"When the enterprising burglar's not a-burgling,When the cut-throat isn't occupied in crime,He loves to hear the little brook a-gurglingAnd listen to the merry village chime.When the coster's finished jumping on his mother,He loves to lie a-basking in the sun.Ah! Take one consideration with anotherThe policeman's lot is not a happy one."
Sounds are heard that indicate the pirates' approach. The police conceal themselves, and soon the intruders enter, armed with all kinds of burglarious tools, and with a cat-like tread (they say so, at least, though they are singing their loudest). They are interrupted, not by the police, but by the appearance of General Stanley. He has had a sleepless night, the effect of a tortured conscience, and he comes in in a dressing-gown and carrying a light. Soon his daughters also appear in their night-caps. The General is seized and ordered to prepare for death. Frederic, even on Mabel's entreaties, cannot save him, for is he not himself a pirate again?
Eventually the police, having passively watched the situation so long, summon up courage and tackle the pirates, but they are soon overcome. The sergeant, who with the rest of his men is held prostrate under drawn swords, then calls upon the ruffians to surrender in the name of the Queen. The command acts like magic. Loyally the pirates kneel to their captives, for it transpires from Ruth's lips that they are really "no members of the common throng; they are all noblemen who have gone wrong." All ends happily. The Pirates of Penzance promise to return forthwith to their legislative duties in the House of Lords and, in doing so, they are to share their coronets with the beautiful daughters of old General Stanley.
Produced April 23rd, 1881.
There is satire in the very name of this opera. The craze for æstheticism against which it was directed must have placed a strain on the patience of so brilliant an exponent of British commonsense as Sir William Gilbert.
Shortly before the play opens, twenty of the maidens of the village adjoining Castle Bunthorne had fallen in love with the officers of the 35th Heavy Dragoons. But when Reginald Bunthorne, a fleshly poet and a devotee of the æsthetic cult, arrived at the castle, they had fallen out of love with their Dragoons and united with Lady Jane (of uncertain age) in worshipping him. When the curtain rises the "twenty love-sick maidens" are lamenting that Bunthorne is "ice-insensible." Lady Jane tells them that he loves Patience, the village milkmaid, who is seen regarding them with pity. Lady Angela tells Patience that if she has never loved she can never have known true happiness. Patience replies that "the truly happy always seem to have so much on their minds," and "never seem quite well." Lady Jane explains that it is "Notindigestion, but æsthetic transfiguration." Patience informs the ladies that the35th Dragoon Guards have arrived. Lady Ella declares, "We care nothing for Dragoon Guards." "But," exclaims Patience, "You were all engaged to them." "Our minds have been etherealised, our perceptions exalted," answers Lady Angela, who calls on the others to lift up their voices in morning carol to "Our Reginald."
The 35th Dragoons arrive and the Colonel gives us in song:—
"A receipt for that popular mysteryKnown to the world as a Heavy Dragoon."
One of them who arrives later looks miserable, but declares "I'm as cheerful as a poor devil can be, who has the misfortune to be a Duke with a thousand a day." His wretchedness is not relieved by the entrance of Bunthorne, followed by the maidens, who ignore the Dragoons. The Poet pretends to be absorbed in the composition of a poem, but he slyly observes, "I hear plainly all they say, twenty love-sick maidens they." Lady Jane explains to the soldiers that Bunthorne has idealised them. Bunthorne meanwhile is to be seen writhing in the throes of composition. "Finished!" he exclaims and faints in the arms of the Colonel. When he recovers, the love-sick maidens entreat him to read the poem. "Shall I?" he asks. Fiercely the Dragoons shout "No!" but bidding the ladies to "Cling passionately to one another," he recites "Oh, Hollow! Hollow! Hollow!" When the Colonel reminds the ladies that they are engaged to the Dragoons, Lady Saphir says, "It can never be. You are not Empyrean," while Lady Jane sneers at the crudity of their red and yellow uniforms. The Dragoons resent this "insult" to a uniform which has been "as successful in the courts of Venus as in the field of Mars," and lament that "the peripatetics of long-haired æsthetics" should have captured the ladies' fancy. Angrily they return to their camp.
Bunthorne, left "alone and unobserved," confesses to being an "æsthetic sham." "In short," he says, "my mediævalism's affectation, born of a morbid love of admiration." Then Patience enters, and he makes love to her. She repulses him, and tragically he bids herfarewell. Lady Angela implores her to "Try, try, try to love." She dilates upon the "Ennobling and unselfish passion" until Patience declares, "I won't go to bed until I'm head over ears in love with somebody." Patience soliloquises, "I had no idea love was a duty. No wonder they all look so unhappy. I'll go at once and fall in love with—" but stops, startled by a figure almost as grotesque as Bunthorne, and exclaims, "A stranger!" The stranger is Archibald Grosvenor, an idyllic poet, who plunges boldly into a declaration of love with his "Prithee pretty maiden, will you marry me." Patience replies, "I do not know you and therefore must decline." He reveals that he was her sweetheart in childhood's days. Grosvenor begs Patience imagine "The horror of his situation, gifted with unrivalled beauty, and madly loved at first sight by every woman he meets." When Patience enquires why he does not disfigure himself to escape such persecution, he replies, "These gifts were given to me for the enjoyment and delectation of my fellow creatures. I am a trustee for beauty." Grosvenor and Patience plight their troth, but as she remembers that love must be unselfish, and that Grosvenor is so beautiful that there can be no unselfishness in loving him, they bid each other "Farewell." Just as they are parting it occurs to Patience that it cannot be selfish for Grosvenor to love her, and he promises, "I'll go on adoring."
