Parodies of the works of English & American authors, vol. VI

by Unknown

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 annextx 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 Macaronic verse 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.

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.

Theatrical Burlesques and Travesties.

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.

My-fisto, burlesque-extravaganza, by Vere Montague and Frank St. Clare. T. R., Colchester, Jan. 24, 1887.

Mysseltoe Bough Burlesque, by Mr. Marchant.

Nero, a Romantick Fiddler, by T. H. Bayley. English Opera House, August, 1833.

The New Corsican Brothers, by Cecil Raleigh. Royalty, November 20, 1889. Arthur Roberts.

A New Edition of the Corsican Brothers; or, the Kompact, the Kick, and the Kombat, by W. H. Mason. Theatre Royal, Brighton, July 18, 1870.

New Don Juan, by J. B. Buckstone. Adelphi, 1828.

The New King Richard the Third, by C. H. Hazlewood. Britannia, April 1, 1878.

Nobody’s Cheild, by H. T. Arden. Cremorne, August 10, 1868, and Surrey, October 8, 1870.

Noodledom, by Edwin Marshall. Lecture Hall, Walworth, January 10, 1877.

Norma, burlesque, by J. H. Draper. Royal Hall, Jersey, March 5, 1875.

Norma Travestie, burlesque-burletta, by W. H. Oxberry. Adelphi, December 6, 1841. Paul Bedford and Wright.

The Norman Invasion, burlesque, by J. M. Killick. Saint George’s Hall, October 26, 1870.

No Thorough-fair beyond Highbury; or, the Maid, the Mother, and the Malicious Mountaineer, by Mr. Hazlewood, Junior. Alexandra, April 13, 1868.

No Thoroughfare, burl., by George Grossmith. Victoria, March 22, 1869.

Nottingham Castle, burl., by F. R. Goodyer. Nottingham Theatre, September 22, 1873.

Novelty Fair, a review, by Albert Smith. Lyceum, May 21, 1850. C. Mathews, F. Matthews, Julia St. George.

The Nymph of the Lurleyburg; or, the Knight and the Naiads, by Henry James Byron. New Adelphi, Dec. 26, 1859. Founded on the Legend of “Lurline.” J. L. Toole, Paul Bedford, & Miss Woolgar.

O Gemini! or, the Brothers of Co(u)rse, by Gilbert A. à Beckett and Mark Lemon. Haymarket, April 12, 1852. J. B. Buckstone.

The O’Dora: or, a Wrong Accent, travestie of Sardou’s “Theodora,” by F. C. Burnand. Toole’s, July 13, 1885.

Oh! Aida, or a Game at Pyramids.

Oh! Those Babes; or, the Unhappy Uncle, the Virtuous Villains, and the Cheeky Children, by Will Clements. T. R., Woolwich, June 18, 1888.

O’ Jupiter; or the Fiddler’s Wife, by Frank Hall. Philharmonic, October 2, 1880.

Old Carlisle Bridge; or, the Shame of the City, a burl. Dublin Street drama, by William Scribble. Queen’s Theatre, Dublin, 1862.

Old Izaak Walton; or, Tom Moore of Fleet Street, the Silver Trout, and the Seven Sisters of Tottenham. Panto-opening, by T. L. Greenwood. Sadler’s Wells, December, 1858.

Old Pals, burlesque, by Lloyd Clarance. South Shields Theatre, August 7, 1884.

Oliver Grumble, by George Dance. Prince of Wales’s T., Liverpool, March 15, 1886. Novelty T., London, March 25, 1886.

Olympic Games; or, the Major, the Miner, and the Cock-a-doodle-doo, by F. C. Burnand. Olympic, April 22, 1867. Published by Phillips, Regent Circus, W.

Olympic Devils; or, Orpheus and Eurydice. A mythological burlesque, by J. R. Planché. Olympic, Dec. 26, 1831. J. Bland, W. Vining, Madame Vestris.

Olympic Revels; or, Prometheus and Pandora, by J. R. Planché. Olympic, January 3, 1831. J. Cooper, Beckwith and Madame Vestris.

On the Rink; or, the Girl He left Behind Him, by F. C. Burnand. Duke’s Theatre, February 26, 1876.

Open Sesame! or a Night with the Forty Thieves.

The Orange Tree and the Humble Bee; or, the Little Princess who was Lost at Sea, burlesque by Henry J. Byron. Vaudeville, May 13, 1871.

Orlando ye Brave, and ye Fayre Rosalynde; or, “As you Lump it.” A Comycke Pastorale, by Master William Shakesydes. London, no date.

Orpheus and Eurydice; or, the Young Gentleman who charmed the Rocks, by Henry J. Byron. Strand, Dec. 26, 1863. D. James, George Honey, Marie Wilton.

Orpheus; or, the Magic Lyre, by F. C. Burnand. For Amateurs. London, S. O. Beeton, 1865.

Orpheus in the Haymarket, by J. R. Planché. Haymarket, December 26, 1865.

Othello Travestie, burlesque-burletta, by Maurice G. Dowling. Liverpool Theatre, Liverpool, March, 1834.

The Other Little Lord Fondleboy, travestie, by Frederick Bowyer. Avenue, June 18, 1888.

Our Cinderella, by R. Reece. Gaiety, Sept. 8, 1883.

Our Helen, burlesque, adapted from “La Belle Helène,” by Robert Reece. Gaiety, April 8, 1884.

Our Own Antony and Cleopatra, “an absurdity,” by F. C. Burnand. Gaiety, September 8, 1873.

Our Traviata, burlesque, by W. F. Vandervell. Surrey Theatre, September 14, 1857.

Our War Correspondent, burl., Leicester T., May 27, 1878.

Out of the Ranks, burlesque, by Robert Reece. Strand, June 3, 1884.

Oxygen; or, Gas in Burlesque Metre, by R. Reece and H. B. Farnie. Folly, March 31, 1877.

Paddy in the Moon Burlesque, by C. H. Hazlewood.

Pan; or, the Loves of Echo and Narcissus, by H. J. Byron.

Pandora’s Box, by H. J. Byron. Prince of Wales’s, December 26, 1866.

The Paphian Bower; or, Venus and Adonis. A mythological burlesque, by J. R. Planché. Olympic, Dec. 26, 1832. Benjamin Webster, W. Vining, J. Bland, Madame Vestris.

Papillonetta, by W. Brough. Prince of Wales’s Theatre, Liverpool, December 26, 1865.

Paris; or, Vive Lemprière, by F. C. Burnand. Strand, April 2, 1886. David James, Thomas Thorne, H. J. Turner, J. D. Stoyle.

Patient Penelope; or, the Return of Ulysses, by F. C. Burnand. Strand, November 25, 1863.

Paul and Virginia, burlesque, by Arthur Wood. Olympic, October 15, 1870.

Paul Clifford Burlesque, by C. H. Hazlewood.

Paw Clawdian, or, the Roman Awry, a travestie of “Claudian,” by F. C. Burnand. Toole’s, February 14, 1884. J. L. Toole, W. Cheesman, Miss Marie Linden.

The Peddler of Very Nice, a burlesque of the Trial Scene in “The Merchant of Venice.” Anonymous. Boston, U.S., Lee and Shepard, 1866.

Pentheus, an Echo of the Greek Drama, by Vincent Amcotts and W. R. Anson. Oxford, T. and G. Shrimpton, 1866.

The People’s William; or, Randy the (W) Reckless and the Grand Old Man all at Sea. Birkenhead T., May 12, 1884.

Perdita; or, the Royal Milkmaid, by W. Brough. Lyceum, September 15, 1856.

Perola; or, the Jewel and the Duel. Rotherham Theatre, March 19, 1883.

Perseus and Andromeda, burlesque, by William Brough.

Peter Wilkins, an extravagant extrav, by Gilbert A. à Beckett and Mark Lemon. Adelphi, April 13, 1846.

Peter Wilkins. Panto-opening, by E. L. Blanchard. Drury Lane, December, 1860.

Phæton; or, Pride must have a Fall, by William Brough. For Amateurs. London: S. O. Beeton, 1865.

Pickwick, dramatic Cantata, by F. C. Burnand. Comedy, February, 1889. Arthur Cecil, Rutland Barrington, Miss Lottie Venne.

Pietro Wilkini; or, the Castaways, the Wild Men, and the Winged Beauty, burlesque, by F. Eyles, Jun. Swiss Gardens, Shoreham, August 18, 1870.

