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►
V
Ait VBm. ik. eiOutt
1L
4
..*i
SIR WM. S.GILBERT
A Study in Modern Satire
A HANDBOOK ON GILBERT
AND THE
GILBERT- SULLIVAN OPERAS
BY
ISAAC GOLDBERG, A. M, Ph. D. (Harp.)
J ' J
''But it's a topscy-turyey world, ain't it?"
— Gilbert's "Charity", Act IL
STRATFORD PUBUSHING CO.
■^
BOSTON
I ■
y
Copyright, MCMXIII (All Rights ReMrved)
by
*
ISAAC GOLDBERG
I
I
PREFACE
Th« .sole purpose of tbe present little book to to lead
the reader to a more intimate acquaintance with the
works of Sir William S. Oilbert—plays for the most
part easily readable, thoroughly enjoyable, wholesomely
and fearlessly satiric^ I have thought to serve this pur-
pose best by arranging plays not in chronological order,
but according as they are written in prose, verse, or
comic opera form. For the sake of greater lucidity I
have incorporated the non-musical material into Part I,
leaving the operas and considerations arising therefrom
> to the latter half of the Essay, Part II. The important
^ thing has been to extract the satire, not merely to give
"S plots.
The majority of Gilbert's works are easily obtainable;
f there are here included all that have appeared in the
edition of Chatto and Windus (four series), London.
The edition might well be issued from new plates and
undergo some attempt at editing. Where dates are giv-
en, they are from the edition mentioned, or from the
partial list printed in a note to Percy Fitzgerald's most
I entertaining work, "The 3avoy Opera", to which much
reference will be made in the following pages.
If I may be permitted to anticipate a few words of
the opening chapter, the object here is not to "place"
' Gilbert in literature; such an attempt at such a time
were premature. To the reader who has delved in the
' classic humorists more than one touch of Plautus and
I Moliere will be disoemable. Sheridan, Swift, Thackeray
^ will naturally suggest themselves as standards by
PREFACE
which to classify. Even the redoubtable George Bern-
ard Shaw exhibits the effects of Gilbert So does
Kipling, in his "Departmental Ditties*', show the effect
of the "Bab Ballads'**
In regard to the "topsey-tnryey'' theories of Gilbert,
it is instructive to repeat a casual reference (in Edgar
Inters '^Komische Oper") to a similar theory entertained
by the erratic romancer and composer, E. T. A. Hoff-
man. The latter, in an essay entitled "The Poet and
the Composer", seems to ipostnlate for Comic Opera
that very mixture of romantic impossibility with every
day life which is so helpful in creating the "topsey-tur-
vey" atmdsphere. From what we know of Hoffman's
character and his peculiar gifts, it is entirely possiible
that he foresaw such opera as we now call "Gilbertian".
The German writer (who, it mie^t incidentally be added,
is the hero of Offenbach's "Tales of HofCman") must
rightly come into some share of the honors, although it
is not probable that he influenced Gilbert
If the essay here presented meets with the success
which Gilbert certainly deserves, the author has in view
the publication of a book to be called "Gilbert and Sul-
livan", in which the comic operas will be analyzed both
from the literary and musical standpoint.
It would be but simple gratitude to mention here the
pleasant obligations incurred during the preparation of
this little effort, were they less numerous. I cannot
omit, however, the aid of Mr. Frank L Commanday ih
the mechanical make-up of the book; nor can I fail to
acknowledge the invaluable influence of my parents
from whom I first imbibed the love of Gilbert and Sul-
livan. Lastly, but by no means leastly, I desire to reg-
ister my thanks to Professors J. D. M. Ford and C. H.
Grandgent of Harvard University, for that encourage-
ment which comes not from words but rather radiates
from personality. L G.
CONTENTS
Chapter I — ^Introductory — ^The Comio Stage 1>efore GU*
bert— '*Bab Ballads" — CharacteristioB of RhTme and
Rh3rthm--nie Fairy Blement in Gilbert— His Re-
forms and purpose n
Chapter II — Gilbert's Prose Plays — Comedy, Melodrama
and Faroe — Gilbert's Prose 29
Chapter III— Gilbert's Vene PUyt— An a Vcnc Writer 55
9art Wm
Chapter IV— The Famous Gilbert-Sullivan Operas— The
Savoy Theatre — Other Libretti— Satire as an Ingre-
dient of Comic Opera g3
Chapter V — Gilbert and Sullivan— Contemporary Comio
Opersr— Conclusion 142
$art i^ne
^
Correction
On page 21 the first full paragraph should read: •'Pa-
tience ' ' was evolved from * ' The Rival Curates. ' ' Gilbert,
not wishing unduly to offend the dergy, took advantage of
the contemporary SBsthetic craze to use it as a background
for his operetta.
On page 109 Irving is by an oversight wrongly referred to
as an early Koko in the "Mikado.''
21 i^ttibp in iHobern i^attre
CHAPTER ONE
Introductory — ^The Comic Stage Before Qllbert —
"Bab Ballads" — Character istlca of' Rhyme and
Rhythm — ^The Fairy Element In Gilbert — His Re-
forms and His Purpose —
The general tendency of students end laymen
alike to assign to those who move us to laughter
a comparatively inferior rank is, perhaps, based on
the assumption that there is nothing of serious con-
sequence about laughter. We remember those who
make us weep; the mirth-maker vanishes with the
laugh. And yet, if only from the difficulty of
causing intelligent laughter, and the personal genius
required in such a task, we should not be too readi-
ly inclined to dismiss the laugh-maker from seri-
ous observation.
Perhaps Nature itself has led us astray in this re-
in]
JL
SIR WM. S. OILBEBT
gard. There is sometbing so inherently permanent
about sorrow, something so inherently evanescent
about gladness; the facial manifestations of either
cause a wrinkling of the features, yet it is the
wrinkle of sottow that remains. F^ makes a
deeper impression than pleasure, and is longer re-
membered. Tears belong to joy as well as to grief.
The new-bom babe is ushered into the world with
its own wailing; it is a matter of weeks before it
learns to smile. In the same glad laughter with
which the bride greets the first embrace of her lover
are mingled tears at departing from the parental
roof.
If, then, our very natures have foredoomed us
to deeper susceptibility to painful impressions, we
fijhould be all the more grateful to thos« ^ho have
roused our mirth. It is but a sombre ennoblement
of the soul that Tragedy can effect unless we temper
our natures with the compensations of Comedy.
The difficulty of perpetuating laugihter becomes
all the more evident when we recall that Franco
has but one Moliere, Spain but a single Cervantes.
It has taken America some three centuries to pro-
duce Mark Twain.
But it is not with these th*at Gilbert claims affinity.
England's comic vein runs to the satirical, and al-
ready our author has been classed with Thackeray
and Swift. Certain it is that he lacks Swift's viru-
lence (by no means essential to satire) and that he
resembles the 'author of ''Vanity Fair" in his powers
[12]
A STUDT IN MODERN SATIRE
of wit. It is too early to attempt a placing of
Gilbert. After all, it is the ofSice of critidsm rather
to essay intelligent appreciation than to affect the
foresight of assigning rank.
The faculty of laughter was held by Aristotle to
be a distinguishing trait between mian and beast.
One might well go further and discern in the dif-
ferent kinds of human laughter the relative degree
of refinement in the individual. Modem psycho-
logists have^ indeed, long discriminated between the
various kinds of human laughter, particularly as
regards the source of the comic impulse. Leaving
the search for first causes to the scientists, we tm*n
to that which, to us, is the most important of laugh-
ter's effects: its powerful function as a social cor-
rective. To say of Comedy that it uses laughter to
correct manners is rather too narrow; such a defini-
tion is more suited to that division of the Comic to
which Gilbert gave his greatest efforts — Satire.
Wit and Humor, the chief ammunition in Gil-
bert's satirical battery, may be variously distin-
guished. Wit' operates in flashes of repartee, quipsi
and quirks, conceits, unexpected turns, brilUant sal-
lies, puns; humor is independent of wordplay and
is broader. Wit brightens detail, himior character-
izes the ensemble; wit illumines, humor pervades;
the essence of wit is point, the essence of- humor
is incongruity. Thus, while the dialogue of a play
may be highly witty, the action may be just as in-
tensely humorous.
[13]
Sm WM. S. GILBERT
Wit alone, moreover, cannot sustain a true
comedy, and it is significant that Gilbert is at his
best in farce and comic opera, both of them genres
which depend so much upon brilliancy of detail.
It should not on this account be inferred that he
lacks structural power. On the contrary, it is this
very grasp of form which infuses his Ubretti, es-
pecially, with a vitality that will long outlive rivalry.
Gilbert's comic spirit, then, is not so much a
mood as it is a point of view. His world may well
be called, from a favorite phrase of his own, "topsey-
turveydom.*" He excels iq twisting normal at-
titudes to an unfamiliar angle that reveals what be-
fore had been hidden. His wit works upon com-
mon material as the sun upon a prism: what was
but colorless glass scintillates, under his warming
touch, into a wealth of bright hues. Punning, that
weakest of resources, plays no mean part in his
work, yet rarely oflfends; in fact, he is most liable
to err on the side of whimsical conceits which are
in themselves so tenuous (so intellectual, one might
say) as hardly to endure the atmosphere of the
playhouse.
With characteristic modesty, the author himself
denied his right to the adjective "Gilbertian" ; yet
♦The etymology of this oft-recurring word may
be of interest to some. It comes from the old
expression "top side t' other way", leading
(through phonetic process) to "topsey-turvey",
also spelled without the e's.
[14]
A STUDY IN MODERN SATIRE
so individual are his methods, so inimitable his
technique, that the word, despite Gilbert, has al-
ready gained currency. To call a comic opera today
^^Gilbertian" is to bestow highest praise; more's the
pity that so few deserve it. The topsey-turvey situa-
tion, where ordinary points of view are reversed and
carried out to their logical conclusion, — ^the auto-
biographic song, — ^the dexterously rhymed, trickily
rhythmed, breathless patter song, — ^the self-centred
seriousness of the comic personages (all of which
will come into their due share of consideration in
the following pages) are among the elements that
enter into the composition of the word "Gilbertian".
To define the term adequately, however, would re-
quire a little volume in itself; in fact, the present
work may well be taken as such a definition.
Gilbert's service to the English comic stage may
best be appreciated by a review of what had pre-
ceded his work. Parlor entertainers had a practical
monopoly of the amusement enterprise. In addi-
tion to these, who often developed great skill and lat-
er contributed to the ranks of the Savoy Theatre's
comic staff, the stage harbored the most anemic bur-
lesques. The theatre-goer listened to the dullest of
topical songs with the silliest refrains im-aginable.
Think of a chorus like the following being applaud-
ed, encored "six times" nightly :
Take that bauble away.
Sell it, change it or spout it
But here It shall no longer stay —
No more bones, if you please, about it.
[35]
/
Sm WM. 8. OILBEBT
Yet this ifi the type of drivel which, according to
Fitzgerald, held forth in the good old days.
As for the burlesques, one may easily guess the
state of their refinement when we are told that the
chief male character was usually taken by a woman,
supposed to be the prince, as the stereotyped pat-
tern then went. ''The duenna, or termagant mat*
ron was played by the low comedian". Such was
the condition of the stage when Gilbert appeared.
Any element of refined taste was sadly at a dis-
count, although, naturally, germs of social satire
would creep out now and then. Nor did Gilbert
himself strike out far from the beaten path, for his
first work, "Dulcamara", was a burlesque. He was
nevertheless, by the very nature of his personal
gifts, foreordained to raise the tone of the contemp-
orary comic stage. Indeed, we see from a letter
which he addreased to Mr. Fitzgerald (author of
the book already referred to) that it was his express
intention to raise the public taste. This was at the
time of his next attempt, a parody on "Robert the
Devil". His special aptitude, however, first appears
in "La Vivandiere" (1868), where his satire versus
the English reveals the true latent powers of the
author.
The atmosphere of the comic opera is present in
almost every piece that came from Gilbert's pen.
Whether in his prose plays or even in his initial
efforts — ^the "Bab Ballads" — one discerns almost im-
mediately that special sense of punning perspicuity,
[16]
.-r-jT
1
I
A 8TUDT IN MODERN SATIRE
brilliant repartee, inverted relations and impossible
''fairy'^ dharaoter that forms so great a part of his
comic operas, for Which, of all his works, he is so
justly famous.
The ''Bab Ballads", a collection of witty, whim-
sical rhymes commenced in "Fun", in 1861, fore-
cast much of Gilbert's later rhythmical and rhym-
ing spunk. Here, for the first time, we are intro-
duced to the kingdom of "topsey-turvey" over which
Gilbert for so long a time ruled. In the Ballad
entitled ''My Dream" occurs a detailed account of
the now famous realms "where babies much to their
surprise, are bom astonishingly wise". We have
here what is really the basic principle of Gilbert's
comic outlook:
Th<e other night, from cares exempt,
I slept—and what d'you think I dreamt?
I dreamt that somehow I had come
To dwell in Topsey — Turveydom! —
Where vice is virtue — ^virtue, vice:
Where nice is nasty — ^nasty, nice:
Where right is wrong and wrong is right —
Where white is black and black is white.
For that which we call folly here
Is wisdom in that favored sphere;
The wisdom we so highly prize
Is blatant folly in their eyes.
Policemen march all folks away
Who practise virtue every day —
[17]
^
SIB WM. S. OILBEBT
Of coarse, I mean to say» you know,
Wliat we call virtue here below.
For only scoundrels dare to do
What we consider Just and true.
And only good men do, in tAct,
What we should think a dirty act
But strangest of these social twirls.
The girls are boys-^the boys are girls!
The men are women, too — (but then.
Per contra, women are all men.
it
How strange," said I to one I saw,
Tou quite upset our every law.
However can you get along
So systematically wrong?"
"Dear me," my mad informant said,
"Have you no eyes within your head?
Tou sneer when you your head should doit:
Why, we begin where you leave off!
"Your wisest men are very far
Liess learned than our babies are."
I muaed a while — and then, oh me!
I framed this brilliant repartee:
"Although your babes are wiser far
Than our most valued sages are.
Your sages, with their toys and cots.
Are duller than our idiots!"
But this remark, I grieve to state.
Came Just a little bit too late;
[18]
i
A STUDT IN MODERN SATIRE
For as I framed it in my head,
I woke and found myself in bed.
Still I could wisli that, 'stead of here,
My lot were In that favored sphere! —
Where greatest fools bear off the bell
I ought to do extremely well.
As we shall see, Gilbert did remain, figuratively
speaking, in the land tiiat this dream had brought
to him. The Ballads, founded for the most pari
upon situations of the most delightful impossibility,
sprinkled here and there with a moral spice, tho-
roughly pervaded with the logic of "topsey-turvey-
dom", afford an excellent example of that nonsense
which, now and then, is relished by the best of
men. As has been hinted, the germs of much of
the author's later work make their first appearance
here.
"Pinafore", for instance, that breezy satire on the
English navy which earned Queen Victoria's dis-
pleasure, owes its origin clearly to several of the
Ballads. In "Captain Reece", commander of the
good ship Mantelpiece, we meet the prototype of
Admiral Porter, with his embarrassing multitude of
female relatives. In "Ge neral John" we find the
motif of inverted relationships that provides the
denouement of the (^era. Says Private James to
the General:
"A glimmering thought occurs to me,
(Its source I can't unearth)
[19]
SIB WM. S. OILBEBT
But Fve a kind of notion we
Were cruelly changed at birth."
Lovers of "II Trovatore" immediately recall a aim*
ikr tragedy. This is a favorite device of the
author's, and is used in several other of his works.
In the "Bumhoat Woman's Story" we first come
upon Little Buttercup, whose waltz had a vogue fat
exceeding the ill-merited popularity of the "Merry
Widow" time.
In "The Yarn of the Nancy Bell", a sailor, who
recalls the Ancient Mariner with his eerie tone,
foreshadows the multiple official personality of Pooh
Bah in the "Mikado". Sings the sailor:
''Oh, I am a cook and a captain bold
And the mate of the Nancy brig,
And a bo'tnin tight and a midsbipmite
And the crew of the captain's gig."
This queer anomaly is explained in characteristic
Gilbertian fashion; for the sailor has belonged to
an unfortunate expedition in which the hardship
came to such a pass that cannibalism was resorted
to by the crew. Each has swallowed the other un-
til he of the song has eaten the remaining one I
Containing, as he does, all the others, he is indeed
all of them, as he sings! The name Pooh Bali
itself, long become a synonym for grasping sham-
statesmen, comes from the Ballad euphoniously en-
titled "King Borria Bungalee Boo". Among the
subjects of this potenate with the alliterative cap-
[20]
A STUDT IN MODERN SATIRE
tion we find not only a Pooh Bah, but also Piah
Tuah — another in the "Mikado".
Mr. Fitzgerald would see in the "Rival Curates"
the genesis of "Patience". This may well be, as the
aesthetic antithesis represented in the rivals' struggle
for supremacy is somewhat analogous to the poetic
rivalry between Bunthome and Orosvenor amidst
the "twenty lovesick maidens".
Careful reading of the Ballads as a whole will
reveal their absolute importance to a full understand-
ing of Gilbert's work, especially his operas. Germs
of later situations occur repeatedly, and serve to
indicate the expansive power of the author's econo-
mical methods.
Delightfully characteristic, too, is the "Discon-
tented Broker", who, despite his terpsichorean ef-
forts to rid himself of an ever increasing paunch,
dances himself into a spherical mass of flesh. "The
Precocious Baby" is a Whimsical warning to infant
prodigies lest they study themselves into doddering
senility at the age of five ! As evidence of his early
addiction to pimning, a quatrain from "The Cunn-
ing Woman" is indicative:
No stock exchange disturbed the lad
With oYerwhelming shocks —
Bill ploughed with all the shares he had,
Jane planted all her stocks.
"The Fairy Curate" is a most clever adaptation of
the fairy realms to Gilbert's special abilities, and
incidentally furnishes the starting point of "lo-
[21]
A
Jk
SIB WM. S. OILBEBT
lanthe". Regulation satire against the clergy is not
missing in the "Ballads", and particularly effective
are "The Phantom Curate" and "The Bishop and
the Busman". Not even the theatre is spared, as
is so well E^own by the tale of Micah Sowls, who,
upon being urged to go to Drury Lane by hia
bishop, found the famous playhouse an even duller
place than his soporific parsonage. Definite the fact
that the worthy reverend had gone to the play with
the secret anticipation of one who had heretofore
considered it the height of wordliness
He slept away until
The farce that closed the bill
Had warned him not to stay.
And then he went away.
"I thought," said he, "I was a dreary thing
I thought my voice quite destitute of ring,
I thought my ranting . could distract the brain,
But oh! I hadn't been to Drury Lane.
"Forgive me, Drury Lane,
Thou penitential fane,
VHiere sinners should be cast
To mourn their wicked past!"
And so on, through a wide range of satirical shafts.
All that is lacking to comic opera, in many cases,
is a broadening of the action and the oomplemaat
of music.
In view of an intellect like Gilbert's, so wholly
given to amiable perversity of conception, to whole-
some absurdities, to topsey-turvey in general, it was
but natural that he should embrace the ''fairy" play,
[22]
A STUDY IN MODERN SATIRE
which, too, appears in germ in the ''BalladB" which
we have just left
There is thus something more than mere caprice
in Gilbert's persistent use of the fairy element
throughout his work. Gratifying as it is to the
human desire to let the fancy wander in magic
realms, this elem^it contains a fundamental com-
patability with Gilbert's talents and the purpose to
which he devoted them. Under the spell of the
wand we are less prone to criticize incongruity ; nay,
we are led to expect the improbable, which, so to
speak, acqilires tihereby a logic all its own. The
satirist is thus enabled to introduce special situa-
tions without offending the sense of probability.
That the author was alive to the essential incon-
gruity of the fairy play is further shown in the
farcical denouement of "Foggerty's Fairy", where
Foggerty actually "proves" to the fairy in question,
by a most laughable perversion of logic, that she
has not even existed so far as he is concerned. To
make the point more effective, he uses as his main
assumption the very condition which die had laid
down to him as a guarantee of her protection. Only
a reading of the original can bring out the full
scope of the witty involutions. Excellent use of the
magic element is made in "Creatures of Impulse",
"The Palace of Truth", "The Wicked World",
"Pygmaleon and Galatea", "Broken Hearts", and
"liie Gentleman in Black", not to mention several
of the comic operaa.
[23]
SIB WM. S. OILBEBT
Gilbert wrote with a twofold purpose. He aimed
first of ally to write effective social satire; secondly,
to lead the public away from its vulgar notions of
what constituted comic material. He has little use
for the empty laugh. Far from turning his stage
into a pulpit, he is, at his best, equally distant from
the cheap appeal to the sense of horse-play. He
maintains a spirited independence. For he himself
has written it ("And it's greatly to his creditP')
"At peer or prince, at prince or peer,
I aim my shaft and know no fear."
And then again, in the same opera ("Yeomen of the
Guard"), as if to temper the defiant spirit of the
previous couplet,
"When they're offered to the world in merry guise,
Unpleasant truths are swallowed with a will —
For he who'd make his fellow creatures wise
Should always gild the philosophic pill!"
He will not permit his audience to look down upon
the laugh maker as a mere hireling mummer.
Sings Bartolo, in "The Mountebanks":
Though I'm a buffoon, recollect,
I command your respect!
I cannot for money
Be vulgarly funny.
My object's to make you reflect!
••••••••••••
[24]
A STUDY IN MODERN SATIRE
Other downg make yoa laugh till you sink
When they tip you a wink;
With attitude antic
They render you frantic;
I don't I compel you to think!
A little bald, perhaps, but not when we remember
the genre. He detests shams of all kinds. Against
the soulless spotlessness of obtrusive Puritanism
he has given us in the Prologue to the ''Wicked
World", four lines worthy of Pope at his best:
As perfect silence, undisturhed for years
Will hreed at length a humming in the ears.
So from their very purity within
Arise the promptings of their only ein.
That only sin, — ^an overweening sense of righteous-
ness — ^Gilbert continually combats. Not only the
immaculate arrogance of the ''holier than thou" at-
titude does he satirize, but also the petty foibles of
prominent social figures whose rank might have
been thought to render them immune.
