks to a chair, throws himself into it.

The third act opens with a passage in which the turns and rhythm of Shakespearean prose are happily imitated:—

Enter King and Queen, meeting Rosencrantz.

Queen. A fair good morrow to you, Rosencrantz. How march the Royal revels?

Ros. Lamely, madam, lamely, like a one-legged duck. The Prince has discovered a strange play. He hath called it "A Right Reckoning Long Delayed."

Claud. And of what fashion is the Prince's play?

Ros. 'Tis an excellent poor tragedy, my Lord—a thing of shreds and patches welded into a form that hath mass without consistency, like an ill-built villa.

Queen. But, sir, you should have used your best endeavours to wean his phantasy from such a play.

Ros. Madam, I did, and with some success; for he now seeth the absurdity of its tragical catastrophes, and laughs at it as freely as we do. So, albeit the poor author had hoped to have drawn tears of sympathy, the Prince hath resolved to present it as a piece of pompous folly intended to excite no loftier emotion than laughter and surprise.

After Poole published his "Hamlet,"[37] Shakespearean burlesque slumbered until 1834, when Maurice G. Dowling produced at Liverpool his "Othello Travestie." In this dull production, the Moor of Venice figures as "an independent nigger from the Republic of Hayti," and talks in "darkey" dialect (as does the same writer's Clifford in "Fair Rosamond"). Here, for example, is this Othello's address to the Senate (written and sung to the air of "Yankee Doodle"):—

W. J. Hammond played Othello in this piece, both at Liverpool, and afterwards at the Strand Theatre, where popular Miss E. Daly was the Desdemona and H. Hall the Iago. What can these presumably capable actors have thought of their rôles? The text of the burlesque is almost wholly without humour, of which, however, there is a gleam in the complaint made by Cassio that he has been ruined by a pint of beer:—

H. J. Byron's "Rival Othellos" (played at the Strand in 1876) was not a travestie of the tragedy; but it gave opportunity for some clever burlesque of tragic acting.

We come now to the first (and, so far as I know, the only) travestie of "King John," which happily was essayed by the capable pen of Gilbert Abbott a'Beckett. The year was 1837, the locale the St. James's Theatre, and Hall the representative of the title-part, with Mme. Sala as Lady Constance. The play was lucky in being dealt with by so deft a workman. The subject was not very promising, and all was done with it that was possible. The scene in which the King incites Hubert to get rid of Arthur was thus travestied:—

Here, again, is the perversion of the famous scene between Hubert and the boy:—

Elsewhere King John sings, to the air of "The Light of other Days," this excellent parody:—

The first burlesque of "Romeo and Juliet" was brought out at the Strand in the same year as that which saw the birth of A'Beckett's "King John." The author was Maurice G. Dowling, who succeeded in producing something worthy to rank with his "Othello." In his "Romeo and Juliet" Montagu and Capulet are rival basket-makers, "Mr." Mercutio being foreman to the former, who also has "Mr. Ben Volio" in his employ. Tybalt is a fireman and ratcatcher to the Duke of Mantua; "Mr." Friar Laurence, a "black-and-white-smith" at Gretna Green. Romeo talks in illiterate fashion, and at one point sticks a pin into Paris's back! Miss Daly was the Juliet, and she and Hammond (as Romeo) had to speak, in the balcony scene, such lines as these:—

The Friar's directions to Juliet are given in the course of a song, of which the following is the opening verse:—

When, in 1859, Andrew Halliday produced, at the Strand, a "Romeo and Juliet Travestie, or the Cup of Cold Poison,"[38] he did better, I need hardly say, than his predecessor. His treatment of the balcony scene, for instance, was at least not vulgar:—

Romeo appears on the top of the wall and comes down ladder.

For the rest, the burlesque followed many lines of the original closely enough,[39] save that, at the end, Romeo, Juliet, Mercutio, Tybalt, and Paris, were all revived, much to the indignation of Shakespeare, a statue of whom appeared, with finger held up in a menacing manner.

The piece was well stocked with puns; as, for example:—

And again:—

After "Romeo and Juliet," the first of Shakespeare's plays to be burlesqued was "Richard III.," of which Charles Selby, the comedian, and Stirling Coyne, the well-known man of letters, each perpetrated a travestie in 1844. Selby's piece[40] was founded on the Colley Cibber adaptation, and introduced Henry VI., who, at the end, was represented as coming to life again and quietly assuming the crown which Richmond was about to take. Richard also is resuscitated, after a fashion very popular in burlesques of Shakespeare. Of literary merit Selby's work had little.