Bunthorne, crowned and garlanded with roses, returns accompanied by his solicitor and the ladies. The Dragoons arrive also, and ask Bunthorne why he should be so arrayed. He explains that, heart-broken by Patience's rejection, and on the advice of his solicitor, he has put himself up to be raffled for by his admirers. The Dragoons make a fruitless appeal to the ladies in a song by the Duke. The drawing is about to take place when Patience enters, craves Bunthorne's pardon, and offers to be his bride. When Bunthorne rejoices that this is due to the fact that she loves him fondly, Patience tells him that it is because "A maiden who devotes herself to loving you, is prompted by no selfish view."
This scene leads to a temporary reconciliation betweenthe Dragoons and the ladies, who embrace each other and declare that "Never, oh never, this heart will range from that old, old love again." Then Grosvenor enters. He walks slowly, engrossed in reading. The ladies are strangely fascinated by him and gradually withdraw from the arms of their martial admirers. Lady Angela asks:—
"But who is this, whose god-like graceProclaims he comes of noble race."
Grosvenor replies: "I'm a broken-hearted troubadour.... I am æsthetic and poetic." With one voice the ladies cry "Then we love you," and leaving their Dragoons they kneel round Grosvenor, arousing the fury of Bunthorne and the horror not only of the Dragoons, but of Grosvenor himself, who declares that "Again my cursed comeliness spreads hopeless anguish and distress."
The curtain falls on this scene, and when it rises again Lady Jane is discovered soliloquising upon the fickle crew who have deserted Bunthorne and sworn allegiance to Grosvenor. She alone is faithful to Bunthorne. Grosvenor enters, followed by the twenty love-sick maidens, pleading for "A gentle smile." He reads them two decalets, and wearying of their worship, he tells them that his heart is fixed elsewhere, and bids them remember the fable of the magnet and the churn.
Bunthorne and Lady Jane return. The poet is indignant that Grosvenor has cut him out. Lady Jane assures him that she is still faithful, but promises to help him to vanquish his rival, and to achieve this purpose they concert a plan.
Then the Duke, the Colonel and the Major appear. They have discarded their uniforms and adopted an æsthetic dress and make-up, and they practise the attitudes which they imagine will appeal to the ladies. When two of these appear, it is evident that the plan is succeeding, for Lady Angela exclaims, "See! The immortal fire has descended upon them." The officers explain they are doing this at some personal inconvenience to show their devotion, and hope that it is not without effect. They are assured that their conversion to the æsthetic art in its highest development has touched the ladies deeply.
In due course the officers and ladies disappear and give place to Grosvenor. Looking at his reflection in a hand mirror, he declares, "Ah! I am a veritable Narcissus." Bunthorne now wanders on, talking to himself, and declaring that he cannot live without admiration. He accuses Grosvenor of monopolising the attentions of the young ladies. Grosvenor assures him that they are the plague of his life, and asks how he can escape from his predicament. Bunthorne orders him completely to change his appearance, so as to appear absolutely commonplace. At first Grosvenor declines, but when Bunthorne threatens to curse him, he yields cheerfully, and Bunthorne rejoices in the prospect that:—
"When I go out of doorOf damozels a score,All sighing and burning,And clinging and yearningWill follow me as before."
Patience enters to find him dancing, and he tells her that, in future, he will be a changed man, having modelled himself upon Grosvenor. She expresses joy, but then recoils from him as she remembers that, as he is now to be utterly free from defect of any kind, her love for him cannot be absolutely unselfish.
Just as Bunthorne is offering to relapse, Grosvenor enters, followed by the ladies and the Dragoons. Grosvenor has assumed an absolutely commonplace appearance. They all dance cheerfully round the stage, and when Bunthorne asks the ladies "What it all means," they tell him that as Grosvenor or "Archibald the All-right cannot be all wrong," and as he has discarded æstheticism, "It proves that æstheticism ought to be discarded." Patience now discovers that she is free to love Grosvenor. Bunthorne is disappointed, but Lady Jane, who is still æsthetic tells him to cheer up, as she will never forsake him. They have scarcely time to embrace before the Colonel announces that the Duke has determined to choose a bride. He selects Lady Jane, greatly to the disgust of Bunthorne, who, finding himself the odd man out, declares, "I shall have to be contented with a tulip or lily."