The lawyer, the soldier, (here the writer draws
upon personal experiences in both professions) the
naval official, creatures of pomp and circumstance,
are all proper targets for his verbal arrows ; similar
types abound in his libretti. Of his tribe are the
philisophical pirate who sees in his occupation, when
compared to modem cultivated society, a highly
respectable pursuit; the tearful peasant whose only
isource of income is train-wrecking; the demure
young miss who is thoroughly, yet modestly, alive
[25]
SIB WM. S. GILBERT
to her attractive powers; all of them, in their way,
perfectly serious individuals. Gilbert delights in
piercing the thin armor of hypocritical devotion^o
"^^^is^'i in revealing true motives and false aSectiou.
Another source of his satirical gaiety is to point oui
the good in menials and the intrinsic uselessness of
their "superiors". (See the Ballad "Phrenology '\)
There is, indeed, in him, something of Mark
Twain's attitude when the American wrote that he
always felt somewhat inclined to side a bit with
Satan, since nobody had ever uttered a word in
favor of that much abused personage. The English-
man, however, is hardly the devil's advocate. Some-
thing, too, of Twain's outlook upon humanity per-
vades Gilbert's writings. Such a book as the
"Prince and the Pauper", with ite inverted relation-
ships and "topsey-turveydom" used as a powerful
moral agent, is purely Gilbertian in spirit, widely
though it differ in execution. There can scarcely
be a basis for any essential similarity in the methods
of the two writers, however.
Gilbert's reform of the comic stage is built upon
a principle which was not entirely new to the Eng-
lish mind. Lewis Carrol, author of the famous
"Alice in Wonderland" and "Through the Looking
Glass", had already preceded him. Whereas the
previous conception of fun had been built on the
foundation of burlesque— the distortion of the natur-
al, the rendering of exalted objects in a grotesque
mimicry, — ^the new idea was more related to the
[26]
/
A STUDY IN MODERN SATIRE
mock-heroic— the in conipniity of petty figores^ en-
flage d in dignified pu rsuits. As Fitzgerald puts it,
Carrol and Gilbert tried to ''fashion an eccentnc,
super-earthly story into shape, and deal with it co-
herently and logically, so as to compel our sympa-
thies".
Theory is one thing; practise ,>another. It is
doubtful if any other than Gilbert, with his special
gifts, could actually have educated the public up
to his standard. The best proof of this is that now
his voice is forever stilled, and the stage is fast re-
turning to its former inanities.
Gilbert was fond of characterizing his works as
being new and ''entirely original". This claim is
far from being an idle boast, especiaUy when we
take into account his own definition of the word.
"It has generally been held, I believe", he writes,
in a prefatory notice to the first volume of his print-
ed plays, "that if a dramatist uses the mere outline
of an existing story for dramatic purposes, he is at
liberty to describe his play as 'original' ". This is
a point hardly worth insisting upon, in view of the
methods of Shakespeare himself.
Summarizing, then, we find in Gilbert the wedd-
ing of a comic outlook to an unobtrusively moral
purpose, thus begetting a wholesome satirist. This,
combined with his special point of view and his
particular gifts, seems to have made him preeminent-
ly suited to the comic opera, a form upon which, as
we shall see later in detail, he has left his impress
[27]
m ■
4^
SIR WM. S. QILBEBT
for all time. A skilful manipulator of both plot
and situation, he is less oonoemed with character
delineation than with character exploitation for
comic effect. Throughout it all shines a manly
courage— not the cowardly optimism that would be-
lieve all things well because it fears to combat the
ill, but the virile optimism that sees the ill and is
determined to laugh it out of society.
We now turn to the works themselves, and to a
consideration of his prose, his verse and general
technical efficiency.
[28]
A STUDY IN MODERN SATIBE
CHAPTER TWO
Gilbert's proM plays— Comedy, Melodrama and
Farce — Qllberfe prose.
The first play which we have to consider, though
called by its author a comedy, is really the most
blood-tingling of melodramiBS, weak in conceptiou
and generally inefficient in execution. The play
is valuable not for itself, but as indicating im-
mediately the author's ideas on important questions,
and demonstrating his temperamental ineptitude for
Hie genre.
"Randall's Thumb" (1871) recounts the machi-
nations of a young adventurer by the name of
Bandall, who, because of certain "proofs" of man-
slaughter agamst his associate Buckstone, uses the
latter by compulsion to establish Randall's right to
a fortime that has been left by an aged woman, sup-
posedly Randall's wife. The said woman has left
her money to her niece, and in order the better to
foimd his claims, Randall's purpose is to worm out
[29]
SIB WM. S. GILBERT
of the niece previous data concerning her deceased
aunt. This niece, Edith, Buckstone is to ^sound",
reporting his results to Bandall, under whose thumb
he is. To Buckstone's consternation, he discovers
in Edith a former sweetheart of his, and their meet-
ing serves to renew the old flames. Buckstone,
conscious of his own innocence in the murder case
(of which Randall holds the melodramatic ^'proofs'^
threatening his ally with exposure when he balks
at the espionage imposed upon him) repudiates the
villainous Randall, strengthened with the power of
Edith's love. In a most cheaply stagey set of scenes
it turns out that Randall did not really marry
Edith's aunt, — ^that he had "cooked" up his evidence
of such a marriage, — ^that Buckstone is really no
murderer, — ^that the man who saves Buckstone from
unjust persecution has been in love with Edith all
the time. The happiness of the reunited couple,
Buckstone and Edith, and Randall's complete
humiliation bring the "comedy" to a close.
Even so scanty an outline were superfluous, were
it not to indicate a side of Gilbert of which his ad-
mirers generally are ignorant. He allows his char-
acters to tell half the plot rather than act it, using
them meanwhile as mouthpieces for his opinions.
Because he wishes to take a fling at the courts, he
introduces the following conversation at a time when
the speakers are in anything but a jocular mood :
Buck. You know I am innocent of any crime.
Rand. Stop. What do you underatand by tke
[30]
:
Ai-
A STUDY m MOQBBN SATIRE
word "erime"?
Buck. An offease against the law.
Rand. Childish! A crime is that unfortunate
comhination of circnmstancea which in-
duces a jury to return a verdict of guilty.
All of which may be acceptable in itself, but la-
mentably out of place here. Again, Edith voices
a most laudable opinion, which Gilbert later works
up in two plays of widely differing merit :
"Who am I, Reginald", she asks» when Buck&tone
protests his unworthiness of her, in true lover
fashion, "that I should set myself up as a Judge
of your conduct? I have been so hedged about
from the very approach of temptation, that I can
only guess at the meaning of the word. I have
been Jealously guarded through life by strong,
and wise, and loving counsellors. I have never
had one wish thwarted. I have revelled in the
happiest life that this world can bestow, and
shall I sit in Judgment upon you who have been
left from boyhood to your own courses — turned
adrift into the world without friends, without
counsel and without example — to fight the world
unadvised, unaided, and alone?
This is the very theme of "The Wicked World"
and "Charity". It throws light equally on his lack
of restraint and on his passion for social justice.
In "Creatures of Impulse", a musical fairy tale
(1871) we come to an atmosphere more native to
our author — ^the first of his delightful fairy plays.
One thinks of the legends we used to read in An-
dersen.
[31]
Sm WM. S. QILBEBT
A mysterious old woman dwells in an inkeeper's
place, refusing to pay, refusing to eat, refusing to
leave. No tactics are of avail in getting her to
abandon her post When finally the puzzled land-
lord induces several of his friends to attempt the
hitherto impossible feat, it turns out that the old
woman is really a fairy, and the punishment that she
metes out to the various deceivers who try to lure
her forth set them in a most embarrassing series of
antics. Poor yoimg Peter is forced to go around
inviting everybody to fight with him; Pipette, the
pert little maid, must needs go her way begging
all to kiss her — she who was ever as bashful as
propriety would wish. The doughty sergeant, fear-
less as a lion-himter, becomes the incarnation of
timidity; the village miser actually begs to be re-
lieved of his precious savings.
The wide popularity of the little piece is doubt-
less due to the incidental horse-play, as well as to
the whimsical rigor of the punishments. To the
student it represents the initial effort of Gilbert's
to be coupled with the "topeey-turvey" element upon
the stage.
"Sweethearts" (1874) is well named by the author
an original dramatic contrast. The basic idea,
rather too much in evidence, is yet readily accepted
through the genial cleverness with which the plot
is handled.
Jenny, a yoimg coquette, refuses the advances of
Harry Spreadbrow. Although she truly loves him,
[32]
A STUDY IN MODEEN SATIBE
not even the news that he is about to embark for
India can succeed in softening her attitude; not
until he has disappeared from the garden, after a
most heart-rending scene (not unmixed with
humor) does Jenny break down and give vent to
violent sobbing.
Thirty years pass. Jenny, still unmarried, sits
in the selfsame garden conversing with her maid.
Time has softened all. A sycamore which the youth-
ful lovers had planted in the previous act is now
grown into a large tree; the Virginia creepers aie
tipped by the iSngers of Autumn. In a highly ef-
fective scene, Jenny counsels her maid not to refuse
the suit of her lover Tom. The lesson which thirty
years of longing have impressed upon Jenny comes
straight from the heart of the mistress to the maid.
Ruth, too, vacillates, though she loves Tom. "Then
take the advice of an old lady", bursts out Jenny,
"and tell him before it's too late If I'd taken
the advice I'm giving you, I shouldn't be a lonely
old lady at a time of life when a good husband has
his greatest value".
No sooner are these words uttered than enter
Spreadow, now a baronet. He is under the impres-
sion that Jenny is long a wife, and at first takes
her for another. In a dialogue full of pungent
wit, yet not without its incentive to reflection, each
finally discovers that the other is yet single. But
what a difference between the woman and the man I
She remembers each trifling detail of the scene in
[33]
^
Sm WM. S. GILBERT
the garden thirty years ago, while he has forgotten
her last name, — confesses to having made love to
a governess on the passage to India, — ^forgets the
tree they had planted together, calling it a beech, —
and worst of all, forgets the exchange of flowers
they had made at their romantic parting. Nay,
all these thirty years has Jenny preserved his rose,
and when she takes, it tenderly from the pocket-
book where she has so long kept it, Spreadbow is
overwhelmed by the womanliness of it all.
Spread. I was deceived, my dear Jane — de-
ceived! I had no idea that you at-
tached BO much value to my flower.
Jen. We were both deceived, Henry Spread-
hrow.
Spread. Then is it possible that in treating me
as you did, Jane, you were acting a
part?
Jen. We were both acting parts-Ht>ut the
play is over, and there's an end of it
(With atsumed cheerfulnets) Let us
talk of something else.
Spread. No, no, Jane, the play is not over — ^we
will talk of nothing else — ^the play is
not nearly over. (Music in orchestra,
"John Anderson, my Jo.") My dear
Jane — (rising and taking her hand),
my very dear Jane — believe me, for I
speak from my hardened old heart, so
far from the play ibeing over, the seri-
ous interest is only just beginning.
The whole is a decidedly efiFective contrast, the
first act more convincing than the second, which
[34]
A STUDY IN MODERN SATIRE
ends up rather too pleasantly, yet not oflFensively
80. The diction exhibits some of the favorite tricks
of Plautus, who very evidently is no stranger to
Gilbert.
"Tom Cobb" (1875) is an iminspiring, yet high-
ly amusing farce with a typically Gilbertian out-
come. Cobb and Whipple are rivals for the hand
of Matilda, daughter of Col. O'Fipp. The colonel
has an embarrassing habit of borrowing heavUy
from his prospective son-in-law and has reduced Cobb
to penury. Whipple, now uppermost in Matilda's
mind, hypocritically plans to aid Cobb to elude hia
creditors in the following novel manner. Whipple
has a patient, an old invalid, also named Tom Cobb,
who has just died, friendless and unknown. Now
young Tom, allowing it to be believed that the dead
Tom is he, is to absent himself for several months,
thus ridding himself of his debts. This is done,
when it is discovered that old Cobb had left a
fortime, which is immediately pounced upon by
the grasping O'Fipp.
Tom now returns and threatens to make trouble
for the colonel, who bribes him, at the rate of a
pound per week, to assume another name. Exposal
is the only alternative, and Tom is hedged into ac-
cepting. Enter new complications. Major General
Fitzpatrick, the name assumed by Cobb, seems to
be a real personage with a past intimately connected
with the gushy Caroline Effingham. She, ir
company with her family, insist that Tom Is noae
[35]
Sm WM. S. GILBERT
other than Fitzpatrick, her poet lover. And he,
poor boy^ who has bargained off his own identity,
is forced, under threats of breach of promise, to
assume the role of poet. His most palpable plat-
itudes are copied into note-books by the sentimental
family, who pester him daily with applications for
"great thoughts".
This is more than Tom can bear. Incensed at
the miserly O'Fipp's revocation of his weekly al-
lowance, he discloses the secret of his true identity,
expecting arrest, but finds that instead, a fortune
awaits him. The coquettish Matilda rushes from
Whipple back to Cobb, but no — ^he takes the effusive
Caroline, to the utter collapse of O'Fipp.
Such an analysis of necessity omits the dialogue,
which is the life of this farce, as indeed of all. The
very fact th<at it intends to be nothing more than
farce renders it safe from the accusation of being
artificial and impossible. The gushy Caroline, her
gloomy brother, the crafty colonel, plus poor Tom
in the vortex of all the complications that beset
him, form a vehicle for brilliant conversation, ex-
cellent mock-sobriety and hilarious fun in general.
Cobb as the platitudinous poet prefigures the Buti-
ithome whose. "Hollow, Hollow, Hollow", rouses
the aesthetic ecstasy of his choric following.
Throughout his works, Gilbert is particularly fond
of parodying the gushy worship of thoughtless
drivel that masquerades as poetry.
'TDan'l Dxuice, Blacksmith" (1876) belies the
[36]
A STUDY IN MODERN SATIBE
author's caption; new and "original" drama. Tb'*
play is neither original nor is it drama. Moreover,
though; (like other of the plays) indicative as con-
taining sidelights on Gilbert's social opinions, it is
melodrama of the stagiest, lacking proportion, care-
less in construction, aiming purely after effect which
is purchased at the expense of art.
Dan'l Druce has long ago cast off his real name
because of a villainous Jasper Combe who took
from him wife and child. He becomes, after the
fashion of Silas Mamer (from which book one of
the episodes of the play is borrowed) a miserly
recluse. An exciting train of events culminates in
the robbery of his gold, while a child is left in its
place. This child, Dorothy, he brings up as h^.s
very own, and when, years later, she grows up and
reciprocates the love of Geoffrey, an honest village
lad, the old blacksmith is loath to let her go. To
make things worse, (both for the characters and
the play) Geoffrey is forced seemingly to renounce
his love, on accoimt of a certain powerful official,
who turns out to be none other than the same
Jasper Combe who has wronged Druoe. Nay,
Dorothy is the very child of Druce, whom Combe
had kept after the death of Druce's wife. He it
was, too, who had committed the robbery in the
first act, leaving the child behind rather than be
hindered in his flight and thus caught by his pur-
suers. This is brought out in the most melodramat-
ic fashion. Of course, Geoffrey gets Dorothy and
[37]
SIR WM. S. GILBERT
all ends well.
The opening of the play is good, but a fast deter-
ioration sets in. There are mysterious pasts to half
the personages, fortuitous indentification, tense
moments to tickle the palate of the veriest gal-
lery-deity. It would seem that Gilbert's hand grows
i^^nsteady whem he leaves the course of straight
farce and satire and turns to other channels. Of
this we shall have abundant proof before the close
of the chapter. Even here he cannot resist the
temptation of putting in Reuben, a figure whose
talk and action mark him as purely <if the comic
opera variety. Quite superfluous to add, the di-
alogue is for the most part excellent; Gilbert may
be depended upon for that. Druce's character pos-
sesses some degree of consistency; the others are
mere lay-figures.
The three farces that follow are of the hilarious
brand where Gilbert shines. His fancy knows no
restraint (which may explain his ineptitude for
straight comedy) ; surprise follows upon surprise, at
times no space for breatti between the laughs. i5'or
the nonce he possesses little other motive than to
deafen the ears of Dignity with bursts of unre-
strained mirth. So much the worse for that kind
of dignity which such wholesome mirth can ofifend.
"Engaged" (1877) chronicles the amatory en-
tanglements of Cheviot Hill, a young man of
wealth who is possessed of a not unfamiliar but
highly inconvenient habit of making profuse love
[38]
A STUDY IN MODERN SATIRE
to every pretty girl that meets his gaase, utterly re-
gardless of previous declarations. His friend Bel-
vawney, who receives an allowance so long as Hiil
refrains from marriage, keeps busy preventing that
happy consmnmation. Belvawney, moreover, is
courting the mercenary Miss Traheme, who will
have none of him imless his income is guaranteed.
She has fled from the formidable Major McGil-
licudy's side at the altar; even now he is in hot
pursuit of the defecting bride, with the wedding
cake in his hands.
The device by which Gilbert brings these forces
together at the opening of the play is truly a tech-
nical tour de force. Angus Macallister, a Scotch
lad in love with Maggie, is so tender-hearted that
throughout the play he drips tears at the slightest
provocation. He is engaged in the innocent trade
of train-wrecking — ^in such a manner that none may
be hurt (for that would spoil his business, which
is to run up to the scene of the wreck and oflFer
the services of his humble cottage fare, thus reap-
ing a large profit.) Truly a congenial occupation.
One of the wrecks thus contrived thrusts upon him
Hill, Belvawney and Miss Traheme. The last two
are fleeing from the irate McGillicudy who is on the
very next train. Hill falls in love with Maggie,
but no sooner does he behold Miss Traheme than
his habit asserts itself, and she becomes "the tree
upon which the fruit of my heart is growing". In
[39]
Sm WM. S. GILBERT
order to foil the Major he marries Miss Traherne
in Scotch fashion; by an open mutual declaration.
But this is only the beginning of the confusion.
The succeeding acts gyrate under the speed of
Hill's philandering mania. Minnie, to whom Hill
was engaged prior to the commencement of the
action, proves to be also close friends with Miss
Traherne. The question arises as to whether the
Scotch marriage was binding, as the house where
it took place was on the English side of the bound-
ary line. News gains currency that Hill's bank
has failed, thus causing a lull in the advances of
the rival claimants for his hand. The radiant con-
fusion of the action defies cold analysis. After a
labyrinth of involutions, it turns out that the mar-
riage was in Scotland after all, as it took place in
the gardai of the house — Scotch territory. More-
over the bank's failure was a fiction of Belvawney's
to keep Hill from matrimony. "With the happy
mating of Hill and Miss Traherne, the farce comes
to a close.
"The Fairy's Dilemma", labelled a domestic pant-
omine, is in reality a fairy farce with much of the
inferior horse-play that Gilbert is famous for es-
chewing rather than employing.
Fairy Rosebud finds herself in a predicament sim-
ilar to that of Koko ("Mikado") when he is forced
to commit an execution under penalty of destruction
of office. She, in her line, is under the necessity
[40]
.;*.
A STUDY IN MODERN SATIRE
of protecting some worthy couple. The opportunity
lacking, she is compelled; (somewhat after the
fashion of Bostand's ^^Romantiques") to cook up
a scheme with the rhyme-monging demon, Alcohol
(a suggestive name) who loves her and will willing*
ly comply. He is to carry oflf some engaged young
miss, while Rosebud will put in a dramatic appear-
ance as saviour, just at the psychological moment.
Through a misunderstanding quite beyond the
power of the supernatural faculties of these sprites
(even fairies have their limitations I) mistakes re-
sult which tangle up the matrimonial affairs of
Clergyman Parfitt and his wife Clarissa, together
with those of Col. Mauleverer and his Lady Angela,
all four of whom stand in fear of Judge Whortle.
The latter, a queer figure, (though furiously oppos-
ing the marriage of his daughter Clarissa) holds
as his greatest pride the fact that he is known as
the humorous judge whose court rocks with merri-
ment due to his wit.
Clarissa is stolen by mistake, and the only way
the fairy can exculpate herself is to turn the trio
of remaining lovers and the judge into the conven-
tional pantomime figures, — ^Harlequin, Colum-
bine, Pantaloon and Clown. As such they per-
form the most ludicrous antics, against their will,
even as the similar figures in "Creatures of Im-
pulse". The end is brought about by the clergy-
man's consent to marry Alcohol and Rosebud, on
[41]
SIB WM. S. GILBERT
condition that he and his friends be put back into
their natural states. Which is done, and the play
comes to a close.
As an instance of just how low a genius can aim
to produce a laugh, witness the following from De-
mon Alcohol's mouth. He is excusing himself for
coming late:
A thousand •pardons! Driylng here from town
My brand-new Demon motor-car broke down;
A puncture long delayed me — ^this fatality
Affects one's character for puncture-allty.
How much superior to such jejune punning is the
remark of the Judge (when he is changed to the
buffoon Pantaloon) :
Deary me! It's not so great a change as I
should have supposed!
Between the two citations lies all the difference be-
tween colorless word-play and genuine satire. Al-
though the play as a whole lacks Gilbert's general
brilliancy of repartee, it makes up for it in the
laughable situations. The atmosphere is plainly
that of comic opera, as is that of the next farce
to which we turn.
"Foggerty's Fairy'' (1884) reaches the heights of
whimsicality without once pandering to vulgar
tastes.
Foggerty is engaged to ttnarry Jenny Talbot.
She has a particular passion for him as a youth
who has never before loved, and has been won away
[42]
A STUDY IN MODERN SATIRE
from Wilkinshaw by him, through a revelation of
a former affaire d'amour on the part of that per-
sonage. Now Foggerty is not entirely innocent of
previous amours himself, having been involved
with Delia Spiff, aimt of Jenny. Troublesome De-
lia arrives just in time to spoil the wedding, with
which the play opens. In the midst of all this
hubbub, Foggerty is visited by his tutelary fairy,
Bebecca, who gives him a curious pill to swallow.
The said pill, when taken eliminates not only any
troublesome past, but also all the consequences, di-
rect and indirect, which would naturally come from
it. Foggerty swallows it, thus eliminating Delia
Spiff, and Jenny as well. He gets more than he
bargained for.
The next act discovers Foggerty in an entirely
new atmosphere. Matters, in accordance with the
peculiar property of the pill, are now where they
would have been had Delia never entered his life.
He finds himself being sued for breach of promise
by a Malvina de Vere, who later turns out to be an
adventuress whose specialty lies in luring men into
costly suits. — a type not entirely extinct in real
life.^ Thanks to the efficacy of the pill, Jenny ap-
pears to be engaged to Wilkinshaw, as of yore. She,
however, learns from Malvina that Wilkinshaw has
loved before. For he, too, is a victim of the ad-
venturess' wiles. Jenny oscillates back to Fog-
gerty.