Take, for example, his arrangement of the scene in which Richard woos the Lady Anne:—

Twenty-four years later, Mr. Burnand took up this subject. His work was called "The Rise and Fall of Richard III.," and was performed at the Royalty. His treatment of the wooing scene may well be contrasted with that of Selby. For instance:—

In puns, and good puns too, this piece is particularly prolific. Thus, Richard's mother says of him that

Buckingham says to Richard—

Richmond says of him:—

whereupon Richard replies:—

Of Richmond, the Duchess of York observes:—

Richmond, by the way, is supposed to be fresh from France, and talks broken English. The Duchess aforesaid asks him:—

Buckingham says to Anne:—

But perhaps the best pun in the piece is that which is made apropos of the fact that Catesby and Tyrell have fallen over the coal-scuttle on the stairs and hurt themselves:—

Talfourd's "Macbeth, somewhat removed from the Text of Shakespeare," was first performed in 1847 at Henley-on-Thames during the regatta; next, at the Strand, in 1848; afterwards at the Olympic, in 1853. At the last-named theatre it had the advantage of the aid of Robson in the title-part, of G. Cooke as Duncan, and of Mrs. A. Phillips as Lady Macbeth. It paraphrases the original fairly well until near the close, when, after Macduff has slain Macbeth, Duncan reappears (like Henry VI. in Selby's piece) and takes the crown from Malcolm. Similarly, Macbeth, his wife, and Banquo turn up again, and announce their willingness to die nightly.

In the first act Lady Macbeth comes in reading her husband's letter, as follows:—

Lady Macbeth comments on this:—

When Macbeth enters, she cries:—

Then they sing a duet, to the tune of "There's a good time coming":—

The first burlesque of "The Tempest" made its appearance at the Adelphi in 1848. It was from the pen of the Brothers Brough, and was entitled "The Enchanted Isle, or Raising the Wind on the most Approved Principles." "O." Smith was Prospero, with Miss Taylor as his daughter Miranda; Miss Woolgar being the Ferdinand, with Paul Bedford for her father—the Ariel Mme. Celeste, and the Caliban Munyard. Some years were destined to elapse before the subject again attracted the burlesque writer; and the writer then was Mr. Burnand, who gave to his work the name of "Ariel," submitting it to the public in 1883 at the Gaiety. Miss Ellen Farren took the title-part, with Mr. Henry Monkhouse as Prospero, Mr. Frank Wyatt as Sebastian, Mr. Dallas as Alonso, and Miss Connie Gilchrist as Miranda. This "perversion" was in three acts, and was one of the productions which led the way to the New Burlesque.

To Talfourd belongs the distinction of being the first to burlesque "The Merchant of Venice." He called his work "Shylock, or the Merchant of Venice Preserved: an entirely New Reading of Shakespeare, from an edition hitherto undiscovered by modern authorities, and which it is hoped may be received as the stray leaves of a Jerusalem Hearty-Joke." This came out at the Olympic in 1853, and again Talfourd had Robson as the exponent of his principal character. Again, too, he followed his original with some care, burlesquing rather in detail than on broad lines. Take, for example, his "reading" of a portion of the trial scene. Shylock has been foiled by Portia, and wishes to leave the court:—

Gratiano, in this version, is represented as a flunkey, in which character he makes love to Nerissa:—

Everywhere the puns are as clever as they are bright. Portia says to Nerissa:—

Launcelot, again, says to Jessica:—

Once more, Shylock says:—

We come now to the production, at the Lyceum in 1856, of William Brough's perversion of "The Winter's Tale,"—"Perdita, or the Royal Milkmaid."[41] This was fitted with a prologue in which Time sang an effective song, descriptive of the author's aims and intentions, and winding up with this ingenuous verse:—

When Autolycus appears upon the scene, with his pedlar's box, he is made to excuse his "conveying" propensities in a ditty suggested by the then popular song called "Bobbing Around":—

Mr. Burnand has written two burlesques on "Antony and Cleopatra"—one brought out under that title at the Haymarket in 1866; the other produced at the Gaiety in 1873, under the name of "Our Own Antony and Cleopatra." A third travestie of the tragedy, called "Mdlle. Cleopatra," and written by Mr. W. Sapte, junior, was seen at the Avenue in the present year.

---

BURLESQUE OF MODERN DRAMA.