HENRY A. LYTTON AS "BUNTHORNE" IN "PATIENCE."A. LYTTONAS"BUNTHORNE" IN "PATIENCE."
Produced November 25th, 1882.
Iolanthe was a Fairy—the life and soul of Fairyland. She wrote all the fairy songs and arranged the fairy dances. For twenty-five years Iolanthe has been in banishment. She had transgressed the fairy law by marrying a mortal, and it was only the Queen's love which saved her from death.
When the curtain rises we witness a gathering of fairies, hear them sing one of Iolanthe's songs, and see them trip her measures. They lament her absence and plead for her pardon. Compassion allied to curiosity impels the Queen to recall Iolanthe. For Iolanthe had chosen to dwell at the bottom of a stream, on whose banks we see the fairies disporting themselves. Rising from the pool, clad in water-weeds, Iolanthe receives the Royal pardon. Compassion having been exercised, curiosity demands satisfaction. The Queen enquires why Iolanthe should have chosen to live at the bottom of a stream. Iolanthe then reveals her secret. She has a son who was born shortly after her banishment, and she wished to be near him. The Queen and the other fairies are deeply interested, and just as the Queen is expressing her desire to see the "half-fairy, half-mortal" Arcadian shepherd, Strephon, he dances up to Iolanthe, and with song and pipe urges her to rejoice because "I'm to be married to-day." Iolanthe tells Strephon that she has been pardoned, and presents Strephon to the Queen and to her fairy sisters. "My aunts!" exclaimed Strephon with obvious delight.
Strephon explains the peculiar difficulties consequent on being only half a fairy, and the Queen promises that henceforward the fairies will always be ready to come to his aid should be he in "doubt or danger, peril or perplexitee." Strephon is now joined by Phyllis—a beautiful ward of Chancery and his bride-elect. In the prelude to one of the most delightful love-songs ever written, Phyllis reveals her fear of the consequences which may fall upon Strephon for marrying her withoutthe consent of the Lord Chancellor, and Strephon demonstrates that his fairy ancestry has not freed him from the pangs of jealousy.
We now witness the entrance and march of the peers in their gorgeous robes, to the strains of magnificent music, ending with a chorus which is assumed to embody the traditional attitude of the peers to the people:—
"Bow, bow ye lower middle classes,Bow, bow ye tradesmen, bow ye masses."
The Lord Chancellor enters at the conclusion of this chorus, and after a song upon his responsibilities as "The constitutional guardian I, of pretty young wards in Chancery," he announces that the business before the House concerns the disposal of the hand of Phyllis, a Ward of Court. All the peers have fallen in love with her and wish the Lord Chancellor to bestow her upon the one whom she may select. The Lord Chancellor confesses to being "singularly attracted by this young person" and laments that his judicial position prevents him from awarding her to himself. Phyllis arrives, and after being proposed to by Lord Tolloller and Lord Mount-Ararat, the whole of the peers invite her acceptance of their coronets and hearts. Phyllis tells them that already "her heart is given." The Lord Chancellor indignantly demands the name of her lover. Before Phyllis can reply, Strephon opportunely enters the "House" and claims "his darling's hand." The peers depart, dignified and stately, with haughty and disdainful glances upon the lovers.
The glee with which Strephon and Phyllis have regarded their departure is suddenly ended by the wrathful "Now, sir!" of the Lord Chancellor, who separates the lovers and bids Phyllis depart. His severe and sarcastic admonitions leave Strephon lamenting. Iolanthe returns to find her son in tears. As she tenderly consoles him, Phyllis stealthily re-enters escorted by the peers. Knowing nothing of her lover's fairy origin, and seeing him embracing one who appears equally young and beautiful as herself, she breaks from the hands of the peers just as Iolanthe and Strephon are parting, and accuses the latter of shameless deceit. Strephon'sexplanation that "this lady's my mother" is disbelieved by Phyllis and greeted with derision by the peers, who decline to admit that "a maid of seventeen" can be the mother of "a man of four or five-and-twenty."
Believing herself to have been deceived by Strephon, Phyllis now ruefully offers to accept either Tolloller or Mount-Ararat, but doesn't care which. Just as she has placed the noble lords in this quandary, Strephon reappears, and invokes the aid of the Fairy Queen. Instantaneously the fairy band are seen "tripping hither, tripping thither" among the amazed peers, while the slender Lord Chancellor encounters a rude shock when he collides with the massive form of the Queen. Strephon tells his tale of woe, and there follows an amazing and amusing exchange of reproach and ridicule. The infuriated Queen determines to punish the peers. Strephon shall go into Parliament to wreak vengeance on them. The recital of the measures which he is to carry through Parliament alarms the peers, and the first Act ends, after a pretence at defiance, in their vainly suing for mercy.