The final act is fairly meteoric in its rapidly scint-
[43]
Sm WM. S. GILBERT
illating course. Foggerty, fearing a costly suit in
court, finds his finances utteriy depleted after sett-
ling with Malvina. So bewildered is he, that Uie
poor chap is put under surveillance for insanity*
On the point of being taken to the asylum he swal-
lows another fairy pill, thus summoning again Re-
becca to his aid. He engages in a debate with her,
reminding her that she, too, is one of the consequen-
ces which never would have occured before the
Spiff affair, — that she is therefore bound to straight-
en out his troubles in order to exculpate herself.
Matters return to their original state — ^Foggerty
marries Jenny, while "Wilkinshaw entrusts his fu-
ture to Malvina's charms.
The farce is an excellent example of its kind.
The characters are without exception comic opera
personages, and part of the dialogue and actioa
actually appears in some of Gilbert's later operas.
We should scarcely feel surprise to have Foggerty
break into a topical song, or to hear the fairies at
the end join in a dance and chorus. As an in-
stance of the author's whimsicality, witness the fol^
lowing excerpt:
Rebecca: — ^And your father met your mother in
this wise. Some thirty-six years ago, as he was
walking down Regent Street, his attentions
were directed to a sculptor's shop in which was
a remarkable monument to a Colonel Culpepper,
who died of a cold caught in going into the
Ganges to rescue a favorite dog which had fallen
into it. An old schoolfellow passed by, and.
M
A STUDY IN MOQEBN SATIRE
toaching your father on the shoulder, asked him
to dinner. Tour father went, and at the dinner
met your mother, whom he eventually married.
And that's how you came about
Foggerty: — ^I see. If my father hadn't had that
invitation to dinner, I should never have been
bom.
Rebecca: — ^No doubt; but your existence is prim-
arily due to a much more remote cause. If your
father hadn't loitered opposite the sculptor's
shop, his schoolfellow would never have met
him. If Colonel Culpepper hadn't died, your
father would never have stopped to looF at his
monument Tf Colonel Culpepper's favorite dog
had never tumbled into the Ganges, the colonel
would never have caught the cold that led to his
death. If that favorite dog's father had never
met that favorite dog's mother that favorite dog
would never have been born, neither would you.
And yet you're proud of your origint
The inherent truth at the bottom of this fanciful
genealogical excursion renders it all the more ef-
fective. One thinks of Pascal : "If Cleopatra's nose
had been shorter, the face of the world would have
been changed". Even so have we been told that a
bad dish of fried onions lost Napoleon the battle
of Waterioo. Verily, there is a necromancy in
little things I
"Comedy and Tragedy" (1884) reveals the author
in a serious mood, and not without power. It is
an excellent type of the one-act drama (too little
cultivated here), skilfully motivated, with an in-
terest intense and cumulative, leading to a oonvinc-
[45]
Sm WM. S. GILBERT
ing, dramatic climax. The dialogue is arrow-like
in its incisive swiftness.
For a long time the Duke of Orleans has in-
sulted the actress D'Aulnay with his arrogant at-
tentions. With vengeful cunning she plans a ruse,
for the Duke has refused to fight a duel with her
husband, since he is an actor, beneath the dignity
of a nobleman's steel. Monsieur D'Aulnay, how-
ever, is really a nobleman, and has adopted the
profession through love of his wife.
Clarice lets it be generally understood that she
and her husband have part^. Under the pretext
of a jollification party, she invites the Duke, among
others, to the supposed orgy. Once the Duke be-
gins his attentions at the opening of the celebration,
out steps D'Aulnay from a hiding place, challeng-
ing the Duke again, and maintaining his own no-
bility in no imcertain words. They retire to a
duel in the garden, while the guests, ignorant of
what is taking place, ask Clarice to give an exhibi
tion of her histrionic skill. She, concealing her
inner anguish, burning with the thought that she
is being avenged, outdoes herself "in a comic selec-
tion. Hearing her husband's cries in the garden,
she suddenly reveals her whole secret, begging the
men to go the assistance of her spouse. The aud-
ience applauds enthusiastically, thinking this but a
part of her marvellous acting. At last her obvious
earnestness is understood. The door is opened.
Enter D'Aulnay. He has redeemed the honor of
[46]
A STUDY IN MODERN SATIRE
his wife.
The exposition of the play is a masterpiece of
dramaturgic economy. Clarice's comic selection in
the midst of her husband's duel, the ignorance of
her hearers and their refusal to believe that she is
not feigning, all these are portrayed with a power
elsewhere unmatched in Gilbert. Clarice is a real
character, and her impassioned answer to her sister
Patdine, who tries to dissuade her from the ap-
parent moral descent which the party would in-
dicate, is full of the defensive spirit that inspired
Sudermann's "Magda", and Bjornsen's "Fisher
Maiden". Pauline pleads with her to remember
her honored profession.
Clarice:— (bitterly) Proud! Honored! Bah!
Tou play with words. I am an actress-by law
proscribed, by the Church excommunicated!
While I live women gather their skirts about
them as I pass; when I die I am to be buried,
as dogs are buried, in unholy ground. . . .In the
meantime, I am the recognized prey of the
spoiler-the traditional property of him who will
best pay for me: an actress, with a body, God
help her! but without a soul: unrecognized by
the State, abjured by the Church, and utterly
despised of all! In the face of all these com-
pliments, believe me, it is not easy to preserve
one's self-respect, Pauline.
If the excellent piece which we have just dis-
missed would seem to indicate that Gilbert posses-
sed the ability to write first class drama, the follow-
ing plfty> "Charity" (1886) immediately dispels
[47]
SIB WM. S. GILBERT
that notion. We are clearly back at melodrama,
with little more success than in ''Dan'l Druce'*.
The work, while eminently flattering to the ethical
sense, lacks art We are not only led, but actually
pushed to the 'lesscm" of the sermon. Arbitrary
situations abound; little true character is revealed.
The genre is clearly not for Gilbert, nor do the ex-
cellent sentiments of his ^'thesis" redeem the play
as a piece of stage literature.
The story of Ruth, the "fallen" woman, and her
protectress Mrs. Van Brugh, of sanctimonious
Smailey's virtuous condemnation of the sinner, of
the revelation that Smailey himself is the man who
has led Ruth to her downfall, contains little that
is new. The manner in which Ruth turns the
tables on her Tartufiian accuser, and the sub-plot
concerning Mrs. Van Brugh's illegitimate daughter,
reveal clearly Gilbert's instinct for social justice, but
just as clearly demonstrate his ineptitude for
drama. The characters are overdrawn, while tho
detectivona minor personage-pleases most because he
is least real. Unwittingly Gilbert has satirized him-
self, for his moral sincerity is rendered quite laugh-
able through the vehicle he intended should sub-
serve it.
A glimmer of Bernard Shaw's methods is afforded
by Ruth's vindictive words in the first act:
"I sometimes think as if they'd bin half as ready
to show me how to go right as they was to
punish me for going wrong, I might have took
to the right turning and stuck to it afore this".
[48]
A STUDT IN MODERN SATIRE
The moral of tihe play comes from the mouth of
MiB. Van Brugh:
"Who shall say what the very best of us might
not have been but for the accident of education
and good example?"
Was it not Wesley who, upon seeing a criminal led
to the gallows, exclaimed, "There, but for grace of
God, goes John Wesley?"
If "Brantinghame Hall" (1888) proves anything
(beside the very obvious fact that Gilbert has here
written the stagiest, most impossible of sentiment-
al melodramas, in a style the very opposite to that
which is connoted by his name) it is this: that
just as thoughtless laughter may be provoked by
horse-play, so may tears be compelled to flow by
false pathos. It would be hard to find a more
tensely constructed piece; noble self-orifice, forg-
eries, hidden records, villain of the blackest type, —
a regular "marry-me-or-Ill-foreclose-the-mortgage"
play.
Ruth, the innocent daughter of an ex-convict,
marries Arthur Redmayne in Australia, without the
knowledge of Redmayne's folks. Lord Redmayne,
the father, is a poor noble, and a mortgage on his
house is held by Ralph Crampton, lover of Ruth
and enemy of her husband. Redmayne, on a trip
to England, is forced to leave his wife behind to
care for her invalid father. He is supposedly
droned in the passage.
All the money left by the yovmg husband (of
[49]
Sm WM. S. GILBERT
course a fortune was due him from some unknown
source) is passed over to his father, as Ruth's ex-
istence is not known in England. When, therefore,
Ruth appears in England, there is an aid to Lord
Redmayne's gladness. He had planned with his
fortune to pay off the mortgage, but if Ruth is, as
she claims, his son's wife, the fortune belongs to
her. She nobly offers to relinquish her right to
the money, but the aristocratic Lord will accept no
favors from an ex-convict's daughter who has mar-
ried his (now deceased) son without his knowledge.
Enter the villain Crampton, who offers, on his part,
to surrender his mortgage claim if Ruth will mar-
ry him. She refuses, but when she sees the straits
in which her husband's father is placed, she resolves
upon an almost inhuman piece of self-immolation
— she denies that she ever married Redmayne and
declares she will accept Crampton. In justice to
the latter, it must be added that he really believes
Ruth had jnever wedded Lord Redmayne's son.
When, therefore, he finds out that Ruth is really
that man's wife, he is led to repentance by the dis-
covery of her noble life. And to cap the climax,
what should happen but Redmayne's return. He
has not been drowned after all, but, it would seem,
was just keeping out of the way so as to let mat-
ters become serious and thwi descend as the God
from the Machine.
It is almost superfluous to add tha* the play is
technically cheap and deficient, that there is no
[60]
J^
A STUDY IN MODERN SATIRE
real character, that it wallows in sentimentality
throughout. A spark of the better Gilbert shines
forth in Thursby's exclamation to Ruth, when he
finds out that she has perjured herself in order to
benefit his client, Lord Redmayne :
"If you're an average sample of Australia pro-
duce, the sooner a shipload of you is shot into
London society, the better!"
Perhaps London society was surprised to hear that
it was capable of any improvement.
"The Fortune Hunter" is not so preposterous as
the preceding melodramas. There is more satire
and the dialogue is not quite so prolix; it hardly
redeems Gilbert in this field of writing, however.
Before the opening of the action, Armand de
Breville has been engaged to a rich Chicago heiress,
Euphemia Dundee. She has broken it oflf and mar-
ried a decrepit old Duke for his title. Armand, of
an adventuresome disposition, woos and wins Di-
ana Oaverel, an Australian heiress, who has been
imsuccessfuUy wooed by Sir Outhbert Jameson, a
middle-aged baronet. The aged Duke dies, and
when it turns out that Armand, according to an
article in the French code, can absolve his own
marriage because it took place before his tw^ity-
fifth year, he does so, in hopes of winning the now
free Duchess. Meanwhile a child is bom to Diana,
and the mother begs, for the child's sake, that the
marriage between her and Armand be not nul-
lified. She has lost all k>ve for Armand himself,
[61]
A
SIB WM. S. OILBEBT
for 6he sees him in his true light. He, on the
other hand, is for onoe really in earnest when ho
begs her to receive him again; Diana refuses; she
will have only protection for her child. Sir Cuth-
bert comes in just as Armand had made an un-
successful attempt at suicide; Armand goads the
baronet into a duel, thrusting himself upon his
opponent's sword. Dying, he commends Diana and
the child to Sir Cuthbert's care.
There is at least ^ome reason in the action, some
hint of adequate characterization, yet the truly
agreeable episodes are those which would be much
better placed in a comic opera libretto. The Ameri-
can people come in for a few shafts in typical
Gilbert style. "This is not the United States", crie?
an excited individual, "this is a free country". —
De Breville comments thusly upon our economics:
But United Statesmen, what a blind, Illogical race
you are! Tou profess to place enormous import
duties upon all commodities that you are unable
to produce, and yet you admit, on free-trade
principles, the British Peer, who drains more dol-
lars out of your country in a day than your
Customs wUl produce you in a twelvemonth!
Which is something for American heiresses to think
of when they marry foreign noblemen. Gilbert's
high regard for women is ever evident, except in
the few places in his libretti where he permits him-
self to place them in embarrassing positions, inno-
[52]
A STUDY IN MODERN SATIRE
cently enough and harmlessly enough, as the sever-
est censor must admit. Says De Breville, of the fair
and much poetized, yet harshly recriminated, sex:
When I started in life as a cynic I thought to
find a ready text in every woman I met. I hegin
to think that if cynics are to Justify their ex-
istence they must work on the surface, for when
they penetrate beneath, they too often find them-
selves face to face with their own refutation!
We shall find, in the verse play "Gretchen'' an
even greater tribute to Woman, from the mouth of
none other than Mephistopheles.
"The Gentleman in Black", a music play of the
fairy type, is best reckoned with the prose play..
Its satire is superficial, as is, in general, Uie repartee,
but there is plenty of laughter.
Hans is to marry Bertha, but she is fascinated
by the ugly Baron von Schlachtenstein, whose face
is more formidable than his name. Through the
aid of the gentleman in black, a figure bearing some
analogy to the old woman-fairy in "Creatures of
Impulse", Han's soul changes bodies with tho
Baron's soul, thus causing a hopeless set of con-
fusions which terminate only after Hans has come
near to losing his bride to the Baron and has more-
over had forced upon him the Baron's wife and
children. This matter of mistaken personage??
which forms the basis of Plautus's "Menaechmi''
and Shakespeare's "Comedy of Errors" is a favor-
ite device of Gilbert's, who, in distinction to the
[63]
Sm WM. S. GILBERT
Latin playwright and the Avon bard, us^ the er-
rors thus caused with a social-satiric purpose. In
this particular case Hans turns out really to be the
Baron after all; and the Baron really Hans, as they
were changed in the cradle. We immediately think
of the "Bab Ballads", of "Pinafore", of "The Gon-
doliers", where the same baby-chan^g motif oc-
curs. Perhaps Gilbert has been too economical in
hifi motifs, yet it is perfectly true that one can hear
"Pinafore" and the "Gondoliers" in succession and
yet not notice the repeated device. Such a fact
argues well for Gilbert's methods and Sullivan'?
music.
Coming to the end of our consideration of Gil-
bert's prose efforts we see that he is essentially sat*
irical. His attempts at melodrama and straight co^
medy are rendered abortive by the very factors
which make him so brilliant in social satire: his
comic perspicuity and unrestrained fancy. Later
we shall see that similar causes prevented him from
writing genuine poetry, despite his undoubted
powers of versification.
As a writer of prose Gilbert excels in pregnant
phraseology and inimitable dialogue. He adapts
himself at will to current slang or to the most
polished refinements of seventeenth century speech.
His tendeiicly to prolixity (for he is a natural
causeur) is easily redeemed by his other qualities.
Most wit perishes with a first reading, but Gilbert
thrives on second and third hearings, so engaging
[54]
A STUDY IN MODERN SATIRE
he is at his best. Dignity is his last claim, yet h«
is not lacking in genial grace. The unexpected
turn at the end of a phrase, so characteristic of
Plautus, finds prominent usage by our author. At
will, too, he switches from the airiest, most incon-
sequential persiflage to the most impassioned lan-
guage. He is a past master in all the resources of
rhetoric. And if the good Homer nod betimes,
who shall gainsay the privilege to Gilbert?
L." 155]
- '*■* ^
SIR WM. S. GILBERT
CHAPTER THREE
Gilbert's Verse Plays— As a Verse Writer.
To many there will be more satisfaction in read-
ing the verse plays of Gilbert as compared to the
prose. Not that there is any real inherent superior-
ity in the case of the poetized efforts, unless it be
in the more clarified plots and the consequently
simplified action. To compensate for these assumed
advantages, there is the closer attention which
verse requires, and the greater difficulty of scoring
a "hit" with the average audience. Gilbert alter-
nates between prose and verse with unconcerned
ease. It is plainly to be seen that he never meas-
ured his iambs with a foot rule, nor did his musical
ear aid him to any extent in refining his lines. In
fact, one can easily imagine, as the lines are enun-
ciated, that they are prose. Much of the illusion of
poetry comes from the printed alignment rather
than from the spoken word.
It is but simple justice to add that Gilbert did
[56]
M
A STUDY IN MODERN SATIRE
not profess to be a poet, that his purpose is avowed-
ly satiric, and if it must be said, his verse is much
better than that of many a professed poet.
In several of the plays the verse atmosphere is
a decided gain, even granting the essential faults
in Gilbert's poetic aWlity. In none of them is it
a drawback. In many passages the author fairly
steps across the threshold of Poesy, but not to re-
m<ain for long. First and last Gilbert is a satirist,
and knows his place, wherein he surpasses some
Poets Laureate. Gilbert was too human to care for
Art for Art's sake ; outside of his libretti he forsook
Art, perhaps, too often.
"The Princess" (1870) is designated by its
author as a "respecful parody of Mr. Tennyson's
exquisite poem". Though dependent for much of
its effect upon rather conventional satire against
woman, one may venture the heresy that many will
enjoy it more than the technically superior effort
of Tennyson's. Gilbert's satire has this advantage
over the poet's philosophy: whereas the growing
feminist movement makes much of Tennyson's con-
servatism rather anachronistic, wit knows no epoch.
The comic opera atmosphere is here, undis-
guised. Songs are introduced s»et to already pop-
ular airs. Amidst unexcelled repartee and spark-
ling conceits, laughter holds the stage in willing
thrall.
The plot is fairly Tennyson's own. Prince Hil-
arion, betrothed to Princess Ida at the "extremely
[57]
Sm WM. S. GILBERT
early age of one", advances upon the stronghold of
Ida's university for wom^i. After a most ingenious
siege (as in the poetlaureate's work, so here the men
gain entrance by a ruse) Hilarion wins Ida away
from her misanthropic ideal, while his comrades
are equally fortunate in pairing off with her loyal
adjutants.
Nothing but the mock-sobriety of the actors (up-
on which Gilbert ever insisted as a cardinal neces-
sity in the comedian's art) prevents burlesque.
The scene of the storming of Castle Adamiant is as
well conceived and as cleverly executed as anything
in the author, with its siege of "light guitars" and a
scaling party of tenors, all furnish^ with their
photographs. Here indeed is a formidable assault!
The stronghold of Ida and her half thousand man-
hating students is under "fire"; from the loving
"enemy" comes the order :
Bid the director of the poets direct
And post five hundred yalentines, and see
They get them by tonight's delivery.
Go tell the gallant lady who commands
The horse brigade of royal mUllners
To place five hundred toilet tables out
V^ithin full view of Princess Ida's walls.
Upon them place five hundred mirrors; then
Lay out five hundred robes of French design;
And if they still hold out they're more than women!
If all this fails I have a deadlier scheme:
Five hundred waltzing ibaohelors-tried men
Who can waltz forwards, backwards, anyhow —
Shall twirl and twist before their daziled eyes.
Thrumming soft music on a light guitar.
[68]
A STUDY IN MODERN SATIRE
And the ''moral" of it all? Note the simile and
the deduction from it:
Singers know
How sweetly at a piano
A tenor and soprano
Together sound.
This will show
That man and woman verily
Can get along more merrily
Together bound.
Not much can be said of the play's blank verse. It
cedes everywhere to the more urgent exigencies of
pointed diction. So evident to the author's mind
was the operatic atmosphere of the piece that,
fourteen years later he revised it with slight modif-
ications and it was set to music by Sir Arthur
SuUivan.
As opera it adds little to the reputation of either
the librettist or the composer ; comic opera in blank
verse would have been altogether fatal to any other
than Gilbert, whose sheer brilliancy carries the day.
The operatic form "Princess Ida" (1884), shows
the same plot, with but one hundred girls instead
of five himdred students, obviously for stage reasons.
The dialogue remains practically unaltered. Satire
against the soldiery is introduced in the songs, while
King Gama, (who in the original Gilbertian
version — "perversion" the author calls it — ^was
a queer figure whose sole pleasure lay in having
something to grumble at) becomes the prototype
of the philanthropical Mikado, deviser of the fa-
[59]
Sm WM. a GILBERT
mous scheme for making ''the punishment fit the
crime". Sings Gama:
Each little fault of temper and each social defect
In my erring feUow creatures I endeayor to correct
I lore my fellow creatures — ^I do all the good I can.
Yet eyery body says I'm such a disagreeable man.
And I can't think why.
Another of the popular trios in the "Mikado" (be-
gining "To sit in solemn silence in a dull, dark
dock") is thus prefigured:
For a month to dwell
In a dungeon cell.
Growing thin and wizen
In a solitary prison.
The moral of the opera becomes :
It were profanity
For poor humanity
To treat as vanity
The sway of loye.
In no locality
Or principality
Is our morality
Its sway aboye.
Much as has been quoted, it is impossible to resist
the closing dialogue, which is new to the opera.
The final question is an unanswerable, triumphant
union of whimsey and logic.
Princess: Oh, I had hoped
To band all women with my maiden throng
[60]
A STUDY IN MODERN SATIRE
And make tbem all abjure tyrannic man!
Hlldebrand:
A noble aim!
Princess: Tou ridicule it now.
But If I carried out this glorious scheme.
At my exalted name Posterity
Would 'bow in gratitude!
Hildebrand: But pray reflect
If you enlist all women in your cause
And make them all abjure tyrannic Man,
The obvious question then arises, "How
Is this Posterity to be provided?"
Gilbert's satire is most artistically merged with
the fairy element m "The Palaoe of Truth" (1870).
As the author admits, the idea is as old as the
Arabian Nights, but his play is none the less ac-
ceptable on that acoimt. Need it be said that it
abounds in excellent wit and in situation presenting
ample scope for effective shafts? The courtly
flatterer, the intriguing lover, the artful female,
duelling, hypocrisy, all receive telling arrows.
The existence of a palace which causes all within
its walls to speak the real truth of their opinions
offers unlimited opportunities for the imaginative
thinker. Who of us, indeed, were fain to risk
abiding in such precincts? What a gratification to
the moral sense to see the sudden changes that visit
the courtiers of King Pbanor when they enter the
virtue-compelling palace and find all engaged in
unmasking themselves unwittingly.
