So anxious am I, not particularly to stop Home Rule, but most

particularly to teach the G.O.M. a severe lesson for preferring

Morley to me, that I say nothing for the moment even against those

landlords, my customary mark, who hold their land by exactly the

same means and right as I hold my capital. Nor am I, under the

circumstances, disinclined to coercion.

No one has recognised more strongly than myself the claims of party

and the duty incumbent on all to sacrifice individual preferences to

the necessity of united action, when it suits them. But I am so real

riled at the way the G.O.M. and Morley have treated me that, in

spite of all my ill-temper and mischief-making, I hope to retain the

support, though I have lost the confidence, of those whose interests

I have loyally endeavoured to serve, as long as they did not

conflict with my own, and in whose midst my life as a capitalist has

been spent, and my work of screw and caucus-making accomplished.

(Signed) J. CHAMBERLAIN.

The other manifestoes were less amusing, they parodied Sir Charles

Dilke, Lord Randolph Churchill, and Mr. Gladstone.

_The Topical Times_, June 26, 1886.

――――:o:――――

SAUNDERSON AND WARING.

“When Gladstone gets his Home Rule Bill,”

Says Saunderson to Waring,

“Then you and I and Ballykill

Will show our martial daring;

Without delay, the very day

That down such gage he pitches,

We’ll fill our flasks from jars and casks,

And march to line the ditches.

With skill and might, and valor bright,

We’ll set the world a-staring.”

“We surely will,” says Ballykill;

“Of course we will,” says Waring.

“If in the fields the rebel rout

Will not confront our Lodges,

In street and lane we’ll find them out

Despite their craven dodges;

We’ll pot the rascals at their doors,

We’ll club the babes and spouses,

We’ll sack their shops, and wreck their stores,

And loot their public-houses.

And then ’twill be a joy to see

Our boys the plunder sharing――

The victor’s toil deserve the spoil.”

“Of course it does,” says Waring.

“If met by forces of the Crown

’Neath flags and banners royal,

We’ll simply shoot the traitors down

For conduct so disloyal;

We’ll feel a pang at every bang,

We’ll weep with every volley;

But theirs the blame, the sin, the shame,

The treason and the folly.

In smiting wrong we must be strong,

Unpitying and unsparing;”

“’Tis Heaven’s will,” says Ballykill.

“The will of heaven,” says Waring.

“Great chiefs will come from distant parts,

And foreign institutions,

To study all our Orange arts

And Purple evolutions;

And when our glorious fight is won,

They’ll all go home declaring

Earth holds no match for Saunderson,

And scarcely one for Waring!”

“They surely will,” says Ballykill,

“There’s no one worth comparing

With our great gun, brave Saunderson.”

“Well, hardly one,” says Waring.

T. D. Sullivan, M.P. in _The Nation_, August, 1889.

Colonel Saunderson, M.P., had asserted at a public meeting that, if

Parliament should grant Home Rule to Ireland, 50,000 men of Ulster

would immediately rise in rebellion against it, and fight to the last

ditch. He did not, however, attempt to justify this statement when

called upon to do so in the House of Commons.

――――:o:――――

For many years past Mr. Gladstone has been the “leading article” in

the stock-in-trade of Caricaturists and Parodists. His personal

appearance, his collars, his umbrella, his hobby for felling trees,

his great learning, his immense vitality, and his mode of speaking,

have all furnished topics for satires and lampoons.

It would be impossible to refer to anything like a proportion of

these, but the following may be mentioned as typical examples.

_The Morning Post_ (London), September 24, 1884, contained an

unreported Midlothian Speech on _Free Trade_, supposed to have been

delivered by Mr. Gladstone, but really written by Mr. Edward Sullivan.

_The St. Stephen’s Review_ (London), October 29, 1887, contained a

prospectus, of which the following is a brief abstract:――

THE HAWARDEN ESTATE BLOCK WOOD COMPANY, LIMITED.

_Incorporated under the Companies Acts, 1862 to 1883, whereby the

liability of the Shareholders is limited to the amount of their

Shares._

CAPITAL £100,000, IN 100,000 SHARES OF £1 EACH.

Payable――5s. per share on Application, 5s. per share on Allotment,

and the remainder One Month after Allotment

DIRECTORS.

The EARL OF ROSEBERY, The Durdans, Epsom.

LORD WOLVERTON, 7, Stratton Street, Piccadilly, W.

HERBERT GLADSTONE, Esq., M.P., Hawarden Castle.

The Rev. H. DREW, The Rectory, Hawarden.

*The Right Hon. W. E. GLADSTONE, Hawarden Castle (Chairman).

* Will join the Board after allotment.

Secretary――H. DRAKE DIGBY, Esq., National Liberal Club.

Temporary Offices――23, ALBEMARLE STREET, W.

ABRIDGED PROSPECTUS.

During the past twenty years, and indeed ever since it became

generally known that Mr. Gladstone was in the habit of wielding an

axe, a steady flow of letters has ceaselessly poured into Hawarden

Castle from all parts of the world, asking for chips and blocks of

wood cut from the timber felled by the right honourable gentleman.

At first these demands were complied with so far as it was possible

to do so, but as the Irish Question surged to the front, and Mr.

Gladstone’s popularity with the civilised world increased, it became

hopeless to deal with the applications, which have accumulated to

such an extent that the paper on which the applications are written

has been weighed out of curiosity, and is found to weigh 4 tons 17

cwt. 3 qrs. 17 lbs.

Some fortnight or so ago Mr. Gladstone announced through the press

that in future, blocks from timber cut down by his hand would only

be supplied on receipt of a postal order for three shillings.

He did this in the hope that it would deter his numerous

correspondents, instead of which they have increased twenty-fold.

Under the circumstances, it occurred to Mr. Gladstone that by the

erection of large and commodious saw mills the demand might be dealt

with and a lucrative industry started without any very large outlay.

Mr. Gladstone, whose great name is the sole origin of the business,

and who is henceforward, called the vendor, can cut down three

medium-sized trees per diem. These trees will yield an average of

7,000 blocks, which, sold at 3s., means a daily sale of

£ 1,050

300 working days

――――――――

£315,000

Deduct cost of 900 trees, say £10 9,000

――――――――

£306,000

Erection of saw mills and 12

months’ labour of 100 men

at 25s. per week 10,000

――――――――

£296,000 Profit on first

year’s operations.

It is perfectly obvious that the public demand is so great that the

entire estate can be disafforested at an enormous profit, the price

of three shillings per cubic foot block being as nearly as possible

30 times the normal value of the timber.

As the only drawback to the success of the undertaking is the

illness, or, it may be, possible demise of the vendor, his life will

be insured as a first preliminary for £100,000, being the entire

capital of the company.

It is not anticipated that it will be necessary to call up more than

the allotment money, as it is calculated when the premium has been

paid on the vendor’s life, and the stipulated price for the goodwill

(£25,000) has been handed over to the vendor, there will still

remain sufficient in hand to erect the necessary saw mills and

machinery.

The following contract has been entered into: An agreement dated the

23rd day of October, 1887, and made between William Ewart Gladstone

of the one part, and Archibald Philip Primrose, Earl of Rosebery, on

behalf of the company, of the other part.

Copies of the agreement of purchase, valuers’ certificates, and

memorandum and articles of association may be inspected at the

offices of the company, or of the bankers.

――――

Scarcely a week passes but what Mr. Gladstone appears as the central

figure in _Judy’s_ political cartoon; _Judy_ has also published

(separately) some burlesque Company prospectuses, one in 1885 was

entitled “W. E. GLADSTONE & Co., Limited,” with a capital of One

Million in £10 Shares. The proposed Directorate included the following

names: The Rt. Hon. W. E. G. _Chairman_. Mr. H. Childish. Sir Veneer

Half-caste. The Earl Gumboil. The Earl Drowsy. Marquis of

Heart-in-Mouth. Joseph Chimneypot, Esq. (of the Birmingham Affidavit

Manufacturing Company), and Sir. C. Bilke.

A long list was given of the objects to be achieved by the Company,

all of which were represented as being nefarious and unpatriotic, such

being the usual and natural assertion of each political party with

regard to the actions of the other.

Another publication issued from the _Judy_ office, dated November 1,

1885, and sold for threepence, was a legal looking paper, endorsed

_The Last Will and Testament of William Ewart Gladstone_. This was not

a very witty production, the most notable clauses it contains are

those in which Mr. Gladstone appoints Joseph Chamberlain and Bottomley

Firth as his executors; the bequest to Lord Randolph Churchill “of

twelve pence sterling to the end he may therewith buy a rope of hemp

and go hang himself;” to the Sublime Porte of “a complete file of

Newspapers containing all my speeches on the Bulgarian Atrocities;”

and to Sir Charles Dilke “my Law treatise containing chapters on

Decrees Nisi.”

There are three Codicils to this will, all in very involved and

complicated language, and each one contradictory to the others. This

production had a large sale.

――――:o:――――

In October, 1879, _The Examiner_ published an amusing series of

imaginary letters supposed to pass between the leaders of both the

great political parties, and their followers. The following three are

selected as examples:――

LORD SALISBURY TO LORD BEACONSFIELD.

Dieppe, Oct. 10.

MY DEAR BEACONSFIELD,――I saw Waddington two days ago. His

bewilderment when I frankly told him that we had no Greek

policy would have been amusing, had it not led to a long and

troublesome remonstrance from him. It appears that he

thought we were in earnest at Berlin. Of course I hastened

to undeceive him, and to point out that our only object at

the Congress was to quiet the people at home, and arrange

with the Russians abroad. However, I satisfied him at last

by telling him he may do as he pleases in Egypt.

By the way, I shall be speaking in a few days; I suppose you

have nothing to suggest. Grant Duff must be smashed, and we

must take what credit we can get out of Afghanistan. But as

Hartington is still, and Gladstone keeps out of the way, I

am afraid I shall have to tilt against egg-shells――for

Harcourt is nobody.――Yours ever,

SALISBURY.

Have you heard of Derby’s latest move?

LORD BEACONSFIELD TO LORD SALISBURY.

Hughenden Manor, Oct. 13.

MY DEAR SALISBURY,――Waddington does not quite know us yet,

or he would not have been surprised. If he is satisfied,

however, with our Egyptian plans, we will not trouble any

longer about him.

Your speech should be of great service. Harcourt may, as you

say, be dismissed very shortly――the impulsive imagination of

his immature intellect needs little comment from you.

Hartington is in a difficulty. The Home Rulers, on one hand,

and the Disestablishment section on the other, are too many

for him. Can you not hint at the various nature of the

forces he leads――aëronauts, somnambulists, monomaniacs,

misanthropes, and nomads? As for Gladstone, it seems to me

that he might be ferreted out. The perennial perplexities of

a pedagogic mind have driven him once more to silence.

Before he can present himself in Midlothian, he must decide

upon which conviction he will follow. A word to that effect

from you might reach him.

As for your audience, we trust to the generous judgment of a

judicial race. Leave the policy in that fashion. It will

flatter them.――Believe me, ever yours,

BEACONSFIELD.

SIR STAFFORD NORTHCOTE TO LORD BEACONSFIELD.

Dublin, Oct. 12.

MY DEAR LORD BEACONSFIELD,――I trust you will have seen that

I implicitly followed your instructions. I have spoken for

hours, and said absolutely nothing; received scores of

persons, and let them talk, too, without expressing the

slightest opinion; and the result is that I am most popular.

Their idea seemed to be that I was preparing some scheme for

the relief of distress, and as they were pleased with that

notion, I was of course careful not to destroy it. On the

whole, I have neither compromised the Government nor myself,

which is saying something.――Ever yours,

S. NORTHCOTE.

This last letter refers to Irish affairs, which have given rise to

many political skits; one of the most important of these was a

pamphlet, published in 1886, by Reeves and Turner, entitled “_Opening

and Proceedings of the Irish Parliament_. Two Visions.” The author,

Mr. G. H. Moore, thus describes the plan of his little work:――“In the

following pages you are presented with two forecasts of the

proceedings of the proposed Irish Parliament, taken from different

standpoints. They are intended to illustrate the conflicting opinions

entertained of the future, should Mr. Gladstone’s Irish Bills pass

into law.

The exaggerated fears and gloomy mistrust of the opponents of the

measures are ludicrously drawn in one picture; and in the other, the

serious hopes and the brighter anticipations of the promoters and

supporters of the measures are assumed to have been realised.”

Articles based on the same idea, appeared in the _Topical Times_ in

July 1886, entitled “The Dublin Parliament. A Forecast,” describing

the scenes of joy and enthusiasm in the Irish capital on the first

assembling of a National Parliament.

――――

THE OMNIBUS.

It is just sixty years ago since this convenient vehicle was

introduced into our streets by Mr. J. Shillibeer. The first Omnibus

ran from the Yorkshire Stingo in the New Road, to the Bank of England,

and the fare was one shilling. The speculation succeeded at once, and

the omnibus traffic in London has been rapidly increasing ever since.

The following parody on Barry Cornwall’s _The Sea! The Sea!_ is taken

from Mr. Hindley’s reprint of Egan’s “Life in London.”

The ’Buss! the ’Buss! the Omnibus!

That welcomes all without a fuss;

And wafts us on with joyous sound,

Through crowded streets on our busy round;

Reckless of cold and gloomy skies,

Or the driving storm as it downward flies:

Stow’d snug in thee! stow’d snug in thee!

I am where I would wish to be.

While the rain above and the mud below

Affect me not where’er I go――

Though the sleet and the slush be ankle deep,

What matters while I can ride so cheap?

What matters? etc.

I love, oh how I love to ride,

In cosy converse side by side,

With some sweet sly enchanting one,

Who lets her little ’larum run

Till scarcely can the listener know

If that or time more swiftly go!

Henceforth I know the terrible bore

Of “padding the hoof” no more, no more;

But back to this seat I so oft have press’d

I’ll spring to be wafted the while I rest:

For thou, dear ’Buss! art a home to me,

While I am snugly seated in thee,

While I am, etc.

The original of this song, with other parodies on it, will be found on

p. 204, Vol. 4 of this collection.

――――:o:――――

On page 106 a splendid parody was given of “The House that Jack

Built,” entitled _The Domicile Erected by John_. A correspondent

pointed out that this was written by the late Mr. E. L. Blanchard, and

on consulting his famous Drury-Lane Annuals, it was discovered as a

preface to the Pantomime for 1861-62, styled “Harlequin and the House

that Jack built.” Mr. Blanchard’s poem is not quite so long as the

version given in _Parodies_, some ingenious person having undertaken

to add to, and improve upon Mr. Blanchard’s work.

[Illustration]

LITERARY FORGERIES AND IMPOSTURES.

Although literary forgeries have undoubtedly some relationship with

Parodies, it is of so distant a nature that, even were space

available, they could not be dealt with at any length in this

Collection. A brief summary of the principal Impostures must therefore

suffice, those who wish to learn the details are referred to an

interesting little work, entitled _Famous Literary Impostures_, by H.

R. Montgomery. London. E. W. Allen. No date.

(_Why do Publishers omit dates?_)

Mr. Montgomery’s chapters deal with Thomas Chatterton and the Rowley

poems; James Macpherson’s Poems of Ossian; Samuel W. H. Ireland’s

Vortigern, and other Shakespearian Forgeries; George Psalmanazar and

the Formosa Imposture; and the Bentley and Boyle controversy as to the

Epistles of Phalaris.

Of course had Mr. Montgomery chosen to enlarge his work, he might have

made some amusing chapters out of William Lander’s attempt to prove

Milton a plagiarist and an impostor; of the Squire letters which

deceived Thomas Carlyle; the Shapira M.S.S. which deceived some clever

Egyptologists and Antiquarians; the Vrain-Lucas letters which deceived

M. Michel Chasles, an eminent French Mathematician; the Shelley

forgeries which deceived Robert Browning; and the Donnelly cryptogram

which has deceived no one having any knowledge of the life and works

of Shakespeare.

In Isaac D’Israeli’s _Curiosities of Literature_ there is a short

chapter on this topic, principally devoted to instances amongst

ancient and foreign writers, with a few remarks about Psalmanazar and

William Lander.

There is also some information to be found in a chapter, called

“Supposition d’Auteurs,” in _Curiosités Littéraires_, par Ludovic

Lalanne. Paris, Adolphe Delahays, 1857. This also deals principally

with the works of foreign literary Impostors. But by far the most

important and most reliable work on the subject is that written by the

late M. Octave Delepierre, entitled “_Supercheries Littéraires_,

Pastiches, Suppositions d’Auteur, dans les lettres et dans les Arts.”