We now pass to a department of burlesque writing larger in extent and greater in variety than any other—that in which the finger of ridicule has been pointed at poetic and melodramatic plays (other than those of Shakespeare). This department is far-reaching in the matter of time. It goes back, for subject, so far as Lee's high-sounding "Alexander the Great" (better known, perhaps, as "The Rival Queens"), which, first produced in 1678, was travestied by Dibdin, in "Alexander the Great in Little," a "grand tragi-comic operatic burlesque spectacle," originally seen at the Strand in 1837, with Hammond as Alexander and Mrs. Stirling as Roxana. Seven years later there was performed at the Surrey a burlesque, by Montagu Corri, of Lillo's famous tragedy "George Barnwell" (1730), here called "Georgy Barnwell"—a title which H. J. Byron altered to "George De Barnwell" when in 1862 he travestied the old play at the Adelphi.

Home's "Douglas", which was given to the public in 1756, appears to have escaped stage satire until 1837, when it was taken in hand by William Leman Rede. The Adelphi was the scene of the production, and the performers included "O." Smith as Glenalvon, J. Reeve as Norval, and Mrs. Stirling as Lady Randolph. The piece does not supply very exhilarating reading. The ultra-familiar soliloquy, "My name is Norval," is here put into lyric form, and comes out as follows:—

We have already seen that, in his "Quadrupeds of Quedlinburgh," Colman junior extracted some fun out of scenes in "The Stranger," "Pizarro," and "Timour the Tartar." The first of these plays was made the subject of more elaborate satire in 1868, when Mr. Robert Reece wrote for the New Queen's Theatre his burlesque called "The Stranger, Stranger than Ever!" This, with Miss Santley as Peter, Mr. Lionel Brough as the Stranger, and Miss Henrietta Hodson as Mrs. Haller, had many points of attraction. In this reductio ad absurdum the lady's chief complaint is that her husband first neglected her and then deserted her, taking away the children. Moreover, "he taught the infants all the comic songs," and so, "instead of gloating over Peter Parley, the boy declared himself as Champagne Charley." In despair the deserted one set to work and took in washing:—

As usual with Mr. Reece, the puns are excellent. Tobias says of the stranger that

Then the Stranger says to Peter:—

To the Countess he remarks:—

And of his children he says:—

Of his wife:—

But, in truth, there is no end to these jeux-de-mots.

"Pizarro," which nowadays has quite gone out of the theatrical repertory, was dealt with from the comic point of view by Leicester Buckingham, whose "Pizarro, or the Leotard of Peru," was seen at the Strand in 1862, with Johnny Clarke as the hero, and Miss Swanborough, Miss Charlotte Saunders, Miss Bufton, Miss Fanny Josephs, Miss Fanny Hughes, and Rogers, in other parts. Of the "literature" of this piece the following is a very fair example: it is supposed to be spoken by Rolla:—

"The Wood-Demon," by "Monk" Lewis, played originally in 1811, suggested to Albert Smith and Charles Kenny a travestie, of the same name, which they brought out at the Lyceum in 1847. "Timour the Tartar," another of Lewis's dramas, received equally satiric treatment at the hands of John Oxenford and Shirley Brooks, whose work made its appearance at the Olympic in 1860. In the last-named year Messrs. Francis Talfourd and H. J. Byron founded on Pocock's "Miller and his Men" (1813) a "mealy-drama," similarly entitled, which was played at the Strand.

Jerrold's "Black-ey'd Susan," first performed in 1822, waited till 1866 for the travestie by Mr. Burnand, to which I have already adverted. This "Latest Edition of Black-eyed Susan, or the Little Bill that was Taken Up,"[42] was made specially gay by a wealth of song and dance; but it had other merits. Here, for instance, is an amusing soliloquy by Dame Hatley:—

Here also is the Wolsey-ish speech made by Captain Crosstree, after he has revealed himself as "alive and kicking," at the close:—

Five years after the production of Jerrold's play, the London stage was surfeited for a time with adaptations from the French, all bearing upon the evils of the gaming-table. These bore such titles as "The Gambler's Fate," "Thirty Years of a Gambler's Life," and so on, and were brought out at Drury Lane, the Surrey (by Elliston), and the Adelphi (by Terry and Yates). They did not last, however; and "The Elbow-Shakers, or Thirty Years of a Rattler's Life," in which Fox Cooper made fun of them, was scarcely needed to effect their overthrow. Reeve and Yates were the two Elbow-Shakers, but the piece had little intrinsic value.

