(Holding his hands over his bursting heart—operatically singing).
Eh, pooh, we've here a lump, oh! (alluding to his heart).
No, eh, pooh, we've 'ere a
Lump, oh no.
Ah! de gal, oh, so de gal, oh, so coy, press 'art to (enraptured)
And it may then end in no go! (with a tinge of sadness).
And it may then end in no go!
I'm a gent, oh, over-misty (with his hand to his heart),
Cease of her to be fond, ah, no!
No! fond! ah! no!
Ah! etc.
Phyllis. {Come, ah! come, will you o-ver-awe, eh? (fiercely).
Galatea. {Come, ah! come, will you o-ver-awe me? (distractedly).
Phyllis. {You'll ar-ray, ah! wi' Pol trudge, oh![46] (fiercely).
Galatea. {You'll ar-ray, ah! wi' Pol trudge, oh! (distractedly).
Phyllis. {Veep! ye'll ne'er go to rest o' shore, eh! (fiercely).
Galatea. {Veep! we'll ne'er go to rest o' shore, eh? (distractedly).
Phyllis. {Gay! tomb! ah! one full! no beau! (wildly and demoniacally).
Galatea. {Gay! tomb! ah! one full! no beau! (wildly and distractedly).
Six years after the production of Mr. Burnand's piece, Mr. T. F. Plowman brought out at Oxford "a piece of extravagance," to which he gave the name of "A Very New Edition of Acis and Galatea, or the Beau! the Belle! and the Blacksmith!"
Of Meyerbeer's operas three have been burlesqued in England—"Dinorah," "L'Africaine" and "Robert le Diable." The first of these was parodied in "Dinorah under Difficulties," a burlesque by William Brough, which dates back as far as 1859 (at the Adelphi). "L'Africaine" was handled by Mr. Burnand six years later at the Strand. Three years more, and "Robert le Diable" was being travestied at the Gaiety by Mr. Gilbert, under the title of "Robert the Devil, or the Nun, the Dun, and the Sun of a Gun."[47] This last is on the old lines of "palmy-day" burlesque, and has not much in it that is characteristically Gilbertian. The lyrics are written chiefly to operatic airs, and there is no room, therefore, for rhythmical invention. In the dialogue, however, one comes across an occasional passage which strikes one as quite Gilbertian in its cynicism. Take, for example, these lines from the scene in which fun is made of the Tussaud "Chamber of Horrors":—
Bertram. These are all statues, raised from time to time
To people who're remarkable for crime.