Nor is the King himself (who happens to be pos-
sessed of a magic box that countracts the truth-
[61]
SIB WM. S. GILBERT
telling influences of the castle) without fear of the
consequences of such an institution. Royally, in-
deed, has he been deceiving his queen. And Prince
Philamir, whose extreme vanity is exposed in the
wonder-working temple of Truth — how hypocritic-
ally he woos the woman whose love merely flatters
and gluts his masculine egotism. Could anything
surpass the ludicrous, unconscious plight of a court-
ier who, having before his entrance to the temple
flattered a wretched singer . with enthusiastic ap-
plause, now is caused to reveal his opinions in no
ambiguous terms? And to increase the laughable-
ness of the situation, like the master he is, Gilbert
directs that these true opinions be given by the
actor accompanied with the very actions of applause
and approbation which the courtier had employed
in his hyprocritical approval of the previous act.
The opposition thus established between the con-
trasting denotation of words and actions at once
symbolizes the duplicity of the exposed flatterer and
adds to the comic situation. Significantly enough,
everybody becomes inspired with a desire to get
hold of the counteracting charm, which is purloined
from the king. When, through various causes it
is successively transfered from one to the other,
then indeed does confusion reign. Truth and sham
flow strangely from the same lips, according as the
charm is or is not in the speaker's possession. Bang
and Queen, Prince and his admirers, courtiers all,
fairly whirl in an imbroglio of contradictory action.
[62]
M
A STUDY IN MODERN SATIRE
When at last the magic box is broken through the
queen's indignation, Gilbert launches a parting shot :
Qelanor: Tou know not what you've done The
castle's charm
Is bound up with that mystic talisman!
Now that the box is broken, these fair
walls
Are disenchanted!
Phanor: P'raps 'tis quite as well.
Without craving pardon of the prosodists for 80
pedestrian a contraction as '^p'raps" in the classic
blank verse, note the crushing, cynic irony of King
Phanor's remark. Into such a temple should all
TartuflFes be inveigled. What delicious, unwitting
self-condemnation would flow from their lipsl
A typical figure is Mirza, reminding one of Smai-
ley in "Charity". Self-lauded paragon of virtue,
the Palace of Truth reveals her to be a fitting sub-
ject for Azema's taunt at the general disillusion-
ment with which the play concludes :
To doubt an maids who of their virtue boast:
That they're the worst who moralize the most.
There is something deeper than a smile beneath the
queen's words on honor. Clearly she voices the
satirist's thought when she exclaims:
Oh, honor, honor.
Let no one take you at the estimate
Your self elected champions prize you at!
More harm is worked in that one virtue's name
Than springs from half the vices of the earth!
[83]
SIB WM. S. GILBERT
The ancient myth of ^'Pygmaleon and Galatea''
(1871) long familiar to us from Shakespeare's use
of it in "The Winter's Tale", is turned to most ef-
fective satirical use by Gilbert. Technically, it is su-
perior to the two plays preceding, both in its improv*
ed versification and its homogeneous plot. The frank
opinions of the unprejudiced mind of the statue
Galatea, when she comes to life, are piquantly iron-
ical. Her unclouded eyes see readily through the
veil of convention which dims the vision of most
creatures. To be a soldier is, to her, to be "a paid
assassin", nor is there irony lacking in the sculp-
tor's reply:
Pygmaleon: (annoyed) There spoke the thor-
oughly untutored mind.
So coarse a sentiment might fairly pass
V^lth mere Arcadians — ^a cultured state
Holds soldiers at a higher estimate.
Galatea: He kills and he is paid to kill.
Pygmaleon: No doubt.
But then he kills to save his countryman.
Galatea:
Whether his countryman be right or wrong?
Pygmaleon:
He don't go into that-it'a quite enough
That there are enemies for him to kill:
He goes and kills them when his 6rders come
With a passing blush for another pedestrian "don'c''
in the classic iambic, it is indicative to remember
that the shaft aganst militarism occurs in the opera-
tic version of "Princess Ida". Was it not the author
[64]
A STUDY IN MODERN SATIRE
of the "French Eevolution" who spoke of the mil-
itary heroes, with their "thefts and brawls, named
glorious victories"?
Pygmaleon, making love to the beautiful marble
Galatea (she has just been infused with the breath
of life), forgets the warning of his jealous wife
Cynisca, and her curse of blindness is called down
upon him, ill though he deserve it. Accidentally,
and beyond all cavil of doubt, his true love for
Cynisca is proven in a tender love passage with
Galatea, whom he in his blindness believes to be hU
wife. His sight is finally restored, while Galatea
returns to her marble state. A pleasing sub-plot
furnishes the author with additional opportunity to
exploit his favorite themes.
Speaking of Chrysos, Pygmaleon thus character-
izes the ignorant patron of art in words not at all
inapposite to many members of that haggling tribe
today:
He is an ignorant buffoon,
But purses hold a higher rank than brains.
And he is rich;....
He is a fashion and he knows it well.
In buying sculpture he appraises it
As he'd appraise a master-mason's work —
So much for marble and so much for time,
So much for working tools-but still he buys,
And so he is a patron of the arts!
The play offers much in the line of passages that
might be used to show Gilbert's latent powers of
true poetic expression. It is particularly well writ-
[65]
SIR WM. S. GILBERT
ten and technically faultless.
"The Wicked World" (1873) bears some analo-
gies to "Charity" in its obvious satire against not
only hypocrisy but "an overweening sense of right-
eousness". The action, like so many of Gilbert's
verse plays, affects the Greek limitations of a single
day, and is in three acts. The fairy element is
agSn used to good purpose, while th7satire is far
above the blatant carping that too often masquerades
in its guise. The vein of seriousness is well mixed
with the all-pervading humorism, words come aptly ;
the verse, metrically good, is in spirit but per-
functory.
Upon a realm above the earth, supposed to lie on
the upper side of a cloud, dwell a host of maidens
in loveless blessedness. As they peer inquisitively
over the dizzy heights of their abode, they speculate
in muffled tones on the race that inhabits the whir-
ling globe below. Every soul on this island of the
clouds has its earthly coimterpart, with the exception
that the inhabitant of the clouds is free of sin,
while the earthly replica seems to know no virtue.
With innocent arrogance the sky-dwellers (among
whom some male souls fmd a place) look down
upon the earth as a place of malice, envy, vanity
and wickedness. None the less, when Lutin, one
of the males, returns from a visit to earth, he is
besieged by a host eager for newB. When approached
with the possibiU^ of having a real man come
from earth to visit them, they object in horror.
M
A STUDY IN MODERN SATIRE
One of them ventures a hazardous opinion :
Man is everything detestaible —
Base in his nature, base in thought and deed.
Loathsome beyond all things that creep and crawl
Still, sister, I must own I've sometimes thought
That we who shape the fortunes of mankind.
And grant such wishes as are free from harm.
Might possibly fulfil our generous task
With surer satisfaction to himself
Had we some notion what these wishes were!
It is actually determined upon to summon to this
faultless realm some of the earthly counterparts,
poor creatures that they are.
Now comes the test. When subjected to similar
conditions as those that try the inhabitants of our
own imperfect sphere, these airy images of moral
perfection, placed with a proper symbolism among
the clouds, reveal themselves to be but as frail aa
their counterparts. Envy, jealousy, malice, all the
sins in the category, straightway appear. Love,
that poisoner of earthly happiness, proves equally
mighty in the clouds; disillusion and shame come
to the forme? models of purity. Love and human-
ity are banished from the realm, while Selene voices
the commoii contrition:
Oh, sister, let that shame
Sit heavily on all-for all have sinned.
Oh, let us lay this lesson to our hearts;
Let us achieve our work with humble souls,
Free from the folly of self-righteousness.
Behold, is there so wide a gulf between
[87]
SIB WM. S. GILBERT
The humble wretch, who, being tempted, falls
And that good man who rears an honored head
Because temptation hath not come to him?
It is an object lesson in dramaturgy to compare with
this play the inferior prose effort, "Charity", which
was written more than a dozen years after the verse
play. The basic motive underlying each is the
same, as a comparison of Mrs. Van Brugh's words
in the later play will show, yet how superior is the
present work with its fairy atmosphere, its poetic
treatment, and above all, its "lesson" properly sub-
ordinated to the higher considerations of art. For
Gilbert's sake, one would have preferred the worse
play to have preceded the other by some dozen
years; as the matter stands, it throws instructive
light upon the really erratic progress traced by most
great writers. From the examination of too many
biographies, one would suppose that a writer neces-
sarily improves with age and successive effort. It
is more often the case that the facts are not so kind
to those writers who delight in tracing suspiciously
gradual development
Thirty-seven years later Gilbert recognized the es-
sentially operatic nature of this play, and made it
into a comic opera, with music set by German, for
Sullivan's voice was now some years silent. Ending
as it does ujyon a note of antagonism to love, it
challanges the audience in its most susceptible feel-
ing. Outside of the necessary introduction of songs,
the action of the play remains the same. The fol-
[68]
A STUDY IN MODERN SATIRE
lowing from the opera reminds one of the "Prin-
cess"; with its unanswerable question as to posterity :
Phyllon: — ^The state of your emotions you
Delineate succinctly:
But come — ^what would you have me do?
Tell me the truth distinctly.
Darine: — ^Do? Hurl thyself to yonder earth,
With sorrow unabated,
And end a life from hour of birth
To bitter anguish fated!
Phyllon: — ^I see your point, but (pardon me)
Did all heart-broken youths agree
In death to drown their miseree.
The world within a week would be
Depopulated!
But, ^ as in the verse play, the maidens banish love
from their realms. This is one of the few operas
of Gilbert that has an "unhappy" ending. The
other, which shall be reviewed in the following
chapter, is the "Yeomen of the Guard", one of the
best of the "Savoy" series. A comparison of the
technical aspects of the "Wicked World" as play
and as opera (in the musical version it is called
"Fallen Fairies") is here imnecessary. The tech-
nique of the comic opera libretto is a law unto
itself, and must be reserved for the following pages.
Still another of the delightful fairy plays is
"Broken Hearts" (1875). As in the "Wicked
World", so here, the atmosphere is well-sustained
and the technique particularly skilful. Flashes of
real poetry gleam now and then from out the effec-
tive, if generally iminspired verse.
[69]
SIB WM. S. GILBERT
The story is a model of simplicity. Upon the
island of Broken Hearts dwell a quartet of maidens
whose menial wants are served by a deformed dwarf,
Mousta, a very Caliban upon this island of maids
who have, save Vavir, loved in vain. Here they
abide, pledged to a man-abjuring virginity. Mous-
ta, though outwardly a Caliban, is a very Cyrano
when it comes to love-making. Like that romantic
wooer, too, he realizes the drawbacks of his repell-
ing exterior, and seeks in a magic book for a charm
To make the crooked straight; to heal the halt;
And clothe unsightly forms with comeliness.
The maidens are amused to hear from this being
of all ill-shapen creatures, that he craves love, even
as a man. He warns them, lest the charm he seeks
shall work. Once let his form be beautiful, none
shall resist the eloquence of his passion.
The love which the maidens have refused to man
finds vent in a quasi-pantheistic adoration of in-
animate objects. Lady Hilda worships a brooklet,
Melusine adores her mirror, Vavir unbosoms her
soul to a sun-dial.
Into the midst of this queer set enters Florian,
surprising the guardian dwarf, who has been on the
watch for intruders. In vain the island's Caliban
tells the young prince that man is forbidden in the
sacred precincts of Broken Hearts. During the
altercation, it appears that Florian has entered by
means of a veil of invisibility. This fact Mousta
stores up for future remembrance.
[70]
A STUDY IN MODERN SATIBE
Meanwhile Florian, through the aid of his veil,
pretends to be the spirit of the sun-dial, and makes
love to the sun-dial's mate, Vavir. She spreads the
wonderful news of the dial's wooing among her
associates. Now speaks the mirror, too, in the same
fadiion to Melusine. Nay, Hilda's brook finds a
voice to charm from her the secret of her first love.
And who should this first love have been, but
Florian himself I
Mousta's envy, roused to desperate pitch, leads
to the purloining of the magic veil. With this
protection, he, too, can woo in unseen bliss. Flor-
ian, with no veil to hide him, is detected by Vavir,
who recognizes in his voice the dial's spirit. A
human love sttiites her, and the pair pledge their
troth. In the interim, Mousta makes desperate love
to Hilda, for whom he has ever longed. Hilda,
won by the passionate wooing of the unseen voice
(which she is led to believe is the spirit of the well)
pledges her troth, too, on condition that the spirit
assume the flesh. Judge, then, her consternation
when Mousta stands before her! In fiery anger
she seizes the veil from him, vowing to disappear
forever.
The rest of the play resolves itself into a sacrifice
upon Hilda's part. Herself invisible, she sees
Florian, her former lover; yet realizing that Vavir
is dying for love of him, she persuades him to save
the innocent maid's life by vowing a feigned pas-
sion. This he does, but it is too late. Vavir dies.
[71]
Sm WM. S. GILBERT
In the invisible veil some might detect a symbol
of one kind or another, but Gilbert is not given to
symbolism. Moudta and Vavir possess distinct in-
dividualities as characters to be remembered.
There is, in the former, none of the grovelling serv-
itude that Caliban stands for. The queer worship
of brook, mirror and dial remind one of the aesthe-
tical young man in "Patience", walking up Pica-
dilly with his lily — ^his "vegetable bride" — ^in his
hand. A soliloquy of Mousta's throws light on Gil-
bert's methods:
Oh, ho! Toung knight! I'm sorry for Vavir
Well, it concerns me not; the girl is fair;
And traps are set for her because she's fair;
And she'll fall into them because she's fair.
Good looks
Should pay some penalty — ^that's only fair.
Better be such as I am, after all
Into a vein of serious thought is injected a pun,
which, with due respect to the author, is but a fair
one.
We have seen that Gilbert takes his suggestions
from widely differing sources. Here an Arabian
Nights tale takes seed in his memory, there a poem
of Tennyson's germinates into a "whimsical alle-
gory" ; now an incident in "Silas Marner" forms
the pivot of a melodrama, now a classic myth lends
itself to his ready wit.
For "Gretchen" (1879) we are indebted to
"Faust", whence comes the leading idea of the play,
[72]
A STUDY IN MODERN SATmE
as well as a scene from the second act. Otherwise^
the dialogue is original, as is the general tendency
of the play. For once, Gilbert has written a good
drama of admirable restraint and a certain poetic
beauty.
The main interest is centred upon the trio Gott-
fried, Faustus and Gretchen. Mephisto is purely
secondary, and is saved from degenerating into a
mere comic windbag. Gottfried replaces the Valen-
tine of Goethe's work, but is here Gretchen's lover,
not brother. His warm picture of Gretchen it is
that stirs the youthful blood of the former dare-
devil Faustus, now turned priest because of a wom-
an's faithlessness. It is with the most secular of
parables that Gottfried weans his quondam ally
away from holy seclusion:
Oh, for shame! iPor shame!
To hold the world to be a hollow world
Because one heart has proved a hollow heart!
Now hear a parable. But ten days since
A swindling huckster gave me a bad ducat;
Now by my head, I thought that ducat good:
It seemed so fair and bright — ^and as it lay
Upon my open palm, I read thereon
A pious legend drawn from holy writ!
Believing that a ducat, wreathed about
With such a goodly warrant, could not lie,
I loved that ducat and I trusted it!
Well, well, that ducat proved to be but base.
With a deep sigh — for gold is scarce with me —
I cast that ducat from me. But did I,
On that account, forswear all ducats? No^
[73]
Sm WM. 8. GILBERT
My love for ducats — and my need of them —
Are just as keen as ever.
Fau^us, roused by Gottfried's alluring talk, con-
jures up the devil, who adds to the priest's awaken-
ing lust, offering him the pleasures of youth's hey-
day. No compact is signed. Faustus expressly
tells the emissary of evil that, once aided by a pure
woman, he will fi^t him with the arms of woman's
power.
Lured on by Mephisto, Faustus wins away the
love of Gretchen from Gottfried. There is thus
added to the Goethe version an element that in-
creases the tragic appeal. Gottfried, returning from
the wars, is thunderstruck at what he hears, and
only the supplications of Gretchen save Faustus
from the lover's sword. Gretchen, in anguish at
the misery of which she is the innocent cause, dies
in Martha's cottage.
The tragedy of Gretchen's love is dignified, if not
so symbolic and compelling as Goethe's eternal fig-
ure. The gloom of the ill-fated love of Gottfried
and the priest for the pure maiden is intensified
by the retribution visited upon Gottfried. His
words have lured Faustus from the holy life; his
Gretchen pays the price of the priest's apostasy.
The comic relief is provided by Mephisto, who
proves to be a decidedly modem devil of truly
Shavian bringing-up. When Faustus seems to be
taken aback to see so comely a personage appear
from the nether realms, Mephisto shows himself
[74]
A STUDY IN MODERN SATIRE
equal to the oocasion:
I*m not the horrible embodiment
Tou doctors of the church have painted me.
A very Satyr, with a dragon's tail —
A nursemaid's devil! Oh, short-sighted priests.
My policy is to allure mankind,
Not to repel them!
As to women, the devil is no less revolutionary :
Why there's no harm in women.
I didn't make them! They're my deadliest foe!
Why, he who of his own unfettered will
Cuts himself off from pure communion
With blameless womanhood, withdraws himself
From a far holier influence than he finds
Within these sad and silent solitudes.
A trace, too, of the satire against the clergy in the
Bab Ballads finds vent in the fling of Mephisto
versus the holy tribe
Who pray for mankind in the aggregate
And damn them all in detail!
Lisa, a character not found in the Goethe play,
is used with great effect to for^hadow the disgrace
of Gretchen. The last two acts are particularly
powerful.
Having parodied Tennyson, Gilbert would scarce-
ly shrink from approaching the great Shakespeare
himself with the same intentions. In "Rosencrantz
and Guildenstern" (1893) no less a masterpiece
than "Hamlet" furnishes the theme. The argu-
ment (in Gilbert's words) follows:
[76]
SIB WM. S. GILBERT
Kins Claudius, when a young man, wrote a five-
act tragedy which was damned, and all reference
to it forbidden under penalty of death. The king
has a eon — Hamlet — ^whose tendency to soliloquy
has so alarmed his mother, Queen Gertrude, that
■he has sent for Rosencrantz and Guildenstern,
to devise some Court revels for his entertain-
ment Rosencrantz is a former lover of Ophelia
(to whom Hamlet is bethrothed), 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. Ophelia and Rosen-
crantz 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.
Grilbert takes a most apposite fling at the thousand
and one actors and critics who have essayed their
talents in the interpretation of the famous Dane.
"What is he like?" asks Guildenstem of Ophelia,
referring to Hamlet.
Ophelia: Alike for no two seasons at a time.
Sometimes he's tall, — sometimes he's very short —
Now with iblack hair — now with a flaxen wig —
Sometimes an English accent — ^then a French —
Then English with a strong provincial "burr".
Once an American, and once a Jew —
But Danish never, take him how you will!
And strange to say, whate'er his tongue may be.
Whether he's dark or flaxen — ^English — ^French —
Though we're in Denmark, A. D., ten-six-two —
He always dresses as King James the First!
Guildenstem: Oh, he is surely mad!
[76]
A STUDY IN MODERN SATmE
Ophelia: Well, there again
Opinion is divided. Some men hold
That he's the sanest, far, of all sane men —
Some that he's really sane, hut shamming mad —
Some that he's really mad, but shamming sane —
Some that he will be mad, same that he was
Some that he couldn't be. But on the whole
(As far as I can make out what they mean)
The favorite theory's somewhat like this:
Hamlet is idiotically sane
With lucid intervals of lunacy.
And lest we forget the multitudinous army of
playwrights, listen to what Ophelia confesses in re-
gard to her censorial father, who
spends his long official days
In reading all the rubbishing new plays.
From ten to four at work he may be found:
And then — ^my father sleeps exceeding sound!
The parody is more than usually brilliant, full
of temptations for punning and datirical gibes.
Lines from Shakespeare are twisted into the most
whimsical of shapes. "Gentlemen", cries Hamlet
emgrily,
It must be patent to the merest dunce
Three persons can't solilquize at once!
The episode of the pipe is caricatured, when Ros-
encrantz takes the proferred flute and plays a horn-
pipe on it. The advice to the players (in prose) h
important as containing Gilbert's idea of the comic
actor — an idea that was personally impressed upon
all the players who ever figured in a Gilbert pro-
[77]
Sm WM. S. GILBEST
duction. Th« importence of the passage m^ts
quotation in full:
Hamlet: — ^We are ready, sir. But, >before we be-
gin, I would speak a word to jou who are to play
this piece. I hare choBen this play in the face
of sturdy opposition from my well-esteemed
friends, who were for playing a piece with less
bombastick fury and more frolick. (Addressing
the King) But I have thought this a fit play to
be presented by reason of that very pedantical
bombast and windy obstructive rhetorick that
they do rightly despise. For I hold that there is
no such antick fellow as your bombastical hero
who doth so earnestly spout forth his folly as to
make his hearers belive that he is unconscious of
all incongruity; whereas, he who doth so mark,
label, and underscore his antick speeches as to
show that he is alive to their absurdity, seem-
eth to utter them under protest, and to take
part with his audience against himself. (Turn-
ing to players) For which reason, I pray, you,
let there be no huge red noses, nor extravagant
monstrous wigs, nor coarse men garbed as wo-
men, in this comi-tragedy; for such things are
as much to say, "I am a comic fellow — I pray
you laugh at me, and hold what I say to l»e
cleverly ridiculous." Such labelling of humor is
an impertinence to your audience, for it seem-
eth to imply that they are unable to recognize
a joke unless it be pointed out to them. I pray
you avoid it.
This advice, coming in the surroundings where
we find it, is -an excellent illustration of the imder-
lying sobriety evm in Gilbert's most hilarious mo-
[78]
A STUDY IN MODERN SATIRE
ments. It is no mere paradox to say that comic
actors, too, miist take their profession serionsly, nor
could they do better ihan to take Hamlet's advice,
just cited, and con it over well.
As a writer of verse, we find Gilbert to be more
inclined to sacrifice beauty to point than to let the
imagination soar in the realms of thought. Gilbeii
is not a poet. If his eye rolls in a fine frenzy, it
is not that he may give to airy nothings a local
habitation and a name, but that he may conjure
out of even a tragedy like "Hamlet" elements of
mirth-provoking efficacy. Not his imagination, but
his fancy, is the ruler of his verse as well as of his
prose. In isolated passages, indeed, one is scarcely
surprised to come upon lines of STistained power and
piercing vision. Potentially Gilbert is a poet, but
he has not so written himself down. He holds the
mirror up to nature, but it is a purposely distorting
mirror that throws back reflections none the less
true for their comical virtues.