London, N. Trubner & Co. 1872. Only 200 copies of this valuable work

were issued, it is consequently very difficult to procure. Most

literary frauds have been exposed, and not a few of the forgers have

been punished. Chatterton and Shapira committed suicide, and

Vrain-Lucas was sent to prison for two years, and fined 500 francs.

A writer in the _Daily News_ (July 17, 1886) observed: “The motives of

the Literary Forger seem obscure to plain people. He has nothing to

gain by it all, they say; he does not make money, like the forger of a

cheque; he can seldom sell his forgery to advantage, as the latest

biblical forger, Shapira, of the sham manuscript gospel, discovered.

He merely poisons the very wells of history and throws doubt on all

original “sources.” People who reason thus forget that every artist

takes joy in his art, and that all art is imitation. The art of the

forger is to imitate ancient manuscripts and inscriptions. _L’Art pour

l’art_ is his motto. He revels in his own cleverness and power of

deceiving others. This is his reward. Thus a famous French

archæologist, now dead, took in his own father with some sham Greek

inscriptions. Thus William Ireland went on writing Shakespearian

autographs, and even Shakespearian manuscript plays, chiefly to

satisfy the most tricky sense of humour, and delight in the

absurdities of learned men. Probably enough Joe Smith began his Mormon

Bible with no serious thought of founding a religion, but merely, as

other literary forgers used, for the fun of the thing. Sooner or later

these things are found out. They amuse the learned, and no great harm

is done. But perhaps the jester Rabelais did not see the jest when he

was beguiled into publishing, with grave and learned notes, a

classical manuscript which was really the work of two of his

contemporaries. These clever ghosts must chuckle still over the trick

they played the author of “Pantagruel.” A meaner joke was passed on

Meursius, whose respectable name is inextricably associated with a

peculiarly abominable Latin work, attributed to him by its actual

author, who thus gratified a spite of long standing. Literary forgers

are the very Pucks of letters, and all honest men will hope they find

their deserts in a Hades of their own.”

[Illustration]

A BIBLIOGRAPHY OF PARODY AND BURLESQUE.

The approaching completion of the sixth and last volume of _Parodies_

has by no means exhausted the materials which, for five and twenty

years past, I have been accumulating. Indeed the subject is

inexhaustible, but having given all the best parodies of English and

American writers, it only remains now to mention others which were

either too long, or too dull, to find a home herein, and to refer

briefly to some of the principal Foreign travesties.

Only the true book hunter can appreciate the pleasures I have

experienced in the never ending search for parodies and burlesques.

The difficulty in obtaining some particular volumes, not to be found

in the British Museum Library, which might (and sometimes did) turn up

in some out-of-the-way old book shop. The delight with which they were

carried home, collated, cleaned, patched and mended, to be finally

packed off to Zaehnsdorf who clothes them in all the glory of calf and

gilt, artistically, as his name does warrant.

In walking tours in England, in holiday trips on the Continent, and

even in the few spare moments stolen to turn aside from the noise and

bustle of London city into back streets and dingy alleys; in

pawnbrokers, and in secondhand furniture shops, aye, even in rag and

waste paper shops, have been gathered up little, dirty, torn odd

volumes to add to my store, my beloved Parody Collection. Thus have

materials been gathered for such a Collection of Literary trifles and

_jeux d’esprit_ as has never yet been published.

LONDON, dear old London! is the paradise of the book hunter, and of

the book worm; of the one who buys books, and of the other, who merely

reads them. Here all tastes and all purses may be gratified; the rare

and costly volumes of the King of Collectors, Bernard Quaritch; the

humble “_All at 2d. in this Box_;” the first editions as collected by

Elkin Mathews; or the cheap, but curious volumes to be found in the

long book room of honest, kindly John Salkeld in the Clapham Road,

whose catalogues (good as they are), but faintly express the wonderful

knowledge of books and men he possesses.

Next, after London, come the quiet little book stores of the old

Cathedral cities, such as Exeter and Canterbury; here, if theology is

a trifle too obtrusive, the dealer will soon gauge your appetite, and

provide a fitting meal. Then, I would say _Paris_, but the Paris of

to-day is, in this respect, vastly inferior to Paris under the Empire.

Then, a stroll along the quays and boulevards led to good sport, for

the game was plentiful, and ridiculously cheap. The element of

cheapness remains, but the true literary flavour is wanting. Thousands

of books, that are _not_ books, school and prize books, old almanacs,

dreary directories, medical reports, and soiled copies of trashy

novels. These form the bulk.

“_La Parodie, Monsieur? La Parodie n’existe plus. Il y a trente ans

qu’elle est morte dans la France_,” was the remark made to me lately

by a bookseller in the Galérie D’Orléans. It is but too true, the

literary sarcasm, and the pleasant malice of the good old fashioned

parody seem indeed to be dead in France.

“_Ils se moquent de tous, mais ils ne plaisantent pas_,” said another

dealer speaking of their authors, and so it happens that in my private

collection, but a poor hundred or so of volumes are of French

parentage, and the titles of some of these are all that is fit to be

read, unless by an enthusiastic student of Rabelais.

No mention was made in the prospectus of “Parodies” that Foreign

parodies would be included, but a few brief notes as to the principal

continental examples may be given, followed by such English works on

the subject as have not already been described.

French Parodies and Burlesques.

The very first book of reference to be mentioned under this head is

_La Parodie, chez les Grecs, chez les Romains, et chez les Modernes_.

Par Octave Delepierre. Londres: Trubner & Cie, 1870. This contains a

great deal of information, but it is far from complete.

In _Les Curiosités Littéraires_ par Ludovic Lalanne (Paris, 1857) is a

chapter, entitled _Du Genre Burlesque_ in which there is considerable

information on Parody in general, and French parody in particular. The

first piece mentioned is _La Passion de Notre-Seigneur Jésus Christ_,

en vers burlesques, published in 1649; then come the works of

Sarrasin, and of Assouci, the latter wrote _Ovide en belle humeur_ and

the _Ravissement de Proserpine_.

_La Pharsale de Lucain_, en vers enjoués, par Brébeuf, Paris 1655.

_L’Eschole de Salerne_, en vers burlesques, par Martin Leydon, 1656.

Peter Langendik, a Dutch poet, wrote a parody of the fourth book of

the Æneid, which he called _Enée endimanché_; and the Danish poet, the

Baron de Holberg, also wrote burlesque translations of parts of

Virgil’s great poem.

For details concerning a number of less important French Parodies and

Burlesques, see also _l’Histoire de la Littérature Comique_, and

_l’Histoire Burlesque_, de Flogel.

_Les Odes d’Horace en vers Burlesques._ Published at Leyden in 1653.

_L’Odyssie d’Homère en vers Burlesques._ Published at Leyden in

1653.

These small pamphlets were both issued by the same publisher, and are

now very rare.

_Le Virgile Travesty_ en vers burlesques, par L’abbé Scarron. This

is a burlesque translation of the first seven books and part of

the eighth book, of Virgil’s _Æneid_. He dedicated the first book

to the Queen, and subscribed himself thus “MADAME, Votre tres

humble, tres obeyssant, tres obligé, et tres malade serviteur et

sujet.

SCARRON, _Malade de la Reyne_.”

Scarron did not proceed beyond the first half of the eighth book,

several other authors published continuations, but of inferior merit,

such were those by Moreau de Brasey, Tellier d’Orville, Brussel and

others.

_La Suite du Virgile Travesty de Scarron._ En vers burlesques, par

Messire Jaques Moreau, Chevalier Seigneur de Brasey. Amsterdam,

1706.

This contains books 8, 9, 10, 11 and 12 of the _Æneid_.

_Le Virgile dans le Pays Bas_, ou le poeme d’Enée travesti en

Flamand. Par le Plat du Temple, 3 vols. Bruxelles, 1802.

_Virgile en France, ou la nouvelle Enëide_, par Le Plat du Temple.

First published in two volumes in 1807, and next at Offenbach in

1810, in 4 volumes, with very original notes.

_L’Ovide Bouffon_, ou les Metamorphoses Travesties, en vers

Burlesques. Par L. Richer, Paris. The first edition was published

either in 1661 or 1662. The fourth edition was published in 1665,

prefaced by an amusing Madrigal written by Scarron.

_Young Scarron._ By Thomas Mozeen, actor and dramatist, 1752. This

was written in imitation of _Le Roman Comique_ of Scarron, to

ridicule the lives and manners of stage itinerants, and the

strolling players of England.

_La Critique du Tartuffe_, en un acte et en vers, a burlesque of

Molière.

_Le Lutrin_; Poeme héroi-comique. Par Nicolas Boileau Despréaux.

This famous burlesque poem, which describes a very simple quarrel

between two officials of a country church, is in heroic measure:――

“Je chante les combats et ce prélat terrible

Qui par ses longs travaux et sa force invincible,

Dans une illustre église exerçant son grand cœur,

Fit placer à la fin un lutrin dans le chœur.”

Boileau remarks in his _Avis au Lecteur_:――

“C’est un burlesque nouveau dont je me suis avisé en notre

langue. Car au lieu que dans l’autre burlesque Didon et Enée

parlaient comme des harengères et des crocheteurs, dans

celui-ci une perruquière et un perruquier parlent comme

Didon et Enée?.”

_La Guerre des Dieux_, anciens et modernes, Poems en dix Chants. Par

Evariste Parny, Membre de l’Academie Française. Paris. L’an Sept.

This is a very profane work, in which the Gods of the Heathen

Mythology are brought into contact with Jesus Christ, Mary his Mother,

and the Holy Ghost. It has been reprinted in France and Belgium.

_Cartouche, ou le vice puni_ contained a number of parodies of

celebrated authors.

_La Messe de Cythère_, par “Nobody.” 1801.

_Les Eternueurs_, poeme-parodi burlesque. Paris, 1758.

_Le Petit Neveu de l’Aretin._ Parodie burlesque du 4 ieme livre de

l’Enéide. Paris, an IX.

_L’homme des Bois_, parodie de L’homme des Champs, de Delille.

_La Pucelle D’Orleans._ Poeme, divisé en Vingt et un Chants. Par M.

de Voltaire. Paris.

There have been many editions of this licentious poem, some of them

fetch very high prices owing to the sumptuous manner in which they

were produced.

_La Pucelle_ was translated into English by a lady of title, but owing

to the freedom of the translation it was speedily suppressed, and

copies of it are very scarce.

_La Henriade Travestie_, en vers burlesques. En Dix Chants. Par M.

de M. (Fougeret de Montbron). Amsterdam, 1762. The first edition

was published in 1745. In this the original is parodied almost

verse for verse. The author says in his _avant-propos_:――“J’ose

me flatter que Monsieur de Voltaire ne me sçaura point mauvais

gré d’avoir mis son Poëme en Vers burlesques. Ce n’est pas faire

injure au premier Poëte Français que de le traiter comme on a

fait le Prince des Poëtes Latins.” (In allusion to Scarron’s

burlesque of Virgil’s _Æneid_.)

Voltaire’s tragedy _Zaire_ was burlesqued as “_Caquire_, Parodie de

Zaire,” en cinq actes et en vers. Par M. de Vessaire, 1783. This was a

coarse but witty production, even the names of the characters being

too foul to reprint. Delepierre says it was written by M. de Combles,

and that it was reprinted in 1853 in a small volume with an

unmentionable title. The original edition is very rare.

_Les Parodies du Nouveau Théâtre Italien_, ou Recueil des Parodies

représentées sur le Théâtre de L’Hôtel de Bourgoyne, par les

Comédiens Italiens Odinaires du Roy. Three vols. Paris, 1731.

Another, and more complete, collection was published in 1738.

These burlesques are principally based on French tragedies dealing

with legends of the Heathen Mythology. The tragedies of Voltaire are

especially singled out for imitation, two being upon _Zaire_, one

called _Les Enfants trouvés_, another _Arlequin au Parnasse_.

Voltaire’s tragedy _Semiramis_ was burlesqued under the title

_Zoramis_, which was produced at the Théatre de la Foire, much to his

annoyance, for whilst he had written a parody of Ossian’s poems, and a

burlesque on Jeanne d’Arc, he could not suffer others to burlesque

him.

_Lettres inédites de Chactas d’Atala_, par M. de Chateauterne.

Paris. Dentu, 1811. A parody of Chateaubriand’s _Atala_.

_Alala_, was also a burlesque of Chateaubriand’s _Atala_.

_Agnes de Chaillot_, a parody of Lamotte’s tragedy _Ines de Castro_.

This burlesque gave great offence to Lamotte, who styled it “une

bouffonerie où l’on essaie de rendre la vertu ridicule.”

_Parodie du Juif Errant_, par Ch. Philipon et Louis Huart, avec 300

vignettes par _Cham_. Brussels, 1845.

This has been translated into English.

_Quelgues Fables de la Fontaine recitées par un Anglais._ Par F.

Guillot. Paris, 1885.

This absurd little work gives ten of la Fontaine’s fables, with

versions of the same as supposed to be recited by an Englishman,

having a very imperfect French accent.

_La Rapinéide ou l’Atelier_, poeme burlesco-comico-tragique, par un

Ancien Rapin des ateliers Gros et Girodet, Paris, 1870.

_Le Récit de Théramene._ Parodie par J. Méry. Paris, C. Lévy, 1881.

The author remarks “Les plus belles choses out eu les honneurs de la

parodie. C’est le sort de l’humanité littéraire. Virgile le divin a

été parodié par Scarron l’invalide. Le _Cid_ de Corneille a été

parodié par Boileau. Chateaubriand a été parodié par M. Chateauterne.

Le plus grand poëte qui ait existé depuis Homère et Virgile, Victor

Hugo a été parodié par tout le monde. _Ainsi les parodies n’ont jamais

rien prouvé._”

This celebrated passage, from the tragedy _Phèdre_, commencing

“A peine nous sortions des portes de Trézène,”

has been frequently imitated, and Octave Delepierre, in _La Parodie_

cites a very humorous piece written against Caron de Beaumarchais,

commencing:――

“A peine Beaumarchais, débarrassant la scène

Avait de _Figaro_ terminé la centaine,

Qu’il volait à _Tarare_, et pourtant ce vainqueur

Dans l’orgueil du triomphe était morne et réveur,

Je ne sais quel chagrin, le couvrant de son ombre,

Lui donnait sur son char un maintien has et sombre.”

_Dictionnaire des Gens du Monde_, a l’usage de la cour et de la

ville. Paris, 1818. A satirical and burlesque dictionary.

A number of illustrated burlesque histories have been published in

France with the title _Tintamarresque_, of which a few of the

principal may be noted:――

_Le Trocadéroscope._ Revue Tintamarresque de l’Exposition

Universelle. Paris. 1878. Par Touchatout, avec dessins de A. Le

Petit.

_Histoire de France Tintamarresque_, par Touchatout (Illustrated).

Paris. This only brings the history down to the flight of Louis

Philippe in 1848.

_Histoire Tintamarresque de Napoleon III._, par Touchatout. Paris,

1877.

This takes up the History of France at the point where the preceding

work ceased, namely, 1848. The caricature illustrations, by Hadol, in

this are bitterly hostile to Napoleon III. and his principal

adherents.

_La Dégringolade Impériale_, seconde partie de l’Histoire

Tintamarresque de Napoléon III. Par Touchatout. Dessins de G.

Lafosse. Paris, 1878.

_Grande Mythologie Tintamarresque_, par Touchatout. Dessins de G.

Lafosse et Moloch. Paris, 1881.

It will be readily understood that the gross legends of the Heathen

Mythology present topics likely to meet with congenial treatment from

a French author and artists, and that consequently this work (although

very laughable) is not largely used in ladies boarding schools.

_Histoire Populaire et Tintamarresque de la Belgique_, depuis

l’époque des forêts vierges jusqu’a celle des tramways. Par

Fernand Delisle. Illustreé par Léon Libonis, 2 vols. Brussels.

Victor Hugo was nothing if not original. He found the French drama

restricted by old-fashioned rules, and its poetry cramped and

conventional. He selected new metres, and adapted his style to the

subjects, relinquishing the solemn but monotonous measure in which

Racine, Corneille, and Voltaire had composed their classic tragedies.

He did not disdain to press uncouth polysyllables into service when

the necessities of rhyming seemed to require it. His style was funnily

parodied in the lines――

Jusqu’ oû O Hugo, juchera-t-on ton nom?

Justice enfin que faite ne t’a t’on?

Quand jusqu’au pic qu’académique on nomme,

Grimperas tu enfin de roc en roc, rare homme?