The second Act of "Iolanthe" is staged in the Palace Yard at Westminster. A solitary sentry is discovered moralising upon the proceedings in "that House." He has observed that if the members have—
"A brain and cerebellum, too,They've got to leave that brain outsideAnd vote just as their leaders tell 'em to."
Presently the fairies reappear and rejoice over Strephon's success as a member of Parliament. Then the peers enter and reveal their annoyance with Strephon, whom they describe as "a Parliamentary Pickford—he carries everything." A heated argument ensues between the fairies and the peers. It is ended by a song from Mount-Ararat in praise of the House of Peers, which sparkles with satire on the members of that ancient institution, who make "no pretence to intellectual eminence or scholarship sublime."
Having pleaded in vain that the fairies should prevent Strephon from doing further mischief, they depart in anger, and the Queen enters to find her band gazing wistfully after them. Scenting danger, the Queen callsupon them to subdue this "weakness," Celia retorts that "the weakness is so strong." The Queen replies by protesting that, although she herself is not "insensible to the effect of manly beauty" in the person of the stalwart Guardsman still on sentry-go, she is able to subdue her feelings, though in the famous "Captain Shaw" song which follows she asks:—
"Could thy BrigadeWith cold cascadeQuench my great love, I wonder?"
Phyllis now re-appears, seeming very unhappy, and is presently joined by Tolloller and Mount-Ararat, who wrangle as to which shall yield her to the other. Phyllis implores them not to fight for her. "It is not worth while," she declares, and after a moment's reflection they agree that "the sacred ties of friendship are paramount." Following the departure of the trio there enters the Lord Chancellor looking dejected and very miserable. He, too, it will be remembered, had fallen in love with Phyllis, and he now mourns aloud that "love unrequited robs him of his rest." Mount-Ararat and Tolloller join him and express their concern at his woebegone appearance. He explains, and they persuade him to make another application to himself for permission to marry Phyllis. Then Phyllis and Strephon encounter each other in the Palace Square. Taunted by a reference to his "young" mother, Strephon discloses that she is a fairy. This leads to a reconciliation. Iolanthe joins them, and when they ask her to appeal to the Lord Chancellor for his consent to their marriage, she reveals the secret of her life. The Lord Chancellor is her husband! He thinks her dead, and she is bound under penalty of death not to undeceive him. The Lord Chancellor enters exclaiming "Victory! victory!" In the highest spirits he relates how he had wrested from himself permission to marry Phyllis. Then Iolanthe, still hiding her identity, pleads Strephon's cause. When he refuses her plea, she determines to gain happiness for her son even at the cost of her own life. Despite the warning song of her fairy sisters, Iolanthe shocks the Chancellor with the words, "It may not be—I am thy wife."
TheFairy Queen breaks in upon this tragic episode with the threat of Iolanthe's doom, but ere it can be pronounced the Fairy Leila tells the Queen that if Iolanthe must die so must they all, for all have married peers. Bewildered by this dilemma the Fairy Queen is greatly relieved when the Lord Chancellor suggests that instead of the fairy law reading "Every fairy must die who marries a mortal" it should be "Every fairy must die who don't marry a mortal." Accepting the suggestion the Queen finds her own life in peril. She proposes to the stalwart Grenadier still on duty, who gallantly accepts. The peers also agree to exchange the "House of Peers for House of Peris." Wings spring from their shoulders and away they all fly, "Up in the sky, ever so high," where "pleasures come in endless series."
Produced January 5th, 1884.
Princess Ida was the daughter of King Gama, and when but twelve-months' old, she had been betrothed to Prince Hilarion, the two-year-old son of King Hildebrand. The opening scene presents King Hildebrand and his courtiers awaiting the arrival of King Gama and Princess Ida for the celebration of the nuptials in accordance with the marriage contract. Some doubt exists as to whether this will be honoured, for Prince Hilarion has heard that his bride has "forsworn the world." It is presently announced that Gama and his train are approaching. His appearance is preceded by that of three bearded warriors clad in armour, who declare that they are "Sons of Gama Rex," and naïvely add, "Like most sons are we, masculine in sex." They are followed by Gama, who fits in appearance Hildebrand's description of him as "a twisted monster—all awry." In a three-verse song Gama describes his own character in detail, each verse ending:—
"Yet everybody thinks I'm such a disagreeable manAnd I can't think why."
Gama proceeds to justify the universal opinion by his venomous remarks to Hildebrand's courtiers, and when Hildebrand demands the reason for Ida's absence, he becomes insulting. Later, he relates that Ida has established and rules a Woman's University in Castle Adamant, from which all males are excluded. Gama tells Hilarion that if he addresses the lady most politely she may deign to look on him. Hildebrand bids Hilarion to go to Castle Adamant and claim Ida as his wife, but adds that if she refuses, his soldiers will "storm the lady." King Gama is detained as hostage, with the warning that "should Hilarion disappear, we will hang you, never fear, most politely, most politely." Gama and his three sons are then marched off to their prison cell.
