The Secrets of a Savoyard Part 11

"Could thy Brigade With cold cascade Quench my great love, I wonder?"

Phyllis now re-appears, seeming very unhappy, and is presently joined by Tolloller and Mount-Ararat, who wrangle as to which shall yield her to the other. Phyllis implores them not to fight for her. "It is not worth while," she declares, and after a moment's reflection they agree that "the sacred ties of friends.h.i.+p are paramount." Following the departure of the trio there enters the Lord Chancellor looking dejected and very miserable. He, too, it will be remembered, had fallen in love with Phyllis, and he now mourns aloud that "love unrequited robs him of his rest." Mount-Ararat and Tolloller join him and express their concern at his woebegone appearance. He explains, and they persuade him to make another application to himself for permission to marry Phyllis. Then Phyllis and Strephon encounter each other in the Palace Square. Taunted by a reference to his "young" mother, Strephon discloses that she is a fairy. This leads to a reconciliation. Iolanthe joins them, and when they ask her to appeal to the Lord Chancellor for his consent to their marriage, she reveals the secret of her life. The Lord Chancellor is her husband! He thinks her dead, and she is bound under penalty of death not to undeceive him. The Lord Chancellor enters exclaiming "Victory!

victory!" In the highest spirits he relates how he had wrested from himself permission to marry Phyllis. Then Iolanthe, still hiding her ident.i.ty, pleads Strephon's cause. When he refuses her plea, she determines to gain happiness for her son even at the cost of her own life. Despite the warning song of her fairy sisters, Iolanthe shocks the Chancellor with the words, "It may not be--_I am thy wife_."

The Fairy Queen breaks in upon this tragic episode with the threat of Iolanthe's doom, but ere it can be p.r.o.nounced the Fairy Leila tells the Queen that if Iolanthe must die so must they all, for all have married peers. Bewildered by this dilemma the Fairy Queen is greatly relieved when the Lord Chancellor suggests that instead of the fairy law reading "Every fairy must die who marries a mortal" it should be "Every fairy must die who don't marry a mortal." Accepting the suggestion the Queen finds her own life in peril. She proposes to the stalwart Grenadier still on duty, who gallantly accepts. The peers also agree to exchange the "House of Peers for House of Peris." Wings spring from their shoulders and away they all fly, "Up in the sky, ever so high," where "pleasures come in endless series."

"PRINCESS IDA."

_Produced January 5th, 1884._

Princess Ida was the daughter of King Gama, and when but twelve-months'

old, she had been betrothed to Prince Hilarion, the two-year-old son of King Hildebrand. The opening scene presents King Hildebrand and his courtiers awaiting the arrival of King Gama and Princess Ida for the celebration of the nuptials in accordance with the marriage contract.

Some doubt exists as to whether this will be honoured, for Prince Hilarion has heard that his bride has "forsworn the world." It is presently announced that Gama and his train are approaching. His appearance is preceded by that of three bearded warriors clad in armour, who declare that they are "Sons of Gama Rex," and navely add, "Like most sons are we, masculine in s.e.x." They are followed by Gama, who fits in appearance Hildebrand's description of him as "a twisted monster--all awry." In a three-verse song Gama describes his own character in detail, each verse ending:--

"Yet everybody thinks I'm such a disagreeable man And I can't think why."

Gama proceeds to justify the universal opinion by his venomous remarks to Hildebrand's courtiers, and when Hildebrand demands the reason for Ida's absence, he becomes insulting. Later, he relates that Ida has established and rules a Woman's University in Castle Adamant, from which all males are excluded. Gama tells Hilarion that if he addresses the lady most politely she may deign to look on him. Hildebrand bids Hilarion to go to Castle Adamant and claim Ida as his wife, but adds that if she refuses, his soldiers will "storm the lady." King Gama is detained as hostage, with the warning that "should Hilarion disappear, we will hang you, never fear, most politely, most politely." Gama and his three sons are then marched off to their prison cell.

In the second act, we are transported to Castle Adamant, and behold, in the gardens, Lady Psyche surrounded by girl graduates. Lady Blanche arrives, and reads to them the Princess Ida's list of punishments. One student is expelled for bringing in a set of chessmen, while another is punished for having sketched a perambulator. Then Princess Ida herself enters, and is hailed by the students as a "mighty maiden with a mission." Her address to the students is intended to demonstrate woman's superiority over man. Then Lady Blanche, in announcing a lecture by herself on abstract philosophy, reveals that the exclusion of the male s.e.x from the university has not banished jealousy. Ida and the students enter the castle. Hardly have they gone, when Hilarion, accompanied by Cyril and Florian, are seen climbing the garden wall. They don some collegiate robes which they discover, and are appropriately jocular regarding their transformation into "three lovely undergraduates."

Surprised by the entry of Princess Ida, they determine to present themselves as would-be students, and she promises them that "if all you say is true, you'll spend with us a happy, happy time." The Princess leaves them alone, but as she goes Lady Psyche enters un.o.bserved. She overhears their conversation, and is amazed by it, but not more so than Florian when he finds that Lady Psyche is his sister. The men entrust her with their secret. She warns them that discovery may mean death, and sings them a song which sums up the Princess Ida's teaching to the effect that man "at best is only a monkey shaved." Melissa now enters.

She learns that the visitors are men and loyally promises secrecy.

Whilst they are heartily enjoying themselves Lady Blanche, who is the mother of Melissa, has observed them, and as all five are leaving the gardens, she calls Melissa and taxes her with the facts. Melissa explains the situation, and persuades her mother to a.s.sist Hilarion's plan.