In 1867, at the Haymarket, Mr. Gilbert Arthur a'Beckett brought out a travestie of Planché's "Brigand" (1829), under the title of "The Brigand, or New Lines to an Old Ban-Ditty." In this, Massaroni, the hero, was represented by Compton as a poltroon, objecting very much to the dictation of Marie Grazia as portrayed by Ione Burke. Young Mr. Kendal also had a part in this production. Nor had we yet done with the old school of melodrama. Yet another specimen thereof was destined to come under the lash of the parodist—namely, the piece called "My Poll and my Partner Joe," written by J. T. Haines, first seen at the Surrey in 1838, and interpreted by T. P. Cooke as Harry Halyard, R. Honner as Joe Tiller, and Miss Honner as Poll (Mary Maybud). The "happy thought" of burlesquing this typical piece came to Mr. Burnand, who, in his travestie named after the original, made, at the St. James's in 1871, a success second only to that of "Black-ey'd Susan." It was in this burlesque that Mrs. John Wood (as Mary) had so notable a triumph with her song, "His Heart was true to Poll," which she still sings sometimes in public. Miss Emma Chambers was the Harry in this piece, and Mr. Lionel Brough the Black Brandon, with Harry Cox, Gaston Murray, and Miss Sallie Turner in other parts.

Now comes the turn of the poetic drama, as represented in and by the works of Lord Byron, Sergeant Talfourd, the first Lord Lytton, and Mr. W. S. Gilbert. The first of Lord Byron's plays to be burlesqued was "Manfred," which fell to the lot of Gilbert Abbott a'Beckett in 1834. In the "burlesque ballet opera," called "Man-Fred," which thus issued from A'Beckett's pen, Man-Fred figured as a master-sweep, very much perturbed and disturbed by the Act in reference to chimney-sweeping which had just been passed, and which, he plaintively declares, has killed the trade:—

His lady-love, Ann Starkie, is equally unfortunate in her business—that of apple-seller. As she remarks:—

In the course of the piece Ann appears disguised as Mme. Grisi, and some badinage is directed at the "stars" of the Italian Opera.

A'Beckett further undertook, along with Mark Lemon, a skit upon another of the Byronic dramas—"Sardanapalus"—which they reproduced as "Sardanapalus, or the 'Fast' King of Assyria." The Adelphi was the theatre of operations; 1853 was the year; and while Miss Woolgar was Sardanapalus, Paul Bedford was Arbaces, Keeley was Salymenia (mother of the Queen), Miss Maskell was Beleses, and Miss Mary Keeley was Altada. Arbaces is here shown as impervious to the charm of melody:—

Salymenia says to the King's favourite:—

Of such are the quips and the quiddities with which the piece abounds.

In 1858 came, from the workshop of H. J. Byron, the first travestie of his "noble kinsman's" play, "Mazeppa." This, produced at the Olympic, had Robson for its hero, with other parts in the hands of Horace Wigan, Mr. Lewis Ball, Miss Wyndham, Miss Bromley, and Mrs. W. S. Emden. Of its punning dialogue, which throughout is in the genuine H. J. Byronic manner, the following is a fair example. Olinska is conversing with her father, the Castellan:—

The subject of "Mazeppa" was afterwards treated by Mr. Burnand in a burlesque brought out at the Gaiety in 1885.

Of Sergeant Talfourd's dramatic works the only one, apparently, that has been travestied is "Ion," which had to submit to the ridicule of Fox Cooper in 1836. In that year Cooper's perversion was played both at the Garrick Theatre and at the Queen's, in the first case with Conquest as the hero, in the latter with a lady in the rôle—an arrangement quite defensible, inasmuch as, in the original play, the name-part had been played (at the Haymarket) by Ellen Tree.

The pseudo-Elizabethanisms of Sheridan Knowles naturally attracted the attention of the comic playwrights. The opportunities were, indeed, only too tempting; and so I have to record the production of burlesques based upon five plays—"The Wife," "Virginius," "Alfred the Great," "William Tell," and "The Hunchback." The first named has for its full title "The Wife: a Tale of Mantua." The "burlesque burletta," by Joseph Graves (Strand, 1837), is called "The Wife: a Tale of a Mantua Maker." Mariana (first played by Ellen Tree) here becomes Mary Ann Phipps, the said mantua-maker; Floribel is Flora, a servant-of-all-work. Leonardo and Ferrardo Gonzaga figure as Marmaduke Jago, landlord of the Green Man, and Zachariah Jago, usurping that dignity; Count Florio is Floor'em (a police-sergeant), Julian St. Pierre is Jack Peters—and so forth. The travestie is fairly close, but the wit and humour are not of brilliant quality. Even less to be commended is "Virginius the Rum 'Un," perpetrated by William Rogers, the comedian, and performed at Sadler's Wells in the same year as Graves's effort. This is but a tedious assault upon "Virginius." The scene is laid in Islington, and Virginius is a butcher. Appius Claudius, here called Sappyis, is a sergeant of police. Dentatus is "Tentaties"; Icilius is "Isilyus." Claudius claims Virginia as his apprentice, and Virginius stabs her with a skewer; the instrument, however, sticks only in her stay-bone, and so no harm is done.