In the second act, we are transported to Castle Adamant, and behold, in the gardens, Lady Psyche surrounded by girl graduates. Lady Blanche arrives, and reads to them the Princess Ida's list of punishments. One student is expelled for bringing in a set of chessmen, while another is punished for having sketched a perambulator. Then Princess Ida herself enters, and is hailed by the students as a "mighty maiden with a mission." Her address to the students is intended to demonstrate woman's superiority over man. Then Lady Blanche, in announcing a lecture by herself on abstract philosophy, reveals that the exclusion of the male sex from the university has not banished jealousy. Ida and the students enter the castle. Hardly have they gone, when Hilarion, accompanied by Cyril and Florian, are seen climbing the garden wall. They don some collegiate robes which they discover, and are appropriately jocular regarding their transformation into "three lovely undergraduates." Surprised by the entry of Princess Ida, they determine to present themselves as would-be students, and she promises them that "if all you say is true, you'll spend with us a happy,happy time." The Princess leaves them alone, but as she goes Lady Psyche enters unobserved. She overhears their conversation, and is amazed by it, but not more so than Florian when he finds that Lady Psyche is his sister. The men entrust her with their secret. She warns them that discovery may mean death, and sings them a song which sums up the Princess Ida's teaching to the effect that man "at best is only a monkey shaved." Melissa now enters. She learns that the visitors are men and loyally promises secrecy. Whilst they are heartily enjoying themselves Lady Blanche, who is the mother of Melissa, has observed them, and as all five are leaving the gardens, she calls Melissa and taxes her with the facts. Melissa explains the situation, and persuades her mother to assist Hilarion's plan.
In the next scene the Princess Ida and the students are seen at an alfresco luncheon. Cyril becomes tipsy, discloses the secret of the intruders, and scandalises the Princess by singing an "old kissing song":—
"Would you know the kind of maidSets my heart aflame—a?"
In her excitement at this revelation the Princess falls into the stream which flows through the gardens. Hilarion rescues her, but this gallant feat does not shake the lady's resolution, and she orders their arrest. As they are marched away Melissa brings news of an armed band without the castle. Speedily Hildebrand, at the head of his soldiers, confronts Ida. The three sons of Gama, still clad in armour, warn her that refusal to yield means death. Hildebrand gives Ida until the next day to "decide to pocket your pride and let Hilarion claim his bride." The curtain falls upon the Princess hurling defiance at Hildebrand.
When the curtain rises for the third time, we discover that the outer walls and courtyard of Castle Adamant are held by Princess Ida's students, who are armed with battle-axes, and who sing of "Death to the invader." The Princess comes attended by Blanche and Psyche, and warns them that "we have to meet stern bearded warriors in fight to-day." She bids them remember that they have to show that they "can meetMan face to face on his own ground, and beat him there." But as she reviews her forces, she meets with disappointment. The lady surgeon declares that, although she has often cut off legs and arms in theory, she won't cut off "real live legs and arms." The armourer explains that the rifles have been left in the armoury "for fear ... they might go off." The band-mistress excuses the absence of the band who "can't come out to-day." Contemptuously, Ida bids them depart. Lamenting the failure of her plan, she is surprised by the arrival of her father, who announces that he is to give a message from Hildebrand, and then return to "black captivity." The message is that, being loth to war with women, Hildebrand wishes Ida to consent to the disposal of her hand being settled by combat between her three brothers and three of Hildebrand's knights. Ida demands of her father what possesses him that he should convey such an offer. Gama replies: "He tortures me with torments worse than death," and in pity she yields to the proposal.
While the girls mount the battlements, Hildebrand and his soldiers enter, and there is a fight between Gama's sons and Hilarion, Cyril and Florian. The latter are victorious. Seeing her brothers lying wounded, Ida cries "Hold—we yield ourselves to you," and resigns the headship of the University to Lady Blanche. Sadly Ida admits the failure of her scheme. She had hoped to band all women together to adjure tyrannic man. To Hildebrand she says that if her scheme had been successful "at my exalted name posterity would bow." Hildebrand retorts, "If you enlist all women in your cause—how is this posterity to be provided?" Ida turns to Hilarion, admitting her error to him, and the opera ends with the company declaring:—
"It were profanity for poor humanityTo treat as vanity the sway of love.In no locality or principalityIs our mortality its sway above."
HENRY A. LYTTON AS "KING GAMA" IN "PRINCESS IDA."A. LYTTONAS"KING GAMA" IN "PRINCESS IDA."
Produced March 14th, 1885.
Although this opera is entitled "The Mikado" very little is seen of that great potentate, which is quite in accordance with Japanese custom, so vastly different to ours in matters of Royalty. The opera concerns much more closely the adventures of Nanki-Poo, the Mikado's son and heir, who has fled in disguise from the Court to escape from Katisha, an elderly lady whom the Mikado had ordered him to marry within a week or perish.