The Atticism of French taste had never been favourable to

versification of this kind; and if Victor Hugo had been nothing but an

eccentric innovator he would have failed completely. But Victor Hugo

wrote great things, and the vagaries of his style were the natural

expressions of an original mind; they were not the result of studied

affectation. His works in prose, in poetry, and the drama suffered

from enthusiastic imitators and professional perverters. His plays

have been persistently burlesqued, his tragedy _Marie Tudor_ was

parodied under various titles, as “Marie, tu ronfles!” “Marie

Dort-tu?” “Marie tu dors encore,” and “Marionette.” His _Angelo_ was

burlesqued, as “Cornaro, Tyran pas doux,” his _Ruy Blas_ as “Ruy

Blag,” and as “Ruy Black” by Charles Gabet, played at the Folies

Bergères April 13, 1872, and as “Ruy Blas d’en Face,” also played in

Paris in 1872.

_Ruy Brac_, Tourte en cinq Boulettes, avec assaisonnement de gros

sel, de vers et de couplets, par Maxime de Redon. Paris,

November, 1838.

His _Ernani_ was burlesqued as “_Harnali_, ou la Contrainte par Cor,”

and as “_Ni, Ni_, ou le Danger des Castilles,” both produced in Paris

as far back as 1830.

The elder Dumas’ play “_Quin_, ou désordre et génie” was travestied as

“_Kinne_; ou, que de génie en désordre.”

Numerous other burlesques of the French dramatists exist, most of

which are published by Messrs. Tresse and Stock, Galérie du

Théâtre-Français, Paris, from whom lists of their theatrical

publications (with prices) can be obtained.

When Herr Wagner’s _Rienzi_ was produced at the Théâtre Lyrique some

Parisian punster brought out a parody called “Rien! scie en trois

actes.” _Scie_ means literally a “saw,” but in French argot it is

equivalent to our slang word “sell.”

――――

_Travestirte Fabeln des Phadrus_, mit einem Anhang Mysterioser

Gesange. Karl Dieffenbach. Frankfurt, 1794.

_Virgils Æneis travestirt_, Von V. Blumauer. Leipzig, 1841.

This was a German travesty of Virgil, with numerous very curious and

comical illustrations.

Lovers of parody will find in the feuilleton of the _Deutsche Montags

Zeitung_ a series of “Poems and Novels by eminent Hands,” in which the

styles of the leading German writers of the day are very happily

burlesqued.

As to other German parodies, it must suffice to mention Dr. J.

Scheible’s celebrated catalogue of German comic literature, which

touches on Parodies and Travesties; and _Das Kloster_, another work by

J. Scheible, published at Stuttgart in 1845. But the art of Parody

does not appear to flourish so well in Germany as in France and

England.

――――:o:――――

ENGLISH BURLESQUE TRANSLATIONS OF THE CLASSICS.

(_Not Theatrical._)

A list of the principal English translations of the ancient classics

is given below in the following order: Anacreon, Aristophanes,

Aristotle, Æsop, Homer, Horace, Lucian, Ovid and Virgil.

_Anacreon in Dublin_, with Notes. 1814. Satirical Parodies,

dedicated to Lord Byron.

_The British Birds._ A communication from the Ghost of Aristophanes.

By Mortimer Collins. London. The Publishing Company, Limited,

1872. Several extracts from this clever satire have been given in

_Parodies_.

_The Art of Pluck_, a Treatise after the fashion of Aristotle, writ

for the use of Students in the Universities. Oxford, 1843.

_Fables by G. Washington Æsop._ With humorous illustrations by F. S.

Church. London. W. Mack. No date, about 1885.

_Homer Travestie_, a Burlesque Translation of Homer, in Hudibrastic

verse. By Thomas Bridges.

Booksellers almost invariably catalogue this as “a work full of

humour, but which often transgresses the bounds of decency,” a stolen

phrase which very inadequately describes its coarseness. The first

volume of this translation appeared in 1762 with the facetious title

“_A New Translation of Homer’s Iliad_, adapted to the capacity of

Honest English Roast Beef and Pudding Eaters, by Caustic Barebones, a

broken apothecary.”

_Homer à la Mode._ A Mock Poem upon the First and Second Books of

Homer’s Iliads. Anonymous. Oxford, R. Davis. 1664.

_Homer for the Holidays._ By a Boy of Twelve. (Richard Doyle).

London. “Pall Mall Gazette” Office, 1887. Fifteen very humorous

plates to illustrate Homer’s Iliad.

_The Odes of Horace_, with a translation of Dr. Bentley’s Notes, and

Notes upon Notes; Done in the Bentleian Stile and Manner. London.

Bernard Lintott. 1712. This contained a burlesque criticism by

Oldisworth on Dr. Bentley’s _Horace_. It was published in

twenty-four parts.

_The Art of Politics_, in imitation of the Art of Poetry. James

Bramestone. Dublin, 1729.

_Horace in London_: consisting of Imitations of the First Two Books

of the Odes of Horace. By James and Horace Smith. London, 1815.

_Railway Horace._ By G. Chichester Oxenden. London: Upham and Beet.

1862.

_Horace at the University of Athens_, (Ascribed to Sir George Otto

Trevelyan.) Cambridge: Jonathan Palmer. 1862. Contains several

excellent parodies.

_Horace’s Odes Englished and Imitated_, by various hands, selected

and arranged by Charles W. J. Cooper. London: George Bell and

Sons. 1889.

This collection is in two parts, the first being simple translations,

the second part being made up of burlesques, imitations, and satires

founded upon the Odes of Horace. The best of these were written by the

authors of _The Rejected Addresses_, James and Horace Smith.

_Lexiphanes_, a Dialogue, imitated from Lucian, and suited to the

present Times, with a dedication to Lord Lyttleton. 1767. A piece

of satire directed against Dr. Johnson by one Archibald Campbell.

_The Sale of Authors._ A Dialogue in imitation of Lucian. 1767.

_The New Lucian_, being a Series of Dialogues of the Dead. By H. D.

Traill. London, 1884.

_Burlesque upon Burlesque_: or, the Scoffer Scoff’d. Being some of

Lucian’s Dialogues newly put into English Fustian, for the

Consolation of those who had rather _Laugh and be Merry_, than be

_Merry and Wise_. By Charles Cotton. London.

_Ovid Travestie_, a Burlesque upon Ovid’s Epistles. By (Captain)

Alexander Radcliffe. London, J. Tonson. 1680.

_The Wits Paraphras’d_; or, Paraphrase upon Paraphrase. In a

Burlesque on the several late translations of Ovid’s Epistles.

London, 1680.

_Ovid in London_: Ludicrous Poem in Six Cantos. By a Member of the

University of Oxford. London: W. Anderson, 1814.

_Scarronides: or, Virgil Travestie._ A Mock Poem on the First and

Fourth Books of Virgil’s “Æneis” in English Burlesque. By Charles

Cotton. London, 1670. There have been many editions of this

burlesque.

_A Kerry Pastoral_, in imitation of the First Eclogue of Virgil.

Edited by T. C. Croker. (Reprint 1843).

_Maronides_, or Virgil Travestie, being a New Paraphrase upon Book

V. of Virgil’s Æneids, in Burlesque Verse. By John Phillips. 1672.

_The Canto added by Maphœus_ to Virgil’s Twelve Books of Æneas, from

the original Bombastic, done into English Hudibrastic; with Notes

beneath, and Latin text in every other page annext. By John

Ellis. 1758.

Those who wish to see an almost perfect specimen of a classical parody

must turn to _Blackwood’s Edinburgh Magazine_, July 1823, in which

they will find

_An Idyl on the Battle._

Fists and the man I sing, who, in the valleys of Hampshire

Close to the borough of Andover, one fine day of the springtime,

Being the twentieth of May, (the day moreover was Tuesday,)

Eighteen hundred and twenty-three, in a fistical combat,

Beat, in a handful of rounds, Bill Neat, the Butcher of Bristol.

What is the hero’s name? Indeed, ’tis bootless to mention.

Every one knows ’tis Spring――Tom Spring, now Champion of England.

* * * * *

In a somewhat similar vein of parody is Tom Moore’s _Milling-Match

between Entellus and Dares_. Translated from the Fifth book of the

Æneid.

With daddles high upraised, and nob held back,

In awful prescience of the impending thwack,

Both kiddies stood――and with prelusive spar,

And light manœvring kindled up the war.

* * * * *

_A Free and Independent Translation_ of the First and Fourth Books of

the Æneid of Virgil. In Hexameter and Pentameter. With

Illustrations by Thomas Worth. The Winsted Herald Office, Winsted,

Conn. U.S.A. 1870.

This is a burlesque in “Modern American,” with very comical woodcuts.

_The Siege of Oxford._ Fragments from the second book of the “Nova

Æneis.” Oxford: F. Macpherson. 1852.

_Georgics of Bacchicles._ In Three Books. Now first published in the

English tongue. Oxford, T. Shrimpton.

――――:o:――――

Many of the beautiful legends of the old Grecian mythology have been

chosen as the themes for burlesques, both poetical and dramatic.

A list of the dramatic burlesques will be given later on, of the

poetical mythological burlesques many may be found in _Punch_, and the

other comic papers; the following originally appeared in the _Hornet_:

PYGMALION; OR, THE STATUE FAIR.

There was an ancient classic swell,

An interesting alien,

His kinsfolk called him “Piggy,” but

His full name was Pygmalion.

Like many a high artistic Greek,

He got his bread by chiselling;

I don’t mean running into debt,

And then by moonlight mizzling.

I don’t mean billiards, cards or dice,

At which the sharper garbles

Some spooney flat. The only game

Pygmalion played was _marbles_.

He chiselled marble into forms

Defying competition;

And won no end of _Kudos_ at

Each R. A. Exhibition.

One eve, he’d worked the whole day long,

And felt used up and wearied;

His subject was a Grecian Bend

Or Lady of the Period.

Now Piggy was a lonely man,

Since he had never mated;

But always kept a celibate,

Although so celebrated.

So when he laid his chisel down,

And saw that fair creation,

He said――as critics often say――

“She lacks but animation!”

And straightway Love and Phantasy,

Like disobedient vassals,

Heedless of Reason, in his brain,

Went building Spanish castles.

He thought it would be very nice

Each morning could he see

Presiding at his breakfast-board

Just such a Mrs. P.

He pictured her at parties, fêtes,

In pinery or grapery,

Looking as she was looking then――

_Plus_ just a little drapery.

He bent on her a steadfast gaze

(Mesmeric ’twas, I’m thinking)

And straight her sympathetic lids

Moved like――yes, just like――_winking_.

She breathed――she lived――she came to him,

And he embraced her _quick_;

“You are not _stone_!” he fondly cried――

“You are a little _brick_!”

His vision thus was realised;

Next morning he was able

To see that partner exquisite

Presiding at his table.

He ordered in no end of “things,”

He thought it but his duty;

Since, even for that antique age,

Too “unadorned” her beauty.

And knowing well that spinsters prim

Would make her case a handle

For rude remark, he put a stop

Effectually to scandal.

For shortly in the _Morning Post_,

This won the _Monde’s_ regards――

“Mr. PYGMALION, R.A.,

Married Miss STONE. No cards.”

And many an artist, since that day,

Has found his sighs love-laden

Warm into animated clay

The coldest “marble maiden.”

――――:o:――――

_Arundines Cami_ sive Musarum Cantabrigiensium Lusus Canori.

Henricus Drury, A.M. Cambridge. Parker and Son. 1841.

This contains Latin versions of all the most celebrated short English

poems, including Gray’s Elegy, the Burial of Sir John Moore, and some

nursery rhymes.

Before leaving the Classics mention must be made of a curious branch

of poetry entitled _Macaronic verse_. Examples of this, and many of

them very ingenious, are to be found in _Poetical Ingenuities and

Eccentricities_ selected by William T. Dobson. London. Chatto and

Windus, 1882.

Octave Delepierre also wrote several essays on the subject, the

principal being entitled _Littérature Macaronique_.

One of the best of these literary curiosities is a small pamphlet (to

be had of Mr. J. Vincent, Oxford,) entitled――

“_Uniomachia_; a Greek-Latin Macaronic Poem,” by Thomas Jackson, M.A.

This was originally published in 1833, with a translation into English

verse (after the manner of the late ingenious Mr. Alexander Pope),

styled “The Battle at the Union.”

Another humorous pamphlet also published by Vincent, _Viae per Angliam

Ferro Stratae_, and written by Mr. Fanshawe of Baliol College in 1841,

was a comical skit on the early railways, in Latin hexameters.

Many Macaronic poems have appeared in _Punch_ from time to time, to

the great delight and amusement of classical scholars. The following,

published in March, 1852, is a fine example of this class of learned

frivolity:――

THE DEATH OF THE SEA-SERPENT,

_By Publius Jonathan Virgilius Jefferson Smith_.

Arma virumque cano, qui first, in the _Monongahela_,

Tarnally squampush’d the Sarpent, mittens horrentia tela.

Musa, look smart with your Banjo! I guess, to relate or invent, I

Shall need all the aid you can give; so, Nunc aspirate canenti.

Mighty slick were the vessel progressing, jactata per æquora ventis;

But the brow of the skipper was cloudy cum sollicitudine mentis;

For whales had been skase in them pearts; and the clipper, so long

as he’d known her,

Ne’er had gather’d less ile in her cruise, to gladden the heart of

her owner.

“Darn the whales!” cried the skipper at length, “with a telescope

forte videbo

Aut pisces, aut terras.” While speaking, just two or three points on

the lee bow,

He saw coming towards them, as fast as though to a combat ’twould

tempt ’em,

A monstrum, horrendum, informe (cui lumen was shortly ademptum).

On the taffrail up jumps in a hurry dux fortis, and seizing a trumpet,

With a blast that would waken the dead, mare turbat et aëra rumpit――

“Tumble up, all you lubbers!” he cries, “tumble up! for, careering

before us,

Is the raal old Sea-Sarpent himself, cristis maculisque decorus.”

“Consarn it!” cried one of the sailors, “if e’er we provoke him, he’ll

kill us;

He’ll sartainly chaw up _hos_ morsu, et longis implexibus _illos_.”

Loud laughs the bold skipper, and quick premit alto corde dolorem;

If he does feel like running, he knows it won’t do to betray it before

’em.

“O Socii,” inquit, “I’m sartin you air not the fellers to funk, or

Shrink from the durum certamen, whose fathers fought bravely to Bunker.

You! who have waged with the bars, and the buffeler, prœlia dura,

Down to the freshes, and licks of our own free enlighten’d Missourer!

You! who could whip your own weight catulis sævis sine telo,

Get your eyes skinn’d in a twinkling, et ponite tela phaselo!”

Talia voce refert, curisque ingentibus æger,

Marshalls his ’cute little band, now panting their foe to beleaguer.

Swiftly they lower the boats, and swiftly each man at his oar is,

Excipe Britanni timidi duo, virque coloris;

(Blackskin, you know, never feels how sweet ’tis pro patriâ mori;

OVID had him in view when he said, “Nimium ne crede colori.”)

Now swiftly they pull towards the monster, who seeing the cutter and

gig nigh,

Glares at them with terrible eyes, suffectis sanguine et igni;

And never conceiving their chief so swiftly will deal him a floorer,

Opens wide, to receive them at once, his linguis vibrantibus ora;

But just as he’s licking his lips, and gladly preparing to taste ’em,

Straight into his eyeball the skipper stridentem conjicit hastam.

Soon as he feels in his eyeball the lance, growing mightily sulky,

At ’em he comes in a rage ore minax, linguâque trisulcâ.

“Starn all!” cry the sailors at once, for they think he has certainly

caught ’em;

Præsentemque viris intentant omnia mortem.

But the bold skipper exclaims, “O terque quaterque beati!

Now, with a will, dare viam, when I want you, be only parati;

This hoss feels like raising his hair, and in spite of his scaly old

cortex,

Full soon you shall see that his corpse rapidus vorat æquore vortex.”

Hoc ait, and choosing a lance, “With this one I think I shall hit it.”

He cries; and straight into its mouth ad intima viscera mittit.

Screeches the crittur in pain, and writhes till the sea is commotum,

As if all its waves had been lash’d in a tempest per Eurum et Notum;

Interea terrible shindy NEPTUNUS sensit, et alto

Prospiciens sadly around, wiped his eye with the cuff of his paletôt;

And mad at his favourite’s fate, of oaths utter’d two or three

thousand,

Such as, Corpo di Bacco! Mehercule! Sacré! Mille tonnerres!

Potztausend!

But the skipper, who thought it was time to this terrible fight dare

finem,

With a scalping-knife jumps on the neck of the snake, secat et dextrâ

crinem;

And hurling the scalp in the air, half wild with delight to possess

it,

Shouts, “Darn it! We’ve fixed up _his_ flint, for in ventos vita

recessit.”