"Virginius" had very much more justice done to it when Leicester Buckingham made it the basis of a burlesque at the St. James's in 1859. Then Charles Young was the Virginius, Mrs. Frank Matthews the Virginia, and Miss Lydia Thompson a "Mysterious Stranger," introduced, apparently, only for the sake of a pas seul. In this piece the puns are very plentiful, if not always good. Thus, Virginia says:—

Virginius, like so many other burlesque characters, delivers himself of a reminiscence of "To be or not to be," and at the close it is found that Virginius has not really killed his daughter, because she "pads."

"Alfred the Great," one of Knowles' historical plays, suggested portions of the burlesque called "Alfred the Great, or the Minstrel King," which Robert B. Brough wrote for the Olympic in 1859. In this, Robson was the King, Miss Herbert his aide-de-camp, and F. Vining his commander-in-chief, with other parts by Horace Wigan and Miss Hughes. Knowles's "William Tell" (1825), or the story embodied in it has been the basis of half a dozen travesties. First came Mr. Burnand's "William Tell," at Drury Lane, in 1856; next, Leicester Buckingham's, at the Strand, in 1857; next, Talfourd's "Tell! and the Strike of the Cantons, or the Pair, the Meddler, and the Apple!" at the Strand, in 1859-60; next, again, Byron's "William Tell with a Vengeance! or the Pet, the Parrot, and the Pippin," at the Strand, in 1867; a few days later, A. J. O'Neill's "William Tell," at Sadler's Wells; and, lastly—so far—Mr. Reece's "William Tell told Over Again," at the Gaiety, in 1876. "The Hunchback" has been "guyed" less often than might have been expected, considering its popularity. Mr. Burnand brought out at the Olympic, in 1879, "The Hunchback Back Again," and this comic version of the hackneyed old play is not likely to be superseded.

The first Lord Lytton's verse-plays—bristling as they do with fustian and bombast—have naturally been frequently travestied. Note the number of occasions on which "The Lady of Lyons" has fallen a prey to the irreverent. Altogether there have been six notable burlesques of this drama. H. J. Byron wrote two, the first of which—"The Latest Edition of the Lady of Lyons"—was produced at the Strand in 1858. This, in the following year, was freshened up and re-presented to the public as "The Very Latest Edition" of the popular drama.

In 1878, at the Gaiety, came Mr. Herman Merivale's "vaudeville," "The Lady of Lyons Married and Settled," which is not only quite the best of the travesties on this topic, but one of the cleverest ever written. It sparkles with good things from beginning to end. Claude, it seems, has "taken to philosophy, and says we are all descended from monkeys." It is not surprising, therefore, to find him singing a long song in praise of the Darwinian theory:—

This has some claim to rank with the ditties on the same subject by Lord Neaves and Mortimer Collins. But Claude has also gone in for something less innocent than Darwinianism. He is flirting with Babette, a pretty laundry-maid, the beloved of Gaspar. Of her, Gaspar sings as follows, in a clever parody of "Sally in our Alley":—

In the course of the piece there is a good deal of direct parody of Lytton's style, both in prose and verse. For example, Claude says at one point to Babette:—

Come with me to my mother's lonely cot! I have preserved it ever in memory of mine early youth; and, believe me, that the prize of virtue never, beneath my father's honest roof, even villains dared to mar! Now, maiden, now, I think thou wilt believe me! Wilt come?

Babette. I wilt!

Again:—

In the sweet suburb of Richemont or Tedainton, on the banks of the broad Garonne, one of those expensive spots where, during the summer months, the river is at the bottom of the lawn—during the winter, the lawn at the bottom of the river—but where it is damp-pleasant all the year round; there will we babble to the murmuring stream, and the babbling stream shall murmur back to us, and softly whisper——

Dowager Morier (coming down). Hold on![44]

After Mr. Merivale's piece came one on the same subject by Mr. W. Younge (1879); another by Mr. Clifton (Lyne), played in the country in 1882; and yet another, by Mr. Reece (also played in the country) in 1884. This last was entitled "The Lady of Lyons Married and Claude Unsettled."