Immediately after the opening chorus by the gentlemen of Japan the disguised Crown Prince enters. He is labouring under great excitement, and begs for information as to the dwelling of "a gentle maiden, Yum-Yum." One of the Japanese nobles asks, "Who are you?" and he replies in a delightful song—
"A wandering minstrel I,A thing of shreds and patches,Of ballads, songs and snatches,And dreamy lullaby."
In reply to a further question as to his business with the maiden, Nanki-Poo takes the gentlemen of Japan partly into his confidence. He explains that a year before he had fallen in love with Yum-Yum, who returned his affection. As, however, she was betrothed to her guardian Ko-Ko, a cheap tailor, he had left Titipu in despair. Learning that Ko-Ko has been condemned to death for flirting, he now hoped to find Yum-Yum free. Alas! for Nanki-Poo's hopes, they inform him that not only has Ko-Ko been reprieved, but that he has been elevated to the highest rank a citizen can attain, and is now Lord High Executioner. Pish Tush explains that, in order to circumvent the Mikado's decree making flirtation a capital offence, they have appointed Ko-Ko as Lord High Executioner, because, being under sentence of death himself, he cannot cut off anybody else's head until he has cut off his own.
Expressing his sense of the condescension shown to him by Pooh-Bah, that portly personage explains that although "a particularly haughty and exclusive person" who can trace his ancestry back to "a protoplasmic, primordial, atomic globule," he mortifies his family pride. In proof of this he points out that, when all the other high officers of State had resigned because they were too proud to serve under an ex-tailor, he had accepted all their posts (and the salaries attached) at once, so that he is now First Lord of the Treasury, Lord Chief Justice, Commander-in-Chief, Lord High Admiral, Master of the Buckhounds, Groom of the Back Stairs, Archbishop, and Lord Mayor.
Pooh-Bah informs Nanki-Poo that Yum-Yum is arriving from school that very day to be married to Ko-Ko. Ko-Ko enters, preceded by a chorus of nobles, and Pooh-Bah refers Nanki-Poo to him for any further information concerning Yum-Yum. This is Ko-Ko's first public appearance as Lord High Executioner, and after thanking the nobles for their welcome, he promises strict attention to his duties. Happily, he remarks, "there will be no difficulty in finding plenty of people whose loss will be a distinct gain to society at large." He proceeds to mention in a song that he's got "a little list" of possible victims and "they'll none of 'em be missed."
So far the opera has been an exclusively masculine affair, but Yum-Yum now arrives escorted by a bevy of dainty schoolfellows, who sing of their "Wondering what the world can be." This little chorus contains two exquisite verses—
"Is it but a world of troubleSadness set to song?Is its beauty but a bubble,Bound to break ere long?""Are its palaces and pleasuresFantasies that fade?And the glory of its treasuresShadows of a shade?"
Yum-Yum and her bridesmaids, Peep-bo and Pitti Sing, introduce themselves by the delicious trio, "Three Little Maids." Ko-Ko and Pooh-Bah enter, and Yum-Yum reluctantly permits Ko-Ko to kiss her. At this moment, Nanki-Poo arrives and the "three little maids" rush over to him and welcome him with great effusion. Ko-Ko's jealousy is aroused, and he asks to bepresented. Right boyishly Nanki-Poo blurts out to Ko-Ko that he loves Yum-Yum. He expects Ko-Ko to be angry, but instead Ko-Ko thanks him for agreeing with him as to the lady's charms. Presently Nanki-Poo and Yum-Yum manage to get the Courtyard to themselves. During theirtête-a-têteNanki-Poo reveals his secret to Yum-Yum. They are interrupted by the appearance of Ko-Ko and escape in different directions. As Ko-Ko soliloquises upon his beloved, he is interrupted by Pooh-Bah with a letter from the Mikado. This is an intimation that, as no executions have taken place in Titipu for a year, the office of Lord High Executioner will be abolished and the city reduced to the rank of a village unless somebody is beheaded within one month. As this would involve the city in ruin, Ko-Ko declares that he will have to execute someone. Pooh-Bah, pointing out that Ko-Ko himself is under sentence of death, suggests that he should execute himself. This leads to an acrimonious discussion, which is ended by Ko-Ko appointing Pooh-Bah, who is already holding all the other high offices of State, to be Lord High Substitute (for himself as a victim of the headsman). But Pooh-Bah declares "I must set bounds to my insatiable ambition." He draws the line at his own death.