――――:o:――――

THE OLDEST CLASSICAL BURLESQUE.

_Batrachomyomachia_ is the cheerful title of the oldest burlesque

extant, and even if we do not accept the tradition which assigns its

composition to Homer, we may safely consider it to be the earliest of

the many travesties of the heroic style of the “Iliad” and “Odyssey.”

According to Plutarch, the real author was one Pigres, of

Halicarnassus, who flourished during the Persian war. Statius

conjectures that Homer wrote it when a youth, as a trial of his

poetical powers; whilst the author of one of finest English

translations of Homer, George Chapman, asserts that the work was

composed in his old age; when, disgusted with the neglect and

ingratitude of his contemporaries, he set to work to show that he

could elevate and dignify the wars and struggles of insignificant

animals, as he had previously described the heroic actions of the

Greeks and Trojans.

Samuel Wesley published an English translation of the _Batrachomyomachia_,

which he called “The Iliad in a Nutshell.” He speaks of it “as perhaps

the best, as well as the oldest burlesque in the world.”

The following is a synopsis of the plot of this poem, generally known

as the _Battle of the Frogs and Mice_.

A mouse, having just escaped the pursuit of a hungry weasel, stays by

the edge of a pond to drink and take breath, when a frog swims up,

enters into conversation, and invites the mouse to visit his abode.

The mouse consents, and mounts upon the back of the frog, who swims

into the middle of the pool. Suddenly an otter appears, the terrified

frog dives to the bottom, leaving the mouse to struggle with the

foaming billows. Unable to reach the shore, he sinks to a watery

grave; a comrade who had arrived at the brink too late to be of

service, hastens to relate the pitiful tale to a council of his

fellows, and war is at once declared against the Frogs.

Jupiter and the gods deliberate in Olympus on the issue of the

contest. Mars and Minerva decline personal interference, partly from

awe inspired by such mighty combatants, and partly from the ill will

they bear towards the contending parties.

A band of mosquitoes sound the war-alarum with their trumpets, and,

after a bloody engagement, the frogs are defeated with great

slaughter. Jupiter, sympathising with their fate, endeavours in vain

by his thunders to intimidate the victors from further pursuit. The

rescue of the frogs is at last effected by an army of landcrabs, which

marches up, attacks the mice, and drives them from the field in great

disorder.

Wesley’s translation of the _dénouement_ is a specimen of the

mock-heroic style which runs through the original:――

The Muses, knowing all things, list not show

The wailing for the Dead and Funeral Rites,

To blameless Ethiopians must they go

To feast with Jove for twelve succeeding nights.

Therefore abrupt thus end they. Let suffice

The gods’ august assembly to relate,

Heroic Frogs and Demigods of Mice,

Troxartes’ vengeance and Pelides’ fate.

Hosts routed, lakes of gore, and hills of slain,

An Iliad, work divine! raised from a day’s campaign.

[Illustration]

Burlesques of Educational Works

GUIDES, TUTORS’ ASSISTANTS, AND HISTORIES.

_In Alphabetical Order._

_The Art of Pluck._ Being a Treatise after the Fashion of Aristotle;

writ for the use of Students in the Universities. By Scriblerus

Redivivus. (This clever work was written by the Rev. Edward

Caswell, and first published in 1835. It has run through many

editions, and can still be obtained from Mr. J. Vincent,

Bookseller, Oxford.)

_The Book of Fun_; or, Laugh and Learn. London: James Gilbert. This

contained “The Illustrated English Grammar;” “Rhetoric and

Elocution;” “Illustrated Arithmetic or, Cyphering made Comical;”

“The Comic History of Rome, and the Rumuns.” These were all

humourously illustrated.

_Catalogue of the Valuable Contents of Strawberry Hill_, the Seat of

Horace Walpole, 24 days’ sale, by Mr. George Robins. This

catalogue is often accompanied by the humorous parody: “Specimen

of the Catalogue of the Great Sale at Goosebery Hall, with

Puffatory Remarks.”

_The Comic Blackstone._ By Gilbert Abbot à Beckett, with

illustrations by George Cruikshank. London: Bradbury, Agnew & Co.

Mr. G. A. à Beckett was fully qualified by his education as a

barrister, and his practice as a Metropolitan Police Magistrate,

to discourse learnedly of the law. He died in August, 1856.

In 1887 his son, Mr. Arthur W. à Beckett, brought out a new, and

enlarged edition of _The Comic Blackstone_, with illustrations by

Mr. Harry Furniss. This was also published by Bradbury, Agnew &

Co.

_Caricature History of the Georges_; or, Annals of the House of

Hanover, compiled by Thomas Wright, F. S. A. London: John Camden

Hotten. Illustrated.

The original edition appeared as early as 1849, but Hotten’s

later reprint was more complete.

“George the First vile was reckoned,

Viler still was George the Second.

And what mortal ever heard

Any good of George the Third?

When the last to Hell descended,

The Lord be praised the Georges ended!”

_Catalogue of the Valuable Contents of Strawberry Hill_, the Seat of

Horace Walpole, 24 days sale, by Mr. George Robins, 1842.

Inserted in this is sometimes found a humorous parody on the Sale

Catalogue. “Specimen of the Catalogue of the Great Sale at

Gooseberry Hall, with Puffatory Remarks.”

_The Comic Bradshaw_; or, Bubbles from the Boiler. By Angus B.

Reach. Illustrated by H. G. Hine. London: David Bogue, 1848.

This little pamphlet has no connection with the tedious and

complicated book of reference alluded to in the title. It

contains several parodies.

_The Comic Cocker_; or, Figures for the Million. With illustrations.

This was published, _without any author’s name or date_, by Ward

and Lock, London. It was probably written by Alfred Crowquill,

_i.e._ A. H. Forrester.

_The Comic English Grammar_; a new and facetious introduction to the

English tongue. By “Paul Prendergast,” _i.e._, Mr. Percival

Leigh. With illustrations by John Leech. London: 1840. There have

been numerous editions of this work.

_Comic Etiquette Illustrated_; or, Hints how to Conduct Oneself in

the Best Society, by an X.M.C. With sketches by T. Onwhyn. Very

scarce. About 1840.

_The Comic Etiquette_; or, Manners for the Million. By “A Nice Young

Man.” With numerous illustrations. London: Diprose and Bateman.

_The Comic Guide to the Royal Academy for 1864._ By the Gemini.

Illustrated. London: John Nichols, 1864.

_The Comic History of England._ By Gilbert Abbott à Beckett. With

illustrations by John Leech. London: Bradbury, Agnew and Co.,

1847-8.

_The Comic History of England._ By O. P. Q. Philander Smiff. With

illustrations. London: Myra and Son. (This originally appeared in

Figaro.)

_The Comic History of England, Ireland, and Scotland._ London:

Diprose and Bateman.

_A Comic History of France._ By O. P. Q. Philander Smiff. With

sketches in French chalks. London: Myra and Son, 1888.

_Ye Comic History of Heraldry._ By R. H. Edgar. Illustrated by

William Vine. London: William Tegg and Co., 1878. Unlike most

“comic” histories, this contains some useful information for the

student of heraldry.

_The Comic History of London_, from the Earliest Period. By Walter

Parke. With numerous illustrations. London: “Boys of England”

Office.

_Ye Comick Historie of ye Citie of London._ By Gog and Magog. With

illustrations. London: J. A. Brook & Co., 1878.

_The Comic History of Rome._ By Gilbert Abbott à Beckett. With

illustrations by John Leech. London: Bradbury, Agnew & Co., 1850.

_The Comic History of the Russian War_, poetically and pictorially

described by Percy Cruikshank. With plates. About 1856.

_Comic Illustrated Multiplication._ By Buz and Fuz. Illustrated.

London: Dean & Son. (No date.)

_The Comic Latin Grammar_; a new and facetious introduction to the

Latin tongue. By Paul Prendergast. With illustrations by John

Leech. (“Paul Prendergast” was Mr. Percival Leigh, a contributor

to _Punch_ from its commencement.) London: 1840.

_A Companion to the Guide; and a Guide to the Companion_; being a

complete supplement to all the accounts of Oxford hitherto

published. This satire on the Guide to Oxford was published

anonymously in 1760. It was written by the Rev. Thomas Warton.

_Craniology Burlesqued_, in three Serio-Comic Lectures, recommended

to the Patronage of Drs. Gall and Spurzheim, by a Friend to

Common Sense. London, 1818.

_Cricket._ Edited by G. Hutchison, 1888. This contained several

parodies.

_Cricketers Guyed for 1886._ By W. Sapte, Jun. With cuts. London: J.

& R. Maxwell, 1886. This contains some valuable information for

cricketers, given in a bright and humorous style.

“Break! break! break!

If only an inch,” said he;

And I would that my tongue dare utter

The words that I heard him mutter

As the ball was slogged for three.

_The Diary of Samuel Pepys, Esq._, while an Undergraduate at

Cambridge. Cambridge: J. Palmer, 1866.

_Drawing for the Million_; or, Laugh and Learn. London: Diprose &

Bateman.

_England’s Reformation_, from the time of Henry the Eighth to the

end of Oates’s Plot. By T. Ward. A Hudibrastic poem describing

the reformation from a Roman Catholic point of view. First

published about 1700.

_English as She is Taught_; being genuine answers to Examination

questions in our Public Schools. Collected by Caroline B. Le Row,

with a Commentary thereon by Mark Twain. London: T. Fisher Unwin,

1887.

Mark Twain’s article on this subject had first appeared in the

_Century Magazine_ for April, 1887.

_English as She is Wrote_, showing curious ways in which the English

language may be made to convey ideas or obscure them. London: G.

Routledge & Sons.

This contained some curious Signboards, Advertisements, Epitaphs,

and Parodies.

_Freaks and Follies of Fabledom_; a Little Lemprière, or Mythology

made easy. London: John Ollivier, 1852. This is really a

drawing-room Mythology.

_Fun’s Academy Skits._ Skitched by Gordon Thomson, with Notes by

“Nestor.” London: “Fun” Office, 1881 and 1882. These contained

numerous parodies, both poetical and pictorial.

_Games made Game of._ By Two Game Cocks. (Chess, Billiards,

Cribbage, Forfeits, Cricket, Football, &c.) London: James Allen,

1857.

_The Gladstone A. B. C._ Illustrated. Edinburgh: W. Blackwood &

Sons. (No date, but about 1884.)

_The Great Exhibition_ “Wot is to be; or, probable results of the

Industry of all Nations.” By George Augustus Sala. London: 1851.

_Harry Furniss’s Royal Academy._ An Artistic Joke. A Catalogue of

the Exhibition, containing over Eighty illustrations after the

Artists. London: 1887.

Harry Furniss’s illustrations were parodies of paintings by the

most famous artists of the day.

_The Heraldry of Nature_, comprising the Arms, Supporters, Crests,

and Mottoes of the English Peers, descriptive of their several

qualities. With plates. London: 1785. A very satirical work; the

following was the description it gave of the _Arms_ of the

dissolute Prince of Wales, afterwards George IV.: First, azure,

the prince’s cap, feathers disordered; second argent, four

decanters azure; third gules, a fringed petticoat between three

maidens’ heads; fourth, sable, the ace of spades proper; fifth

argent, a horse courant between three rattles; sixth gules, a

quiver, the arrows scattered.

_Supporters._ The dexter, Cupid; the sinister, a monkey.

_Crest._ A deer wounded.

_Motto._ Fions à l’avenir.

_Hints on Etiquette_, for the University of Oxford; to which are

added some remarks on “Honour.” By Professor Taglioni Jonez.

Oxford, 1838. This has been frequently reprinted, and can still

be obtained from Mr. J. Vincent.

_Hints to Freshmen in the University of Oxford._ Oxford: J. Vincent.

This humorous work has been ascribed to Canon Hole. In addition

to the “Hints to Freshmen,” it contains nine excellent poetical

parodies, extracts from which have already been quoted in this

Collection.

_History of the Decline and Fall of the British Empire._ By Edwarda

Gibbon (Auckland, A.D. 2884.) London: Field & Tuer, 1884.

_Homburg no Humbug_; ye Diarie of Mr. Pips while there, with plates.

London, 1867.

_Leading Cases done into English._ By an Apprentice of Lincoln’s

Inn. (Said to be Professor Pollock). London: Macmillan & Co. 1876.

_Manners and Customs of ye Englishe_, drawn from ye Quicke, to which

is added some Extracts from Mr. Pips, hys Diarie, contributed by

Percival Leigh, illustrations by Richard Doyle. London: Bradbury

& Evans, 1849.

_Marks and Re-marks for the Catalogue of the Exhibition of the Royal

Academy, 1856._ Written in the manner of Longfellow’s _Hiawatha_.

London: Golbourn, 1856.

_Max in the Metropolis._ A Visit Paid by Yankee Doodle to Johnny

Bull. By Max P. Romer. Illustrated. London: G. Routledge & Sons.

1887.

_The Model Primer._ By Eugene Field, of _Denver Tribune_. Published

by Fred Tredwell, of Nassau Street, New York, U.S., and Bernard

Quaritch, London. Illustrated by “Hop.” 1886.

(This is one of the drollest of Yankee books of humour.)

_More Hints on Etiquette_, for the use of Society at large, and

Young Gentlemen in Particular. With cuts by George Cruikshank.

London: Charles Tilt, 1838.

A parody of “_Hints on Etiquette_, and the Usages of Society:

with a glance at bad habits.”

London: Longmans & Co. 1836.

_Music for the Million_; or, Singing made Easy. By Dick Crotchet.

London: Diprose & Bateman.

_The Mysteries of London_, and Strangers Guide to the Art of Living

and Science of Enjoyment in the Great Metropolis. By Father

North. London: Hugh Cunningham, 1844. A satirical guide to London

in the form of a dictionary.

_Overland Journey to the Great Exhibition_, showing a few Extra

Articles and Visitors. _Being a Panoramic Procession of humorous

figures representing the various Peoples of the Earth, exhibiting

their national Characteristics, 109 inches in length._ By Richard

Doyle. London: 1851.

_A Parody upon the History of Greece._ Published by the Society for

the _Confusion of Useful Knowledge_. (By A. F. Braham.) London:

W. S. Johnson. 1837.

_The Pictorial Grammar._ By Alfred Crowquill. The first edition was

published by Harvey and Darton, London, without any date. It has

since been re-issued by William Tegg & Co., 1876.

(Mr. Alfred Henry Forrester, who wrote as “Alfred Crowquill,” was

born in London in 1806, and died May 26, 1872. He also wrote _The

Tutor’s Assistant_.)

_Picture Logic_; or, the Grave made Gay, an Attempt to popularise

the Science of Reasoning by the combination of Humorous Pictures

with Examples of Reasoning taken from Daily Life. By Alfred

Swinbourne, B.A., Queen’s College, Oxford. London: Longmans &

Co., 1875.

_The Pleader’s Guide_; a Didactic Poem, in two parts: containing Mr.

Surrebutter’s Poetical Lectures on the conduct of a Suit at Law

(by J. Anstey). London: T. Cadell, 1804.

_The Premier School-Board Primer_; with forty illustrations. London:

E. Appleyard, 1884.

_A Satire on Mottos_, being a literal translation and Criticism on

all the Mottos which now decorate the Arms of the English

Nobility and the Sixteen Peers of Scotland, with humorous

reflections on each. (A skit on heraldry.)

_Showell’s Comic Guide to the Inventories._ London, 1885.

_The Story of the Life of Napoleon III._, as told by Popular

Caricaturists of the last Thirty Years. London: John Camden

Hotten, 1871.

_Tom Treddlehoyle’s Peep at t’ Manchister Art Treasures Exhebishan

e_ 1857, an uther wunderful things beside at cum in hiz way i t’

city of Manchister. 1857.

_Transactions of the Loggerville Literary Society._ London: Printed

for Private Circulation by J. R. Smith, 36, Soho Square, 1867.

Illustrated. This singular work contains a “Concise History of

England,” in 61 verses, a burlesque examination paper, and

“Dandyados,” a Tragedy, which is a parody of “Bombastes Furioso.”

_The Tutor’s Assistant_; or Comic Figures of Arithmetic; slightly

altered and elucidated from Walking-Game. By Alfred Crowquill,

_i.e._ A. H. Forrester. London, 1843.

_The World Turned inside out_; or Comic Geography, and Comic History

of England. With Illustrations. London: Diprose and Bateman

(originally published in 1844).

――――

A MATHEMATICAL PROBLEM.