[79]
$art tirtDo
li
.J
I
4
A STUDY IN MODERN SATIEE
CHAPTER FOUR
The Famous Qllbert-Sulllvan Opera*— The Savoy
Theatre-Bother UlbrettI — Satire as an ingredient
of Comic Opera.
If Gilbert is notable m the forms we have jiLst
reviewed, he is supreme in comic opera. Not only
does he mark a new stage in the history of that
scantily treated genre; he is himself an epoch.
Perhaps the chief reason for the imabated popu-
larity of his libretti, as well as for their imexampled
vitality, is that they include, in addition to his in-
dividual wit €Uid humor, so much social satire.
Thus, while they rouse the laughter necessary to
immediate acceptance, they contain the undercur-
^ rent of thought and form necessary to their ultimate
rank as literary products.
The comic opera as a vehicle for satire is particu-
larly eflfective. Musical setting serves the double
purpose (especially in 4ihe hands of a master hu-
morist like Sullivan) of giving added point to the
[83]
SIB WM. 8. GILBERT
satirical gibes while depriving them of the harsh-
ness of spoken criticism. Thus, while the English
army might well have resented the staitement that
they never tremble before the enemy — "or conceal
it if they do" — ^when it is sung to them, or even
spoken amidst the muMcal atmosphere, the same
army laughs merrily over the line with the rest of
the audience. Gilbert must have had many a laugh
up his sleeve at the censors, who yearly passed by
his powerful indictments of social rank in their ef-
forts to cat<?h the more serious, but not so effective
writers.
From "Thespis" to "Fallen Fairies", ranging all
the way from a dramatic cantata with but a hand-
ful of characters to the most complex stage produc-
tion involving a host of principals and the now
traditional "enlarged chorus and orchestra" Gilbert
literally educated the English public away from the
popular insipidities to which they had grown ac-
customed, up to a standard of taste to which all fu-
ture writers of operetta must aspire. All this with-
in the limits of less than a half-century.
Of the Savoy Theatre and the troupe which thero
brought forth most of our author's works it is not
here the place to tell.* It is enough to indicate
that the operas themselves go by the name of their
♦ The reader is referred to Fitzgerald's "Savoy
Opera", of which mention has already heen
made. It is cot critical, but conversationally re-
miniscent in tone.
[84]
A STUDY IN MODERN SATIRE
original birthplace; think, then, with what nation-
wide interest the Savoy announcements were read
and heralded. For the Savoy Theatre, far from be-
ing merely a business enterprise, had grown in
popular esteem to the proportions of a national in-
stitution.
"Thespis, or the Gods Grown Old" (1871) rep-
resents the first instance of collaboration between
Gilbert and Sullivan. It is, indeed, a highly orig-
inal, "grotesque" opera, immediately indicative of
the special capacities which Gilbert gradually per-
fected. A tendency to challenge the intelligence of
his audience, to outstrip their powers of comprehen-
sion, shows itself here in his agreeable, yet too class-
idal satire. Jokes depending upon Lempriere's
dictionary are rather hard on a comic opera gather-
ing. At times the spectator feels like using a fav-
orite phrase of Gilbert's : "I'm afraid that I am un-
equal to the intellectual pressure of the conversa-
tion"!
In the midst of a most lugubrious convention of
the gods on Mount Olympus, where the classic
deities are bewailing the passing of Time and their
loss of influence upon the world below, comes the
picnic party of Thespis. Thespis is the leader of
an actors' troupe and is giving them a holiday. In
a clash betweep the actors and the gods an agree-
ment finally takes place: the actors are to assume
the role of deities for one year while the gods shall
absent themselves upon earth, travelling incognito
[85]
SIR WM. S. GILBERT
to investigate their negligent subjects. The mis-
management of the actor troupe endeavoring to in-
terpret the functions of the classic gods gives abund-
ant opportunity for sparkling wit and humor at the
expense of the profession, and before ihe incompet-
ent earth-born sham-gods are routed by the return-
ing vacationists, many a laugh greets the actors
who are placed in the incongruous position of try-
ing to act well a part that calls for acting badly I
Topsey-turvey fairly monopolizes the several hours
"traffic of the stage".
The autobiographic song, which really receives
its initial presentation in the next opera, is here
foreshadowed in Thespis' song of the chairman ot
railroad directors, ending:
'Twas told to me with great compunction,
By one who had discharged with unction,
A chairman of directors function
On the North South East West Diddlesex junction.
Fol diddle, lol diddle, lol lol lay.
The last line of the quatrain has a fairly Rabelaisian
punctiliousness of detail, and is as readily intellig-
ible as most time-tables and other enlightening rail
road literature. And here at the outset of his lib-
retto career, Gilbert puts into the mouth of Thespia
a shaft against the very sort of melodramatic sen-
timentality which he himself has perpetrated:
"But see here you know — ^vlrtae only triumphs
at night from seven to ten — ^vice gets the hest
of it during the other twenty-one hours!"
[86] ,. : ..;>■
•
A STUDY IN MODEBN SATIRE
Evidently he of the troupe who asked^ **What is
the use of being gods^ if we must work like commou
mortals?" had never heard of "Noblesse Oblige."
Mercury, the factotum of the gods, is a sort of
celestial Pooh-Bah with all the heavenly duties
rolled into one— he is groom, valet, postman, butler,
commissionaire, maid-of-all-work, parish-beadle and
original dustman. But for this drudgery he gets his
revenge, by singing
WeU» wen, it's the way of the world.
And wiU be through aU Its futurity.
Though noodles are baroned and earled.
There's nothing for clever obscurity.
Nor could the Mikado himself, that expert in adapt-
ing punishment to crime, have m*eted out a more
fitting penalty ihan the tragi-comic decree of the
gods against Thespis and his band :
Away to earth, contemptible comedians.
And hear our curse before we set you free;
You shaU all be eminent tragedians
Whom no one ever goes to see!
"Trial By Jury" (1876), an original dramatic
cantata in one act, is, as an example of the mock
trial, second only to Dickon's well-known episode
in the "Pickwick Papers". As analysis will reveal,
it is of a totally different character, its pivot turn-
ing on social satire rather than on individual cari-
cature.
Edwin and Angelina, defendant and plaintiff in
the breach of promise case which forms the cw^on,
[871
Sm WM. S. GILBERT
have long been by-words denoting couples who have
gone to law. Though but three quarters of an hour
m length, the cantata (there is something cynical
in Gilbert's use of the designation) teems with gibes
against the bar, against the mercenary evaluation
of affections supposed to be above material calcula-
tion, against even the impeccability of the jury
when confronted by a distressingly beautiful claim-
ant. Nay, what shall we say when the judge, im-
patient with the delay in proceedings, dismisses the
case and himself marries the pretty bride I
Note the impartiality of the Usher's charge to the
jury:
Oh, Usten to the plaintifTs case:
Observe the features of h'er face —
The broken-hearted bride.
Condole with her distress of mind —
From (bias fr^e of every kind
This trial must be tried!
The stern jury, roused by the Usher's plea, actually
threaten the defendant when he appears, mandolin
in hand. And quite in keeping with the later
Savoy methods, before the judge tries the case he
must needs indulge in a musical autobiography —
a form which gives endless opportimity for telling
quips. To hear a judge recoimt such imdignified
facts as the news that he really had an appetite;
that he once had actually known poverty; that he
had married, for money, a "rich attorney's elderly,
ugly daughter", who could "very weU pass for
[88]
• .It
A STUDY m MODERN SATIRE
forty-six, in the dusk, with a candle behind her",
was a novelty. But here was something for the
legal profession to delight in:
All thieves who could my fees afford
Relied on my orations.
And many a burglar I've restored
To his friends and his relations!
Can anything be added to the laughability of such
a case, being tried by such a judge? Yes, for in
dances a chorus of bridesmaids, carrying wreaths of
roses which the claimant presents to the jurors.
The court is immediately demoralized, with the end
as above noted.
Gilbert's characteristics here become more evid-
ent. Firstly, as we have seen, the chief character
usually indulges in a series o,f rhythmical memoirs,
not often calculated to raise his particular type in
popular esteem. The chorus, too, far from being
dragged in upon the action (as it is in the great
percentage of modem musical plays) forms a logi-
cal offspring of the plot and often assumes, strange-
ly enough, the function of the Greek chorus, acting
as commentator upon the proceedings! The rhy-
thm, the rhymes, tiie wit of Gilbert's later work are
already present. The counsel's plea fairly soars
above the heads of the audience, but the intellectual
neck-stretching caused -thereby is good for the
genre's admirer's ; they have listened too long to in-
excusable vapidity. Sings the ooimsel:
[89]
i
SIB WM. S. GILBERT
Swiftly fled each honied hour
Spent with this unmanly niale!
Cumberwell became a bower,
Peckham an Arcadian vale.
Breathing concentrated otto —
An existence a la Watteau!
Picture then, my client naming
And insisting on the day:
Picture him excuses framing
Going from her far away;
Doubly criminal to do so.
For the maid had bought her trousseau!
The plaintiff herself pleads no less effeotively:
Oh, see what a blessing — ^what love and caressing
I've lost, and remember it, pray,
When you I'm addressing are ibusy assessing
The damages Edwin must pay.
And who can resist the sophistry of the defendant,
who, though he owns that his heart has been rang-
ing, avers that
Of Nature the laws I obey.
For Nature is constantly changing!
Truly as logical as Rabelais' excuse for drinking:
Natura vacuum abhorretl
The sickly sentimental ballad is well parodied.
And to cap the climax, — showing how Gilbert's
keenness loses sight of no opportunity to exploit
his material to full capacity,— 4he jurors end their
chorus, not with the conventional "tra la la" but
with a most appropriate "Trial la law" !
[90]
A STUDY m MODERN SATIRE
"The Sorcerer" (1877) is in many respects the
weakest of Gilbert's productions. It lacks the spon-
meity 80 refreshing in his operas, despite the adept
versification and rhyming. There is, moreover, lit-
tle satire, and the plot is decidedly weak, especially
the rather flat denouement.
Aline and Alexis, whose parents also have a lik-
ing for one another, are engaged to be married.
Alexis, intent upon his mission of spreading the
blessings of love broadcast, enlists the services of J.
Wellington Wells, dealer in magic and spells.
Wells, by the aid of a specially brewed potion,
plimges the entire community into a very delirium
of passionate ecstasy. We recall the pranks of Puck
in the "Midsummer Night's Dream".
Alexis, not content with Aline's protestations of
undving aflFection, insists upon her drinking the
ma^c draught, thus perpetuating what may other-
wise prove to be but a transitory feeling. For this
overinsistence he is severely pimished, for what
should Aline do after quaffing the enchanting bev-
erage but gaze upon the village Vicar, thus falling
m love with him! Now the complications are at
the worst, and our senses keenly alive to see what
the author will do to extricate his characters. What
a disappointment, then, (particularly when we
know from Gilbert's other works how cleverly he
can manage the climax and conclusion of a plot)
when we behold the spell-weaving Wells sacrifice
himself to Ahrimanes (even so !) in order that mat-
[91]
SIB WM. S. GILBERT
ters may be restored to their former statiis.
The humor of the situations, the general stand-
ard of the dialogue, the wit, — are all below Gilbert's
average. Despite the poetic justice of Wells' sac-
rifice (he pays the penalty of his black art by self-
immolation) the plot, never brilliant, dies out on
a false note, as it were. Besides the suggestion of
the Shakespearian comedy, an echo of "Macbeth"
soimds through the magician's incantation:
Now, BhriyeUed hags, with poibon bags.
Discharge your loathsome loads!
Spit flame and fire, unholy choir!
Belch forth your venom, toads!
Te demons fell, with yelp and yeU,
Shed curses far afield —
Ye friends of night, your filthy blight
In noisome plenty 3rield!
How far from the Gilbert we most admire is Mr.
Wells' catalogue of his trade:
Tes, sir, we practise necromancy in all its
branches. We've a choice assortment of wish-
ing-caps, divining-rods, amulets, charms and
counter charms. We cast you a nativity at a
low figure, and we have a horoscope at three and
six that we can guarantee. Our Abudah chests,
each containing a patent hag who ccmes out and
prophesies disasters, with a spring complete, are
strongly recommended. Our Alladan lamps are
very chaste, and our prophetic tablets, foreteUing
everything— from a change of ministry to a raise
in Turkish stocks — are much inquired for. Our
penny curse— one of the cheapest things in the
[92]
1
f
)• ■ •
■4
A
A STUDY IN MODERN SATIRE
I
1
trade — ^is considered infallible. We have some
very superior blessings, too, but they're very
little asked for. We've only sold one since
Christmas — ^to a gentleman who bought it to send
to his mother-in-law — ibut it turned out that he
was affected in the head, and it's been returned
on oui; hands. But our sale of penny curses, es-
pecially on Saturday nights, is tremendous. We
can't turn 'em out fast enough.
How labored the camic effort is — ^what a profu-
sion of words for but a single successful gibe ! How
far are we from that brevity which is the soul of
wit! Nothing but the grimaces of an "antick fel-
low" would raise a laugh with such a speech; and
grimaces, as Gilbert himself taught, are derogatory
to the comic actor's art.
Of all the operas, "Pinafore" (1878) seems, to-
gether with the "Mikado", to be most popular.
When first produced, it ran steadily for two years.
It is said that in Germany, at one time no less than
forty companies were playing it simultaneously,
"not including those formed after six P. M. last
night'; as a facetious critic put it. The operetta
became literally a "craze". Some of its phrases
have passed into the language.
More than any of the operas, "Pinafore" owes
its genesis to an amalgamation of several of the
Ballads The general atmosphere was also in Gil-
bert's mind at the time of the preceding play, in
which occurs the following significant speech by
Alexis, whose theory of the levelling influence of
[93]
Sm WM. S. GILBERT
love upon all ranks has led him to preach even in
lunatic asylums, where the dubious compliment of
greatest approbation has been given him. Says
Alexis:
I have addressed nayYies on the advantages that
would accrue to them If they married wealthy
ladles of rank, and not a navvy dissented.
This selfHsame theory of love's levelling all ranks
it is which forms the theme of "Pinafore". Such
fancies are entirely in accord with the topsey-turvey
spirit. The satire, at times, is stinging, as when,
for instance. Admiral Porter tells the sailors how
they may rise to distinction in the navy. The in-
formation is conveyed in the regulation autobiogra-
phical song:
Of legal knowledge I acquired such a grip
That they took me into a iMurtnership,
And that junior partnership, I ween,
VE^as the only ship that I had ever seen.
But that kind of ship so suited me.
That now I am the ruler of the Queen's Navee!
I grew so rich that I was sent
By a pocket borough into Parliament
I always voted at my party's call.
And I never thought of thinking for myself at all.
I thought so little, they rewarded me
By making me the ruler of the Queen's Navee!
Now landsmen all, whoever you may he,
If you want to rise to the top of the tree.
If your soul isn't fettered to an office stool.
Be careful to be guided by this golden rule —
Stick close to your desks, and never go to see.
And you all may (be rulers of the Queen's Navee!
A STUDY IN MODERN SATIRE
The operetta is as breezy and briny as the seas on
a fresh summer's day. From the opening chorus
of sailors to the closing ensemble^ the action and
the music seem to be alive with the tang of the
salty deep.
Balph Sackstraw loves Josephine, daughter of
Capt. Corcoran. She, however, is loved by none
other than the redoubtable Admiral Porter, E. C.
B., a thorough gentleman wh<^e high opinion of
the British navy knows no boimds, until he dis-
covers that Balph is his successful rival. The tables
are most prettily turned. Porter's magnanimous
maxim, while courting Josephine, had been that
she needn't be overwhelmed by his truly exalted,
much superior station, for *love levels all ranks".
But when it becomes a question of Josephine's mar-
rying Ralph, — ^no, no, true love levels all ranks —
but the line must be drawn somewhere! Which
makes one think of the fairy in "lolanthe", who
did not object to stoutness — ^in moderation! The
sailor and his pretty lover are foiled in their at-
tempt to elope by the spying Dick Deadeye (per-
haps the most popular villain in comic opera) who,
in an amusing duet with the captain, divulges the
scheme.
Just as Ralph is about to be sent to the dungeon
cell for his treacherous attempt to elope with a cap-
tain's daughter, the bumboat woman, Little Butter-
cup, springs the surprise of the day. She reveals,
in a typical "mystery" song, that in her youth she
[95]
Sm WM. S. GILBERT
practised "baby-fanning" — that she had changed
Balph and Oapt. Corcoran in their cradles, — that
Balph is the rightful captain and Corcoran the sea-
man! At this revelation Josephine is lowered in
Porter's estimation. His protestations of love's
equalizing powers had been sham. But not so with
Ralph, for, despite his newly acquired title, he goes
to Josephine more fervently than ever, and with
a stirring contrapuntal hymn in praise of the Eng-
lishman, the opera ends. Fitzgerald has written
that the story is nothing. "It is the characters and
the himior that attract", he adds. Quite to the con-
trary, the story was so cuttingly satirical, that it
offended the queen. Significantly enough, al-
though Sullivan was knighted by Victoria, Gilbert
had to await King Edward for that nominal honor.
This little two-act gem abounds in quotable in-
stances. The female chorus, introduced by the ad-
miral as
His sisters and his oousins
Whom he reckons by the dozens,
And his aunts!
thus acquire a logical raison d'etre. The dialogue
fairly bristles with gibes and brilliant repartee. The
plot, remembering the genre, is perfect. The songs
are among the best that Gilbert has written. He
has indeed a pleasure in store for him who has not
yet heard the "Little Buttercup" aria, Ralph's mad-
rigal of the nightingale that loved the pale moon's
ray, and his song opening
[96]
• ■
A 8TUDT IN MODERN SATIBE
▲ maiden fair to 8ee»
The pearl of miiiBtrelty,
A Imd of blushing beauty.
And who shall omit the Captain's song, with its
blood-tingling chorus?
Gapt I do my best to satisty you all —
AU And with you we're quite content
Capt You're exceedingly polite
And I think it only right
To return the compliment
Bad language or abuse
I never never use^
Whatever the emergency;
Though "bother it" I may
Ocassionally say,
I never use a big, big D—
All What never?
Capt No, never!
All What never?
Capt Hardly ever!
AU Hardly ever swears a big, big D—
Then give three cheers and one cheer more
For the well-bred captain of the "Pinafore**!
The improvement over the "Sorcerer" is every-
where evident The figure of the Admiral is a
truly humorous characterization. Dick Deadye re-
presents a well-planned satire on the stage "viUain",
and in addition serves the purposes of holding the
cringing, servile employee up to scorn. The con-
trast between Porter's empty phrases, his self- suf-
ficiency and Balph's manly, truthful purpose, went
[97]
-■'J
SIB WM. S. OILBEBT
straight home. Here was satire, fearlessly unerring
in aim. It required courage to write this seemingly
guileless operetta. Indeed, the triumphant ^'He :8
an Englishman" with which the play closes, seems
to assert with final emphasis the inherent super-
iority of the common Britisher.
The extraordinary success of ^Tinafore" was fol-
lowed by the delightfully ironical ^Tirates of Pen-
zance" (1880).
Frederic has been indentured to a band of pirates
until his twenty-first birthday. The only woman
he has seen since his infancy is Ruth, a sort of
pirates' "Little Buttercup". Frederic swears that
no sooner shall he be free from his bonds than he
shall war on his piratical associates till they are
exterminated. Only a few hours remain for his
twenty-first birthday — before that time (with
Gilbertian pimctiliousness) he is of and for the
roving band of buccaneers — immediately after his
birthday he shall commence his war. "By the
love I have for you", he assures his comrades, "I
swear it". Such a deed of hatred sworn to in the
name of love is a most laughably humorous in-
congruity. One wonders whether Gilbert had in
mind the fanatic who, with sword in hand, would
massacre the world into universal peace.
Enter Major Stanley and his bevy of wards in
chancery, a figure ansdogous to Porter and his fe-
male relatives. The major gives the author an op-
portunity to deal with the army as he had with the
[98]
A STUDY m MODERN SATIRE
navy in "Pinafore". In a much-quoted patter son^;
(so named from the pitter-patter of the rhythm as
it is sung at a fairly breathless pace) we learn that
he is
. . .the yery pattern of a modem glneral*
I've information yegetable, animal and mineral.
. . .my military knowledge, ihough I'm plucky
and adventury.
Has only been brought down to the begininng of
the century.
The entrance of the wards in chancery works
havoc among the buccaneers. Though they are
pirates of the sea, they fall before the pirates of
hearts. Moreover, the Major is preserved from the
band's violence by the fact that he represents him-
self to be an orphan, to all of whom the band is
pledged to afford protection. And now arises a
difficulty that has been much imitated. FredericV
indenture says that he is to remain a pirate until
his twenty-first birthday, not twenty-first year. It
so happens that Frederic was bom on the twenty-
ninth day of February! At that rate he has had
but five natal days, and must serve for several score
years more. (One thinks of Rossini's quip, when
he reached his 60th year. Having seen the light on
February twenty-ninth, he boasted of being fifteea
years old I) The dilemma is put to an end by the
entrance of the police, who, though beaten by the
pirates, force the latter to yield at Victoria's name.
One suspects this compliment as being a kind of
'4.
[99]
Snt WIL 8. OILBEBT
palliative for the shafts of the previous opera against
the rulers of the ^'Queen's Navee". It becomes
evident that all the pirates are really of noble birth
(can this have any hidden significance?) and thus
their union with the wards in chancery is a fore-
gone conclusion. Of course Frederic takes the pret-
tiest of them; but that is a minor matter from our
point of view.
The opera is built on broader lines than any we
have thus far examined. It assumes, at times, truly
operatic proportions. The long-winded recitative of
the conventional Italian opera is excellently parod-
ied.
The police lend a most genial aspect to the scenic
Aggregation ; the lines in this particular part of the
play are still popular, we are told, among the
''force" in England. The pirates represent an op-
portunity for satire that tempts Gilbert to bold ex-
pression. Says the pirate King at one time:
r* don't think much of our profession, but eon-
trasted with respectability, it is comparatiTely
honest"
The same piratical potentate carols, at another time :
But many a King on a flrst-class throne
If he wants to call his crown hit own,
MuBt manage somehow to get through
More dirty work than ever I do.