Whilst Ko-Ko is lamenting the position as "simply appalling" he is disturbed by the entrance of Nanki-Poo with a rope in his hands. He has made up his mind to commit suicide because Ko-Ko is going to marry Yum-Yum. Finding "threats, entreaties, prayers all useless" Ko-Ko is struck with a brilliant idea. He suggests that Nanki-Poo should at the end of a month's time "be beheaded handsomely at the hands of the Public Executioner." To this Nanki-Poo agrees on condition that Ko-Ko permits him to marry Yum-Yum. Reluctantly Ko-Ko accepts the condition, and when Pooh-Bah returns to enquire what Ko-Ko has decided to do in regard to an execution, he replies, "Congratulate me! I've found a volunteer." Whilst the townsfolk of Titipu are bantering Nanki-Poo on the prospect of marriage and death, their revelry is interrupted by the arrival of the lady who was the cause of Nanki-Poo's wandering. Katisha discovers Nanki-Pooand calls upon him to "give me my place." When he refuses she would have revealed his identity, but every time she tries to say "He is the son of your Mikado" her voice is drowned by the singing of Nanki-Poo, Yum-Yum and the chorus. Eventually Katisha rushes away threatening furious vengeance.
When the curtain rises again the scene is the garden of Ko-Ko's palace. We see Yum-Yum decked by her bridesmaids for the wedding, while they sing of her loveliness, and Pitti-Sing bids her "Sit with downcast eye; let it brim with dew." Pitti-Sing tells her also that "modesty at marriage tide well becomes a pretty bride," but this admonition seems lost upon a bride who, when her adornment is complete, frankly revels in her beauty. In "The Sun whose rays," a song of entrancing melody, she declares, "I mean to rule the earth as he the sky."
But her rapture is marred by the reminder from Peep-Bo that her bridegroom has only a month to live. Nanki-Poo finds her in tears, and has much difficulty in comforting her, their feelings being aptly expressed in that wonderful madrigal, which although it begins so joyfully with "Brightly dawns our wedding day," yet ends in tears. Ko-Ko now joins the wedding party, and although the sight of Yum-Yum in Nanki-Poo's arms is "simple torture," he insists on remaining so that he may get used to it. When Yum-Yum says it is only for a month, he tells of his discovery that when a married man is beheaded his wife must be buried alive. Naturally, Yum-Yum demurs to a wedding with such a hideous ending to the honeymoon, and Nanki-Poo declares that, as he cannot live without Yum-Yum, he intends to perform the "happy dispatch." Ko-Ko's protest is followed by the entry of Pooh-Bah to announce the approach of the Mikado and his suite. They will arrive in ten minutes. Ko-Ko, believing that the Mikado is coming to see whether his orders regarding an execution have been obeyed, is in great alarm. Nanki-Poo invites Ko-Ko to behead him at once, and Pooh-Bah agitatedly urges Ko-Ko to "chop it off," but he declares that he can't do it. He has "never even killed a blue-bottle." Ko-Ko decides that the making of an affidavit that Nanki-Poohas been executed, witnessed by Pooh-Bah in each of his capacities as Lord Chief Justice, etc., etc., will satisfy the Mikado. Pooh-Bah agrees on condition that he shall be "grossly insulted" with "cash down."
Then as Commissionaire Pooh-Bah is ordered to find Yum-Yum, Ko-Ko orders her to go along with the Archbishop (Pooh-Bah), who will marry her to Nanki-Poo at once. Waving aside all questions, Ko-Ko urges them off just as the procession heralding the Mikado and Katisha enters the garden to the strains of "Miya sama, miya sama." The Mikado extols himself as "a true philanthropist" and declares "my object all sublime, I shall achieve in time; to let the punishment fit the crime." His list of social crimes and the penalties prescribed for each class of offender are equally amusing. Ko-Ko, Pooh-Bah and Pitti-Sing now kneel in the presence, and Ko-Ko informs the Mikado that "the execution has taken place" and hands in the coroner's certificate signed by Pooh-Bah. Then the three proceed to describe an event which had happened only in their imaginations.
The Mikado seems bored, and explains that though all this is very interesting, he has come about a totally different matter. He asks for his son, who is masquerading in Titipu under the name of Nanki-Poo. Ko-Ko and his associates are visibly disturbed, but he stammers out that Nanki-Poo has gone abroad. The Mikado demands his address. "Knightsbridge" is the reply. (At the time this opera was originally produced there was a Japanese colony in Knightsbridge.) Just then Katisha, reading the coroner's certificate, discovers that it contains the name of Nanki-Poo and shrieks her dismay. Pooh-Bah, Ko-Ko, and Pitti-Sing grovel at the Mikado's feet, and apologise abjectly. The Mikado urges them not to distress themselves, and just as they are feeling that it doesn't really matter, the Mikado turns to Katisha with "I forget the punishment for compassing the death of the heir-apparent." The three culprits learn with horror that it is "something humorous, but lingering, with either boiling oil or molten lead in it." The Mikado appoints "after luncheon" for the punishment which "fits their crime."
When the Mikado has departed Ko-Ko and Pooh-Bah decide that Nanki-Poo must "come to life at once." At this moment he and his bride cross the garden—leaving for their honeymoon. Ko-Ko explains that the Mikado wants Nanki-Poo, and Pooh-Bah ironically adds, "So does Katisha." But Nanki Poo fears that, in her anger at his marriage, Katisha will persuade the Mikado to order his execution, thus involving Yum-Yum in a worse fate. He therefore refuses to re-appear until Ko-Ko has persuaded Katisha to marry him. Then "existence will be as welcome as the flowers in spring." As this seems to be the only way of escape, Ko-Ko seeks Katisha. At first she repulses him, but after he has told her in song the story of the little tom-tit that committed suicide because of blighted affection, she relents.