If you take the mean of an isosceles triangle, bisect it at one and an

eighth, giving a centrifugal force of three to one; then describe a

gradient on its periphery of ¾ to the square inch, throwing off the

right angles from the previously ascertained square root, you form a

rhomboid whose base is equal to the circumference of a circle of twice

its own cubic contents. These premisses being granted it stands to

reason that it is impossible for a steam engine of 40 H.P. nominal to

go through a tunnel of the same dimensions, without tearing the piston

cock off the main boiler, even with the rotation derived from a double

stuffing box, high pressure steam, and a vacuum of 43°. Q. E. D.

[Illustration]

Theatrical Burlesques and Travesties.

[Illustration: I]n the following Table a rather wide interpretation

has been given to the word _Burlesque_, so that some of J. R.

Planché’s witty extravaganzas have been included, and a few even of

the clever pantomime openings written by the late Mr. E. L. Blanchard.

The object aimed at being to insert particulars of every _Dramatic_

production which professed to be a Burlesque, or a Travestie of any

well-known Play, Novel, Poem, or Poetical Legend.

Probably some thousands of Burlesques have been performed which have

never attained the dignity of print, and in the following pages will

be found many Burlesques which have never been publicly acted,

although written in dramatic form.

I wish to express my sincere thanks to my esteemed friend Mr. T. F.

Dillon Croker for the great assistance he has rendered in this

compilation. Not only was his curious dramatic library generously

placed at my disposal, but he also undertook to revise the proof

sheets, his intimate knowledge of theatrical history enabling him to

make numerous valuable suggestions. I have also to thank Mr. F. Howell

for the loan of many early burlesques, and to mention that in the

verification of dates the _Era Almanacks_ have been of great service.

It is to be regretted that this useful publication was not started

until 1868. Long may it flourish!

In a Table containing nearly eight hundred entries, and the first of

its kind ever compiled, it is almost inevitable that some errors and

omissions should occur. Mr. Samuel French, the theatrical publisher,

in answer to a politely worded request, not only declined to give the

slightest assistance, but even refused permission to consult any of

his Play books for the verification of a few dates. This information

is not readily accessible at the British Museum Library, as under the

peculiar method of cataloguing there adopted, it is necessary to know

the author’s name of any work one desires to consult. As Mr. French

possesses a virtual monopoly of the sale of modern English plays it is

to be regretted that he will not extend a little courteous assistance

to writers on Dramatic history.

Mr. John Dicks, of 313, Strand, who issues very cheap and readable

reprints of old English plays, gave me all the information in his

power, but, as yet, he has only published a few Burlesques.

In the Table a strictly alphabetical arrangement of Titles has been

adopted, followed by the date and place of first performance, and in

some cases the names of the principal performers have been given. For

convenience of reference the articles, The, Ye, A, An, Le, La, L’, Il,

have been ignored. Thus――_L’Africaine_ will be found under the letter

A, and _La Sonnambula_ under the letter S.

Where the name of a Theatre is given, without any town, London is to

be understood.

Burl. signifies Burlesque.

Burl. panto. „ Burlesque Pantomime.

Burl, extrav. „ Burlesque Extravaganza.

Burl. op. „ Burlesque Opera.

N.D. „ No date.

_Abon Hassan_; or, The Hunt after Happiness. By Francis Talfourd.

St. James’s. December 26, 1854. J. L. Toole and Miss Eleanor

Bufton.

_Abon Hassan_; or, An Arabian Knight’s Entertainment. By Arthur

O’Neil. Charing Cross. December 11, 1869. Published by Phillips,

Regent Circus, London.

_Abou_; or, The Sleeper Awakened, burlesque, by Joseph Tabrar. T. R.

Coventry. August 3, 1885.

_Acis and Galatea_, paraphrased, by W. H. Oxberry. Adelphi. February

8, 1842. Wright & Paul Bedford.

_Acis and Galatea_, burlesque, by F. C. Burnand.

_Acis and Galatea_, by T. F. Plowman. Oxford, Dec. 1869.

_Adonis._ An “American Eccentricity,” by Gill and Dixey. Gaiety. May

31, 1886. Performed by an American company, and damned by the

London press, as a noisy, stupid and meaningless production. Mr.

Henry E. Dixey, the leading performer, as “Adonis,” gave some

imitations (not in the best taste) of Henry Irving.

_L’Africaine_; or, the Belle of Madagascar, by Captain Arbuthnot.

_L’Africaine_, burl. By F. C. Burnand. Strand, Nov. 18, 1865, and

revived in 1876. Edward Terry, Harry Cox and Marius.

_Agamemnon at Home_; or, the Latest Particulars of that little

affair at Mycenæ. A Burlesque Sketch. First performed at the St.

John’s College, A. T., during Commemoration, 1867. Oxford. T. &

G. Shrimpton, 1867. (By the late Mr. E. Nolan, of St. John’s).

_Agamemnon and Cassandra_; or, The Prophet and Loss of Troy, by R.

Reece. Prince of Wales’s, Liverpool, April 13, 1868.

_Airey Annie_, travestie of _Ariane_, by F. C. Burnand. Strand,

April 4, 1888. Willie Edouin, W. Cheesman, Misses Alice Atherton

and M. Ayrtoun. The latter lady mimicked Mrs. Bernard Beere’s

impersonation of _Ariane_.

_A Knock at the Door_; or, Worsted Works Wonders, by Stafford

O’Brien and R. M. Milnes. Acted by Amateurs at the Cambridge

University, March 19, 1830. Privately printed.

_Aladdin_; or, the Wonderful Lamp in a New Light, by Gilbert A. à

Beckett. July 4, 1844. Wright, Paul Bedford, Augustus Harris,

Madame Sala.

_Aladdin_; or, The Wonderful Scamp. By Henry J. Byron. Strand, April

1, 1861. H. J. Turner, J. Rogers, J. Clarke, Misses C. Saunders,

F. Josephs, E. Bufton and Marie Wilton.

_Aladdin II._; or, An Old Lamp in a New Light, by Alfred Thompson.

Gaiety. December, 1870. Burl.-Opera. J. L. Toole, Stoyle, Miss E.

Farren and Miss Loseby.

_Aladdin_; or, The Wonderful Lamp, by Frank W. Green. Charing Cross.

December 23, 1874.

_Aladdin and the Flying Genius._ Philharmonic. Dec. 26, 1881.

_Aladdin._ Burl.-drama, by R. Reece. Gaiety. December 24, 1881. E.

Terry, E. W. Royce, T. Squire, Misses E. Farren, P. Broughton and

Kate Vaughan.

_Aladdin_; or, The Scamp, the Tramp, and the Lamp, by Lloyd

Clarance. Blackpool Gardens. May 14, 1883.

_Aladdin_; or, the Wonderful Lamp, by J. R. O’Neill.

_Aladdin._ Panto-openings written by E. L. Blanchard for Covent

Garden, December 1865, and for Drury Lane December 1874, and

December 1885.

_Alcestis, the Original Strong-minded Woman_; being a most shameless

misinterpretation of the Greek drama of Euripides. By Francis

Talfourd. Strand. July 4, 1850. H. Farren, W. Farren, Compton,

Miss Adams, and Mrs. Leigh Murray (as Alcestis).

_Alexander the Great_, In Little. Burlesque. By Thomas Dibdin.

Strand. August 7, 1837.

_Alfred the Great._ Historical extrav., by R. B, Brough. Olympic.

December 26, 1859.

_Alfred the Ingrate_, by Wentworth V. Bayly. T. R. Plymouth. May 8,

1871.

_Alhambra_, Burlesque. By Albert Smith. Princess’s. April 21, 1851.

_Ali Baba_, burlesque-extravaganza, by H. J. Byron. Strand. April 6,

1863.

_Ali Baba à la Mode._ By R. Reece. Gaiety. September 14, 1872. J. L.

Toole, Miss E. Farren.

_All about the Battle of Dorking_; or, My Grandmother. By F. C.

Burnand and Arthur Sketchley. Alhambra. August 7, 1871. Published

by Phillips, Regent Circus, London.

_Ali Baba_; or, The Forty Naughty Thieves. T. R. Birkenhead, May 14,

1883.

_Alonzo the Brave_; or, Faust and the Fair Imogene, by F. C.

Burnand. Written for the A. D. C., Cambridge, and first performed

on May 20, 1857. It has since been acted in London.

_Alonzo ye Brave and ye Fayre Imogene_, by Sam H. Harrison.

Alexandra T. Liverpool. April 2, 1876.

_Alonzo and Imogene_; or, The Dad, the Lad, the Lord, and the Lass,

by W. W. Bird. T. R. Richmond. April 17, 1869.

_Amoroso, King of Little Britain._ By J. R. Planché. Drury Lane.

April 21, 1818. This was Mr. Planché’s first attempt, and the

success it achieved he modestly ascribed to the excellent acting

of Harley, Knight, Oxberry, G. Smith, Mrs. Orger and Mrs. Bland.

_Amoroso_ was not included in Mr. Dillon Croker’s edition of

Planché’s works, by the Author’s special desire, it being

considered by him as a work of scarcely sufficient importance.

_Amy Robsart._ Burlesque. By Mark Kinghorne. T. R. Norwich. May 10,

1880.

_Æneas; or, Dido Done._ By H. Such Granville. T. R. Cork. March 2,

1868.

_Anne Boleyne._ Burl. By Conway Edwardes. New Royalty. September 7,

1872.

_Another Drink._ Burlesque. By Savile Clarke and Lewis Clifton.

Folly. July 12, 1879.

_Antigone._ A Classical Burl. By H. R. Hand. (Who died under very

melancholy circumstances in 1874.) Oxford: T. & G. Shrimpton.

_Antony and Cleopatra_; or, His-Tory and Her Story, in a Modern Nilo

Metre. By F. C. Burnand. Haymarket, November 21, 1866. Mr. & Mrs.

Charles Mathews, Compton, Rogers, Clark, & Miss Fanny Wright.

_Antony and Cleopatra._ Burl. By J. F. Draper. Royal Hall. Jersey,

December 16, 1870.

_Area Sylph_; or, a Footboy’s Dream. A burlesque upon the “Mountain

Sylph,” by “Miss Betsey Fry.” English Opera House.

_Ariadne_; or, the Bull, the Bully, and the Bullion, A Classical

Burlesque. By Vincent Amcotts. Oxford: T. & G. Shrimpton, 1867.

_Ariel._ Burlesque fairy drama. Founded on _The Tempest_. By F. C.

Burnand. Gaiety, October 8, 1883.

_Arion; or the Story of a Lyre._ By F. C. Burnand. Strand. December

20, 1871. H. J. Turner, Edward Terry, Harry Paulton, Misses Rose

Cullen, and Topsy Venn.

_Arline, the Lost Child._ By Best & Bellingham. Sadler’s Wells. July

23, 1864.

_Arrah-na-Brogue._ By A. C. Shelley. Sadler’s Wells. October 25,

1865.

_The Ar-Rivals_; or a Trip to Margate. Travestie. By J. M. Banero

and A. D. Pincroft. Avenue. June 24, 1884. Intended as a

travestie of the famous revival of “The Rivals,” at the Haymarket

Theatre, by Bancroft and Pinero. “The Ar-Rivals” was a failure.

_The Ashantee War._ Burlesque. By James Sandford; Alexandra Opera

House, Sheffield. May 25, 1874.

_Atalanta_; or, the Three Golden Apples. By Francis Talfourd.

Haymarket, April 13, 1857. Chippendale, Compton, Clark, Misses M.

Wilton and M. Oliver.

_Atalanta_, by George P. Hawtrey. Strand, November 17, 1888. W. F.

Hawtrey, T. Squire, and Misses Marie Linden and Alma Stanley.

_Babes in the Wood_, burlesque, by George Capel. Gaiety Theatre,

Douglas, Isle of Man, July 26, 1884.

_Babes in the Wood._ Burl.-drama, by H. J. Byron. Adelphi, July 18,

1859. J. L. Toole, P. Bedford, Mrs. A. Mellon.

_The Babes in the Wood_, by G. L. Gordon and G. W. Anson. Prince of

Wales’s, Liverpool, April 16, 1877.

_The Babes_; or, Whines from the Wood, by Harry Paulton. Originally

produced at the Theatre Royal, Birmingham, June 9, 1884. Also at

Toole’s Theatre. London, Sept. 6, 1864, with Lionel Brough,

Willie Edouin, Miss Alice Atherton.

_The Barber’s Trip to Paris_, burlesque. Wolverhampton, February 28,

1876.

_Beautiful Haidee_; or, the Sea Nymph and the Sallee Rovers, by H.

J. Byron.

_Beauty and the Beast._ Panto-opening by E. L. Blanchard. Drury

Lane, December, 1869.

_Beauty and the Beast_, by C. H. Hazlewood.

_The Beast and the Beauty_, or No Rose without a Thorn, by F. C.

Burnand. Royalty, October 4, 1869. Mr. F. Dewar, Misses Kate

Bishop, M. Oliver and C. Saunders. Published by Phillips, Regent

Circus, London.

_The Bee and the Orange Tee_, burlesque, by H. J. Byron. Vaudeville.

_The Beggar’s Opera_, by John Gay. Originally produced in Lincoln’s

Inn Fields, 1728. Lord Byron called this a St. Giles’s lampoon.

_Behind the Scenes_, burlesque-burletta, by Charles Selby. Strand,

September 12, 1839.

_The Belle of the Barley-mow_; or, the Wooer, the Waitress, and the

Willian, by H. T. Arden. Cremorne Gardens, Sept. 23, 1867. W.

Corri, Miss C. Parkes.

_La Belle Sauvage_, burlesque, by John Brougham. St. James’s,

November 27, 1869. Mrs. John Wood, and Lionel Brough.

_The Bells Bell-esqued and Polish Jew Polished Off_; or, Mathias,

the Muffin, the Mystrey, the Maiden and the Masher. Theatre

Royal, Norwich, March 13, 1883.

_Belphegor Travestie_, by Leicester Buckingham. Strand, September

29, 1856. H. J. Turner, J. Clarke, Miss Cuthbert, Miss Thirlwall.

_Belphegor the Mountebank_, by C. H. Hazlewood.

_Billy Taylor_, burlesque-burletta, by J. B. Buckstone. Adelphi,

November 9, 1829.

_“The Birds” of Aristophanes_, adapted by J. R. Planché. Haymarket,

April 13, 1846. J. Bland, Miss P. Horton.

_Black-Eyed Sukey_; or, All in the Dumps, burlesque-extrav., by F.

Fox Cooper. Olympic.

_Black-Eyed Susan_, the Latest Edition, by F. C. Burnand. New

Royalty, November 29, 1866. F. Dewar, C. Wyndham, Misses M.

Oliver, N. Bromley. This was afterwards revived.

_Blighted Bachelors_, burlesque, by Llewellyn Williams, Derby,

August 29, 1881.

_Blossom of Churmington Green_, by F. Radcliffe Hoskins.

_Blue Beard; or, Hints to the Curious_, by J. H. Tully. English

Opera House.

_Blue Beard_, burl.-burletta, by J. R. Planché. Olympic, January 1,

1839. Mr. J. Bland and Madame Vestris.

_Blue Beard Re-trimmed._ Park Theatre, July 9, 1877.

_Blue Beard, from a new point of hue_, by H. J. Byron. Adelphi,

December 26, 1860.

_Blue Beard Repaired_, by H. Bellingham. Olympic, June 2, 1866.

_Blue Beard, the Great Bashaw_; or the Loves of Selim and Fatima, by

H. T. Arden. Crystal Palace, March 29, 1869.

_Blue Beard and Fat Emma_; or, the Old Man who cried “Heads,” by

Frank Green. North Woolwich Gardens, June 18, 1877.

_Blue Beard and Son._ Theatre Royal, Bath, March, 1880.

_Blue Beard; or, the Hazard of the Dye_, by F. C. Burnand. Gaiety,

March 12, 1883.

_Bluff King Hal_; or the Maiden, the Masher, and the Monarch,

Alexandra Theatre, Sheffield, March 12, 1883.

_The Blundering Heir_, by Henry P. Lyste.

_Bobadil il Chico_; or, the Moor the Merrier, by F. C. Burnand.

_Boadicea the Beautiful_; or, Harlequin Julius Caesar and the

Delightful Druid. By F. C. Burnand. Pantomime for Amateurs,

London, S. O. Beeton, 1865.

_The Bohemian G-yurl and the Unapproachable Pole_, by H. J. Byron.

Opera Comique, Jan. 31, 1877, and Gaiety, August, 1877. E. W.

Royce, Edward Terry, Misses E. Farren and Kate Vaughan. Revived

in 1884.

_Bombastes Furioso_, a burlesque tragic opera, by William Barnes

Rhodes. Haymarket, August 7, 1810. Mr. Mathews, Mr. Taylor, Mr.