Pirithous, the Son of Ixion, burl., by F. C. Burnand.

Pizarro; a Spanish Rolla-King Peruvian Drama, by C. J. Collins. Drury Lane, September 22, 1856. Mr. and Mrs. Keeley, Mrs. Frank Matthews, George Honey.

Pizarro; or, the Leotard of Peru, by Leicester Buckingham. Strand, 1862. James Rogers, J. Clarke, Misses Eleanor Bufton, and C. Saunders.

Pizarro, the Great Tyrant, burlesque, by Mr. Marchant.

Plucky Parthenia, by Robert Reece. Portsmouth, February 26, 1874.

Pluto and Proserpine; or, the Belle, and the Pomegranate, by F. Talfourd. Haymarket, April 5, 1858. Compton, Clark, Braid, Miss L. Leclercq.

Pluto; or, Little Orpheus and His Lute, by H. J. Byron. Royalty, December 26, 1881. W. J. Hill, C. Glenney, Miss Lydia Thompson.

Po-ca-hon-tas; or, the Gentle Savage, burlesque, by John Brougham. Wallack’s Theatre, New York, U.S.

Poll and Partner Joe; or, the Pride of Putney, and the Pressing Pirate, by F. C. Burnand. St. James’s, May 6, 1871. Lionel Brough, H. Cox, Mrs. John Wood.

The Pretty Druidess; or, the Mother, the Maid, and the Miseltoe Bough (founded on “Norma”), by W. S. Gilbert. Charing Cross, June 19, 1869. Published by Phillips, Regent Circus, London.

Pretty Esmeralda and Captain Phœbus of Ours, by Henry J. Byron. Gaiety, April 2, 1879. E. Royce, Edward Terry, Misses E. Farren, C. Gilchrist, and Kate Vaughan.

Pretty Miss Pippin, by Percy Vere (Amateur).

Prince Cherry, and Princess Fair Star, by E. J. Collins. Strand, July 11, 1855.

Prince Love; or, the Fays of the Forest, by F. Vandervell. Philharmonic Theatre, December 26, 1870.

Prince Sohobazar; or, Eighteen-carat Soup, burlesque-extrav., by E. W. Bowles. Kilburn Town Hall, London, December 11, 1885.

The Princess, by W. S. Gilbert. Olympic, January 8, 1870.

Princess Ida; or, Castle Adamant. Respectful perversion of Tennyson’s “Princess,” by W. S. Gilbert. Savoy T., January 5, 1884. R. Barrington, G. Grossmith, Misses Braham and Brandram.

Princess Ouida; or, Castle Adamandeve, by H. G. F. Taylor. London: A. Hays, 1886.

Princess Primrose, by Messrs. Bellingham and Best. Olympic, June 13, 1866.

Printer’s Devil, burlesque extrav. Anonymous.

Prometheus; or, The Man on the Rock, by R. Reece.

The Proscribed Royalist; or, Who Stole the Ducks, by Frank Seymour. Opera House, Leicester, August 1, 1881.

Prospero; or, the King of the Caliban Islands. Imperial Theatre, December 26, 1883.

Pygmalion; or, the Statue Fair, by William Brough. Strand, April 20, 1867.

Puss in a new pair of Boots, by H. J. Byron. Strand, 1862.

Quasimodo, the Deformed; or, the Man with the Hump, and the Belle of Notre Dame, by H. Spry. Grecian, April 18, 1870.

Queen of Hearts, burlesque. Sanger’s Amphitheatre, Ramsgate, July 14, 1884.

The Quizziology of the British Drama, comprising stage passions, stage characters, and stage plays, by Gilbert Abbott à Beckett. London, Punch Office, 1846. With this is usually found Scenes from the Rejected Comedies. See “Scenes.”

Randolph the Reckless, extravaganza, by Victor Stevens. Salford T., August 6, 1888.

Rasselas, Prince of Abyssinia, burlesque, by W. Brough. Haymarket, December 26, 1862. Chippendale, Tilbury, Compton, Louise Keeley.

Le Raw Carotte, by G. Thorne. Margate T., Sept. 19, 1873

Raymond and Agnes Burlesque, by Mr. Marchant.

The Real Case of Hide and Seekyll, by George Grossmith. Royalty, September 3, 1888. In this Mr. Lionel Brough cleverly imitated both Mr. Mansfield & Mr. Bandmann.

The Red Rover; or, I believe you my Buoy, by F. C. Burnand. Strand, Dec. 26, 1887. Marius, Cox, Miss Lottie Venne.

The Rehearsal, as it was acted at the Theatre Royal, London, printed for Thomas Dring, 1672, by George Villiers, Duke of Buckingham. This celebrated work burlesques passages in the plays of Mrs. A. Behn, J. Dryden, Sir W. Davenant, Killigrew, and others. The history of The Rehearsal, with notes, and parallel passages has been ably written by Mr. Edward Arber in his series of valuable English Reprints. It was first acted on December 7, 1671.

The Rehearsal, an Absurdity, by Harry Dacre.

Revolt of the Workhouse, burlesque-opera, by Gilbert A. à Beckett. Fitzroy Theatre, February 24, 1834.

Richard III., travestie, by J. Stirling Coyne. Adelphi, February 12, 1844. Wright, Honey, and Miss Woolgar.

Richard ye Third, by Charles Selby. Strand, Feb. 26, 1844.

Richelieu Redressed, by R. Reece. Olympic, Oct. 27, 1873.

Rienzi Reinstated; or, the Last of the Cobbler, by W. A. Allan. Globe, December 21, 1874.

The Right-Fall Heir; or, the Sea-Rover and the Fall over. By H. T. Arden, 1868.

The Right-Fellow; or, the Wrong-Fellow and the Felo d’ye see? By W. F. Marshall, R. N. School, New Cross, December 21, 1868.

Rip Van Winkle; or, Some Nambulistic Knickerbockers, by John Strachan and Henry Davis. Newcastle Theatre, April 2, 1866.

Rip Van Winkle; or, a Little Game of Nap, by F. Savile Clarke. Portsmouth Theatre, March 29, 1880.

Riquet with the Tuft, burlesque-extrav., by J. R. Planché. Olympic, Dec. 26, 1836. Charles Mathews, J. Bland, Madame Vestris, Miss R. Isaacs, Mrs. Anderson.

The Rise and Fall of Richard III.; or, a New Front to an old Dicky, a Richardsonian burlesque, by F. C. Burnand. Royalty, September 24, 1868. Dewar, Misses C. Saunders, Nellie Bromley and M. Oliver.

Published by Phillips, Regent Circus, London.

The Rival Rascals; or, Virtue Rewarded, and Vice Versa, by Alfred Greenland, Jun. St. George’s May 3, 1877.

The Rival Sergeants, burletta, by William Collier. Sadler’s Wells, April 5, 1847.

Robert the Devil; or, the Nun, the Dun, and the Son of a Gun, by W. S. Gilbert. Gaiety, Dec. 21, 1868. J. G. Taylor, R. Soutar, Miss E. Farren. Published by Phillips, Regent Circus, London.

Robert Macaire; or, the Roadside Inn Turned Inside Out, by Henry J. Byron. Globe, April 16, 1870. J. Clarke, and Fanny Josephs.

Robert Macaire Renovated, by Lloyd Clarance. Barnsley Theatre, March 3, 1884.

Robert Make-Airs; or, the Two Fugitives. Ethiopian burlesque, by E. Warden. New York, 1856.

Robin Hood, burl. spectacle, by Messrs. Stocqueler, Shirley Brooks, and Charles Kenny. Lyceum, May 4, 1846.

Robin Hood. Panto-opening by E. L. Blanchard. Drury Lane, December, 1858.

Robin Hood; or, the Forester’s Fate, by F. C. Burnand. Olympic, December 26, 1862.

Robin Hood, Burlesque, by William Brough. For amateurs. London: S. O. Beeton, 1865.

Robin Hood, and the Merrie Men of Sherwood Forest, by George Thorne and F. Grove Palmer, Margate, 1889.

Robin Hood Burlesque, by C. H. Hazlewood.

Robinson Crusoe; or, Harlequin Friday and the King of the Caribbee Islands, by Henry J. Byron. Princess’s December 26, 1860.