This particular motif finds even ampler expression
in the "Gondoliers". As an example of rhyming
[100]
s
A STUDY IN MODERN SATIRE
spunk the general's patter song is full of jingles
that remind us of our own Lowell. Witness such
combinations as ''lot o' news" and ''hypotenuse" —
"ZoffanieSy Aristophanes" — "din afore" with "Kn-
afore". 'He has indeed something of the poet in
him who could call poetry the "Divine Emollient"/
The "Pirates of Penzance" was followed by one
of the most enduring of the Savoy series^ "Par
tience" (1881). The sickly sentiment and almost
morbid preciosity which Oscar Wilde's aesthetic cult
had engendered had already furnished the basis for
several satirical eflforts, of which only Gilbert's sur-
vives. Apart from the influence of Sullivan's beau-
tiful setting, this longevity is doubtless due to the
perspicuity of the author in seizing upon the eternal
aspects of that transitory phase represented by the
enthusiasts of Wilde. Fitzgerald affirms that the
opera doubtless did a great deal towards killing off
the aesthetic "craze". From what we know of Gil-
bert, we can easily see that the operetta is directed,
not alone against the author of "The Ballad of
Reading Gaol", but against all sham in general.
In fact, the opera recalls, in more than one respect,
Moliere's "Precieuses Ridicules".
The action is highly concentrated; the first act
is, perhaps, as good a single act as Gilbert has given
us in his libretti. The dialogue sparkles with a
brilliancy that Wilde himself possessed. The songs
teem with telling hits. One feels like trahscribing
the whole opera for citation ; to do less is really an
[101]
\
Snt WM. S. GILBERT
injustice to Gilbert.
Buathome, a sham aesthete, contends with Gros-
venor, an idyllic poet, for the admiration of the
rapturous maidens. These enthusiasts ape succes-
sively the fleshy Bunthome's stained-glass medieval-
ism and Grosvenor's more modem antics. The
dragoons, who are used to being lionized by thd
feminine contingent, languish in neglect, puzzled
at the inefficiency of the hitherto all-compelling
military uniform.
Patience, the milkmaid, really loves Grosvenor,
but she has become imbued with the idea that love
must be "unselfish", so, loving Grosvenor, she never-
theless goes to Bunthome. It were too selfish, sooth,
to yield to her own genuine passion. The mock-
sobriety of this super-aesthetic refinement is inimit-
able. But what a change is in store. Bunthome
becomes perfection itself, and according to the same
tenets which brought her to him. Patience leaves
Bnnthome and goes to Grosvenor, who has be-
come "ordinary". The aesthetic phenomenon by
which this psychic transformation is effected forms
the humor of the opera, which, structurally, re-
sembles the ballad pattern so popular in the days
of Balfe. We must cite the first verse of the colonel's
song entire. It is the best patter song in all the
operas, not excluding that in the previous opera or
in 'TEolanthe".
If you want a receipt for that popular mystery
Known to the world as a Heavy Dragoon,
[102]
A STDDT IN MODERN SATIRE
Tmke all the remarlcable people in hifltory*
Rattle them off to a popular tune.
And then follows a minute recipe; a very Milton*
ian triumph of name-cataloguing:
The pluck of Lord Nelson aboard of the Vlctorj —
Genius of Bismarck devising a plan;
The humor of Fielding (which sounds contradictorj)—
Coolness of Paget albout to trepan —
The science of Mosart*, the eminent musico —
Wit of Macaulay who wrote of Queen Anne —
The pathos of Paddy, as rendered by Bpucicault —
Style of the Bishop of Sodor and Man —
The dash of a D'Orsay divested of quackery —
Narrative powers of Dickens and Thackeray —
Victor Bmmanuel — ^peak-haunting Peveril,
Thomas Aquinas and Doctor SachavereU —
Tupper and Tennyson — Daniel Defoe —
Anthony TroUope and Mr. Guisot!
Take of these elements all that Is fusible.
Melt them all down in a pipkin or crucible;
Set them to simmer and take of the scnm«
And a Heavy Dragoon is the residuum!
The ''twenty lovesick maidens", Jane of the on-
coming obesity (who can forget her song of the
second act, as she holds a bass viol lovingly by the
neck?), Bunthome's "Hollow, Hollow, Hollow**,
are but windsprays from a veritable sea of sdntil*
lating touches. It is surprising to read in Fits-
^The name here was originally '*Juilien", which the
author changed, in his "Songs of a Savoyard", to that of
the celebrated genius.
[103]
SIB WX. S. GILBEBT
gerald that he would prefer to have the ^'Hollow"
poem omitted from the opera. We have alwajrs
thought it the essence of poetic whimsicality done
in Gilbert's best manner. The trio beginning ''It's
clear that medieval art alone retains its zest'' was
alone enough to dampen the enthusiasm of any
contemporary aesthete. The author's genius for
pregnant phrases revels in such a confession as
Buntfaome's :
inn I alone.
And anobserved? I am!
Then let me own
I'm an aesthetic sham!
This air severe
Is but a mere
Veneer.
This cynic smile
Is but a wile
Of sruUe!
This costume chaste
Is but good taste
Misplaced!
Let me confess!
A languid love for lilies does not blight me!
Lank limbs and haggard cheeks do not delight me!
I do not care for dirty greens i
By any means.
I do not long for aU one sees
That's Japanese.
I am not fond of uttering platitudes 1
In stained-glass attitudej. j
In short my medievalism's afFectation
Is ibom of a morbid love of admiration! ' I
[104]
A STUDY IN MODERN SATIRE
Much of all this was quite beyond the reacih of the
audience, and to the reader loses some flavor un-
less the connection with Wilde is kept in mind.
Readers of the "Bab Ballads" will remember the
story of the "Fairy Curate" and the embarrasinj;
position in which he was placed by his youthful
looking fairy mother. It is from this slender hint
that the opera "lolanthe" (1883) germinates.
^Cbi "lolanthe" the satiric spirit again wells up at
times bitterly, especially in its political aspect. Gil-
bert's respects to the ministry and its parliamentary
associates had been paid in the very first opera we
have mentioned. Mercury, in "Thespis", complains
thus of the actors who have been entrusted with the
duties of the gods:
I¥om Jupiter down there isn't a dab in it,
AH of 'em quibble and shuffle and shirk;
^ A premier in Downing St, forming a cabinet
Couldn't find people less fit for their work!
The sentry's song from the opera "lolanthe" (small
wonder that it was omitted in presentation.) con-
tains condemnation even more mercilessly frank.
Private Willis, on duty in the Palace Yard, West-
minster, assures us that, although he has not been
nursed in the lap of luxury, he is an intellectual
chap. Among tlie things that arrest his philoso-
^ phical muse is the fact
.. That every boy and every gal,
> That's bom into the world alive.
„j
tdi
[106]
SIB WM. S. GILBERT
Is either a little Liberal,
Or else a little Canseryatiye!
Fal, lal, la!
Such a slant at the voters of England in their un-
thinking alignment against each other, especially
when followed by that nonchalant, yet dangerous
''Fal, la, la'' from a mere soldier, was formidable
enough. It acquired triple strength from the verse
which followed:
■
When in that House M. P.'s divide,
If they've got a brain and cerebeUum, too,
They've got to leave that brain outside.
And vote just as their leaders teU 'em to.
But then the prospect of a lot
Of M. P.'s in close proximity.
All thinking for themselves, is what
No man can face with e<iuanimity.
Only the man who wrote ''Pinafore" would dare to
write those lines at that time.
The general plot is, as in Gilbert's best work,
very simple indeed. lolanthe, a fairy, has been
finally pardoned, after more than a score of years'
banishment, for having married a mortal. The
fruit of this marriage is Strephon, who, as a result
of the peculiar parentage which gave him birth, is
a fairy down to the waist, but from there to his
toes is mortal. The author makes much, in char-
acteristic fashion, of this anomaly. Strephon falls
in love witli Phyllis, a beauty who is in turn
worshipped by the entire nobility and the very Lord
[106]
Jk
A STUDY IN MODERN SATIRE
Chancellor whose ward she is. Although she loves
Strephon, she is alienated from him by his atten-
tions to his own mother, who looks (being a fairy)
like a sweet miss in the very prime of youth's bloom.
Strephon is under obligations not to disclose lo-
lanthe's real relations to him, and suffers the loss
of Phyllis, who courts the royalty.
In revenge for this, Strephon, through the fairy
aid which his mother procures for him, is sent to
Parliament. Here he has his own way. Immediate-
ly he puts into effect the threat of the fairy queen ;
Every bill and every measure
m
That may gratify his (1. e. Strephon's) pleasure.
Though your fury it arouses.
Shall be passed by both your Houses!
Tou shall sit, if he sees reason.
Through the grouse and salmon season!
He shall end the cherished rights
You enjoy on Wednesday nights:
He shall prick tliat annual blister.
Marriage with deceased wife's sister!
Titles shall ennoble, then,
AU the Common Councilmen:
Peers shall teem in Christendom,
And the Duke's eralted station
Be attainable by Com-
Petitive Examination!
The mystery of Strephon's youthful mother is
finally disclosed. Phyllis takes Strephon. More-
over, the fairies all break their oaths not to marry
mortals and capture the entire peerage. To cap
the climax, and to "rub in" the democratic moral
[107]
Sm WM. S. GI(<BEBT
of the entire work, the Fairy Queen, (who might
have been expected to marry the highest in rank)
marries the philosophical sentry, — ^ttiat essence of
open-mouthed, clear-thinking ''vox populi'', Private
Willis!
In structure the work is lucid, clear of purpose
and direct in effect. There is none of the sneaUng,
servile truckling to royalty that occurs in so many
of our modem libretti. There is more intelligence,
more power, more pleasure, more genuine music in
''lolanthe" (any other of Gilbert's operas might
well be included) than may be found in a ton of
the unwholesome trash that is usurping the modem
stage in the guise of comic opera. The Lord Chan-
cellor's song is an admirable example of musical
autobiography. We think of the Judge in the
"Trial By Jury" when we listen to such lines as
these:
My learned profession I'll never disgrace
By taking a fee with a grin on my face,
"When I haven't been there to attend to the case,
(Said I to myself--said I!)
The same personage's patter song is a model of its
kind. As a graphic description of the ever-chang-
ing phantasmagoria of a nightmare it challenges
any whimsical verse ever written. Fitzgerald has
well called attention to the amusing effect produced
by the peer's plea with the fairies that
High rank inyolyes no shame —
We boast an equal claim
[108]
BIB WM. 8. GILBEBT
With him of humble name
To bo respected!
The chorus of peers, both as verse and as music, re-
preasents composer and librettist at their best. ''lo-
lanthe" is too little heard in this country. So
analogous to our own political situations are the
episodes, that it would require little imagination
to feel that the operetta was written for us.
"Princess Ida" (1884) has already been reviewed
in connection with the verse play from which it was
adapted to the musical stage.
In point of popularity, perhaps the "Mikado"
(1885) carries oflP the palm over every other work
in the series. It has bc^n heard in every section of
the world, and has been performed in Japan itself.
Its exotic atmosphere, its genuine humor, its spont-
aneous wit, its whimsical plot, have all been subject
to countless imitations. Its songs are household
treasures. Its leading part, Koko, has been played
by such eminent actors as Irving and Mansfield,
who thus inaugurated their stage career. Indeed,
it has been noted by n^ less a manager than Maur-
ice Grau that the Gilbert and Sullivan operas have
fostered more future "stars" than any other similar
combination in theatrical annals. It would be but
telling the truth to say that ever since the opera
was first produced it has been playing in some part
or other of the Empire without cease.
Nanki Poo, the son of the "^eat and virtuous"
[109]
Sm WIL S. aiLBEBT
Mikado, has fled from the court to avoid marriage
with the termagant Katisha, she of the elbow ' Vhich
people come miles to see". In the disguise of a
'Second trombone" he lights upon Yum Yum, the
ward of Koko, the Lord High Executioner. Smitten
with love for her, he is horrified to find that she is
about to become the bride of her ogre guardian*
That worthy swordsman, however, is in a peculiar
plight. He has failed to execute anybody of late,
and receives a message from the ruler of Japan
saying that unless some execution takes place, the
office will be abolished. Coming accidentally upon
Nanki Poo, who, in despair, is about to commit
suicide, he makes a compact with the young fellow.
Nanki Poo is to allow himself to be executed in
grand, royal style, thus saving Koko's office. In
return for this Yum Yum is to be his for one month
previous to the execution. (Here was a situation
for Mrs. Grundy to execrate I) Meanwhile we are
introduced to the mercenary, pompous, sham-states-
man Pooh Bah, with his compoimd official person-
ality. Just as Mercury, in "Thespis" is the facto-
tum of the gods, so is this base grandee the factotum
of the town Titipu, where the action takes place.
Through his legal advice, and his willingness to
lie — ^he calls it "merely corroborative detail, intend-
ed to give verisimilitude to a bald and unconvincing
narrative" — a false writ of execution is drawn up,
signed by all the town officers of Titipu, namely,
Pooh Bah himself. As a reward for his services,
[110]
A
A STUDY IN MODERN SATIRE
he condescends to allow himself to be "grossly in-
solted" by a large bribe. When, then, the Mikado
and his suite arrive, what is the consternation of the
executioner and his allies to find that Nanki Poo
is the son of the Mikado— that according to law
his death is punishable by immersion in "boiling
oil". With true legal insight the worthy potentate
whose hobby is making the "punishment fit the
crime", assures the signers of Nanki Poo's death
warrant that it is really too bad that the law did
not take into account the fact that such a death
might be caused unwittingly, or in ignorance of the
real identity of the victim. They must boil in oil,
in confomiity to the statute, which (cold consola-
tion I) will be revised — after the execution I The
revelation that Nank^ Poo still lives puts an end to
all the worriment, and Yum Yum remains the
bride of her royal mate, while Koko must be con-
tent to take under his wing the self-willed, self-
affirmed beauty, Katisha.
The variety of verse and dialogue in this operetta,
considering what had gone before, is truly surpris-
ing. At the very time when people were wondering
what new treats Gilbert and his compeer could pos^
sibly have in store after so prodigal a series of
operas, here came the "Mikado" to double their
admiration. The high-water mark had been raised
by the flood of new, unhoped for delights.
The lyrics of the play are inimitable. Who has
not heard the "wandering minstrel" s<Hig; Eoko's
[111]
SIB WM. S. GILBEBT
jEamouB 'Taken from a county jail" togeOier with
the fltimng march that accompanied it; the popular
''Three Little Maids From School Are We" I the
sentimental duet between Yum Yum and Nanki
Poo ; the incomparable trio (Koko, Pish-Tush, Pooh
Bah) winding up with the triumphant alliteratioD :
To tit in soleiim silence In a dnU, dark, dock.
In a pestilential prison, wtth a life-long lock.
Awaiting the sensation of a short, sharp shock.
From a cheap and chippj Copper on a hig, black
block!
The trio is a masterpiece of contrapuntal music
Each singer gives his own song as a separate unit;
then all three join in repeating their separate 8ong9
together, resulting in an exhibition of vocal count*
erpoint that might well be studied by the empty-
phrased composers of our own day. And lest some
pampered "tired business-man" imagine that such
setting is too difficult for the audience to grasp, let
us hasten with the assurance that this is one of the
most popular numbers in eA the Savoy operas.
There is a plethora of beautifully worded songs ; the
choric ensemble at the close of the first act rises
to grand opera, without the ridiculous seriousness
of the conventional grand-opera libretto.
The first act is such that it seems genius can no
farther go; yet the second crowns admiration with
sheer rapturous wonder. Every yrord of the lyrics
is here literally a gem when taken with the musical
setting. The ludicrous sobriety of the above-men-
[Mffl
A STUDY m MODERN SATIBE
tioned conventional Italian grand-opera libretto can-
not hope to compare with the essentially artistic
mockHSobriety of the comic opera as developed by
Gilbert. The madrigal; the '^Here's a how-de^o''
trio; the Mikado's song; the recital of the false ex-
ecution of Nanki Poo; Ihe Glee ''See how the Fates
iheir gifts allot"; the "Tit Willow" elegy:— all are
incomparable. The appositeness of the Mikado's
punishments may be gaged by his excruciating
penalty for billiard sharps:
The billiard sharp whom any one catches.
His doom's extremely hard —
He's made to dwell
In a dungeon ceU
On a spot that's always barred.
And there he plays extravagant matches
In fitless finger stalls
On a cloth untrue
With a twisted cue.
And eUiptical biUiard balls!
The rigorous Dante could scarcely have imagined
a punishment more fittingly severe. All of which
is in keeping with the Mikado's avowed mission :
My object all sublime
I shall achieve in time —
To let the punishment fit the crime —
The punishment fit the crime;
And make each prisoner pent
Unwillingly represent
A source of innocent merriment.
Of innocent merriment!
[113]
SIB WM. 8. GILBERT
''The flowers that bloom in the spring" are still
quoted as types of eternally irrelevant matter. One
might be tempted to say that the ''Mikado" is the
best work of Gilbert and Sullivan, were it not for
the numerous other candidates for that honor. What
a testimony to the genius of this greatest pair of
the world's collaborators, when experienced, recog-
nized critics each choose a different opera as their
greatest.
Gilbert never tires of lashing the court, with its
ceremonious vacuities. The opening of the opera,
in the very second verse of the chorus, clears all
doubts as to the author's opinion in this regard.
Looking ahead, we may mention a whole scene
devoted to an imitation of court proceedings in
"Utopia". Sing the Japanese statesman, standing
in attitudes which we have been accustomed to be-
hold on Japanese vases:
If you think we are worked by strings,
Uke a Japanese marionette
Tou don't understand these things:
It is simply court etiquette.
Perhaps you suppose tliis throng
Can't keep it up aU day long?
If that's your idea you're Wrong.
Koko's "I've got a little list" (inexcusably omit-
ted m the Chatto-Windus edition) is an excellent
catalogue of petty social offenders "who never would
be missed".
[U41
jk
A STUDY IN MODERN SATIRE
There's the peatUenUal nuieancea who write for
aatogr^pha.
All people who have flabby hands and irritating
laughs —
AU children who are up in dates and floor you
with 'em flat.
All persons who in shaking handb, shake hands
with you like that (business).
• ••••••
The nigger serenader, and others of his race.
And the piano organist —
I've got him on the list!
And the people who eat peppermint and puff
it in your face,
They never would be missed!
They never would be missed!
Then the idiot who praises, with erihusiastic tone.
All centuries but this, and every country but his own —
But why continue a list to which all of us can add
indefinitely ?
The character of Pooh Bah is perhaps the great-
est single creation of Gilbert's. He is the essenco
of cultivated diplomacy behind which lurks the
basest of motives. Every word of his is bought and
paid for; every smile, every courtesy, has its mone-
tary equivalent. The haughty, pompous individu-
al, in his multiple capacities, holds Eoko at his
mercy, and knows it. So that when Eoko wishes
to plan an expensive celebration of his marriage to
Yum Yum, and consults Pooh Bah, the following
takes place:
Pooh. Of gourse, as First Lord of the Treasury.
I could propose a special vote tnat would cover
[116]
Sm WM. S. aiLBEBT
ftll expenses, if it were not that, as a leader of
tbe Opposition, it would be my duty to resist
it, tooth and naiL Or, as Pasrmaster General,
I could so cook the accounts, that as Lord
High Auditor I should never discover the fraud.
But then, as Archbishop of Titipn, it would
be my duty to denounce my own dishonesty
and give myself into my own custody as First
Commissioner of Police.
Koko. That's extremely awkward.
Pooh. I don*t say all these peoide couldn't be
squared; but it is right to tell you that I
shouldn't be sufficiently degraded in my own
estimation unless I was insulted with a very
considera/ble bribe.
This is the official whose ancestry may be traced
''back to a protoplasmal primordial atomic globule".
(Truly a direct slap at the industrious genealogists.)
He it is who "was born sneering". But he strug-
gles hard to overcome his defect; he mortifies his
pride contiually.
When the great officers of State resigned in a
body because they were too proud to serve under
an ex-tailor, did I not unhesitatingly accept aU
their posts at once?
But so great is the hyprocrite's desire to break his
pride (at a profit!) that he dines with middle-
class people on reasonable terms. "I dance at cheap
suburban pai'ties for a moderate fee. I accept re-
freshments at any hands, however lowly. I also
retail State secrets at a very low figure." This is
not the best of satire^ perhaps; it is too carping, too
[116]
\
A STUDY IN MODERN SATIRE
direct; the figure of Pooh Bah, however, enriched
the world's store of characters.
It was a source of chagrin to Gilbert that tibe
next opera, "Ruddigore" (1887) was never really
appreciated by the public. Before his untimely
demise he was even considering a trip to the United
States to aid in its revival. The work is really an
excellent parody on the blood-curdling style of
melodrama, containing much interesting material
and effective lines. Its outcome is, as a piece of
perverted logic, on a par with "Foggerty's Fairy".
Its chorus of professional bridesmaids recalls the
similar female aggregation in the "Trial by Jury",
only that the idea is fully developed in the present
play.
Sometime in the past, the Murgatroyd family, on
accoimt of its unceasing persecution of witches, has
been doomed by an evil spirit to commit a crime
each day. In order to avoid this horrible contin-
gency, Buthven Murgatroyd hides his baronetcy,
and passes the ancestral curse to Despard. The
latter has abandoned his lover Meg, who has gone
crazy as a result of this masculine infidelity. Buth-
ven, under the name Bob Oakapple, woos and wins
Bose, the village beauty; but along comes his
brother Bichard and wins Bose away from Bob.
In a passage of rivalry. Bob regains his ascendancy
over Bose's eifections, leaving Bichard to the re-
source of revenge.
To compass his evil designs, Bichard tells Des-
[117]
SIB WK & GILBEBT
pard that Rob is really the Murgatroyd who should
inherit the ancestral crime-committing curse which
blights Despard's existence. Rose, the vacillating
ingenue, leaves Rob and goes to Despard. But the
latter, conscience stricken, returns to his first love —
Meg. Through all these matrimonial oscillations
the professional bridesmaids chant their patent
wedding lay with supreme indifference to the con-
tracting parties. This is a most delightfully amus-
ing touch, not without its ulterior significance.
The second act finds Rob restored to his rightful
position as possessor of the ancestral doom. Ho
must commit a crime daily. He commissions his
servant Adam to steal a girl from the village; in
nimierous other ways he tries to meet the require-
ments of his unenviable criminal obligations. But
so disgusted with his amateur attempts do his an-
cestors become that they step forth from the picture
gallery in which they are hung up, and condemn
him for his lack of brutality. (This idea of the
portrait gallery comes from an old play of ihe
author's entitled "Ages Ago", originally written for
the German Reeds, so successful in England.)