Liston, Miss H. Kelly. This is a travesty of _Orlando Furioso_,

“Distaffina,” is Angelica, beloved by Orlando, whom she jilts for

a young Moor named Medoro. This sends Orlando mad, and he hangs

his armour on a tree with these lines beneath:――

“Orlando’s arms let none displace,

Save one who’ll meet him face to face.”

_The Bottle Imp_, burlesque. Grecian Saloon. 1852.

_Bride of Abydos_; or the Prince, the Pirate, and the Pearl. By

Henry J. Byron. No date. H. J. Turner, C. Young, Miss M. Oliver,

Miss Swanborough.

_The Brigand_; or new Lines to an old Ban-ditty. By Gilbert A. à

Beckett. Haymarket, Dec. 26, 1867. Mr. Compton.

_The Bronze Horse_, grand spectacle, by Howard Paul, founded on

Scribe and Auber’s opera, _Le Cheval de Bronze_. Alhambra, July

4, 1881.

_Brown and the Brahmins_; or, Captain Pop and the Princess Pretty

Eyes. Founded on the Drama of “The Illustrious Stranger,” by R.

Reece. Globe, January 23, 1869.

_Mr. Buckstone’s Ascent of Mount Parnassus._ A travestie of Albert

Smith’s “Ascent of Mont Blanc” by J. R. Planché. Haymarket, March

28, 1853. W. Farren, Braid, Buckstone, Mrs. Fitzwilliam.

_Called Back Again_, burl., parody of “Called Back” by Albert

Chevalier. T. R., Plymouth, July 13, 1885.

_Called There and Back_, parody of H. Conway and Comyns Carr’s play

“Called Back,” by Herman C. Merivale. Gaiety, October 15, 1884.

_Calypso_, Queen of Ogygia, by S. Brooks. Sadler’s Wells, April 15,

1865.

_Camaralzaman and the Fair Badoura_; or, the Bad Djinn and the Good

Spirit, by Henry J. Byron. Vaudeville, Nov. 22, 1871. Thomas

Thorne, and David James.

_Camaralzaman_, by F. C. Burnand. Gaiety, January 31, 1884. E.

Terry, Soutar, Squire, Misses E. Farren and P. Broughton.

_Camberwell Brothers_, by C. Selby. Olympic, April 12, 1852.

_Capuletta_; or, Romeo and Juliet Restor-i-ed. Anon. Boston, U.S. C.

H. Spencer, 1868.

_Carmen; or, Sold for a Song_, by R. Reece. Folly, Jan. 25, 1879.

Lionel Brough, Miss Lydia Thompson.

_Caste_, a burlesque version, see _Fun_, May 4, 1867.

_Castle of Otranto_, extravaganza, by Gilbert A. à Beckett.

Haymarket, April 24, 1848.

_Champagne, a Question of Phiz_, by H. B. Farnie and R. Reece.

Strand, September 29, 1877. Harry Cox, W. S. Penley, Marius, Miss

Lottie Venne.

_Chang-Ching-Fou_, Cream of Tartar, by William Marten. Luton, April

11, 1864.

_Charles II._; or, Something Like History, by Gilbert à Beckett.

Court, November 25, 1872.

_Charmian and Badoura_, by Charles Horsman. Theatre Royal,

Edinburgh, May 19, 1873.

_Cheribel_, burlesque, by Frank W. Green. Prince’s Theatre,

Manchester, May 4, 1885.

_Cherry and Fair Star_, by Frank W. Green. Surrey Theatre, April 4,

1874.

_Cherry and Fair Star_, by C. H. Hazlewood.

_The Children in the Wood_; or, the Vengeance Dyer and the Pair of

Dirty Kids, Bijou T. Bayswater, March 1, 1875.

_A China Tale from a Delph Point of View_, by H. F. Mc’Clelland. T.

R., Belfast, November 11, 1878.

_Chrononhotonthologos_: the most Tragical Tragedy that ever was

Tragedized by any Company of Tragedians. By Henry Carey.

Haymarket, 1734. Revived at the Gaiety, November, 1880. Of the

author, Henry Carey, it was said that “he led a life free from

reproach, and hanged himself October 4, 1743.”

_Christabel; or, The Bard Bewitched_, by Gilbert à Beckett, Court,

May 15, 1872. Partly founded on Coleridge’s famous poem.

_Chrystabelle_; or, the Rose without a Thorn. Extrav., by Edmund

Falconer. Lyceum, December 26, 1860.

_Cinderella_, burl, extrav., by Albert Smith & C. L. Kenney. Lyceum,

May 12, 1845.

_Cinderella_; or, the Lover, the Lackey, and the little Glass

Slipper. By Henry J. Byron. Strand, December 26, 1860. H. J.

Turner, J. Rogers, Misses M. Oliver, C. Saunders, and M. Simpson.

_Cinderella in Quite Another Pair of Shoes_, by Frank W. Green.

Royal Gardens, North Woolwich, May 20, 1871.

_Cinderella; a Story of the Slip and the Slipper_, by J. W, Jones.

T. R., Leicester, October 3, 1878.

_Cinderella._ Panto-opening, by E. L. Blanchard. Drury Lane,

December, 1883.

_Claude Du Val_; or, the Highwayman for the Ladies, by F. C.

Burnand. Royalty, January 23, 1869. F. Dewar, Misses M. Oliver &

N. Bromley. Published by Phillips, Regent Circus. London.

_The Coarse-Haired Brothers_ burlesque, by C. W. Taylor. New York.

1852.

_Cœur de Lion, Revised, and his Enemies Corrected_, by John

Strachan. Strand, December 22, 1870.

_Columbus el Filibustero_, by John Brougham. Burton’s Theatre, New

York, December, 1857.

_Columbus_; or, the Original Pitch in a Merry Key, by Alfred

Thompson. Gaiety, May 17, 1869.

_Ye Comedie of Errours_, a glorious burlesque, by John F. Poole. New

York. No date.

_Conn; or, Out of Sight, Out of ’Erin_, by F. W. Green, Alexandra

T., Liverpool, April 28, 1879.

_The Congress_; or, the Czar and the Minister. T. R., Dover, July 8,

1878.

_Conrad and Medora_; or, Harlequin Corsair, and the Little Fairy at

the Bottom of the Sea. A Burlesque Pantomime founded upon the

ballet of “Le Corsaire,” by William Brough. Lyceum, December 26,

1856. J. L. Toole, Mrs. A. Mellon, & Marie Wilton. Also at the

Crystal Palace, 1873.

_Cooleen Drawn_, by Martin Dutnall and J. B. Johnstone. Surrey T.,

October 14, 1861.

_Corin; or the King of the Peaceful Isles._ Queen’s T., Dublin,

March 6, 1871.

_The Corsair_; or, the Little Fairy at the Bottom of the Sea, by

William Brough. Lyceum, December 26, 1856. J. L. Toole, Mrs. A.

Mellon, Miss M. Wilton.

_The Corsican “Bothers”_; or the Troublesome Twins, by Henry J.

Byron, Globe, May 17, 1869.

_The Corsican Brothers & Co._, by F. C. Burnand and H. P. Stephens.

Gaiety, October 25, 1880. E. W. Royce, J. Dallas, Misses E.

Farren and Kate Vaughan. (In this Royce’s burlesque of Irving was

very comical).

_The Corsican Brother-babes-in-the-wood_, extravaganza, by G. R.

Sims. T. R. Hull, March 19, 1881, and Royalty Theatre, Glasgow,

March 28, 1881.

_The Coster Twin Brothers_, by Frank Hall, Philharmonic, November

20, 1880.

_Cox and Box_, by Maddison Morton and F. C. Burnand, Music by Sir

Arthur Sullivan. Founded on “Box and Cox.”

_Cracked Heads_, by Arthur Clements and F. Hay, Strand, February 2,

1876. Harry Cox, E. Terry, Lottie Venne.

_A Cracker Bon-Bon for Christmas Parties_, consisting of Christmas

Pieces for private representation, by Robert B. Brough. This

contains King Alfred and the Cakes, William Tell, Orpheus and

Eurydice. With Illustrations. Published by S. French, London and

New York.

_Crichton_, burlesque, by R. Hartley Edgar. Charing Cross, August

30, 1871.

_The Critic_; or, a Tragedy Rehearsed, by Richard Brinsley Sheridan.

Drury Lane, 1779. “Sir Fretful Plagiary,” was intended as a

burlesque of the character of Richard Cumberland, the dramatist.

_The Critick Anticipated_, a Literary Catchpenny, dedicated to R. B.

Sheridan. London, 1780.

_Cruel Carmen_; or, the Demented Dragoon and the Terrible Toreador,

by J. Wilton Jones. Prince’s Theatre, Manchester, March 29, 1880.

_Crusoe the Second_, extravaganza. Lyceum, April 5, 1847. Mr. and

Mrs. Keeley, Alfred Wigan and Miss Dickinson.

_Crystaline_, by G. M. Layton. King’s Cross, March 6, 1871.

_Cupid, Burlesque._ Royalty, April 26, 1880.

_Cupid_, burl.-burletta, by Joseph Graves. Queen’s, 1837.

_Damon the Dauntless and Phillis the Fair_, by Charles Dryden. St.

George’s Hall,, December 28, 1869.

_Dandyados_, a Tragedy. A parody of “Bombastes Furioso.” See

“Transactions of the Loggerville Literary Society.” 1867.

_Dandy Dick Turpin_, by Geoffrey Thorn. Grand Theatre, Islington,

October 7, 1889. Misses F. Leslie, F. Dysart, and Julia Warden.

_Dan’l Tra-Duced, Tinker_, by Arthur Clements. Strand, November 27,

1876.

_The Dark King_, burlesque, by C. H. Hazlewood.

_David Garrick_, burlesque, by Charles Colnaghi & E. Ponsonby.

Criterion, May 11, 1888. (Amateur.)

_The Deep, Deep Sea_; or, Perseus and Andromeda, by J. R. Planché.

Olympic, Dec. 26, 1833. J. Bland, J. Vining, and Madame Vestris.

_Deep Red Rover_, an O’Piratic Burlesque, by F. Hay and Westmacott

Chapman.

_Delights o’ London_, by Wallis Mackay, Horace Lennard, and G. L.

Gordon. Philharmonic, April, 8, 1882.

_Der Freischutz_; or, a Good Cast for a Piece, by F. C. Burnand.

Strand, October 8, 1866.

_Der Freischutz_; or, the Bill, the Belle, and the Bullet, by Henry

J. Byron. Prince of Wales’s, October 10, 1866.

_The Desperate Adventures of the Baby_; or, the Wandering Heir, by

C. H. Ross & A. C. Freer. Strand, Dec. 14, 1878.

_Devil’s Violin_, by B. Webster. Adelphi, May 9, 1849. Wright, O.

Smith, Paul Bedford, Madame Celeste, Miss Woolgar.

_Diana_; or, the Goddess of the Moon. Masonic T., Lincoln, October,

1882.

_Dick Turpin the Second_, by W. F. Goldberg. Gaiety, May, 1889.

_Dick Whittington and his Cat-astrophe_, by James Horner. Alexandra

T. Walsall, June 16, 1884.

_Dick Whittington_; or, an old story re-told, by C. G. Dyall.

_Dido_, burlesque by F.C. Burnand. St. James’s, Feb. 11, 1860.

_Dinorah under Difficulties_, by W. Brough. Adelphi, Nov. 7, 1859,

J. L. Toole.

_Discreet Statues_; or, the Water Carrier of the Alhambra, by

Charles Penruddocke. Performed at Compton Park. January 9, 1874.

_Doctor Dulcamara_, by W. S. Gilbert. St. James’s.

_Dr. Faust and Miss Marguerite_; or, the Young Duck with the Old

Quack, by R. J. Martin and E. A. P. Hobday. Queen’s T. Dublin,

August 24, 1885.

_Dolly and the Rat_, or the Brisket Family, an operatic parody on

“The Maid and the Magpie.” Duncombe, 1823.

_Domenico, the Vile’un_, by Leigh Thomas. Assembly Rooms,

Camberwell, April 26, 1872.

_The Domestic Hearthstone_; or, the Virgin Maiden’s Vengeance, a

Terrible Tragedy in One Act, by John Smith. (A Richardsonian

Melo-drama.)

_Don Carlos; or, the Infante in Arms_, by Conway Edwardes, T. R.

South Shields, Aug. 6, 1869. Vaudeville, April 16, 1870. Honey,

Thorne, Miss Nelly Power.

_Don Giovanni_; or, a Spectre on Horseback, by Thomas Dibdin. Surrey

Theatre, 1817.

_Don Giovanni_, by J. C. Brennan, T. R. Greenwich, March 11, 1872.

_Don Giovanni in Venice_, Operatic extravaganza by R. Reece. Gaiety,

February 17, 1873.

_Don Giovanni M.P._ Princess’s Theatre, Edinburgh, April 17, 1874.

_Don Giovanni, Junr_; or, the Shakey Page, more Funkey than Flunkey.

Greenwich, May 17, 1875.

_Don Juan_, Burlesque, T. R. Bradford, Nov., 22, 1870.

_Don Juan_; by Henry J. Byron. Alhambra, Dec., 22, 1873.

_Don Juan, Junior_, by the Brothers Prendergast. Royalty, November

2, 1880, E. Righton, Miss Kate Lawler.

_Don Quixote_, burl., by J. M. Killick. Cabinet, Oct. 28, 1869.

_Done to-a-cinderella_; or, The Drudge, the Prince, and the Plated

Glass Slipper, by Fawcett Lomax. Theatre Royal, Exeter, September

12, 1881.

_Dora and Diplunacy_; or, a Woman of Uncommon Scents, by F. C.

Burnand. Strand, February 14, 1878.

_Douglas Travestie_, by William Leman Rede. Adelphi, Feb. 13, 1837.

O. Smith, J. Reeve, Mrs. Stirling.

_The Dragon of Hougue Bie_; or, The little Prince’s Tour, by J. F.

Draper. Royal Hall, Jersey, Dec. 8, 1871.

_Dulcamara_; or, the Little Duck and the Great Quack, by W. S.

Gilbert.

_East Lynne_, burl., Birmingham Theatre, Sept. 16, 1869.

_East Lynne_; or Isabel that was a Belle. Theatre Royal, Coventry,

November 10, 1884.

_Edwin and Angelina_, by Miss Walford. Gallery of Illustration, May

6, 1871.

_Effie and Jeannie Deans Burlesque_, by C. H. Hazlewood.

_Elbow Shakers_, by F. Fox Cooper. Adelphi.

_Elizabeth_; or, the Don, the Duck, the Drake, and the Invisible

Armada, by F. C. Burnand. Vaudeville, November 17, 1870.

_Enchanted Horse_, by Albert Smith and C. L. Kenney. Lyceum,

December 26, 1845.

_The Enchanted Isle_; or, “Raising the Wind” on the most approved

Principles. A parody on Shakespeare’s “Tempest,” by the Brothers

Brough. Adelphi, Nov. 20, 1848. O. Smith, Paul Bedford, Miss

Woolgar & Madame Celeste.

_Endymion_; or, the Naughty Boy who cried for the Moon, by William

Brough.

_Ernani_; or, the Horn of a Dilemma, by William Brough. Alexandra

T., May 20, 1865.

_Erratic Evangeline._ Birmingham T., March 10, 1884.

_Esmeralda_, an Operaticoterpsichorean burlesque in Two Acts,

without any Foundation whatever, by two Gentlemen who won’t be

answerable for anything. London, published by G. Odell, 1844.

_Esmeralda_, burl., by Albert Smith. Adelphi, June 3, 1850. O.

Smith, Wright, Paul Bedford, Miss Woolgar, Madame Celeste.

_Esmeralda_; or, the “Sensation” Goat, by Henry J. Byron. Strand,

Sept. 28, 1861. J. Rogers, J. Clarke, Misses Marie Wilton, E.

Bufton. Revived at the Strand, June, 1871.

_Eurydice_ (as it was damned at the T. R., in Drury Lane), by Henry

Fielding: see his works.

_Eurydice_; or, Little Orpheus and His Lute, by H. J. Byron. Strand,

April 24, 1871.

_Evangeline_, American burlesque. Court Theatre, Liverpool, June 11,

1883.

_Fair Helen_, by V. Amcotts. Oxford. Shrimpton. 1868.

_Fair Star_, extravaganza, by Albert Smith and J. Oxenford.

Princess’s, April 8, 1844.

_The Fairy Ring._ Theatre Royal, Bristol, March 29, 1869.

_Fancy Land; or, the Ideal King_, burlesque, by C. F. Fuller, H.M.S.

“Rainbow,” April 9, 1884.