Robinson Crusoe, burl., by H. J. Byron, Gilbert, Hood, Leigh, Sketchley, & Prowse. Haymarket, July 6, 1867.

Robinson Crusoe; burl., by H. B. Farnie. Prince’s, Manchester, October 7, 1876, Folly (London,) Nov. 11, 1876.

Robinson Crusoe Revived, by E. C. Bertrand. Dumfries Theatre, February 5, 1877.

Robinson Crusoe; or, the Pirate Will, Pretty Poll, and Captain Bill. Todmorden Theatre, October 29, 1883.

Robinson Crusoe, burl.-pantomime, by R. Reece and H. B. Farnie. Avenue, December 23, 1886. Arthur Roberts, Miss P. Broughton.

Rob Roy, burlesque, by Sydney French. Marylebone T., June 29, 1867.

Robbing Roy; or, Scotched and Kilt, by F. C. Burnand. Gaiety, November 11, 1879. Edward Terry, E. W. Royce, T. Squire, Misses E. Farren, Kate Vaughan, and C. Gilchrist.

Rob Roy, his Great Wife and Small Family. By C. H. Hazlewood.

Romeo and Juliet, “as the Law Directs,” by Maurice G. Dowling. Strand, May 1, 1837.

Romeo and Juliet Travestie; or, The Cup of Cold Pison, by Andrew Halliday. Strand, November 3, 1859. H. J. Turner, Rogers, Clarke, Misses Marie Wilton, C. Saunders.

Romeo and Juliet; or, the Shaming of the True, an atrocious outrage, by E. Nolan. Perpetrated at Oxford, by the St. John’s College Amateurs, during Commemoration, 1868. T. Shrimpton, Oxford.

Romeo the Radical, and Juliet the Jingo; or, Obstruction and Effect, by C. P. Emery. Alexandra Theatre, Walsall, August 14, 1882.

Romulus and Remus; or, Rome was not Built in a Day, a most absurdly ridiculous burlesque in one Act, being an attempt at something founded on Roman history, by T. F. Dillon Croker. Privately printed, 1859.

Romulus and Remus; or, the Two Rum-’uns, by R. Reece, Vaudeville, Dec. 23, 1872. James, Thorne, Nelly Power.

The Roof Scrambler, burlesque opera, by Gilbert A. à Beckett. Victoria, June 15, 1835.

The Rosebud of Stingingnettle Farm; or, the Villainous Squire and the Virtuous Villager. A burl.-drama by H. J. Byron. R.D.C. Crystal Palace, 1862.

Round the World in W’Eighty Days, by Captain Fitz-George, Brighton Theatre, March 13, 1877.

The Rovers; or, the Double Arrangement, by George Canning, George Ellis, and John Hookham Frere. This originally appeared in “The Anti-Jacobin,” about 1798. It is a caricature of the sentimental German drama then fashionable.

The Rows of Castille, by Conway Edwardes. Brighton Theatre, March 4, 1872.

The Royal Riddle, burlesque, by Horace Mills. Woolwich Theatre (Amateurs), February 16, 1887.

Ruddy George; or, Robin Red Breast, a musical parody, by H. G. F. Taylor, and Percy Reeve. Toole’s T., March 19, 1887.

Rumfastian Innamorato, burlesque interlude. Oxberry, Harley, Knight.

Rumplestiltskin; or, the Woman at the Wheel, by F. C. Burnand.

Rumpelstiltskin! An extrav. for amateurs by M. W. Hallett

Ruy Blas Righted, by Robert Reece. Vaudeville. Jan. 3, 1874. D. James, T. Thorne, and Kate Bishop.

Ruy Blas and the Blasé Roué, by A. C. Torr & H. Clark. First performed in Birmingham, Sept. 2, 1889. Gaiety, London, Sept. 21, 1889. Fred Leslie, C. Danby, F. Storey, Miss E. Farren. In this burlesque Mr. Leslie’s caricature of Mr. Henry Irving’s appearance and mannerisms was so pronounced that the Lord Chamberlain insisted on the part being considerably modified.

St. George and the Dragon, by Gilbert A. à Beckett and Mark Lemon. Adelphi, March 24, 1845.

St. George and the Dragon, burlesque, by F. C. Burnand. Written for the A.D.C., Cambridge, and first performed Feb. 21, 1856, when the author played the “Dragon.”

St. George and the Dragon, panto-opening by E. L. Blanchard. Alexandra Palace, Dec. 1877.

St. George and the Dragon, burl. Torquay T. Aug. 6, 1883.

Salammbo, the Lovely Queen of Carthage. Holborn, May 6, 1871.

Salthello Ovini. Illegitimate tragedy. Haymarket, July 26, 1875.

Sappho; or, Look before you Leap! by F. C. Burnand. For amateurs. London, S. O. Beeton, 1865.

Sardanapalus; or, the “fast” King of Assyria, by Gilbert A. à Beckett and Mark Lemon. Adelphi, July 20, 1853.

Sardanapalus; or, the Light of Other Days, by H. Such Granville. St. George’s Hall, December 23, 1868.

Sardanapalus, burl., by H. Such Granville. Limerick Theatre, May 15, 1868.

The Scalded Back; or, Comin’ Scars, travestie of Hugh Conway and Comyns Carr’s “Called Back,” by W. Yardley. Novelty Theatre, July 12, 1884.

Scenes from the Rejected Comedies, by some of the competitors for the Prize of £500 offered by Mr. B. Webster, Lessee of the Haymarket Theatre, for the best original Comedy, illustrative of English Manners. These amusing scenes were written by Gilbert A. à Beckett, and parody passages of the plays of J. Sheridan Knowles, Douglas Jerrold, Serjeant Talfourd, J. R. Planché, E. Fitzball, Leigh Hunt, Mark Lemon, Sir E. B. Lytton, and of G. A. à Beckett himself. London, Punch office, 1844.

Seraphina the Fair, by Charles W. Laidlaw. Public Hall, Southend, December 26, 1874.

The Seven Champions of Christendom; or, Good Little St. George and the Naughty Snap dragon, by W. R. Osman. Alexandra T., August 22, 1870.

Shin Fain; or, Ourselves Alone, by Tom Telephone. Dublin. J. Duffy and Sons, 1882.

The Siege of Seringapatam; or, the Maiden of Mesopotamia, by F. C. Burnand. For the Fête in aid of the Funds of the Hospital for Incurables, 1863.

The Siege of Troy, burl., by Robert B. Brough. Lyceum, Dec. 27, 1858. J Rogers, Mrs. Keeley, Miss J. St. George.

Shylock; or, the Merchant of Venice Preserved, by F. Talfourd. Olympic, July 4, 1853. F. Robson.

Silver Guilt, burl., by W. Warham. Strand, June 9, 1883.

Sinbad; or, the Dry-land Sailor, by James Horner. Coventry Theatre, July 7, 1884.

Sinbad the Sailor; or, the “Tar” that was “Pitched” into, by Frank W. Green. Princess’s, Edinburgh, March 31, 1878.

Sindbad the Sailor, by E. L. Blanchard. Crystal Palace, Dec., 1876.

Sir George and a Dragon; or, We are Seven, burlesque, by F. C. Burnand. Strand, March 31, 1870.

Sir Marigold the Dottie; or, the Moonlight Knight, by C. F. Fuller, H.M.S. “Rainbow,” April 16, 1885.

Sir Rupert the Fearless, burl. extrav., by A. J. Seymour. Strand, April 24, 1848.

The Sleeping Beauty; Her Seven Fairy Godmothers, and a Wicked Fairy, by Charles Daly and B. Chatterton. Aldershot T., August 3, 1885.

Snow Bound, a dramatic entertainment, by George M. Baker. Contains an original burlesque on “Alonzo the Brave, and the Fair Imogene.” Boston, U.S.

Snowdrop, burlesque extravaganza, by F. C. Burnand. Royalty, November 21, 1864.

The Son of the Sun; or, the Fate of Phæton. A classical burl., by Gilbert A. à Beckett. Fitzroy T. Feb. 13, 1834.

La Sonnambula Burlesque, by C. H. Hazlewood.

The Somnambulist, a negro burlesque sketch, by H. Dacre.

La! Sonnambula! or, the Supper, the Sleeper, and the Merry Swiss Boy, by Henry J. Byron. Prince of Wales’s, April 15, 1865, the opening night of Miss Marie Wilton’s management. F. Dewar, Harry Cox, J. Clarke, Misses Marie Wilton, and Fanny Josephs.