Ten years after the first burlesque of "The Lady of Lyons" appeared the first burlesque of Lord Lytton's "Rightful Heir." This was "The Frightful Hair" of Mr. Burnand, seen at the Haymarket in 1868-9. In 1868 also, publicity was given to "The Right-Fall Heir" of Mr. H. T. Arden.

In the autumn of 1873 Mr. Irving revived at the Lyceum Lord Lytton's "Richelieu," and the play was speedily followed at the Olympic by the "Richelieu Redressed" of Mr. Reece. This is remarkable, to begin with, as being written throughout in blank verse—an agreeable departure from the time-honoured couplet. The general travestie is close, and there is a certain amount of direct parody, as where Richelieu is made to say that

In the "curse of Rome" scene, Richelieu draws around himself "the awful circle of the Daily Press!" Fun, too, is made of the well-known exit of Baradas at the words "All in despite of my lord Cardinal," and also of the various ways in which actors are wont to pronounce the simple word "Julie." The piece has a strong political flavour throughout, in compliment, no doubt, to the general election, which was then in prospect. Richelieu thus soliloquises:—

Of Richelieu's genius for suspicion the Duke of Orleans and his party thus discourse:—

It was characteristic of Mr. W. S. Gilbert that he should himself set the example of burlesquing his own work. I have already made reference to "The Happy Land," the travestie of his "Wicked World," which he and Mr. Gilbert Arthur a'Beckett prepared for the Court Theatre in 1873. It was in this piece that the personal appearance of three prominent living statesmen was closely imitated by certain of the performers, with the result of bringing down upon the culprits the veto of His High-and-Mightiness the Lord Chamberlain. In 1876 two of Mr. Gilbert's plays were burlesqued—"Broken Hearts" and "Dan'l Druce"; the former under the name of "Cracked Heads," the latter under that of "Dan'l Tra-Duced"; both being brought out at the same theatre—the Strand, and both being the work of the same author—Mr. Arthur Clements, who, however, had in "Cracked Heads" the assistance of Mr. Frederick Hay. "Dan'l Druce" was not a particularly good subject; but "Broken Heads," with its occasionally overstrained sentiment, was fairly open to polite ridicule. In the original, the Lady Vavir feigns love for a sun-dial, while the Lady Hilda expends much sentiment upon a streamlet. In "Cracked Heads" the Lady Vapid bestows her affections upon a clock, and the Lady Tilda hers upon a pump. Says the latter to the former:—

In this genial little piece, presented at the Strand in 1876, Mr. Edward Terry was the monster, here called Monsta; Miss Lottie Venne and Miss Angelina Claude were the ladies Tilda and Vapid, and Mr. Harry Cox was the Prince Florian, here called Dorian. It will be remembered, by the way, that it has been the fate of one of Mr. Gilbert's comic operas to be parodied—surely a case of gilding refined gold! The opera was "Ruddigore," which was chaffed, more or less effectively, in the little pièce d'occasion called "Ruddy George, or Robin Redbreast," brought out at Toole's Theatre in 1887.

The melodrama of the last half-century has received due attention at the hands of the stage satirists. Buckstone's "Green Bushes," for example, had its comic counterpart in H. J. Byron's "Grin Bushes," performed at the Strand in 1864. It was Byron, too, who burlesqued Boucicault's "Colleen Bawn," under the title of "Little Eily O'Connor" (Drury Lane, 1861). The story of Rip Van Winkle, made so popular in England by Mr. Jefferson, has been handled in the spirit of travestie both by Mr. Reece (at the Folly in 1876) and by Mr. H. Savile Clarke (in 1880). "The Lights o' London" suggested "The De-lights of London" (1882), which we owed to the co-operation of Messrs. Mackay, Lennard, and Gordon. After "The Silver King" came "Silver Guilt," a clever piece by Mr. Warham St. Leger, in which, at the Strand in 1883, Miss Laura Linden imitated Miss Eastlake to admiration. In like manner, after "Claudian" came the diverting "Paw Claw-dian" of Mr. Burnand, which, at Toole's in 1884, gave Miss Marie Linden the opportunity of emulating (as Almi-i-da) her sister's success. In this piece Mr. Toole, as Claudian, and E. D. Ward, as Coal-Holey Clement, were particularly amusing. "Chatterton," another of Mr. Wilson Barrett's triumphs, has lately reappeared, disguised as "Shatter'd Un"—the author in this instance being Mr. A. Chevalier. "In the Ranks" naturally led to the production of "Out of the Ranks" (by Mr. Reece, Strand, 1884); and "Called Back" was found especially provocative of ridicule, no fewer than three travesties being written—Mr. Herman Merivale's "Called There and Back" (Gaiety, 1884), Mr. Yardley's "The Scalded Back" (Novelty, 1884), and Mr. Chevalier's "Called Back again" (Plymouth, 1885).