Now the Mikado returns from luncheon, and asks if "the painful preparations have been made." Being assured that they have, he orders the three culprits to be produced. As they again grovel at his feet, Katisha intercedes for mercy. She tells the Mikado that she has just married "this miserable object," indicating Ko-Ko. The Mikado is remarking "But as you have slain the heir-apparent" when Nanki-Poo enters saying "the heir-apparent is not slain." He is heartily welcomed by the Mikado, while Katisha denounces Ko-Ko as a traitor. Ko-Ko then explains everything to the Mikado's satisfaction, and the opera ends with the joyous strains of Nanki-Poo and Yum-Yum uniting in "the threatened cloud has passed away and fairly shines the dawning day," whilst the entire company help them—
"With joyous shout and ringing cheer,Inaugurate our new career."
Produced January 22nd, 1887.
In the days of long, long ago there live the wicked Sir Rupert Murgatroyd, baronet of Ruddigore. He spent all his leisure and his wealth in the persecution ofwitches, and the more fiendish his cruelties, the more he enjoyed the ruthless sport. But there came a day when he was roasting alive an old witch on the village green. The hag uttered a terrible curse both on the baronet and on all his descendants. Every lord of Ruddigore was doomed to commit one crime a day, and if he attempted to avoid it or became satiated with guilt, that very day he should die in awful agony. The prophecy came true. Each heir to the title inherited the curse and came in the end to a fearful death.
Upon this plot Gilbert wrote his clever burlesque on the transpontine drama—the drama of the virtuous peasant girl in the clutches of the bold and bad baronet—and amongst his characters is a tragic figure not unlike Shakespeare's Ophelia. The first scene is laid in the pretty Cornish fishing village of Rederring. This village, by the way, has a quaint institution in the form of a troop of professional bridesmaids, who are bound to be on duty from ten to four o'clock every day, but whose services have of late been in little request. The girls can only hope that they may soon be able to celebrate the betrothal of Rose Maybud, the belle of Rederring, a precise little maid whose every action is regulated by a book of etiquette, written by no less an authority than the wife of a Lord Mayor. Should an utter stranger be allowed to pay her pretty compliments? "Always speak the truth," answers the book. It tells her that "in accepting an offer of marriage, do so with apparent hesitation," and this same guide and monitor declares that, in similar circumstances, "a little show of emotion will not be misplaced." Rose, indeed, has had very many suitors, but as yet her heart is free.
Early in the opera Dame Hannah, who was herself once wooed by the last baronet in disguise, relates the story of the terrible curse on the house of Murgatroyd. She is Rose's aunt, and she talks to the girl about Robin Oakapple, a young man who "combines the manners of a Marquis with the morals of a Methodist." Now, this same Robin Oakapple, we afterwards learn, is himself the real owner of Ruddigore, but ten years ago he so dreaded the thought of becoming the victim of the witch's malediction that he fled from his ancestral home,assumed the style and name of a simple farmer, and lived unsuspected in Rederring. In the belief that he was dead his younger brother succeeded to the baronetcy and all its obligations to a life of infamy. Only two know the secret—Robin's faithful servant, Old Adam, and his sailor foster-brother, Richard Dauntless.
Robin is such a shy fellow that he cannot summon up the pluck to propose to Rose Maybud. She, it seems, would not be unwilling to return his affections if he declared them, and she gives more than a broad hint to her bashful lover in a delightful duet, "Poor Little Man." But Robin has to do his love-making by proxy. Luckily or otherwise, Richard has just returned from the sea, and this hearty British tar sings a rollicking song in the Dibdin manner about how his man-o'-war, the "Tom-Tit," met a little French frigate, and how they had "pity on a poor Parley-voo." When "Ruddigore" was produced, this number gave grave offence to the French people, and there were critics at home who held that it reflected also on the British Navy. The storm, however, never led then and never would lead now to international complications, and what questions of taste there may be in the lyric are soon forgotten in the engaging hornpipe which follows the song.
Richard, who talks in nautical phrases and declares that he always acts strictly as his heart dictates, promises to help Robin in securing the hand of Rose Maybud. He at least is not afflicted with too much diffidence, and Robin himself sings the lines, which have now passed into a proverb, that if in the world you wish to advance "you must stir it and stump it and blow your own trumpet." But Richard, when he sees the girl, acts as his heart dictates and falls in love with her himself, the courtship scene being delightfully quaint. Robin returns to claim his bride, but when he finds that his foster-brother has played him false, he is not loath to praise his good qualities. Yet, in a trio, the fickle Rose, having the choice between a man who owns many acres and a humble sailor, gives herself to Robin Oakapple.