Il Sonnambulo and Lively Little Alessio, by Henry J. Byron. Gaiety, April 6, 1878. E. Terry, E. W. Royce, W. Elton, Miss E. Farren.

The Spanish Dancers; or, Fans and Fandangoes, a Terpsichorean burl., by Charles Selby. St. James’s Oct. 18, 1854. J. L. Toole, Clarke, Misses Lydia Thompson, and E. Bufton.

The Spectre of Shooter’s Hill; or, the Broken Hot-cross Bun, by W. Sallenger. Woolwich Theatre, Oct. 20, 1888.

The Sphinx, by the Brothers Brough. Haymarket, April 9, 1849. Mr. and Mrs. Keeley, J. Bland, and Miss P. Horton.

The Sphinx; a Touch from the Ancients (a new version of the Brothers Brough’s burlesque), by Walter Boult, Prince of Wales’s, Liverpool, January 6, 1872.

The Squires Maria; or, Too, too Far from the Madding Crowd, by Harry Adams. Hanley T., July 17, 1882.

Stage-Dora; or, Who Killed Cock Robin? travestie of Sardou’s Fédora, by F. C. Burnand. Toole’s, May 26, 1883. J. L. Toole, E. D. Ward, W. Cheesman, Miss Marie Linden.

Stars and Garters, burlesque, by Robert Reece and H. B. Farnie. Folly, September 21, 1878.

The Statue Bride; an Echo of the Greek Drama, by Vincent Amcotts and W. R. Anson, Oxford.

Stranger, burlesque, by W. D. Ward (for Amateurs), 1859.

Stranger, stranger than ever; by R. Reece. Queen’s, November 4, 1868.

The Stranger Travestie. See “Rejected Addresses,” by James and Horace Smith.

Success; or, a Hit if you Like it, a Grand mock-heroical burletta, by J. R. Planché. Adelphi, Dec. 12, 1825. T. P. Cooke, Yates, Mrs. Fitzwilliam.

Such a Guy Mannering, by Mr. Strachan, Jun. Newcastle-on-Tyne Theatre, April 27, 1868.

The Tailors (or “Quadrupeds”), a Tragedy for Warm Weather, by Samuel Foote. Haymarket, 1767. This burlesque was revived at the Haymarket in 1805, on which occasion a number of London tailors created a disturbance in and around the theatre.

A Tale of Tell; or, the Pole, the Patriot, and the Pippin, by Lloyd Clarance. Darwen T., February 26, 1883.

The Talisman, burl., by J. F. M’Ardle. Liverpool T., Aug. 10, 1874, and Philharmonic, London, Mar. 29, 1875.

Taming a Tartar, burlesque, by Charles Selby. Adelphi, October 20, 1845.

Tam O’Shanter, burlesque, by W. Lowe, Opera House, Dundee, February 10, 1873.

Tantalus; or, Many a Slip ’Twixt Cup and Lip, by Arthur Matthison and Charles Wyndham. Folly, Oct. 14, 1878.

Telemachus; or, the Island of Calypso, by J. R. Planché. Olympic, December 26, 1834. J. Bland, Wyman, Madame Vestris.

Telemachus; or, the Island of Calypso, by Stirling Coyne. Adelphi, October 15, 1844.

The Tempest, the very last edition of, by A. H. O.

The O’Dora, a parody of Sardou’s Théodora, by F. C. Burnand. Toole’s July 13, 1885. J. L. Toole and Miss Mary Linden, whose imitation of Sara Bernhardt was particularly clever and comical.

Theseus and Ariadne; or, the Marriage of Bacchus. A classical extrav., by J. R. Planché. Lyceum, April 24, 1848. C. Mathews, Miss Fitzwilliam, Mdme. Vestris.

Thespis, burlesque, by W. S. Gilbert. Gaiety, J. L. Toole, Miss E. Farren.

The Three Calenders, burl., by Charles Penruddocke.

Three Graces, by G. A. à Beckett. Princess’s April 17, 1843.

The Three Musket Dears, and a Little One In, by Joseph and Harry Paulton. Strand, October 5, 1871.

Timour, the Cream of all the Tartars. Princess’s, March 24, 1845.

Timour the Tartar; or the Iron Master of Samarkand-by-Oxus, by John Oxenford and Shirley Brooks. Olympic, December 26, 1860. F. Robson, Horace Wigan.

Timour the Tartar; or, the Swell Belle of the Period, by Edward Chamberlaine. Alexandra, Dec. 27, 1869.

Tom Thumb, by Kane O’Hara. Founded on Henry Fielding’s Tragedy of Tragedies; or, the Life and Death of Tom Thumb the Great, first performed at the Haymarket in 1730. O’Hara’s adaptation was produced at the Covent Garden Theatre in 1780.

Too Late for the Train, a dramatic entertainment, containing burl. scenes. G. M. Baker & Co., Boston, U.S.

Too Lovely Black-eyed Susan, perversion of Douglas Jerrold’s drama, by Horace Lennard. Crystal Palace, April 2, 1888, and Strand Theatre, April 11, 1888. Dan Leno and Miss Fannie Leslie.

Tootsie’s Lovers, by W. T. Le Queux. Brentford Theatre, April 19, 1886.

Touch and Go, burlesque, by Walter Andrews. Prince of Wales’s Theatre, Liverpool, March 8, 1886.

The Tragedy of Tragedies; or, the Life and Death of Tom Thumb the Great, by Henry Fielding. First acted in 1730. This contains parodies of numerous passages in the Tragedies of Dryden, N. Rowe, Thompson, and other writers whose works were then popular.

Trovatore; or, Larks with a Libretto, by Henry J. Byron. Olympic, April 26, 1880. E. Terry, E. W. Royce, Misses E. Farren, C. Gilchrist, and Kate Vaughan.

Troy Again, by E. A. Bowles (Amateurs). St. George’s Hall, March 13, 1888.

Tumble-down Dick; or, Phæton in the Suds, a Dramatic Entertainment of Walking, in Serious and Foolish Characters. Interlarded with Burlesque, Grotesque, Comic Interludes, as it is performed at the New Theatre in the Hay-Market. By Henry Fielding. 1737.

Turkish Waters, a Tail of Coarse Hair; or, Medora’s Private Tear, by Rowley Hill. Written for the A.D.C., Cambridge, and first performed November 18, 1857.

“Two” Much Alike, burlesque comedietta, by G. Grossmith, Jun., and A. R. Rogers. Gallery of Illustration, February 12, 1870.

Two Gallows; or, Slaves Escaped from Brixton, a Parody. Olympic, 1823.

Ulf the Minstrel; or, the Player, the Princess, and the Prophecy, burlesque-extravaganza, by R. Reece. Royalty, May 31, 1866.

Ulysses; or, the Iron Clad Warrior, and the Little Tug of War, by F. C. Burnand. St. James’s, April 17, 1865.

Under Proof; or, Very Much Above Pa, by Edward Rose, Princess’s, Edinburgh, May 1, 1879.

Undine Undone. Halifax Theatre, April 21, 1873.

Undine, burl. Great Yarmouth Theatre, August 13, 1883.

The Ups and Downs of Deal, and Black-eyed Susan. Marylebone, June 10, 1867.

Valentine and Orson, burl.-drama, by R. Reece. Gaiety, December 23, 1882.

Valentine and Orson, burlesque, by Joseph Ellis. Brentford Theatre, November 1, 1888.

The Vampire, burl., by Robert Reece. Strand, Aug. 15, 1872.

Vanderdecken; or, The Flying Anglo-Dutchman’s Phantom Penny Steamer, by Whyte Edgar. Novelty, Dec. 9, 1885.

The Veiled Prophet of Khorassan; or, the Maniac, the Mistery, and the Malediction, by H. L. Walford. Gallery of Illustration, November 24, 1870.

Venus; or, Gods as they Were, and not as they ought to Have Been, by Edward Rose and Augustus Harris. Royalty, June 27, 1879.

Venus and Adonis, burl., by F. C. Burnand. Haymarket, March 28, 1864. Misses Nelly Moore and Louise Keeley.

The Very Last Days of Pompeii! By R. Reece. Vaudeville, February 13, 1872. David James, Thomas Thorne, Miss Nelly Power.