_Farrago_, burlesque, Ashton Theatre, May 14, 1883.

_The Fair Princess_, burlesque, by Fred Bernard. Gaiety Theatre,

Walsall, December 20, 1886.

_Fair Rosamond’s Bower_ or, the Monarch, the Maiden, the Maze, and

the Mixture, by Frederick Langbridge.

_Fair Rosamond_, burlesque-extravaganza, T. P. Taylor. Sadler’s

Wells, 1838.

_Fair Rosamond_; or, the Maze, the Maid, and the Monarch, by F. C.

Burnand. Olympic, April 21, 1862. F. Robson.

_Faust in a Fog_, by R. Reece.

_Faust and Marguerite_, by F. C. Burnand. St. James’s, July 9, 1864.

Mr. and Mrs. Chas. Mathews, J. Clarke.

_Faust; or, Marguerite’s Mangle_, by C. H. Hazlewood. Britannia,

March 25, 1867.

_Faust in forty minutes_, burlesque by Fred. Locke. Gaiety T.

Glasgow. August 17, 1885.

_Faust and Loose; or Brocken Vows._ Travestie on Lyceum “Faust,” by

F. C. Burnand. Toole’s Theatre, Feb. 4, 1886. J. L. Toole, Miss

Marie Linden.

_Faust and Co._, by George Gordon, T. R. Greenock, February 27,

1886.

_Faust up to Date_, burlesque, by G. R. Sims and Henry Pettitt,

Gaiety, October 30, 1888. E. J. Lonnen, Miss F. Robina, Miss F.

St. John.

_Faust_; or the Old Man and the Devil. Woolwich T.

_Fayre Rosamond_; or, Ye Dagger, and Ye Poisoned Bowl by T. Cother.

T. R., Gloucester, April 19, 1869.

_The Field of the Cloth of Gold_, burl-extrav. Strand, April 11,

1868. Harry Cox, Marius, H. J. Turner, Misses Sallie Turner and

Lottie Venne.

_Fine Nance_; or, Alas (s) for the city; a burlesque sketch as

performed by a Limited Company. London, Hatton and Son 1867. A

skit on the “Companies’ Act 1862.”

_The Flying Dutchman_; or, the Demon Seaman and the Lass that loved

a Sailor, by W. Brough. Royalty, Dec. 2, 1869.

_Firmilian_; or the Student of Badajoz. A Spasmodic Tragedy, by T.

Percy Jones, W. Blackwood & Sons, 1854. This burlesque was

written by Professor W. E. Aytoun.

_F. M. Julius Cnæsar_; or, the Irregular Rum ’un, by F. C. Burnand.

Royalty, September 7, 1870.

_The Forty Thieves_, burlesque, by R. Reece, Gaiety, Dec. 24, 1880.

Edward Terry, T. Squire, Royce, Misses E. Farren, and Kate Vaughan.

_The Four Kings_; or, Paddy in the Moon, by C. H. Hazlewood.

Britannia, April 14, 1873.

_Fowl Play_; or, a Story of Chikken Hazard, by F. C. Burnand.

Queen’s, June 20, 1868.

_Fra Diavolo_; or, the Beauty and the Brigands, by Henry James

Byron. Strand, April 5, 1858, and revived Sept. 10, 1860. H. J.

Turner, J. Rogers, Miss M. Simpson.

_Fra Diavolo the Second_, extravaganza, by J. T. Denny.

Philharmonic, August 28, 1882.

_The Frightful Hair_; or, who Shot the Dog. An original Travestie on

Lord Lytton’s “Rightful Heir.” By F. C. Burnand. Haymarket,

December 26, 1868. Mr. Kendal, Mr. Compton, Misses Ione Burke,

and F. Wright. Published by Phillips, Regent Circus, London.

_Frankenstein_, burlesque, by “Richard Henry.” Gaiety, December 24,

1887.

_Furnivallos Furioso!_ and “The Newest Shakespeare Society.” London,

T. Richards, 1876. Written to ridicule Mr. Furnivall, but never

performed.

_Galatea; or Pygmalion Re-versed_, burlesque, by H. P. Stephens.

Gaiety, December 26, 1883.

_The Gay Musketeers_; or, All for Number One, by Eldred and Paulton.

P. of Wales’s, Liverpool, April 18, 1870.

_Gentle Gertrude_, of the Infamous Redd Lyon Inn; or, Drugged and

Drowned in Digbeth! A melo-drammer in One Act, by T. E.

Pemberton. Liverpool Theatre, February 21, 1881; Gaiety, London,

May 14, 1884.

_George Barnwell Travestie._ See “Rejected Addresses,” by James and

Horace Smith.

_George de Barnwell_, burl., by Henry J. Byron. Adelphi, December

26, 1862.

_Georgy Barnwell_, by Montague Corri. Surrey T., May 27, 1844.

_The German Silvery King_, by Walter Burnot. Elephant and Castle,

March 24, 1883.

_Giddy Godiva_; or, the Girl that was sent to Coventry, by H. C.

Newton. Sanger’s Amphitheatre, Oct. 13, 1883.

_Giovanni in London_, or, The Libertine Reclaimed, by W. T.

Moncrieff. Drury Lane and Covent Garden, 1827.

_The Girls of the Period_, burl., by F. C. Burnand.

_Giselle_; or, the Sirens of the Lotus Lake, by Henry J. Byron.

Olympic, July 22, 1871.

_Godiva_, historical burlesque, by F. Talfourd and W. Hale. Strand,

July 7, 1851.

_The Golden Fleece_; or Jason in Colchis, a classical extrav., J. R.

Planché. Haymarket, March 24, 1845. J. Bland, Miss P. Horton,

Madame Vestris.

_The Golden Pippin_, by Kane O’Hara. Covent Garden, 1773.

_The Good Fairy of St. Helen’s_; or, King Coal and his Merry Men, by

James Brockbank. April 22, 1872.

_Good Old Barnes of New York_, by Walter Burnot. Ladbroke Hall,

September 25, 1888.

_The Goose and Golden Eggs_, by J. F. Draper (Amateur). Royal Hall,

Jersey. November 19, 1869.

_The Grand Duke of Camberwell_, by W. M. Akhurst. Elephant and

Castle, April 17, 1876.

_The Great Metropolis_, extrav., by F. C. Burnand. Gaiety, April 6,

1874.

_Great Sensation Trial_, or Circumstantial Effie-Deans, by W.

Brough.

_The Great Tragic Revival_, an absurdity, by John Brougham, Burton’s

Theatre, New York, 1858.

_Greenleaf the Graceful_, or the Palace of Vengeance, by W. R.

Osman. Royalty, February 26, 1872.

_The “Grin” Bushes!_ or, the “Mrs.” Brown of the “Missis”-Sippi.

Founded on the “Green Bushes.” By Henry J. Byron. Strand, Dec.

26, 1864. David James, J. Stoyle, Misses M. Simpson & Ada

Swanborough.

_Grizelle_; or Dancing Mad. A Legend of St. Vitus, by W. H. Oxberry.

English Opera House.

_The Guardians_, or is “Union” Strength? by “Ixion.”

_The Guilty Governess and the Downey Doctor_, by G. M. Layton.

Folly, May 8, 1876.

_Guy Fawkes_, by F. C. Burnand. Strand, Dec. 22, 1866.

_Guy Fawkes_, by Henry J. Byron. Gaiety, January 14, 1874. J. L.

Toole, Brough, Nellie Farren.

_Guy Mannering in a New Guise_, by Robert Reece.

_Half Crown Diamonds_, by Robert Reece. Holborn, Sept. 27, 1875. G.

Vincent, E. Atkins, J. H. Standing. New Version. Imperial

Theatre, October 2, 1880.

_Hamlet Travestie_, in three acts, with annotations by Dr. Johnson

and George Stevens, Esq., and other Commentators, by John Poole.

London, 1810.

_Hamlet Travestie_, by F. Talfourd. Oxford, J. Vincent, 1849.

_Hamlet the Hysterical_, a Delusion in Five Spasms. Princess’s,

November 30, 1874.

_Hamlet â la Mode_, an “absurdity,” by G. L. Gordon and G. W. Anson.

Prince of Wales’s, Liverpool, Oct. 16, 1876, and Opera Comique,

London, April 21, 1877.

_Hamlet whether He Will or No_, by George Booth. Alexandra Theatre,

Sheffield, June 2, 1879.

_Hamlet_; or, Not such a Fool as he Looks. For Amateur Performance.

Cambridge: W. Metcalfe & Son, 1882.

_Hamlet Improved_; or, Mr. Mendall’s attempt to ameliorate that

Tragedy, by Colonel Colomb, R.A. (This piece was not designed to

burlesque Shakespeare.)

_Hamlet the Dainty_, a Nigger drama.

_Handsome Hernani_; or, the Fatal Penny Whistle, by Henry J. Byron.

Gaiety, August 30, 1879. E. W. Royce, E. Terry, Misses E. Farren

and Kate Vaughan.

_The Happy Land_; a burlesque version of “The Wicked World,” by F.

Tomline and Gilbert A. àBeckett. Court, March 3, 1873. W. Hill,

Fisher, Righton, Miss Lottie Venn. This was prohibited by the

Lord Chamberlain on March 7, 1873, on account of its political

allusions, three of the principal characters having been “made

up” to represent Messrs. W. E. Gladstone, R. Lowe and Ayrton;

with certain alterations and omissions, the burlesque was again

performed, but it had lost its savour. It was printed by J. W.

Last & Co., Drury Lane.

_Harlequin Jack Sheppard_, or, the Blossom of Tyburn Tree;

satirising the dramas manufactured from W. H. Ainsworth’s novels.

Covent Garden Theatre, 1839.

_The Haunted Glen_, burl., by Harry Webber and Maidlow Davis. Royal

Artillery T. Woolwich, April 27, 1888.

_Here’s another Guy Mannering_, by F. C. Burnand. Vaudeville, May

23, 1874.

_Helen_; or, taken from the Greek, by F. C. Burnand. Prince of

Wales’, Liverpool, September, 30. 1867.

_Hercules and Omphale_, or, The Power of Love, a classical extrav.,

by William Brough. St. James’s, December, 26, 1864. Mr. and Mrs.

Frank Matthews, H. J. Montague, Misses Herbert and C. Saunders.

_Hermesianax_, burlesque. Derby, July 9, 1869.

_Herne the Hunter_, panto-burl., by Robert Reece and W. Yardley.

Gaiety, May 24, 1881.

_Haiwatha_; or, Ardent Spirits and Laughing Water, by Charles M.

Walcot. Wallack’s Theatre. New York, December 25, 1856.

_Hide and Seekyl_, by George Grossmith. See “Real Case.”

_Hit and Miss_; or, All my Eye and Betty Martyn, by F. C. Burnand.

Olympic, April 13, 1868.

_Hit or Miss; or, the Last of the Barons_, by Arthur Milton. Theatre

Royal, Middlesborough, February 19, 1883.

_How I found Crusoe_; or, the Flight of Imagination, by Alfred

Thompson. Olympic, December 28, 1870.

_The Hunchback back again_; or, Peculiar Julia, by F. C. Burnand.

Olympic, Dec. 23, 1879.

_Hypermnestra_; or, the Girl of the Period, by Frank Sikes. Lyceum,

March 27, 1869.

_Idle ’Prentice, The_; a Tyburnian Idyll of High, Low, Jack and His

Little Game, by H. B. Farnie. Strand T., Sept., 10, 1870.

_Ill-treated Il Trovatore_; or, the Mother, the Maiden and the

Musicianer, by Henry J. Byron. Adelphi, May 21, 1863. Paul

Bedford, J. L. Toole, Miss C. Nelson.

_Im-patience_, travestie, by Walter Browne. Prince of Wales’s

Theatre, Liverpool, August 25, 1884.

_Ingomar_, burlesque, by G. E. Jeffrey. T. R., Douglas, Isle of Man,

September 2, 1868.

_Ingomar the Idiotic_; or, the Miser, the Maid, and the Mangle, by

Messrs. Allan and Howard. Alfred Theatre, August 19, 1871.

_Innocentinez_; or, the Magic Pipe and the Fatal I.O.U., by H.

Adams, King’s Cross, March 29, 1876.

_Ino_; or, the Theban Twins, by B. J. Spedding. Prince of Wales’s,

Liverpool, August 30, 1869. Strand, London, October 30, 1869.

David James and T. Thorne.

_Ion_, by F. Fox Cooper. Garrick, November 9, 1836.

_Iphigeneia_; or, the Sail, the Seer, and the Sacrifice, by E.

Nolan. Performed at the Music Room, Oxford, by the St. John’s

College Amateurs. Commemoration 1866. Oxford: T. & G. Shrimpton.

_Isaac Abroad_; or, Ivanhoe Settled and Rebecca Righted, by Thomas

F. Plowman, T. R. Oxford, January 15, 1878.

_Isaac of York_; or, Saxons and Normans at Home, by T. F. Plowman.

Court, Nov. 29, 1871. E. Righton, Misses Cornélie D’Anka and Kate

Bishop.

_Ivanhoe_, by Henry J. Byron. Strand, December 26, 1862. H. J.

Turner, J. Clarke, James Rogers, Misses C. Saunders, E. Bufton,

Fanny Josephs.

_Ivanhoe_, the latest edition, by R. B. Brough. Haymarket, April 1,

1850.

_Ixion_; or, the Man at the Wheel, extrav. by F. C. Burnand.

Royalty, Sept. 28, 1863.

_Jack_; or, the Magic key. Queen’s Theatre, Dublin, April 14, 1879.

_Jack, the Giant Killer_, by H. J. Byron. Princess’s, December 26,

1859.

_Jack and the Beanstalk_, by Charles Millward. Adelphi, December 26,

1872.

_Jack Robinson Crusoe_; or, the Good Friday that came on Saturday,

by J. W. Jones. Windsor T., Oct. 14, 1876.

_Jane Shore_; or, the Fearful Penance and the Fatal Penny Roll, by

J. Wilton-Jones. Liverpool, August 16, 1880.

_The Japs_; or, the Doomed Daimio, Japanese burlesque, by Harry

Paulton and Mostyn Tedde. Originally produced at Prince’s

Theatre, Bristol, August 31, 1885, and at Novelty Theatre,

London, September 19, 1885.

_Joan of Arc_, burlesque, by William Brough. Strand, March 29, 1869

David James, Thomas Thorne, H. J. Turner, Misses E. Bufton, Bella

Goodall.

_Joe Miller, and his Men_, by Gilbert A. à Beckett. Princess’s.

_Julius See-saw_; or, Dauntless Decius the Doubtful Decemvir, by

Harry M. Pitt. Sheffield, March 29, 1869.

_Kenilworth_; or, Ye Queene, Ye Earle, and ye Maydenne, by Andrew

Halliday and F. Lawrance. Strand, Dec. 27, 1858. J. Clarke, H. J.

Turner, Misses M. Wilton, M. Oliver, C. Saunders and Swanborough.

Reproduced, Strand, July 21, 1866.

_Kenilworth_, burlesque-extravaganza, by R. Reece and H. B. Farnie.

Avenue, December 19, 1885.

_King Arthur_; or, the Days and Knights of the Round Table, by

William Brough.

_The King, the Ring, and the Giddy Young Thing_; or, Herne the

Hunter, Anne Boleyn, and the Fair Maid of the River Dee, by

George Reeves. Elephant and Castle, April 8, 1882.

_King’s Bounty_; or, the Deserter, by R. E. Lonsdale.

_King Coffee_; or, the Princess of Ashantee. Southport Theatre,

December 8, 1873.

_King John Travestie_, by Gilbert A. à Beckett. St. James’s, October

29, 1837.

_King Kokatoo_, by F. C. Burnand. Leeds, March 4, 1872.

_King Lear Burlesque_, by Mr. Marchant.

_King Lear and his Daughters Queer_, burl., by E. Elton.

_King Richard ye Thirde_, or ye Battel of Bosworth Field, by Charles

Selby. Strand, February 26, 1844.

_The Knight and the Sprite_; or, the Cold Water Cure! an Aquatic

Burl., by G. A. à Beckett and Mark Lemon. Strand, November 11,

1844.

_King Zany’s Daughter_; or, the Princess who was Blind of one Eye,

and could not see out of the other. By W. H. Bosbacca.

_The Knight of the Burning Pestle_, by Francis Beaumont and John

Fletcher. London, 1611. This was a burlesque upon the tasteless

affectations of the tales of chivalry, somewhat after the manner

of “Don Quixote.”

_La-Ba-Kan_; or, the Prince’s Nap and the Snip’s Snap, by J. E. Roe.

Swiss Gardens, Shoreham, June 7, 1869.