In 1888 Mrs. Bernard Beere was playing at the Opéra Comique in "Ariane," a rather full-blooded drama by Mrs. Campbell Praed. This was at once burlesqued at the Strand by Mr. Burnand, whose "Airey Annie" (as rendered by Mr. Edouin, Miss Atherton, and Miss Ayrtoun) proved to be a very mirth-provoking product. The heroine, Airey Annie thus accounted for her sobriquet:—

Among miscellaneous satires upon the conventional stage products may be named Byron's "Rosebud of Stinging-Nettle Farm" (Crystal Palace, 1862), Mr. Reece's "Brown and the Brahmins" (Globe, 1869), and Mr. Matthison's "More than Ever" (Gaiety and Court, 1882)—the last-named being written in ridicule of the modern Surrey-side "blood-curdler."

So much for the travestie of English melodrama. When we come to deal with the burlesque of melodrama derived from the French, a large field opens out before us. Going back to 1850, we find that Hugo's "Nôtre Dame," as dramatised in England, has suggested to Albert Smith a comic piece called "Esmeralda," brought out at the Adelphi. The subject is next taken up by H. J. Byron, whose "Esmeralda or the 'Sensation' Goat" belongs to the Strand and 1861. Then Fanny Josephs was the Esmeralda, Marie Wilton the Gringoire, Eleanor Bufton the Phoebus, Clarke the Quasimodo, and Rogers the Claude Frollo. Gringoire was made to introduce himself in this punning fashion:—

Esmeralda, who is a dancer, expresses her "delight in all things saltatory":—

Phœbus, declaring his love for Esmeralda, makes use of a pun somewhat above the Byronic average:—

In 1879, at the Gaiety, Byron returned to the topic, and produced the piece which he called "Pretty Esmeralda." At the same theatre, in 1887, one saw the same subject treated in the "Miss Esmeralda" of Messrs. F. Leslie and H. Mills—a piece in which Miss Marion Hood, as the heroine, played prettily to the Frollo of Mr. E. J. Lonnen, and in which the late George Stone laid the foundation of his too brief success.

Boucicault's version of "Les Frères Corses" was produced in London by Charles Kean in 1852, and was quickly followed by a travestie. This was furnished by Gilbert Abbott a'Beckett and Mark Lemon at the Haymarket (April, 1852), under the title of "O Gemini! or the Brothers of Co(u)rse." Those who did not witness the production can nevertheless conceive how droll Buckstone must have been as the Brothers, and how well he was supported by Bland, also in a dual rôle—that of Meynard and Montgiron (or Montegridiron, as he was called)—and by Mrs. L. S. Buckingham as Chateau Renaud. The burlesque was not wholly of the punning sort; it relied chiefly upon its travestie of the incidents in the original play. Fabien was made to give (to the sound of "low music") the following account of the extraordinary sympathy existing between himself and his brother:—

Later, just before Louis' apparition, Fabien says:—

H. J. Byron, who travestied nearly everything, of course did not let the "Corsican Brothers" escape him, and his "Corsican 'Bothers'" duly figured at the Globe in 1869. Messrs. Burnand and H. P. Stephens followed, at the Gaiety in 1880, with "The Corsican Brothers & Co.," and in 1881 (at the Royalty) Mr. G. R. Sims made his début as a writer of burlesque with "The Of Course-Akin-Brothers, Babes in the Wood." In this he began the action with Fabien and Louis as the Babes and Chateau Renaud as the Wicked Uncle, introducing a certain Rosie Posie, who is maid to Mme. dei Franchi and sweetheart of Alfred Meynard. At the end of the first scene Father Time came on, and summed up the situation in a song:—

In the second act Meynard brings a friend with him to Corsica, and thus presents him to Mme. dei Franchi:—

Previous to the first entry of Louis' ghost, Fabien says:—

Of the other puns in the piece the following are perhaps fair specimens. At the bal masqué, Louis, meeting Emilie de Lesparre, says:—

Again:—

In the final tableau, Chateau Renaud is advised to take some brandy; but he asks instead for "a go of gin—I want the gin-go spirit."