The Very Last Edition of the Tempest; or, the Wily Wizard, the Winsome Wench, and the Wicked Willain, by A. H. O.

The Very Latest Edition of the Gathering of the Clans, by G. W. Hunt. East London T., October 18, 1873.

The Very Latest Edition of the Lady of Lyons, by H. J. Byron. Strand, July 11, 1859. J. Rogers, J. Clarke, H. J. Turner, Misses C. Saunders, and M. Oliver.

The Very Latest Edition of Robinson Crusoe, by H. B. Farnie. Folly. Lionel Brough, Willie Edouin, Misses Lydia Thompson, and Violet Cameron.

Very Little Faust and More Mephistopheles, by F. C. Burnand. Charing Cross, August 18, 1869. Published by Phillips, Regent Circus, London.

Very Little Hamlet, by W. Yardley. Gaiety, Nov. 29, 1884.

Vesta, burl., by H. B. Farnie. St. James’s, Feb. 9, 1871.

The Vicar of Wide-awake-field; or, the Miss-Tery-ous Uncle, burlesque of “Olivia,” by H. P. Stephens and W. Yardley. Gaiety, August 8, 1885. In this Mr. Arthur Roberts and Miss L. Linden were very successful in their burlesques of Henry Irving & Miss Ellen Terry.

La Vie, burl.-opera, by H. B. Farnie. First produced at Brighton T., September 17, 1883, Avenue T., London, Oct. 3, 1883. Founded on “La Vie Parisienne.”

Villekyns and His Dinah, by Frederick Eyles. Swiss Gardens, Shoreham, July 7, 1873.

Villikins and His Dinah, burl., by F. C. Burnand. The Amateur Dramatic Club, Cambridge, Nov. 8, 1855.

Virginius the Rum’un, by W. Rogers. Sadler’s Wells, May, 1837.

Virginius; or, the Trial of a fond Papa, by Leicester Buckingham. St. James’s, October 1, 1859.

La Vivandière, by W. S. Gilbert. Queen’s, Jan. 18, 1868.

Vortigern; an Historical Play. Represented at the T. R., Drury Lane, April 2, 1796, as a supposed newly-discovered Drama by Shakespeare. Mr. John Kemble and Mrs. Jordan. This play was a forgery written by W. H. Ireland, and was afterwards published by him, with a Preface, in which he acknowledged the imposition he had practised, and gloried in having been able to deceive some of the first scholars and ablest critics of the day.

Wattie and Meg, burl., by W. Lowe. Dundee Theatre, January 20, 1873.

Wat Tyler, M.P., burlesque, by G. A. Sala. Gaiety, December 20, 1869.

The Weeping Willow, burl., by Peter Davey, Herbert Linford, and H. S. Ram. Town Hall, Staines. May 5, 1886.

What’s it on; or, Shakespeare-ience Teaches, burl., by W. Routledge. Gallery of Illustration (Amateurs), Jan. 29, ’70

The White Cat, burlesque, by F. C. Burnand. Globe, December 26, 1870.

The White Fawn, extrav., by F. C. Burnand. Holborn, April 13, 1868.

Whittington Junior, and his Sensation Cat, by Robert Reece. Royalty, November 23, 1870.

Whittington and His Cat. Panto-opening by E. L. Blanchard. Drury Lane, Dec., 1875.

Whittington and his Cat, burl.-drama, by F. C. Burnand. Gaiety, October 15, 1881. T. Squire, E. W. Royce, J. Dallas, Misses E. Farren and Kate Vaughan.

The Wife, a Tale of a Mantua Maker, burl.-drama by Joseph Graves. Strand, June 19, 1837.

William Tell, burl.-panto. Drury Lane, July 12, 1856.

William Tell, a Telling Version of an old Tell Tale, by Leicester Buckingham. Strand, April 13, 1857.

William Tell with a Vengeance, by Henry J. Byron. Alexandra T., Liverpool, September 4, 1867, and Strand Theatre, London, October 5, 1867.

William Tell, by Arthur J. O’Neil. Sadler’s Wells, October 19, 1867.

William Tell, Told over again, by Robert Reece. Gaiety, December 21, 1876.

Willikind and his Dinah, by J. Stirling Coyne. Haymarket, March 16, 1854.

Windsor Castle, burlesque-opera, by F. C. Burnand. Strand, June 5, 1865. David James, T. Thorne, J. Stoyle, H. J. Turner, Miss Ada Swanborough.

Windsor Castle, burlesque, by T. C. Grace. Newcastle Theatre, June 22, 1868.

Winter’s Tale, burlesque, by William Brough. Lyceum, September 15, 1856. J. L. Toole, William Brough, Mrs. A. Mellon, and Marie Wilton.

Wonderful Lamp in a new light, by Gilbert A. à Beckett. Princess’s, July 4, 1844.

Wood Demon; or, One o’clock, by Charles Kenney and Albert Smith. Lyceum, May 6, 1847.

The World Underground; or, the Golden Fleece and the Brazen Waters, burlesque, by Gilbert A. à Beckett. Haymarket, December, 1848.

Yellow Dwarf, burlesque-burletta, by Gilbert A. à Beckett. Princess’s, December 26, 1842. Madame Sala.

The Yellow Dwarf, and the King of the Gold Mine, by J. R. Planché. Olympic, December 26, 1854. F. Robson, Miss Julia St. George.

The Yellow Dwarf; or, the Good Sovereign and the Bad Yellow Boy, by Frank Hall. Philharmonic. March 29, 1880.

Yellow Dwarf, burlesque-extrav., by Robert Reece and Alfred Thompson. Her Majesty’s, December 30, 1882.

Young Dick Whittington, by J. Wilton Jones. Leicester Theatre, April 18, 1881.

Young Fra Diavolo; the Terror of Terracina, by Henry J. Byron. Gaiety, November 18, 1878. E. Terry, E. W. Royce, R. Soutar, T. Squire, Misses E. Farren, Kate Vaughan and C. Gilchrist.

Young Rip Van Winkle, by R. Reece. Folly, April 17, 1876.

Zampa; or, The Buckaneer and the Little Dear, by T. F. Plowman. Court, October 2, 1872.

Zampa; or, the Cruel Corsair, and the Marble Maid, by J. F. McArdle. Liverpool T., October 9, 1876.

——:o:——

In his Introduction to Burlesque Plays and Poems (G. Routledge & Sons, 1885), Mr. Henry Morley observes:—

“The word Burlesque came to us through the French from the Italian ‘burlesco’; ‘burla’ being mockery or raillery, and implying always an object. Burlesque must, burlarsi di uno, mock at somebody or something, and when intended to give pleasure it is nothing if not good-natured. One etymologist associates the word with the old English ‘bourd,’ a jest; the Gaelic ‘burd,’ he says, means mockery, and ‘buirleadh,’ is language of ridicule. Yes, and ‘burrail’ is the loud romping of children, and ‘burrall’ is weeping and wailing in a deep-toned howl. Another etymologist takes the Italian ‘burla,’ waggery or banter, as diminutive from the Latin ‘burra,’ which means a rough hair, but is used by Ausonius in the sense of a jest. That etymology no doubt fits burlesque to a hair, but, like Launce’s sweetheart, it may have more hair than wit.”

There are few more amusing pieces of light English literature than some of our early theatrical burlesques, such as Beaumont and Fletcher’s “Knight of the Burning Pestle,” the Duke of Buckingham’s “Rehearsal,” Henry Fielding’s “Tom Thumb,” Sheridan’s “The Critic,” and Poole’s “Hamlet,” with its absurd notes in imitation of several learned Shakespearian commentators.

During the last thirty or forty years this particular form of Dramatic Entertainment has been specially cultivated, and at the Strand, Royalty, and Gaiety Theatres, in London, the “Sacred Lamp of Burlesque” has been kept alight by the productions of such prolific and humorous writers as Gilbert A. à Beckett, Francis Talfourd, Leicester Buckingham, Albert Smith, William Brough, Robert Reece, Stirling Coyne, H. B. Farnie, Henry J. Byron, and F. C. Burnand. Much has been written for and against dramatic burlesque, and it may be said, without fear of contradiction, that recently far less attention has been devoted to the literary merits of the productions than to the scenery and dresses. The humour of the actors being considered as of less importance than a dazzling mise-en-scene with a host of pretty half-dressed ballet girls.