Adam, true to his master's order, returns with old
Hannah, a woman who has remained staunch to
the memory of Sir Roderic Murgatroyd. This
noble, ten years before, had committed suicide
rather than be bound by his family curse of ex-
ecuting a felony daily. By a piece of characterist-
ic logic Rob proves that the dead Roderic (now
[118]
A STUDY IN MODEBN SATIRE
present to him along with the other complaining
portraits) is really alive.
Rob. stop a bit, both of you.
Rod. This intmsion is unmannerly.
Han. I'm surprised at you.
Rob. I can't stop to apologize — an idea has just
occurred to me. A Baronet of Ruddigore can
only die through refusing to commit his daily
crime.
Rod. No doubt
Rob. Therefore, to refute to commit a daily
crime is tantamount to suicide!
Rod. It would seem £0.
Rob. But suicide is, itself, a crime--HUid so, by
your own showing, you ought never to have died
at an!
Rod. I see— I underetand! Then Fm practic-
ally aliTe!
Which is the point exactly. So Roderic continues
to live, taking his faithful Hannah, and Rob takes
Rose. The witch's curse broken, all ends happily.
The scene of the gallery is well-conceived and
most cleverly carried out. The dialogue is full of
sustained interest. Rose, the amatory weather-vane,
with her constantly evident reference-book of eti-
quette, is a good satiric rebuke to the over-modest,
insincere, '%uch-me-not" sort of creature, though
not lacking in winsomeness.
As a sample of the spirited sailor song by Rich-
ard, the first verse will suffice. The song as a whole
so vexed certain French officers that Gilbert actually
received a challenge to a duel.
[U9]
-^^
SIR WK S. OILBEBT
I shipped, d'ye see, in a Revenne sloop.
And, off Gftpe Finistere,
A merchantman we see,
A Frenchman going tree.
So we made for the bold Mounseer,
D'ye see?
We made for the bold Monnseer.
But she proved to be a Frigate — and she up
with her ports.
And fires with a thirty-two!
It come uncommon near.
But we answered a cheer.
Which paralyzed the Parly-yoo,
D'ye see?
Which paralyzed the Parly-yoo!
Bob's advice, and it must be granted that he pract-
ises what he preaches, is summed up in the fonow-
ing modest terms:
If you wish in the world to advance.
Tour merits you're bound to enhance,
Tott must stir it and stump it.
And blow your own trumpet.
Or, trust me, you haven't a chance!
The prescription has evidently been read, approved
and acted upon by more than one public chaiacter
in this fair land. The chorus of Richard's duet
with Rose is m the same rhythm as the swinging
"greenery, yaUery
Grosvenor gallery
Foot in the grave young man."
from "Patience". In just the terms that we should
[120]
A^ STUDY IN MODERN SATIRE
expect from a sea-faring lover, he chants, with the
ensemble :
For she is such a smart little craft
Such a neat little, sweet little craft —
Such a bright little—
Tight little—
Slii^t UtUe—
Light little—
Trim little, slim little craft!
The eerie song, by Sir Roderic, is a gruesome pic-
ture of ''the dead of the night's high noon", with
its weirdly grotesque picture of love among the in-
habitants of the graveyard. Even in this opera
Oilbert's wit singles out the M. P. for particular
drubbing. Robin, in his laughable song of what
crimes he must commit, takes opportunity to warn
people that the Baronetcy is not a position wholly
free from care. The closing verse runs thus:
Te supple M. P.'s, who go down on your knees.
Your precious identity sinking.
And vote black or white as your leaders indite
(Which saves you the trouble of thinking).
For your country's good name, her repute, or
her shame,
Yon don't care the snufF of a candle-
But you*re paid for the game when you're told
that your name
Will be graced by a baronet's handle —
Oh! allow me to give you a word of advice—
The title's uncommonly dear at the price!
Ah, that America had a Gilbert! What opportuni-
[121]
Sm WK 8. OILBEBT
ties await him I But the majority of our librettiflts
(the composers may well be included) grovel in the
dust for money-returns. Flattery, not satire — ^pan-
dering to low tastesj not cultivation of higher stand-
ards, is their trade.
"The Yeomen of the Guard" (1888) was con-
sidered by Sullivan his best musical getting. It
can hardly be called Gilbert's best libretto, however,
despite its evident aspirations to a higher range than
the Savoy productions had yet entered.
The opera, inspired by tiie Tower of London, is
not truly a comic opera, nor is it so denominated
by the author. This does not prevent Fitzgerald,
however, from stating that the play ends happily
for everybody — ^a statement which is flatly contrar
dieted by the libretto itself. The very last stage
direction in the play is, "Fairfax embraces Elsie as
Point falls insensible at their feet". Which does
not look so happy for poor Point I
Wilfred, one of the Tower guards, has under his
care the redoubtable Fairfax. So great is Fairfax's
fame, that Phoebe has fallen in love with him, al-
though she has never seen him. Her thoughts are
bent only on freeing the prisoner whom she loves;
when, then, her brother Leonard returns from the
wars (we are in the 16th century) she persuades
him to a plan whereby Fairfax may be released.
Meanwhile the condemned prisoner, who is soon tc>
die, determines upon marrying somebody, anybody,
so as to foil the man who has had him imprisoned
[122]
A STUDY IN MODERN SATIRE
in order to come into his wealth. With this pur-
pose a strolling songstress, Elsie, is united to him,
and leaves him, presumably forever.
But the ruse to free Fairfax works successfully,
and he finds himself free, a married man! To
make matters worse, Elsie is beloved by her part-
ner. Jack Point, a merry andrew. To complicate
matters still more, Phoebe, through whose pluck
Fairfax has been released, finds that he really loves
Elsie, despite the queer circumstances of their mar-
riage. Far from all ending well, both Phoebe and
Point are forced to nurse an unrequited affection.
The play is a pleasing, yet not totally satisfactory
mixture of comedy and drama. The lightness of
the lyrics, however, is quite out of harmony with
the sadness of the plot. A lack of proportion makes
itself felt immediately.
Jack Point's scenes are well planned, and his
character is piquantly portrayed, reminding one of
Leoncavallo's "Pagliacci". Here, too, is a jester
whose love is taken away from him, whose mission
it is to sing songs of laughter with a heart of grief.
Oh! A private ibnffoon is a lU;ll^hearted loon.
If yon listen to poimlar rumor;
From morning to night he's bo Joyous and bright,
And he bubbles with wit and good humor!
If yon wish to succeed as a Jester you'U need
To consider each person's auricular:
What Is all right for B would quite scandalize C
(For C Is so very particular):
[123]
SIB WM. 8. OILBEBT
The ballad ''Is life a boon?" received fitting con-
secration when its title was engraved upon Sulliv-
an's memorial monument. The sweet ''Were I thy
bride" inspired one of the composer's most beautifid
songs. The choruses are fully up to the author's
standard. As usual, the producers of the work saw
to it thaf the picturesque background of the action
was sumptuously set forth by the most skilful art
of the scenic director. The chorus of Yeomen i^
spirited and full of martial swing:
Tower Warden
Under orders.
Gallant pikemen, valiant sworders!
Brave in bearing,
Foemen scaring.
In their bygone days of daring!
Ne'er a stranger
Tbere to danger-
Each was o'er the world a ranger:
To the story
Of our glory
Each a bold contributory!
The last line is typical of the author's skill in at
once compressing his meaning within the metric
limit and choosing a striking word as a rhyme.
It will be noted that Gilbert had a special sense
of atmosphere and scenic beauty. Indeed, so high-
ly was this sense developed, that the author used to I
plan his own scenery with meticulous exactness.
As a stage director his insistence may well be
guessed when we are told that for the production
[124]
A STUDY m MODERN SATIRE
of the ''Mikado" he insisted that every male mem-
ber of the chorus adopt the Japanese tonsure. No
mere wigs for this realist I For the scenery of
''Pinafore" we are told that he visited the harbor
of Portsmouth and inspected an actual man-of-war I
This scenic sense it was that finally led him to
the composition of the "Gondoliers" (1889). The
lagoons of Venice and the mythical palace of Bar*
ataria (reminding one of the island to which San-
cho looked forward as a gift from Don Quixote)
lend a picturesque environment to a most laughable
mystery of twins. Nor are we surprised when we
learn that some old woman has been at work chang-
ing babies in their .cradles! But, then, we should
be obliged to her: for, if she hadn't, where would
the story have come from?
The action revolves around the twin brother?
Giuseppe and Marco, gondoliers. One of them is
discovered to be a King, heir to the Baratarian
realm. But who is the real king? Until this mo-
mentous question is decided both Giuseppe and
Marco embark for the island, to reign jointly.
They are admonished by their wives, who have been
recently won in a game of blind man's buff (I),
and with a typical Spanish dance the first act ends.
It becomes evident, however, that neither is the
rightful heir. Due to the baby-changing habit of
Inez, the royal foster-mother, die has, in the hazy
past, substituted her own son for the royal prince
who was entrusted to her care, because tiie latter's
[126]
SIB WM. & OILBEBT
life was threatened! Luiz, the lover of Gasilda^ is
the rightful king of Barataria, and aasumes his
duties at once.
Such an outline purposely omits the topsey-tur-
vey complications of the plot, whidi, by this time,
we have learned to expect from Gilbert. Before
the claim to the throne is straightened out, a min-
iature ^'comedy of errors" takes place, interspersed
with dialogue and songs in Gilbert's most joyous
vein. The satiric boldness of the author knows
no restraint. Particularly good is Don Alhambra's
chant in the second act, — ^a most logical parody on
the doctrine of absolute equality, relating the plight
of a good-natured king of old who promoted every-
body in his realm to the top of the tree. Lord
Chancellors, Bishops, Field Marshals, all ''grew like
asparagus in May.*' But the moral is excellent:
That King, although no one denies
His heart was of ahnormal sise
Tet he'd have acted otherwise
If he had heen acnter.
The end Is easily foretold,
VThen every blessed thing yon hold
Is made of silver or of gold»
You long for simple pewter.
When yon have nothing else to wear
But cloth of gold and satin rare
For cloth of gold yon cease to
Up goes the price of shoddy.
In short, whoever you may he.
To this conclusion you'll agree.
When erery one is sombodee,
Then no one's anybody!
[1281
■ f. i»
A STUDY IN MODERN SATIRE
One recalls (ronzalo's speech in the ''Tempest'^
about a similar absolute democracy reduced to ab-
surdity. Bather blunt satire it is which the author
indulges in against the nobility:
In short if yon'd kindle
The •imrk of a swindle
Lore simpletons into your clatches....
Or hoodwink a debtor
You cannot do better
Than trot out a Duke or a Dachess.
The atmosphere is filled with sweet songs as with
pleasant incense. ''When a merry maiden marries"
and ''Take a pair of sparkling eyes" are among the
author' msost spontaneous creations. Their verbal
melody is^matched only by the enduring music
which Sullivan has given them. As an example
of Gilbert's varied wedding choruses, the following
is characteristically brief, with its petulantly anti-
climactic ending:
Bridegroom and bride!
Knot that's insoluble,
Voices all voluble
HaU tt with pride.
Bridegroom and bride!
Hail it with merriment;
It's an experiment
Frequently tried;
Gilbert's mirth is never so great but what an in^
stinct of restrained sadness seems to brood over his
muse. The quintette in the first act is, in this re-
gard, an excellent example of its kind:
[127]
SIB WIL S. GILBERT
Set aside the doll enlsmm^
We shall guess it all too soon;
Failure brings no kind of stigma—
Dance we to another tune!
String the lyre and All the cap.
Lest on sorrow we shoa;d sup.
Hop and skip to Fancy's fiddle.
Hands across and down the middle —
Life's perhaps the only riddle
That we shrink from giving up!
The Italian chorus at the beginning of the opera
has been recognized as a pleasing satire on the tour-
ists who return from foreign trips with scraps of
the country's language in their memory. All in
all, the "Gondoliers" is as genial a work as Gilbert
wrote for the Savoyards. Not only in the case of
this libretto, but in that of all by the author, it is
difficult to refrain from quoting scene after scene.
Of the temporary break in the relations between
composer and author which occurred about this
time it is neither pleasant nor necessary to speak.
As an indication of their mutual inter-dependence,
it is enough to say that neither Gilbert nor Sulliv-
an wrote anything of lasting consequence in the
interregnum.
From this it is not to be inferred that the work
done by Gilbert at this time is lacking in his best
qualities. The loss of Sullivan's service in setting
to music the ^^Moimtebanks" (1892) was a loss tc
the world of music. The composing was done by
Cellier, who did not live to complete it. The fin-
[128]
A STUDT IN MODEBN SATIRE
ishing touches were entrusted to none other than
GroBsmiih, leading comedian of the Savoy, who
also wrote the music to Gilbert's next ^ort
The plot of the ''Mountebanks" is rather com-
plicated. It probably owes its origin to inverse
suggestion from the 'Talace of Truth". Whereas
in that play people were compelled to tell the real
truth of their opinions, in this libretto we have an
equally drastic charm: one which causes people to
assume in reality the functions and feelings which
hypocritically they maintain!
A secret society (disguised as monks, with their
abode in a monastery, and entering the stage iu
regulation dress to the chant of a Latin hymn I)
plans to waylay the Duke and Duchess, holding
them for a ransom. This scheme is more or less
interfered with by the criss-cross love affairs that
go on within the band's numbers. Ultrice, in-
censed at the love of Alfredo for the flirtatious
Teresa, procures the bottle upon which the charm
depends. By her malicious will all the members
of the band and their allies in the abduction plot
are changed into just what they pretend to be : the
band becomes a collection of friars; a young lady
disguised as an old woman finds genuine wrinkles
upon her brow; Bartolo and Nita, clock-work im-
itations, feel their insides click and whir with main-
springs and cogs ; all is confusion. Only the mercy
of Ultrice restores the band and its friends to their
original state, by burning the label of the mysteri-
[129]
Sm WM. a. 0ILBERT
oua botUe which had acted as charm.
This topsey-turvey plot serves as the opportunity
for much satire and mirth-rousing situations. The
clock-work figures (strolling jester types) remind
us of the animated doll in the ''Tales of Hoffman'\
The subject of ''Hamlet'' is here plainly in Gil-
bert's mind; it was the next year that he wrote the
parody "Bosencrantz and Ouildenstem" already re-
viewed in the third chi^ter.
Bartolo. What! am I to be the only Hamlet who
Is not permitted to dlBCover new readings? Bah!
And there follows a laughable trio based on the
story of the melancholy Dane. But there is some-
thing of the spontaneous spirit missing; the lib-
rettist undoubtedly felt the lack of his former co«
adjutor.
"Haste to the Wedding" (1892) is really a mus-
ical farce, and is a free adaptation of "La Chapeau
de Faille d'ltalie." It contains altogether too much
horse-play, altogether too little satire, and is writ-
ten in that French style which has contaminated
only too many of our more recent libretti. Com-
posed for the sake of mere laughter, there is little,
if any, thought to the farce.
Woodpecker Tapping, on the day of his wedding
to Maria Maguire, accidentally destroys the hat of
a woman who dares not return to her husband until
Woodpecker reduplicates it in some millinery em-
porium. In order to do this the latter must divert
[130]
A STUDY IN MODERN SATIRE
the wedding group into a hat shop, where he lights
upon a former flame of his, Bertha. From now
on the plot becomes a fracas of ludicrous embroil-
ments, winding up with the restoration of the hat-
less woman to her husband, and the disentangle-
ment of Woodpecker's ravelled skein of prenuptial
infelicities.
The opening of the musical play deceives us into
anticipating something of genuine worth:
Today at eleven
Toung Woodpecker Tapping
Will enter the heaven
Of matrimonee —
To 'Ria Maguire
That <beauty entrapping
Woodpecker esquire
United wiU be.
(Dancing) And the bells they will Jingle,
The wine it will bubble,
Ab Woodpecker, single,
Turned Woodpecker double.
Reforming his ways, which are rather too free
Walks into the heaven of matrimonee!
But we are immediately disillusioned, and the plot
becomes utterly conventional.
In "Utopia (Lunited)" (1893) we find the old
collaborators again together. This time we have
the author back at his old, fearless methods — ^not
the English navy, not the army, but all England
with its institutions becomes the object of his in-
cisive satire.
In the "Gondoliers" the reader will have met with
[131]
Sm WIL 8. GILBEBT
the Duke of Plaza Toro, whose idea it had been to
organize himself into a limited comi^uiy in order
to raise funds for his yawning pocketbook« In the
present opera we have the conception of an entire
coimtry being run on the limited plan. And who
knows but what the plan would have worked, were
it not for the intrusion of the ^'superior" intellig-
ence of a company of Englishmen? But that is
anticipating the story.
The country of Utopia, governed in theory by a
Despot, but in practise by two wisemen who keep
a stem watch on the king, has among its numer-
ous paragons Nekaya and Kalyba, the two dau^-
ters of the king, who have been brought up by an
English lady. The rest of the kingdom is in bliss-
ful ignorance of all things English. An uncon-
trollable impulse comes over them to improve their
Utopian existence by the importation of English
manners and ideas. To this end several English
worthies, "Flowers of Progress", are imported, verj'^
much against the advice of the wia^nen, Scaphio
and Phantis. Instructors in army tactics, stage
censors, navy officials, ("Pinafore" is deliberately
recalled by Gilbert) — are brought to Utopia. They
are hailed exultantly:
An Itail, ye types of Bngland's power —
Te heaven-enUghtened band!
We bleis the day and bless the hour
That brought yon to oar land.
Then commences the almost seditious satire against
[132]
A STUDY IN MODERN SATIRE
the vaunting Englishman. The King's song, too
long to quote, is a veritable quiver of arrows aimed
with unfaltering judgment at the social evils of the
day: divorce, slums, poverty, the stage, the hered-
itary peerage, unrecognized literary merit, — ^all in
a patter song of lilting rhythm and telling point.
The imitation of the king's reception, of the. empty
etiquette of royal ceremonials, struck home. The
wisemen are driven to thoughts of a revolution, so
corrupted does the fair Utopia become by the in-
troductioq of English "improvements". The in-
trusion of English "prosperity" has well nigh
ruined the land. There is an analogy, in the en-
tire action, to the "absolute equality" song in the
"Gondoliers". Listen to the complaint of the Uto-
pians:
Boom? Bah! A fleo tor such boons, say we!
These boons have brought Utopia to a standstill!
Our pride and boast — ^the Army and the Navy —
Have both been reconstructed and remodelled
Upon so irresistible a basis
That all the neighboring nations have disarmed —
And War's impossible! Tour Coanty Councillor
Has passed such drastic Sanitary laws
That all the doctors dwindle, starve and die!
The laws, remodelled by Sir Bailey Barre.
Have quite extinguished crime and litigation:
The lawyers starve, and all the jails are let
As model lodgings for the working-classes!
In short —
Utopia, swamped by dull prospeiity.
Demands that these detested Flowers of Progress
[133]
Sm WIL 8. GILBEBT
Be aent about their busineii, and affairs
Restored to their original complexion!
The ironic tinge of the satire makes it all the more
effective.
Typically Gilbertian conceits intensify the laugh-
ableness of the action. The poor king, nominally
a despot, is forced by the wisemen to write scur-
rilous articles about himself under a pseudonym in
the court paper. A truly royal plight does he pre-
pare for himself by false accusations which he is
unable to refute I The two daughters Nekaya and
Kalyba, brou^t up ''on the English sdieme/' are
a highly effective couple.
For Bngliih girls are good as gold.
Extremely modest (so we're told)
Demurely coy — divinely cold —
And we are that — and more.
We show ourselves to loud applause
From ten to four without a pause —
Which is an awkward time because
It cuts into our lunch.
Our well-known blush — our downcast eyes —
Our famous look of mild surprise
(Which competition sUU defie&) —
Our celebrated "Sir!!!"
In contradistinction to this mechanically trained
sort of female creature, Gilbert gives us a rapturous
description of a genuinely loveable maiden:
[134]
A STUDY IN MODERN SATIRE
Her soul is as sweet as the ocean air,
For prudery knows no haven there;
To find mock-modestj, please apply
To the conscious blush and the downcast eye.
Rich in the things contentment brings.
In every pure enjoyment wealthy,
Blithe as a beautiful bird she sings.
For body and mind are hale and healthy.
Her eyes they thrill with right goodwill —
Her heart is light as a floating feather —
As pure and bright as the mountain rill
That leaps and laughs in the Highland heather:
Go search the world and seaxch the sea.
Then come you home and sing with me
There's no such gold and no such pearl
As a bright and beautiful English girl!
Surely if any English maiden might feel offense
at the twin daughters, here was a song to wipe the
slight away. Especially here does Gilbert plea for
truth to one's character. When the Utopians are
hiformed that the twins are not genuine types of
the English girl, they cry out in relief:
Oh, sweet surprise and dear delight
To flnd it undisputed quite —
All muety, fusty rules despite —
That Art is wrong and Natare right!
It is quite beyond cavil that here (in view of what
we know of the author's character) Art stood for
artful affectation, and Nature for the frank develop-
ment of unaffected self.
The "Grand Duke" (1896) represents a good
effort in the decadent style. It is rather florid,
[136]
Sm WIL S. GILBERT
i
swollen in construction, inclining toward the more
recent type of extravaganza. Satire is still present
in a degree uncomfortable to those against whom
it is aimed, but there is an air of c(Hiscious com-
plexity. It is historically significant as being the
last of the Savoy operas ; the two masters were never
again to unite their genius.
Ludwig and Lisa, members of a theatrical troupe
headed by Ernest Dimimkopf, are celebrating their
marriage. The troupe is also a secret society whose
purpose it is to depose the Grand Duke Rudolph of
Speisesaal and elect Ernest to that exalted station.
By a pardonable error, a member of the conspiracy
reveals the secret to the Duke's detective. So in-
censed is the troupe at this, and so frightened lest
the Duke take drastic measures, that a statutory
duel is determined upon between Ludwig, the un-
witting informant, and Ernest. According to this
species of duel, the oombattants draw from a pack
of cards, the highest card winning. The loser jS
legally dead, all his assets and liabilities (no matter
of what nature) reverting to the winner. Ernest
draws a King, Ludwig an Ace— the latter winning.
Ernest being legally dead, Ludwig, (despite Lisas
objections) is forced to accept Ernest's Julia — such
are the requirements of the statutory duel, since
Julia, being Ernest's lady love, is a matrimonial
asset, and the law included assets and liabilities of
every description!
This is but the initial complication. In order
[136]
■
I
A STUDY IN MODERN SATIRE
i
to clear the troupe of the conspiracy charge, Lud-
wig runs to the impecunious Duke^ who is on the
verge of suicide — such is the misery of royalty.