_Lady Godiva_; or, ye Ladye of Coventrie and ye Exyle Fayrie.

Strand, July 7, 1851.

_Lady Godiva_ burl., by Frederick Robson. T. R. Middlesbrough, May

5, 1873. Sadler’s Wells, Dec., 6, 1873.

_Lady of the Lake_, by Mortimer Thomson. Niblo’s Garden Theatre, New

York, U.S., June 21, 1860.

_The Lady of the Lake_, burlesque, by R. Whateley Taylor. Royalty,

April 21, 1862.

_The Lady of the Lake, Plaid_ in a new Tartan, burl., of Sir Walter

Scott, by R. Reece. Royalty, September 8, 1866, E. Danvers, Miss

M. Oliver.

_The Lady of the Lane_, burl., by H. J. Byron. Strand, Oct., 31,

1872.

_Lady of the Lions_, burl., by O. F. Durivage. Baltimore T., United

States, 1856.

_The Lady of Lyons Burlesque_, by M. Marchant.

_The Lady of Lyons_, burl., by Maurice G. Dowling.

_The Lady of Lyons_, burl., by W. Younge. Imperial T. April 23,

1879, Lionel Brough, C. Steyne, Miss L. Thompson.

_Ye Lady of Lyons_, by A. Lewis Clifton. Aquarium, Yarmouth, April

10, 1882.

_The Lady of Lyons Married and Settled_, by Herman C. Merivale.

Gaiety, October 5, 1878. E. Terry, E. W. Royce, Squire, Elton,

and Miss E. Farren.

_The Lady of Lyons Married, and Claude Unsettled_, absurdity, by R.

Reece. Royalty, Glasgow, Sept. 27, 1884.

_The Latest Edition of the Lady of Lyons_, by Henry J. Byron.

Strand, February 1, 1858.

_Latest Edition of Kenilworth_, by Andrew Halliday. Strand, Dec. 27,

1858.

_Latest Edition of the Lady of the Lake_, by R. Reece.

_The_ Very Latest Edition of the _Lady of Lyons_, by H. J. Byron.

Strand, July 11, 1859. J. Clarke, J. Rogers, H. J. Turner, Misses

C. Saunders, and M. Oliver.

_Lalla Rookh_; or, the Princess, the Peri, and the Troubadour by

William Brough. Lyceum, December 24, 1857. J. L. Toole, Mrs.

Alfred Mellon, Mrs. C. Dillon.

_Lalla Rookh_, an Oriental extravaganza, by Vincent Amcotts. Masonic

Hall, Oxford, Commemoration 1866, by the S. S. Amateurs. Oxford:

T. Shrimpton & Son, 1866. Also performed at the “Gallery of

Illustration,” London, June 19 and 20, 1868, by the “Shooting

Stars.”

_Lalla Rookh_, burl., by Horace Lennard. Novelty Theatre, May 1,

1884. Harry Nicholls, Misses M. Mario, Kate Vaughan, and Dot Mario.

_Lancelot the Lovely_; or, the Idol of the King, by Richard Henry.

Avenue, April, 1889. Arthur Roberts, E. D. Ward, Miss Vanoni.

_The Lass that Loves a Sailor_, or, the Perfidious Pirate, the

Modest Maiden, and the Trusty Tar, by Lloyd Clarance. T. R.,

Great Grimsby, September 17, 1883.

_The Last of the Barons_, burlesque, by L. H. Du Terreaux. Strand,

April 18, 1872.

_The Latest Edition of the Rival Othellos_, by Henry J. Byron.

Strand, 1876. Edward Terry, Marius, H. J. Turner. (A burlesque

upon Henry Irving and Salvini in their respective representations

of _Othello_).

_The Latest Yarn of the Crusoe Crew._ Ashton Theatre, July 16, 1883.

_Leah, a hearty joke in a Cab-age_, by W. Routledge. Gallery of

Illustrations, January 23, 1869.

_Leah_, burl. Southminster T., Edinburgh, June 15, 1868.

_Leo the Terrible_, Æsopian burl., by J. Stirling Coyne and Francis

Talfourd. Haymarket, December 27, 1852.

_Life in the Clouds_; or, Olympus in an Uproar, by John Brougham.

English Opera House, July 23, 1840.

_The Light of the Isles_, by Oswald Allan. Queen’s T. Dublin, August

21, 1876.

_Linda of Chamouni_; or, not Formosa, by Alfred Thompson. Gaiety,

September 13, 1869.

_Linda di Chamouni_; or, the Blighted Flower, by Conway Edwardes. T.

R. Bath, February 20, 1869.

_The Lions’ Lady_; or, How come you so? An anonymous burl. of “The

Lady of Lyons.” London, C. Whiting. 1838.

_Lion’s Tale_, or the Naughty Boy who wagged it, by R. Reece. Globe.

_Little Amy Robsart from a Comic Point of View._ Prince of Wales’s,

Liverpool, February 22, 1872.

_Little Ben Bolt_, by Edwin Keene. Gravesend T., June 24, 1879.

_Little Ben Bolt_, or the Meritorious Maiden and the Milli-cious

Miller, by Edwin Keene. Colchester, August 2, 1880.

_Little Billie Carlyle_; or, the Bell and the Hare, burlesque of

“East Lynne,” by W. J. Harbon. Prince of Wales’s, Wolverhampton,

April 18, 1881.

_Little Boy Blue_, by F. J. Watts. Shoreham, May 17, 1875.

_Little Carmen_, burl., by Alfred Murray. Globe, February 7, 1884.

_Little Cinderella_, J. Wilton Jones. Newcastle Theatre, June 25,

1887.

_Little Doctor Faust_, the Gaiety, not the Goethe Version, by H. J.

Byron. Gaiety, October 13, 1877. Edward Terry, R. Soutar, E. W.

Royce, Miss E. Farren.

_Little Don Cæsar de Bazan_; or, Maritana and the Merry Monarch. By

H. J. Byron. Gaiety, August 26, 1876. E. Terry, E. W. Royce,

Misses E. Farren and Kate Vaughan. (Revived in 1878.)

_Little Don Giovanni_, or Leporello and the Stone Statue, by Henry

J. Byron. Prince of Wales’s, December 26, 1865. J. Clarke, Miss

Marie Wilton and Miss F. Josephs.

_Little Don Quixote._ T. R., Cheltenham, April 9, 1883.

_Little Gil Blas_, and How He Played the Spanish D(j)euce, by H. B.

Farnie. Princess’s, December 24, 1870.

_Little Giselle_; or, the Sirens of the Lotus Lake, by Henry J.

Byron. Olympic, July 22, 1871. G. Belmore, D. James and Miss E.

Farren.

_Little Jack Sheppard_, by H. P. Stephens & W. Yardley. Gaiety, Dec.

26, 1885. David James, F. Leslie, Odell, Misses E. Farren,

Harriet Coveney, Marion Hood.

_Little Jack Carpenter._ T. R., Liverpool, May 15, 1875.

_Little Lalla Rookh_, burl.-extrav., by J. T. Denny. Originally

produced at Gaiety T., Hastings, August 31, 1885, and at Grand

T., London, September 14, 1885.

_Little Lohengrin_; or, the Lover and the Bird, by Frederick Bowyer.

Holborn T., August 16, 1884.

_Little Red Riding Hood_, burlesque, by C. H. Hazlewood.

_Little Red Riding Hood_, burlesque-extravaganza, by Leicester

Buckingham. Lyceum, Dec. 26, 1861.

_Little Robin Hood_, or Quite a New Beau, by Robert Reece. Royalty,

April 19, 1871.

_Little Robin Hood_, burlesque-drama, by R. Reece. Gaiety, Sept. 15,

1882. T. Squire, Arthur Williams, Robert Brough, J. Dallas,

Misses E. Farren, P. Broughton.

_Little Robinson Crusoe_, by David James, Jun. Oxford Theatre, April

13, 1885.

_Little Rip Van Winkle_, by R. Reece. Gaiety.

_Lord Bateman_, or The Proud Young Porter and the Fair Sophia, by

Henry J. Byron. Globe, Dec. 27, 1869.

_Lord Bateman_, by Charles Daly. Theatre Royal, Seaham Harbour,

April 17, 1876.

_Lord Lovel and Lady Nancy Bell_; or, the Bounding Brigand of

Bakumboilum, by F. C. Burnand. Written for the A. D. C.

Cambridge. November 21, 1856.

_Louis XI._; or, the Tricksey Monarch and the Wicksey Warrior, by

Harry M. Pitt. T. R. West Hartlepool, July 9, 1869.

_Love and Fortune_, by J. R. Planché, Princess’s, Sept. 24, 1859.

Frank Matthews, Misses Louise Keeley, and Carlotta Leclercq.

_Love’s Paradise._ Founded upon the legend of “Cupid and Psyche” in

the metamorphoses of Apuleius, by F. G. Westmacott Chapman.

Haymarket, April 6, 1874.

_Loves of Lord Bateman and the Fair Sophia_, burlesque by Charles

Selby. Strand, July 1, 1839. The Performers were dressed in the

costumes shown in George Cruikshank’s illustrations to the

Ballad.

_Lucrezia Borgia!_ At Home, and all Abroad, by Leicester Buckingham.

St. James’s, April 9, 1860.

_Lucrezia Borgia_, by Sydney French. Marylebone T., July 20, 1867.

_Lucrezia Borgia, M.D._, or La Grande Doctresse, by Henry J. Byron.

Holborn, October 28, 1868.

_Lucy of Lammermoor_, burlesque opera, by W. H. Oxberry. Strand,

February, 1848.

_Lucia di Lammermoor_, or the Laird, the Lady, and the Lover, by

Henry J. Byron. Prince of Wales’s, Sept. 25, 1865. Harry Cox, F.

Dewar, J. Clarke, Misses Marie Wilton, and F. Josephs.

_Lurline_, or the Rhine and the Rhino, by C. H. Hazlewood.

_Lurline_, by R. Reece & H. B. Farnie. Avenue, April 24, 1886.

_The Lying Dutchman, a Phantom Folly_, by Hue and Eye. Strand. Harry

Cox, Marius, Penley, Miss Lottie Venne.

_The Lying Dutchman_, by Frank W. Green and W. Swanborough. Strand,

December 21, 1876.

_Macbeth Travestie_, by W. K. Northall. Olympic T., New York,

October 16, 1843. Mitchell.

_Macbeth Travestie._ See “Rejected Addresses,” by James and Horace

Smith.

_Macbeth_, somewhat removed from the Text of Shakespeare, by Francis

Talfourd. First performed at Henley-on-Thames (Regatta), June 17,

1847; at the Strand, January 10, 1848; at Olympic, April 25,

1853. In the last instance F. Robson played Macbeth.

_Macbeth Mystified_, by W. H. Mason and J. E. Roe. Theatre Royal

Brighton, May 3, 1869.

_Madeira_; or W(h)ines from the Wood, by Henry Adams. King’s Cross,

October 25, 1875.

_The Mad Mother and her Lost Son_, burlesque of “Il Trovatore.”

Theatre Royal, Scarborough, April 21, 1884.

_The Magic Mirror_, burlesque spectacle, by Gilbert A. à Beckett.

Princess’s, December 26, 1843.

_The Magic Whisper Burlesque_, by C. H. Hazlewood.

_The Maid and the Magpie Travestie_; or, the Fatal Spoon, by Henry

J. Byron. Strand, October 11, 1858. J. Clarke, H. J. Turner, J.

Bland, Misses Marie Wilton, M. Oliver and Hughes.

_Man-Fred_, burlesque by Gilbert A. à Beckett. Strand, December 26,

1834. Mitchell, Miss P. Horton.

_The Marble Maiden_; or, Zampa in Miniature, by G. M. Layton.

Royalty, July 24, 1873.

_The Marble Maiden_, by J. H. Stocqueler. Lyceum, March 5, 1846.

Alfred Wigan, Mr. and Mrs. Keeley.

_The Marriage of Sir Gawaine_; or, King Arthur and the Knights of

the Round Table. T. H. Lacy, 1861. Not acted.

_Martha_; or, the Fair Lady, and the Farmer of Richmond Fair, by

Captain Arbuthnot. Plymouth, 1866.

_Martha_, burlesque, by Robert Reece. Gaiety, April 14, 1873.

_Mary Turner_, by F. C. Burnand. Holborn, Oct. 25, 1867.

_Masaniello_; or, the Fish’oman of Naples, by Robert B. Brough.

Olympic, July 2, 1857. F. Robson, Miss Hughes.

_Masse-en-Yell-Oh_, a riotous, socialistic travestie, by Harry

Paulton and “Mostyn Tedde.” Comedy, March 23, 1886.

_Mazeppa_, an equestrian burlesque, by C. White. N. York.

_Mazeppa_, by Henry J. Byron. Olympic, December 27, 1858. F. Robson,

H. Wigan, Miss Wyndham.

_Mazeppa_; or, “Bound” to Win, a Ride-diculous One-horse burlesque,

in Three Hacks, by F. C. Burnand. Gaiety, March 12, 1885. E.

Royce, E. Terry, Misses E. Farren, and P. Broughton.

_Mazourka_; or, the Stick, the Pole, and the Tartar,

burl.-extravaganza, by H. J. Byron. Strand, April 27, 1864.

_Medea_; or, the Best of Mothers, by R. B. Brough. Olympic, July 14,

1856. F. Robson, Emery, and Miss J. St. George.

_Mephisto_, travestie, by Byron M’Guiness. Royalty, June 14, 1886.

_Merchant of Venice travestie_, by F. Talfourd. Oxford, 1849.

_Merry Mignon_; or, the Beauty and the Bard, operatic-burlesque, by

J. Wilton Jones. Court Theatre, Liverpool, April 26, 1882.

_The Merry Zingara_; or, the Tipsy Gipsy, and the Pipsy Wipsy, a

whimsical parody on the “Bohemian Girl,” by W. S. Gilbert.

Royalty, March 31, 1868. F. Dewar, Danvers, Misses M. Oliver, and

C. Saunders. Published by Phillips, Regent Circus, London.

_Metamora_; or, the Last of the Pollywogs, by John Brougham.

Adelphi, Boston, U.S., November 29, 1847. Mr. and Mrs. John

Brougham.

_Midas_, by Kane O’Hara. Crow Street Theatre, Dublin, 1762. Covent

Garden, London, February 22, 1764.

_The Midnight Spectre,!!!_ or, the Fatal Secret, a Richardsonian

melo-drama, by Nelson Lee, Junior. Crystal Palace (R.D.C.), July

21, 1861.

_The Miller of Mansfield_, burl. London. E. West, 1851.

_The Miller and his Men_, a burlesque mealy-drama, by Francis

Talfourd and Henry J. Byron. Strand, April 9, 1860. J. Clarke, J.

Rogers, Miss Marie Wilton.

_The Military Billy Taylor_; or, the War in Cariboo, by F. C.

Burnand. Royalty, April 22, 1869. F. Dewar, Danvers, Misses C.

Saunders and M. Oliver.

_Mind the Shop_, comedy-burlesque, by Robert Reece and Edward

Righton. Globe, April 22, 1878.

_Miss Eily O’Connor_, a burlesque of “The Colleen Bawn,” by Henry J.

Byron. Drury Lane, November 25, 1861. Tom Matthews, and Miss L.

Keeley.

_Miss Esmeralda_, by “A. C. Torr.” (Fred J. Leslie) and Horace

Mills. Gaiety, October 8, 1887.

_Miss Merrick_, burlesque-drama, by G. S. Brodie.

_Mr. Robert Roy, Hielan Helen, his Wife, and Dougal the Dodger_, by

William Lowe. Pavilion, Glasgow, December 11, 1880.

_The Mistletoe Bough_, by H. B. Farnie. Adelphi, December 26, 1870.

_Monte Christo Jun._, burlesque-melodrama, by “Richard Henry.”

Gaiety, December 23, 1886. G. Honey, F. Leslie, and Miss E. Farren.

_The Motto_, I am “all there,” by H. J. Byron. Strand, July 16,

1863.

_Moths à la Mode_, by F. Hugh Herbert. Princess’s Theatre,

Edinburgh, March 5, 1883.

_Moths Quitos_; or, Ouida’s Moths, by D. W. Edgar. Theatre Royal,

Middlesborough, April 21, 1882.

_Mountain Dhu_; or, the Knight! the Lady! and the Lake! by Andrew

Halliday. Adelphi, Dec. 26, 1866. J. L. Toole, Paul Bedford, Mrs.

A. Mellon, Miss Furtado.

_Much Ado about a Merchant of Venice._ From the Original Text――a

Long Way. By John Brougham. New York, 1868.