The following articles are of interest in connection with modern dramatic burlesque.

Is Burlesque Art? A paper by Blanche Reives, read before the Church and Stage Guild, October 7, 1880. The authoress quotes thus from a letter written by Mr. W. S. Gilbert:—“Burlesque in its higher development calls for high intellectual power on the part of its professors. Aristophanes, Rabelais, George Cruikshank, the authors of the Rejected Addresses, John Leech, and J. R. Planché were all in their respective lines professors of true burlesque. The form of burlesque with which modern theatre goers are familiar, scarcely calls for criticism, it is infantile in its folly.”

The “A. D. C.”, by F. C. Burnand, B.A., being Personal Reminiscences of the University Amateur Dramatic Club, Cambridge. London, Chapman & Hall, 1880.

Old Comedy on a New Stage, by R. C. Jebb. The Fortnightly Review. January 1884.

Burlesques, Old and New, a short paper by Leopold Wagner. Time, November, 1886.

The Spirit of Burlesque, in “The Universal Review” for October, 1888, by F. C. Burnand, himself probably the most prolific of all modern English authors of Parody and Burlesque.

Reminiscences of the New Royalty, by F. C. Burnand, containing an illustrated history of his immensely successful burlesque, “Black Eyed Susan.” See “The Universal Review,” December, 1888.

A very Private View of the Grosvenor.

(By Ollendorff Junior.)

Have you seen the Pictures? I have not seen the Pictures. I have not seen the Pictures, but I have seen the People. I shall lunch. Shall you lunch? I will lunch with you (at your expense). Thank you! (merci!) Has the Æsthete cut his hair? The Hairdresser has cut the Æsthete’s hair (i.e., the hair of the Æsthete). I like (j’aime) the Picture by (par) Keeley Halswelle, but I will not purchase (acheter) the Nocturne by Whistler (siffleur). Whistler be blowed! (sifflé). Keeley Halswelle’s Picture is called (s’appelle) “Royal Windsor.” Is it true (est-ce vrai que) the Soap-man (l’homme aux savons), Pears, has purchased “Royal Windsor” for an advertisement (affiche)? Val Prinsep has painted something like an Artist, but (mais) Mr. Holl has painted somebody who is something like an Artist. What is his name? His name is (il s’appelle) John Tenniel. It is very hot. It is crowded. When it is crowded it is hot. How many people are there here? I do not know: I will count them. I should like some lunch. You can lunch at the Restaurant below. Will you lunch there also (aussi)? With pleasure, if you will pay for both of us (tous les deux). I have a hat, a stick, an umbrella, a catalogue, a ticket of admission, and an appetite, but I have no money. I am afraid (je crains) that no one will give me luncheon. I will (je vais) go down (descendre) into the Restaurant.

Waiter! (garçon) have you some bread, some cutlets, some beef, some preserved strawberry jam-tart (confiture aux fraises), and some good wine (du bon vin)? Yes sir; here they are (voilà). Ah! my dear friend (mon cher ami), sit opposite (vis-à-vis) me. Call the Waiter, and tell him we lunch together (ensemble).

The wine is good, the bread is excellent, the beef is appetising. Excuse me one moment (un moment) I see Madame X—— going up (monter) to the Gallery. I must (il faut) speak to her. She has asked me to show (indiquer) her Mrs. Jopling’s pictures and Miss Montalba’s (ceux de Mlle. Montalba). You are coming back (de retour), are you not (n’est-ce pas)? Yes; I shall come back.

Waiter! the Gentleman who was with me will come back and pay for his own share. No, Sir (Non, Monsieur) you must pay for the two. It is too bad; I will speak to (m’addresser) Mr. Comyns Carr, or to Sir Coutts. All that is nothing to me (tout ça ne me regarde pas); you have (il faut absolument) to pay for two soups, two fish, two beefs, two vegetables (legumes), one bottle of the best (le meilleur) wine, two breads, two butters.

There is the money. I am angry. I will not give anything (ne-rien) to the waiter. The pictures are in the Gallery above, but his friend is no longer to be seen (visible). Where is that gentleman (ce monsieur)? He is gone (il est parti). Did he say when he would return? No; he did not say when he would return. He has taken my overcoat (par-dessus), my catalogue, and my new umbrella (parapluie). I will hasten (me presser) to seek (chercher) him. Another day I will look at the pictures.

Punch, May 5, 1883.

A CHRONOLOGICAL INDEX

to some of the principal

Books and Periodicals

treating of Parody and Burlesque.

——:o:——

Curiosities of Literature, by Isaac D’Israeli, has chapters on “Parodies,” “Literary Forgeries,” and on “Literary Impostures.”

The Edinburgh Review, November 1812, contains the famous article by Lord Jeffrey on “Rejected Addresses.”

The Three Trials of William Hone for publishing Three Parodies, namely, “The late John Wilkes’s Catechism,” “The Political Litany,” and the “Sinecurist’s Creed,” at Guildhall, London, December 18, 19, and 20, 1817. William Hone himself printed and published in 1818, the Reports of these Trials, which contain a great quantity of general information about Parodies.

Rejected Addresses. After this amusing collection of Parodies had run through seventeen editions Mr. John Murray purchased the copyright, and in 1833 he brought out the eighteenth edition. This has an interesting preface, and valuable notes.

The Westminster Review, July, 1854. An anonymous article on “Parody.” London: John Chapman.

Curiosités Littéraires, par Ludovic Lalanne. Paris: A. Delahays, 1857. Contains articles on imitation and burlesque.

Memoir of William Edmonstoune Aytoun. By (Sir) Theodore Martin. Edinburgh: William Blackwood & Sons, 1867. This contains information as to Aytoun’s share in the Bon Gaultier Ballads, his mock tragedy Firmilian, and other humorous writings, prose and verse.

The Standard, November 26, 1868; January 30, 1871.

La Parodie chez les Grecs, chez les Romains, et chez les Modernes, par Octave Delepierre. Londres: N. Trübner et Cie., 1870.

The chapter on English Parodies (p. 146 to p. 169) was compiled by M. Delepierre from information and Parodies supplied to him by Walter Hamilton.

The Athenæum, July 1, 1871. A Review of M. Delepierre’s “La Parodie.” London.

Pro and Con. Edited by Walter Hamilton. February 15, 1873. An article on Parodies, Paraphrases and Imitations. London: E. and F. Spon.

The Galaxy, May 1874. Contains “The Parody of the Period,” by J. Brander Matthews (p. 694). New York, U.S.A. Sheldon & Company.

Tinsley’s Magazine (London), September 1876. An article on “Parody,” by S. Waddington.

Fun, Ancient and Modern. By Dr. Maurice Davies. Two volumes. London: Tinsley Brothers, 1878.

History of English Humour. By the Rev. A. G. L’Estrange. Two volumes. Has a chapter on Burlesque and Parody. London: Hurst & Blackett, 1878.

The Globe (London), November 17, 1880. An article on “Parodies.”

The Humorous Poetry of the English Language, from Chaucer to Saxe. Collected by J. Parton, Boston, U.S. Houghton & Co., 1881. This contains a good collection of Parodies and Burlesques, most of which have been reprinted in this work.

The Gentleman’s Magazine, London. September, 1881. “The Poetry of Parody,” by W. Davenport Adams.

Poetical Ingenuities and Eccentricities. Edited by William T. Dobson. London: Chatto & Windus, 1882. Contains a chapter on Parody.

The Maclise Portrait Gallery of Illustrious Literary Characters, with Memoirs. By William Bates, B.A. London: Chatto & Windus, 1883.

A storehouse of information as to the history and origin of some of the best parodies in the language.

Vers de Société and Parody. By H. A. Page. London: T. Fisher Unwin, 1883.

The Gentleman’s Magazine, February, 1884. “Charles Cotton,” by Rev. M. G. Watkins, contains an account of Cotton’s Burlesques. London: Chatto & Windus.

Chambers’s Journal, February 2, 1884. “The Muse of Parody.” Anonymous. London: W. & R. Chambers.

Burlesque Plays and Poems, with an Introduction, by Henry Morley. London: G. Routledge & Sons, 1885.

The Literary Remains of Charles Stuart Calverley, with a Memoir. By Walter J. Sendall. London: George Bell and Sons, 1885. This is interesting as throwing light on the composition of Calverley’s exquisite imitations.