The latest of the burlesques on this subject was supplied—also for the Royalty—by Mr. Cecil Raleigh, whose "New Corsican Brothers" played in 1889, had more than one whimsical feature to recommend it. One of the brothers (Mr. Arthur Roberts) was supposed to be an English linen-draper, who, whenever anything was happening to the other brother, had a wild desire to measure out tape—and so on. The dialogue was in prose.

"Belphegor," the generic name bestowed upon the numerous adaptations of "Paillasse," gave birth to at least one travestie of importance—that by Leicester Buckingham, which saw the light at the Strand in 1856, the year in which Charles Dillon played in one of the adaptations (at the Lyceum). "The Duke's Motto," in which Fechter "starred" at the same theatre, was the origin of H. J. Byron's "The Motto: I am 'All There'"—a piece seen at the Strand in 1863, with Miss Maria Simpson as the Duke Gonzaque, George Honey as Lagardère, and Ada Swanborough and Fanny Josephs as Blanche and Pepita. Among much which is mere punning, though deter enough for that commodity, I find this little bit of social satire:—

It is to H. J. Byron that we owe the burlesque of "Robert Macaire," which, with Fanny Josephs and J. Clarke as Macaire and Strop, brightened the boards of the Globe Theatre in 1870. The drama of which Ruy Blas is the central figure has been twice travestied among us—once in 1873 by Mr. Reece ("Ruy Blas Righted," at the Vaudeville), and more recently (in 1889) by Messrs. F. Leslie and H. Clark ("Ruy Blas, or the Blasé Roué," at the Gaiety). "Diplomacy," adapted from "Dora," appealed to Mr. Burnand's sense of the ridiculous, and the result was "Dora and Diplunacy" (Strand, 1878), in which the weak spots of the original were divertingly laid bare. In the same year, Mr. Burnand burlesqued, at the Royalty, his own adaptation, "Proof, or a Celebrated Case," under the title of "Over-Proof, or What was Found in a Celebrated Case." To 1879 belong two clever travesties—"Another Drink," by Messrs. Savile Clarke and Clifton (Lyne), suggested by "Drink," and brought out at the Folly; and "Under-Proof," Mr. Edward Rose's reductio ad absurdum of "Proof." In the latter piece, besides many well-constructed puns, there are many pleasant turns of humour, as when Pierre satirises the conventional stage pronunciation of his name:—

Of the Anglo-French melodrama of recent years, Mr. Burnand has been the frequent and successful satirist. He capped "Fedora" with "Stage-Dora" (Toole's, 1883), "Theodora" with "The O'Dora" (same theatre, 1885), and "La Tosca" with "Tra la la Tosca" (Royalty, 1890). This last contained some of the happiest of its author's efforts, in the way both of ingenious punning and effective rhyming. Here, for example, is a song put into the mouth of the Baron Scarpia, the "villain" both of the play and of the travestie:—

During the present year, the interest gradually excited by successive performances of plays by Henrik Ibsen has culminated in the production of the inevitable burlesques. More than one clever travestie of Ibsen has been printed—e.g., those by Mr. J. P. Hurst and Mr. Wilton Jones; but the first to be performed was that entitled "Ibsen's Ghost, or Toole up to Date," which is from the witty pen of Mr. J. M. Barrie. This starts as a sort of sequel to "Hedda Gabler," which it mainly satirises; but there are allusions also to "Ghosts" and to "A Doll's House," with some general sarcasm at the expense of Ibsen's peculiarities. The dialogue is in prose, with a concluding vocal quartett; the writer's touch is as light as it is true; and the composition, as a whole, is thoroughly exhilarating. The three-act piece, "The Gifted Lady," in which Mr. Robert Buchanan sought to ridicule not only Ibsen but other "emancipating" agencies of the time, was, unfortunately, not so successful as Mr. Barrie's slighter and brighter work. It abounded in excellent epigram, but lacked geniality and humour. In "Ibsen's Ghost" Mr. Toole and Miss Eliza Johnstone renewed old successes, while Miss Irene Vanbrugh gave signs of aptitude for burlesque. In "The Gifted Lady" Miss Fanny Brough, Miss Cicely Richards, Mr. W. H. Vernon, and Mr. Harry Paulton showed all their usual skill, but, unfortunately, to no purpose.

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