They, in their turn, plan a hatohed up statutory
duel, in which the real Duke is to lose, so as to run
away from the plotters, whom he fears. Then,
after a day (for the statutory law expires within
twenty-four hours) the Duke will resume his place,
as the law will be nullified, acting evidently in an
ex-post-facto manner. After this is so arranged,
Ludwig, wishing to perpetuate his reign, sees to it
that the law is put in force for another century.
But trouble awaits his scheming Royal Highness,
for, having assumed the station of the Duke, all of
the latter's infelicities are delegated to him, and
he rues the hour in which he agreed to the Duke's
plan. Now it happens that some archive-nosing
lawyer discovers that in all statutory duels Ace shall
be reckoned lower, not higher, than King. Ac-
cordingly, the Duke did not really lose, but actual-
ly won, the framed-up duel. This discovery re-
stores everybody to his primitive situation, and all
ends delightfully.
The chorus of chamberlains voices a grudging
welcome to their Duke, in terms not any too flat-
tering to a royal ruler:
The good Grand Dnke of Pfennig Halbpfennlg,
Though, in his own opinion, very very hig,
In point of fact he's nothing but a miserable prig
Is the good Grand Duke of Pfennig Halbpfennig!
[1371
Snt WM. S. OILBEBT
Though quite contemptible; as every one agrees,
We must dissemble if we want our bread and cheese.
So hail him in a chorus, with enthusiasm big.
The good Grand Duke of Pfennig Halbpfennig!
The spunkily-rhymed patter song by Ludwig,
teeming with classical lore and actually indulging
in Latin and Greek, overcomes any objections by
the sheer pulsations of its rhythm. The noble at-
tendants of the Prince and Princess of Monte Car-
lo, (rented and costumed by contract I) are rather
lax in their manners, but the Princess explains that
away very easily:
To account for their shortcomings manifest
We explain in a whisper bated.
They are wealthy members of the brewing Interest
To the Peerage elevated.
(Hired Nobles) To the Peerage elevated.
We're very, very rich.
And accordingly, as sich.
To the Peerage elevated.
A good sample of Gilbert's ample powers of euphem-
ism is afforded by the dialogue between the Prince
and the Princess. (She is a supposed fiancee of
Rudolph's who visits him with the intention or ful-
filling the marriage contract) :
Princess. But papa, where in the world is the
Court? There is positively no one here to receive
us! I can't help feeling Rudolph wants to get
out of it (because Fm poor. He's a miserly little
wretch— that's what he Is.
Prince. Well, I shouldn't go so far as to say
[138]
A STUDY IN MODERN SATIRE
thai I ihould rather describe him as an enthus-
iastic collector of coins— of the realm — and we
must not be too hard upon a numismatist if he
feels a certain disinclination to part with some
of his really yery valuable specimens. It's a
pretty hobby: I've often thought I should like
to collect some coins myselt
•
Truly a hint to all misers!
"His Excellency", with which this review ends,
was set to music by Osmand Carr. "Fallen Fairies"
(1910) modelled upon the author's earlier "Wick-
ed World" has already been commented upon in
connection with that verse play.
"His Excellency" is a well-planned opera imbued
with the practical joke spirit rather than with any
satire such as the earlier libretti reveal.
Griffenfeld, the jovial governor of Elsinore, in
Hamlet's own country, has a habit of playing prac-
tical pranks; like meet people addicted to that mild
mania, he carries his hobby too far. Taking ad-
vantage of the credibility of Sykke, a sculptor, and
Tortenssen, a young doctor, he leads them to be-
lieve that they have received royal appointments.
The two struggling youngsters are thus emboldened
to propose to tiie governor's own daughters, Nanna
and Hiora, only to be flouted in the most humiliat-
ing manner.
His excellency's prank-playing habits become the
talk of the town. His soldiers, who are forced to
dance ballets in real music hall fashion, find their
obligations a trifle out of the nature of the military
[139]
Sm WM. 8. OILBEBT
code I The populace, aroused, complain to the Re-
gent. Griffenfeld, secure in his position, here sees
an opportunity to work off a huge practical joke
upon the whole commimity. He hires Nils Egils-
son, presumably a strolling minstrel (how handy
these wandering songsters do come to be in comic
opera!) to impersonate the Regent, and to mete out
condign punishment to him. He is then to expose
the whole sham amidst the humiliation of the town-
folk I All of which goes off as planned; but the
joke turns against poor Griff enf eld. For the min-
strel is none other than the Regent in disguise, who,
having heard of this all too jovial governor, had
come on an investigation to Elsinorel The gover-
nor is reduced to the rank of a private, while the
youngsters receive royal appointments indeed, with
the consent of their maidens to boot.
The daughters of the governor, who are finally
won by the youths upon whom their father had
played his unholy pranks give voice to an utterance
concerning his amiable Excellency which might
well be applied to Gilbert himself:
Dear Papa is never so hsippy as when he is
making dignified people ridiculons.
It is not the dignity of true worth that Gilbert as-
sails, however, for such dignity is not inconsistent
with wholesome mirth; Gilbert's delight lies in
holding up to ridicule the assumed dignity of hol-
low pomp. The governor's punishment is a fine
[140]
A STUDY IN MODERN SATIRB
piece of justice as well as a hugely humorous situsr
tion.
Topsey tunrey torn the tables!
Tit for tat and tat for tit —
As in fusty fairy fables, —
Badly is the biter bit!
It is with genuine reluctance that the author
abandons this part of his work. The libretti of
Gilbert come to exercise upon the reader an in-
fluence which amounts to nothing less than a fasc-
ination. The characteristic qualities which have
received more or less full treatment in the preced-
ing pages become a part of the reader's intellectual
atmosphere. Fitzgerald has well said of Gilbert that
he "devised a scheme of investing ordinary col-
loquial phrases that seem almost trifling with a
kind of latent ironical humor which is ordinarily
thought too delicate and impalpable for the stage.
To these utterances he gave an importance and con-
trast by curious grotesque surroundings; he added
intended emphasis and brought out their proper
meaning by assidous instruction of those to whom
they were intrusted, so that he seemed, as it were,
to say the things himself". Gilbert the manager
was on a par with Gilbert the author. The expan-
sion of his powers has already been noted.
It will be many, many years before the world
will know another Gilbert. As great as is his fame
already, he has yet to come into his own. And
when he does, the latent powers of the now regener-
ating comic opera will leap into new glory.
[141]
Snt WM. S. GILBERT
CHAPTER FIVE
Gilbert and Sullivan— Contemporary Comic Opera
— Conclusion^-
We have seen that Gilbert's real triumphs lay in
the direction of the comic opera. He found the
stage a prey to the lowest, least refined of bur-
lesque; he left it an endowment of the richest wit
and humor for this genre known in any country.
It must not be forgotten, nevertheless, that much
of this glorious success was due to his musical
partner, Sir Arthur Sullivan. The history of this
famous alliance is not within the scope of the pres-
ent essay; several lives of Sullivan treat the matter
adequately. The intellectual union of these two
men affords one of the rare examples of a truly
wonderful coincidence. Sullivan, and no other, was
just the man at the psychological time to set Gil-
bert's libretti. His musical humor stands unparal-
leled in the art.
Sullivan, on his side, was equally potent as a
reformer of the stage. He came. to the rescue of
[142]
A STUDY IN MODERN SATIRE
comic opera at the very time when it was fast suc-
cumbing to the insidious strains of Offenbach — ^a
man not without a certain irresponsible genius, but
wholly lacking moral equanimity. Sullivan purged
the opera of Frenchy suggestiveness ; he elevated
the plane of its music, harking back to the earlier
English composers; he utilized his vast learning in
establishing a genuinely national, English product.
He introduced ecclesiastical harmonies, and actually
adapted the hymn to comic purpose, without ir*
reverence, be it said, for Sullivan is one of the
greatest writers of church-music we have. His "On-
ward Christian Soldiers" is perhaps the most widely
simg hymn in all hymnaries. His "Lost Chord",
not really a sacred song, but permeated with re-
ligious fervor, has been reckoned among the six
most popular songs ever written. As a composer
of oratorio Sullivan injected into that form a beauty
and life usually foreign to it.
That the author of so much sacred music should
become the veritable saviour of the comic stage
speaks itself for Sullivan's versatility. Speaking of
the Savoy series, Findon says : "Of that wonderful
melody which flows with such crystal purity and
charm through the whole of his work, there is no
need to speak. It has spoken frequently for itself
throughout the past generation. Its captivating
quality made gay the drawing-room, and cheered
the man in the street as he unconsciously himimed
one of the many airs which winged their way
[143
Snt WM. S. GILBERT
through the door of the Savoy Theatre to the four
comers of the earth. Fitzgerald, speaking of the
same operas, — ^in a passage to which every lover
and student of Sullivan will readily consent —
touches upon the really essential part of Sullivan's
genius so far as it relates to Gilbert:
On his part, Sullivan contrived a reaUy wonder-
ful method of nrasical exinressiou, perfectly ap-
propriate to the sense, so at almost to foUow
the inflection of the voice in common conventa-
tion. I venture to say that no one ever before
Bo perfectly conveyed the meaning of a sentence
in common talk by the agency oi musical tones.
The object was not to find woids to show off
the music, but to supply music to iUustrate the
words.
Sullivan put into tone as much humor as the art
could hold. His orchestration, his settings of thie
autobiographical songs, his perfect part-writing, his
unerring instinct in adapting himself to every whim
of Gilbert's verse, — all combine to place his work
upon the highest plane of excellence. His scoring
especially exhibits the reserve, the chastity, the
economy known alone to genius. His sense of
rhythm, superior even to Gilbert's, helped the latter
to obtain a greater variety of combinations, while
on the other hand, Gilbert's words often suggested
the very tune to which they were finally joined.
The collaboration between tiie two was in every
sense "a marriage of true minds".
Some idea of the labor involved may be gained
[144]
.' urt<'-T
A STUDY IN MODEBN SATIRE
from the words of Sullivan himself:
You must remember that a piece of mniic which
will take only two minuteg in actual performance
—quick time — may necessitate two or three
days* hard work in the mere manual labor of
orchestration apart from the question of com-
position. The literary man can avoid sheer
manual labor in a number of ways, but you can-
not dictate musical notation to a secretary....
and every opera means four or five hundred folio
pages of music...
Further insight into Sullivan's pluck may bo
gleaned from the fact that ''Pinafore", that lilting
operetta whose every note sends a thrill of pleasure
through the hearer, was written in Ihe midst of a
most agonizingly painful disease.
Some have ignorantly, or maliciously, compared
Sullivan to Offenbach. Nothing could be more un-
just. Sullivan represents the very antithesis of the
Offenbach cult; his main historical significance to
comic opera, in fact, lies in the story of his gradual
lifting of the English operetta out of the Offenbach
rut. This "Offenbach Fallacy", as Findon has well
named it, is doubtless due to the article by Mao-
Farren in tiie Britannica, where, it seems, Sullivan
is deliberately misrepresented as being the English
Offenbach. Such a definition is a slur upon the
Englishman, who, in point of melodic spontaneity,
technical power and ethical purpose, is above com-
parison with the noncJialant, often ribald Frendh-
man who sought to redeem himself with the "Tales
[145]
SIB WIL S. OILBEBT
of Hoffman". Sullivan is the Wagner of his genre.
If Macfarren was unjust to Sullivan, he was
equally so to Gilbert. In view of the distinction
which we have made between the mock-heroic and
the burlesque (see first chaptw) such a judgment
as Macfarren pronounces on the new style of libretti
is entirely misleading:
A new species of composition has sprang into
being within these thirty years. It maj be de-
•crilbed as burlesque (!) sometimes of stories
that have held mankind's reverence foi ages
(the implication of irreyerence on Qilbert's part
is . absolutely unjustified) sometime of modem
social absurdities, but having the ridiculous for
its main quality, and extravagant in every es-
sential
Evidently one intellect in England failed to ao-
preciate the profound significance of Gilbert's re-
forms. Such opinions written down in a work like
the Britannica injure the impartiality which is
necessary to authority. It smacks too mudi of the
polemic.
The passing of Gilbert and Sullivan has left a
void in the Temple of Oomic Opera which may,
perhaps never again be adequately filled. The mis-
sion which was theirs finds greater expression wh«i»^
brought into direct contrast with the comic opera
stages of today.
In England the masters are already forgotten;
the French "libretto" and American "ragtime'*
[146]
A STUDY IN MODERN SATIRE
have debauched the stage until it has sunk almost
to its former level. Even the very pupils of Sul-
livan (there are honorable exceptions) have aided
in the rapid descent. German, be it said to his
credit, has not derogated from the high trust that
was placed in him when he was given Sullivan's
unfinished ^'Emerald Isle" to complete.
Of France, the least said the better. In view of
the disgraceful connotation which the word
"French" has acquired in the musical comedy
world, it is not surprising to learn that the country
has ever been cold to Sullivan.
On the other hand, Germany, where Sullivan is
as well known as in his own land, rules at present
supreme in the varying phases of latter-day operet-
ta. In the recent work of Oscar Strauss and Lehar
signs of regeneration appear. "The Merry Widow",
although much overestimated, led the way to a host
of productions with some pretense to art. Strauss's
"Chocolate Soldier", wholly apart from its connec-
tion with Shaw's "Arms and the Man", exhibits a
humorous musical commentary in line with Sul-
livanesque methods. Bheinhardt's "Spring Maid"
opened a new vein of charming Viennese melody.
The libretti of these eflPorts, which suffer more than
a sea-change when they are "translated" and im-
ported for home use, are far below the standard of
the music to which they are set.
The bane of the so-called Viennese operetta
is the inevitable waltz which has become a standard
[147]
SIB WIL S. OILBEBT
feature of it This destroys the proportion of the
whole immediately; it is no exaggeration to aver
that in order to introduce the waltz with suflScient
frequen<7 to insure its instantaneous popularity the
modem ''libretto" is tampered with and even wil-
fully ruined.
In America we have thus far produced but two
writers who can lay claim to any consideration in
a review of this sort. — ^Reginald de Koven and
Victor Herbert, ranked hy the writer in the order
named. Neither has established anything like an
indigenous comic opera, although they have both
developed a well-defined individuality.
In "Robin Hood" the former has written a light-
opera classic which may well be taken to represent
America's best effort in the genre. The local color
of the tale, so well caught by the composer, — ^the
skilful chorus' work (de Koven nods betimes) —
the Sullivanesque "Tinker's Song*' — ^the ever-po-
pular "Promise Me" — ^have become a part of the
American public's education. The truly Gilbertian
Sherrif of Nottingham has received added person-
ality from de Koven's score. But whether from
reasons of commercial pressure or from lack of in-
spiration, de Koven has not fulfilled his earlier
promises; such operas as the "Student King", the
"Fencing Master" and "The Wedding Trip" show
that de Koven had it in him, and still has, to write
enduring opera. He errs not so much in musical
power or spontaneous melody, as he does hi a sense
[148]
A STUDY IN MODERN SATIRE
of proportion and in an evident concession to lower
taste. The librettist of "Robin Hood" (Harry B.
Smith) has since shown himself a faithful ally of
the "tired business man".
As to Victor Herbert, with his store of technical
ability and natural gifts, it lay also within his
grasp to regenerate the stage; he has seemed, even
more than his contemporary, unwilling to sacrifice
quick receipts to the slower recognition of genuine
art. "Natoma", his first grand opera, reveals him
in an indiflferently successful attempt ""to do for
American Grand Opera what either he or de Koveu
might have done for Comic Opera in this coun-
try. "Robin Hood',, though we have named it our
light-opera classic, is thoroughly English in atmos-
phere and in execution.
De Koven and Herbert have each a large follow-
ing; de Koven's songs have earned him a place
with our foremost writers; Herbert's songs are of
no especial worth. In his operettas he is too ready
to hide paucity of thought under prolixity of or-
chestration. De Koven, perhaps not so great a
master of orchestral technique, is superior in spon-
taneity of melody. Both have written much that
is absolutely worthless and much that possesses en-
during quality. Neither has shown a oompreh^i-
sion of that homogeneity, that architectural solidity,
that musical unity, which informs every opera by
Gilbert and Sullivan.
The reader must not assume from what is said
[149]
Mb'
Sm WM. S. GILBERT
that the Gilbert and Sullivan works are perfection
in its final form. Sullivan's musical settings are of
more even excellence than Gilbert's libretti; both
men had an instinctive feeling of what we have
called the architecture of the operetta. Their work
exhibits organic structure; to alter a note or to sub-
stitute or transpose a song would be absolutely fatal.
The songs themselves, and choruses, far from be-
ing, as today, thrust in and removed at will, form
an essential, not an incidental, of the plot. They
are developments of the action and germane to it,
not mere functions whose observance is best honored
in the breach. There is, in these literary, artistic
libretti, that symmetry, counterpoise, that harmony
of parts without which a work stands little chance
of being remembered, however flattering its initial
acceptance.
Today, instead of the fearless satire which Gil-
bert at times, perhaps, overdid, we are content to
receive the most empty balderdash, the most sug-
gestive smut, luxurious scenery and silk-stodcing
display. Instead of Sullivan's subtle humor and al-
most symphonic ensemble, we allow our ears to be
tickled with luscious harmonies, swollen orchestra-
tion (which is indeed a boon, since it mercifully
prevents one from hearing the insipidity of the
words I) and our eyes with "Frenchy" costumes dif-
fering from those of cheap burlesque only in their
cost. In fact, in the majority of cases our leading
"comic operas" are merely the lowest burlesque
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A STUDY IN MODERN SATIRE
(with all the indecency that has come to be as-
sociated with the name) transplanted to a theatre
charging "respectable" prices.
The "tired business men" has become symbolic
of all that is futile and dull in popular entertain-
ment. His species it is (may it fast decrease) that
has brought us down to such hodgepodge. There
is no real collaboration today in the field we are dis-
cussing ; it is nothing more than the merest kind of
carpentering that puts a musical production "on the
road". They grow with the rapidity of mushrooms^
and are quite as poisonous. "Stars", which find
little place in the Gilbert-Sullivan scheme of things,
usurp the limelight at the expense of the smallest
pretense to unity. Modem American Comic Opera
is not a musical institution; it is rather a com-
mercial enterprise, wherein music is a necessary
commodity. The same is true, in greater or lees
degree, everywhere else.
Reform cannot proceed from managers whose
sole criterion is the box-office; it can come only in
part from our composers of serious intentions; the
public must be educated.
Even Sullivan and his ally could not have suc-
ceeded without the co-operation of that indefinite,
yet all- powerful mass, the public Publics differ
little all over the world. If such an era of un-
precedented popularity was possible in England,
why is it here impossible? Granted that much of
this phenomenal reception of the Savoy Operas was
SIB WIL S. GILBEBT
due to the no lees phenomenal gifts (at once das-
sic and popular) of Gilbert and Sullivan, the fact
still remains that here is a series of comic operas
that stands both as a model of classic art and as a
record for popular approval and instruction. That
public which supports the genre can alone lead to
its final regeneration.
The operas which have formed the main part of
this little book should be a regular part of the school-
ing of every child. As music they are models of
melodic simplicity and power; as libretti, they serve
to inculcate a more refined standard of humor (even
if at times healthily boisterous) than we have yet,
as a nation, attained. To urge that Gilbert is not
to be understood by the yoimg is to beg the ques-
tion. Such works as "Gulliver" and "Don Quix-
ote" possess a significance surely beyond the young
mind, yet the amusing impossibility of it all ap-
peals to the juvenile sense. It is one of the peculi-
arities of many of our satirists that youth and age
alike find pleasure in their pages.
Some such training is absolutely necessary to
counteract the baneful influaice of Sunday-supple-
ment humor and burlesque, in which term the
writer insists upon including the average musical
play. One generation of children trained from
childhood in the appreciation of Gilbert and Sul-
livan (graded instruction being implied) would help
provide a public that would demand, and receive,
truly worthy comic opera. It has been thought
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A STUDY IN MODERN SATIBE
worth while to digress for a moment to this point,
in order to emphasize the fact that our youth, al-
though trained in the appreciation of art's more
serious phases, are left wholly unguided as to a
proper sense of humor. Perhaps this may explain
why, although many abhor the cheap melodrama
(being able to recognize its defects from a training
in the passions which it so badly presents) they
are still captivated by the no less degrading carica-
tures of comic opera that pass as worthy examples
of this little understood genre.
Inasmuch as one of the main purposes of this
essay has been to provide a starting point for a
more adequate knowledge of classic comic opera,
nothing would be more appropriate than to sum-
marize, as we conclude, the foregoing chapters with
special reference to those qualities that stand out a^
being distinctly Gilbertian.
Gilbert's purpose, as we have seen, was twofold:
to purge the comic stage of its unrefined insipidities
and to correct social foibles by means of his satiric
gifts, often injected with the ''amari aliquid" — ^that
tinge of bitterness — which another might have
failed altogether to control. In order to accomplish
his intentions he employed the utmost resources of
his wit and himior, exercising them mainly in the
field of comic opera, though by no means neglect-
ing the verse and the prose play. His special sense
[IBS]
Sm WM. 8. OILBEBT
of "topsey-turverdom", first announced in his "Bab
Ballads" (which lent many a suggestion to his later
works) was admirably adapted to his aims^ as was
the "fairy'' play, practically his own invention.
Lacking by nature the restraint necessary to straight
comedy and regular drama, he shines in farce and
in the libretto; here his genial plots, infused with
the breath of his rhythmic swing, his rhyming dex-
terity and his pungent dialogue, pulsate with a live-
ly merriment that is usually calculated to lead to
thought. An undercurrent of serious ideas is rare-
ly absent from Gilbert's best endeavors, and reflects
the essentially serious nature of the man. He is
more than mummer, ^d insists on being taken
none the less in eaimest because he happens to deal
in frolic rather than sobriety. His quaint conceits,
his inimitable wit, his substitution of mock-heroic
for burlesque, cultivated a taste for refined amuse-
mefat and gave to the world a series of unequalled
libretti.
Something like a general plan of the libretti may
be gained from a composite view of them. We are
usually presented with a similar set of dharaet^rs^
due to the fact that Gilbert (in accordance with the
ideas of our modem dramaturgic theorists, part-
icularly Brander Matthews and Clayton Hamilton)
wrote considerably for a given group of artists.
Thus, he knew beforehand, and was avowedly
guided by the knowledge, that Grossmith (after-
wards composer for Gilbert) was to interpret the
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