The Saturday Review (London), February 14, 1885. An article “The Art of Parody” (anonymous), which was reprinted on p. 103, Vol. II. of this collection.

The Daily News (London), October 10, 1885. A leader on Charles Stuart Calverley’s Poems and Parodies.

Longman’s Magazine (London), October, 1886. An article, “The Ethics of Plagiarism,” by Brander Matthews.

Temple Bar (London), January, 1887. An article on Charles Stuart Calverley, and his Parodies.

The Whitehall Review (London), March 10, 1887. “Concerning Parodies.”

Family Herald, July 28, 1888. “Parodies.” Anonymous. London: William Stevens.

The Daily News (London), December 3, 1888. A leader on “Parody.”

Temple Bar (London), March, 1889. An anonymous paper on James Smith, and the Rejected Addresses, the greater part of which is borrowed from the Preface to the 18th edition (1833), of the R. A.

In Cap and Gown, Three Centuries of Cambridge Wit. Edited by Charles Whibley. London: Kegan, Paul, Trench & Co., 1889.

This contains some of the best parodies which have been published in Cambridge, with notes descriptive of the principal publications of the University.

The Daily News (London), June 21, 1889. A leader on Hamilton’s “Collection of Poems and Parodies in Praise of Tobacco.”

The Daily News (London), October 16, 1889. A leader on Mr. Charles Whibley’s “In Cap and Gown,” which see.

Famous Literary Impostures, a Series of Essays. By H. R. Montgomery. London: E. W. Allen.

Notes and Queries. London. See particularly March 25, 1871; June 26, 1880; June 25, 1887; July 30, 1887.

The Weekly Dispatch. London. In November, 1879, this paper commenced prize competitions which it has continued ever since. Parodies of well-known authors are often selected for these competitions, and many examples have been quoted in this collection.

The World. London. In July, 1879, this journal opened its columns to competitors for prizes, which were awarded for the best parodies of certain poems selected by the Editor. Many of these have also been quoted in Parodies.

End of Sixth, and Last, Volume.

FOOTNOTES:

[1] Written at the Crystal Palace Aquarium.

[2] J’entends.

[3] An adaptation of “Madonna mia.”

[4] See “The Gentleman’s Magazine,” Vol. 56, p. 427; also Boswell’s Life of Johnson, Vol. 10, p. 189—edition in 10 vols., published by John Murray, London, 1835.

[5] The lines in italics are usually omitted, as being too serious for the occasion. They allude to certain newspaper critics who were supposed to be present, and who became rather heated in their political expressions.

[6]

A bawbling vessel was he captain of

For shallow draught and bulk imprisible.

Shakespeare.

[7] In plain English, the Halfpenny-hatch, then a footway through fields; but now, as the same bards sing elsewhere—

“St. George’s Fields are fields no more,

The trowel supersedes the plough;

Swamps, huge and inundate of yore,

Are changed to civic villas now.”

[8] Some extracts from this parody, with an illustration by Cruikshank, will be found in Vol. IV. Parodies, p. 102.

[9] John Kemble.

[10] Madame Catalani.

[11] “Company” understood.

[12] Cochin China Cock.

[13] Halliwell considered this rhyme to be at least 300 years old. He adds a fifth verse:—

“Jenny was so mad,

She didn’t know what to do;

She put her finger in her ear,

And crackt it right in two.”

He also makes the last line of the fourth verse to read:—

And snapt off her nose,

which tragical dénouement is certainly that which is inculcated in all well-regulated nurseries.

[14] Slang for sixpence.

[15] Battenburg.

[16] Poem on Liberty, ver. 12.

[17] Ibid. ver. 16.

[18] Ibid. ver. 104.

[19] A poetical word for a Tobacco-box.

[20] Poem on Liberty, ver. 243, 245.

[21] Poem on Liberty, ver. 247.

[22] Ibid. ver. 309.

[23] Ibid. ver. 171.

[24] Antis i.e., Anti-smokers.

[25] An allusion to a phrase in Ruddigore.

[26] The term “drinking” tobacco was commonly used in the early days of smoking.

[27] An herb with which the hart is said to cure its wounds.

[28] Or, Swad out with the antro gilespians.

[29] See Hesio. Pro Mea benevolente. Act. Mediæv. Pp. 992. Quisque numjam satis, Vol. II., chap. 78, ¶XIV. Also, Hey Didhul Didhul Thecat anthef Hidul. ¶XI Pp. 672. Ib.

[30] Not found in the MSS. of the 29th century. Hunc Dune objected to by the English committee.

[31] This may also be rendered, “a long ways.”

[32] In the Vulgate, “like a California diamond.”

[33] The Morning Star, a London Liberal newspaper, founded in 1856.

[34] To enable the reader to realise more vividly the impressive solemnity of this ode, the number of welcomes has been put in Arabic numerals.

[35] Sir Francis Burdett, Radical M.P. for Westminster, and father of Lady Burdett Coutts.

[36] William Cobbett, M.P. for Oldham, an extraordinary man, who started life as a private soldier, and by his own unaided exertions acquired a position of considerable importance.

[37] Query—Paced?—Printers Devil.

[38] Fellows of Colleges are not so destitute of feeling as to forget their “Old Friend.”

[39] Sir Richard Steele.

[40] Sir Richard Blackmore.

[41] Sir Richard Cox.

[42] Father of Mr. J. L. Toole, the popular comedian.

[43] Alfred Bunn, the lessee of Drury Lane Theatre, was a fortune to the small wits of the day. He wrote the librettos for some operas, which were neither better nor worse than the average of such productions. Punch bitterly attacked him, but he retaliated in “A word with Punch” which effectually silenced that individual.

Bunn brought out the wonderfully successful Operatic Singer, Jenny Lind. He died in 1860.

[44] Jullien organised the popular Promenade Concerts, with military bands, Army Quadrilles, &c.

[45] The Rape of the Bucket: An Heroi-comical Poem. Translated from the Italian of Tassoni by Mr. Ozell.

[46] Ringing the penance-bell was an expression which frequently occurred in Brown’s writings.

[47] Two celebrated coaches.

[48] The month in which the B.A. degree is taken and which in many instances, is the “finis fatorum;” at least to a great portion of the “bons vivans.”

[49] The celebrated Lord Chesterfield, whose Letters to his Son, according to Dr. Johnson, inculcate “the manners of a dancing master and the morals of a ——,” &c.

[50] “Lord Mayor of the theatric sky.” This alludes to Leigh Hunt, who, in The Examiner, at this time kept the actors in hot water.

[51] All England Lawn-Tennis Club.

[52] President Hitquick Club.

[53] It would seem that the striking want of poetical justice in the usually-received termination of this otherwise excellent story, wherein none of the good people were made happy, and the wicked were most inadequately punished, had caused the author to tremble for his popularity among the female portion of the community—who, it is well known, will stand no liberties of that description. He has therefore (apparently) re-written it on more orthodox principles; or (not improbably) got somebody else to re-write it for him; or (as is barely possible) somebody else has re-written it for him without asking his leave. We have no means of ascertaining the exact state of the case. The reader is requested to form his own opinion, and let us know at his earliest convenience.—Eds. O. M.

[54] Not being a ghost, Corydon does not talk in the style of 1670.

[55] The subject and title of these papers bear some resemblance to Messrs. Griffith and Farran’s natty little republication of the selections from “Lord Chesterfield’s Letters to his Son,” entitled Manners and Speech, but a careful comparison will establish the dissimilarity.

[56] The Syndicate.

[57] One who betrays his companions.

[58] Share of the plunder.

[59] Burglary.

[60] Inform.

[61] Companions.

[62] Gentlemanly.

[63] Police officers.

[64] Old Bailey pleaders.

[65] Prison.

[66] Gunpowder.

[67] An experienced hand at stealing.

[68] Double-barrelled gun.

[69] Drink freely.

[70] Brandy.

[71] Depart.

[72] Fire.

[73] Transported.

[74] A hearty choke; i.e., hanging.

[75] A Burglary.

[76] Houses.

[77] Steal.

[78] Handkerchief.

[79] Skilful.

[80] Pass false notes.

[81] Watch.

[82] Hanged.

[83] Parson.

[84] Magistrate or judge.

[85] Handsomest wig.

[86] Prison.

[87] Ladies of a certain description.

[88] Comrades or fast friends.

[89] Thieves speak of themselves as “family-men.”

[90] Warders.

[91] Night.

[92] Meat and drink.

[93] A greenhorn.

[94] Tricks of the trade.

[95] Talking slang.

[96] Imprisoned.

[97] Up to prison ways.

[98] Writing.

[99] Thieves should pray on their knees.

[100] Highway-robbers, swell-mobsmen, burglars, and forgers.

[101] Slang names for Pentonville Model Prison, and Millbank Penitentiary.

[102] Whitechapel Swell.

[103] Actions.

[104] Flash.

[105] Half-penny.

[106] Hat.

[107] Eatables.

[108] Coat.

[109] Look.

[110] Trousers.

[111] The Throat.

[112] Flash.

[113] Vest.

[114] Pockets.

[115] Teetotaler.

[116] Sure place.

[117] Money.

[118] Pickpockets.

[119] Cross hands.

[120] A watch.

[121] Chain.

[122] Deceive.

[123] Gensd’armes.

[124] Salute.

[125] Shout.

[126] Public-house.

[127] Smoke a pipe.

[128] Paid a shilling.

[129] Gin.

[130] Humbug.

[131] Sherry.

[132] Mistress.

[133] Pork.

[134] Red herring.

[135] Lots of beer.

[136] The judges.

[137] Clothes.

[138] Neat.

[139] A fine young woman.

[140] Die.

[141] Drinks water or tea.

[142] Innkeeper.

[143] Tongue.

[144] Stole.

[145] Newgate.

[146] Pike it, to run off quickly.

[147] The Devil take.

[148] The beadle or constable.

[149] Beg Bread.

[150] Porridge.

[151] The day.

[152] Legs in the stocks.

[153] Break into a house.

[154] Get a whipping.

[155] Rob a beer shop.

[156] Cut a purse.

[157] Force a lock.

[158] Magistrate.

[159] Fetters.

[160] Hang on the gallows in the daylight.

[161] To go.

[162] Good, or well.

[163] Women.

[164] To look out.

[165] Goods.

[166] Lost.

[167] A good fellow.

[168] Money.

[169] A buxom wench.

[170] Suited me very well.

[171] To cover or conceal.

[172] Steal.

[173] To tell lies cleverly.

[174] A penny.

[175] The country.

[176] The house being alarmed.

[177] To hide in the woods.

[178] Thieves receiving house.

[179] Bacon.

[180] A beadle or Watchman.

[181] Do not brag of your booty.

[182] To rogues that are base.

[183] The girl on the look out.

[184] A counterfeit license.

[185] To beg.

[186] To break into each house.

[187] The man must run.

[188] Through hedge, ditch and field.

[189] Base fetters give the man his deserts.

[190] The jail.

[191] May the Devil take.

[192] Justice of the Peace.

[193] Drink, wench, and beershop, then good night.

[194] To hang on the gallows.

[195] By rogues betrayed.

[196] Long-home.

[197] London.

[198] Horse stealers.

[199] Carriage and Wagon pilferers, and Trunk lifters.

[200] Fancy man, sweetheart.

[201] Prisons.

[202] Handcuffs.

[203] A fool easily cheated by a woman.

[204] Refreshments.

[205] A ring, a watch, and a pair of pistols.

[206] Gin shops.

[207] Women and girls.

[208] Beggars with sham wooden legs, etc.

[209] To see you.

[210] Hats or caps.

[211] Beggars’ holiday.

[212] Constables.

[213] Justice of the Peace.

[214] Tramp.

[215] Head of a gang.

[216] Poultry thief.

[217] Horse stealer.

[218] Beggar.

[219] Avoid.

[220] One who sneaks into a house at dusk to admit his companions later on.

[221] Takes us to goal.

[222] Half-pennies.

[223] Rob him of his money.

[224] To spend his shilling.

[225] To treat the other prisoners.

[226] Girl.

[227] Hanging place.

[228] Knife.

[229] The moon.

[230] Light.

[231] Highwayman.

[232] “Cherry-coloured—black; there being black cherries as well as red.”—Grose.

[233] Sword.

[234] Pistols.

[235] Highway-robbery.

[236] Pocket-book.

[237] Money.

[238] Bullets.

[239] The gallows.

[240] Ditto.

[241] Money.

[242] Man.

[243] Stripped.

[244] Fellow.

[245] A particular kind of pugilistic punishment.

[246] Kept an eye upon the other.

[247] Hands.

[248] Deceive them.

[249] Dyot Street, St. Giles’s, afterwards called George Street, Bloomsbury, was a well-known Rookery, where thieves, and other gentry, could obtain cheap accommodation.

[250] Beggars.

[251] A footman to hackney coaches, to water the horses, etc.

[252] To pick a pocket.

[253] To lay hold of notes or money.

[254] Steal handkerchiefs dexterously.

[255] Steal a watch.

[256] Pocket the chain and seals.

[257] Search for a pouch or pocket-book.

[258] Pocket-books are also called readers.

[259] An intended robbery.

[260] My hand is skilful.

[261] A disorderly vagabond.

[262] The lock-up.

[263] Gaoler.

[264] Running away.

[265] Frolicsome.

[266] An expert pickpocket.

[267] Night.

[268] Not to commit any offence punishable with death.

[269] The fine payable on capital conviction.

[270] Transported.

[271] Hanged.

[272] House-breaker.

[273] Highwayman.

[274] Pawned their clothes.

[275] The rope.

[276] Pocket handkerchief.

[277] Candles.

[278] Break your head.

[279] Neck.

[280] On the tapis (carpet).

[281] Regular nonsense.

[282] Talking.

[283] Walking.

[284] Eating and drinking.

[285] A sovereign.

[286] Look out, be on your guard.

[287] The gallows.

[288] A Foot pad.

[289] A Burglar.

[290] A Window thief.

[291] Steal the valuables.

[292] A pickpocket.

[293] A silly fop.

[294] A sneaking thief.

[295] One whose duty it is to hustle a person, whilst another robs him.

[296] A country man.

[297] One who hooks goods out of shop doors, and windows.

[298] A publichouse thief.

[299] A well-dressed sharper who performs the confidence trick, etc.

[300] A good-natured fool.

[301] Money.

[302] A wench.

[303] An easy dupe.

[304] Something dropped in the street as a lure.

[305] One caught in the act of stealing is considered a poor hand by his pals.

[306] A cow stealer.

[307] A child stealer.

[308] A poultry stealer.

[309] Members of the Canting Crew.

[310] and [311] Night and Day.

[312] See.

[313] My Girl.

[314] Return.

[315] Eyes.

[316] Strolling mock priest.

[317] Ducks and geese.

[318] Hang.

[319] Never “peach” or confess.

[320] Neck.

[321] Thieving business.

[322] A girl.

[323] Spoke flash.

[324] Drink and food.

[325] Beer.

[326] Thieving way.

[327] Bed.

[328] Nose.

[329] Pockets.

[330] Fingers.

[331] Sovereigns.

[332] Seals.

[333] The parson at Newgate.

[334] Saying prayers.

[335] Pickpockets.

[336] Morning work at thieving.

[337] A proof with many errors in it.

[338] When any words have erroneously been set up twice.

[339] This was an error, as the Catechism had previously appeared in a daily paper.

[340] Lord Chancellor Eldon.

[341] Lord Castlereagh.

[342] Lord Sidmouth.

[343] Triangle, s. a thing having three sides; the meanest and most tinkling of all musical instruments; machinery used in military torture.—Dictionary.

[344] All-twattle; Twattle, v. n. to prate, gabble, chatter, talk idly.—Entick’s Dictionary.

[345] Robert Southey, the Poet Laureate.

[346] Sir Robert Walpole.

[347] George III., then insane.

[348] Covent Carden.

[349] Sir Cecil Wray, the Ministerial Candidate, who proposed to put a tax on female servants.

[350] This prophecy was afterwards strangely fulfilled, for the Sultan was run upon rocks and sunk. The Duke of Edinburgh was not on board at the time, but he was in command on the station, and under his directions ineffectual efforts were made to save the vessel. These having failed, a Court of Enquiry was held, of which it has not been deemed prudent to publish any report. It would obviously be exceedingly unprofessional to impute negligence or incompetence to a Royal Duke who condescends to accept the title and the pay of an Admiral.

The vessel was afterwards raised, and taken into port by a firm of contractors.