In the next scene the Princess Ida and the students are seen at an alfresco luncheon. Cyril becomes tipsy, discloses the secret of the intruders, and scandalises the Princess by singing an "old kissing song":--

"Would you know the kind of maid Sets my heart aflame--a?"

In her excitement at this revelation the Princess falls into the stream which flows through the gardens. Hilarion rescues her, but this gallant feat does not shake the lady's resolution, and she orders their arrest.

As they are marched away Melissa brings news of an armed band without the castle. Speedily Hildebrand, at the head of his soldiers, confronts Ida. The three sons of Gama, still clad in armour, warn her that refusal to yield means death. Hildebrand gives Ida until the next day to "decide to pocket your pride and let Hilarion claim his bride." The curtain falls upon the Princess hurling defiance at Hildebrand.

When the curtain rises for the third time, we discover that the outer walls and courtyard of Castle Adamant are held by Princess Ida's students, who are armed with battle-axes, and who sing of "Death to the invader." The Princess comes attended by Blanche and Psyche, and warns them that "we have to meet stern bearded warriors in fight to-day." She bids them remember that they have to show that they "can meet Man face to face on his own ground, and beat him there." But as she reviews her forces, she meets with disappointment. The lady surgeon declares that, although she has often cut off legs and arms in theory, she won't cut off "real live legs and arms." The armourer explains that the rifles have been left in the armoury "for fear ... they might go off." The band-mistress excuses the absence of the band who "can't come out to-day." Contemptuously, Ida bids them depart. Lamenting the failure of her plan, she is surprised by the arrival of her father, who announces that he is to give a message from Hildebrand, and then return to "black captivity." The message is that, being loth to war with women, Hildebrand wishes Ida to consent to the disposal of her hand being settled by combat between her three brothers and three of Hildebrand's knights. Ida demands of her father what possesses him that he should convey such an offer. Gama replies: "He tortures me with torments worse than death," and in pity she yields to the proposal.

While the girls mount the battlements, Hildebrand and his soldiers enter, and there is a fight between Gama's sons and Hilarion, Cyril and Florian. The latter are victorious. Seeing her brothers lying wounded, Ida cries "Hold--we yield ourselves to you," and resigns the heads.h.i.+p of the University to Lady Blanche. Sadly Ida admits the failure of her scheme. She had hoped to band all women together to adjure tyrannic man.

To Hildebrand she says that if her scheme had been successful "at my exalted name posterity would bow." Hildebrand retorts, "If you enlist all women in your cause--how is this posterity to be provided?" Ida turns to Hilarion, admitting her error to him, and the opera ends with the company declaring:--

"It were profanity for poor humanity To treat as vanity the sway of love.

In no locality or princ.i.p.ality Is our mortality its sway above."

[Ill.u.s.tration: HENRY A. LYTTON AS "KING GAMA" IN "PRINCESS IDA."]

"THE MIKADO."

_Produced March 14th, 1885._

Although this opera is ent.i.tled "The Mikado" very little is seen of that great potentate, which is quite in accordance with j.a.panese custom, so vastly different to ours in matters of Royalty. The opera concerns much more closely the adventures of Nanki-Poo, the Mikado's son and heir, who has fled in disguise from the Court to escape from Katisha, an elderly lady whom the Mikado had ordered him to marry within a week or perish.

Immediately after the opening chorus by the gentlemen of j.a.pan the disguised Crown Prince enters. He is labouring under great excitement, and begs for information as to the dwelling of "a gentle maiden, Yum-Yum." One of the j.a.panese n.o.bles asks, "Who are you?" and he replies in a delightful song--

"A wandering minstrel I, A thing of shreds and patches, Of ballads, songs and s.n.a.t.c.hes, And dreamy lullaby."

In reply to a further question as to his business with the maiden, Nanki-Poo takes the gentlemen of j.a.pan partly into his confidence. He explains that a year before he had fallen in love with Yum-Yum, who returned his affection. As, however, she was betrothed to her guardian Ko-Ko, a cheap tailor, he had left t.i.tipu in despair. Learning that Ko-Ko has been condemned to death for flirting, he now hoped to find Yum-Yum free. Alas! for Nanki-Poo's hopes, they inform him that not only has Ko-Ko been reprieved, but that he has been elevated to the highest rank a citizen can attain, and is now Lord High Executioner. Pish Tush explains that, in order to circ.u.mvent the Mikado's decree making flirtation a capital offence, they have appointed Ko-Ko as Lord High Executioner, because, being under sentence of death himself, he cannot cut off anybody else's head until he has cut off his own.

Expressing his sense of the condescension shown to him by Pooh-Bah, that portly personage explains that although "a particularly haughty and exclusive person" who can trace his ancestry back to "a protoplasmic, primordial, atomic globule," he mortifies his family pride. In proof of this he points out that, when all the other high officers of State had resigned because they were too proud to serve under an ex-tailor, he had accepted all their posts (and the salaries attached) at once, so that he is now First Lord of the Treasury, Lord Chief Justice, Commander-in-Chief, Lord High Admiral, Master of the Buckhounds, Groom of the Back Stairs, Archbishop, and Lord Mayor.

Pooh-Bah informs Nanki-Poo that Yum-Yum is arriving from school that very day to be married to Ko-Ko. Ko-Ko enters, preceded by a chorus of n.o.bles, and Pooh-Bah refers Nanki-Poo to him for any further information concerning Yum-Yum. This is Ko-Ko's first public appearance as Lord High Executioner, and after thanking the n.o.bles for their welcome, he promises strict attention to his duties. Happily, he remarks, "there will be no difficulty in finding plenty of people whose loss will be a distinct gain to society at large." He proceeds to mention in a song that he's got "a little list" of possible victims and "they'll none of 'em be missed."

So far the opera has been an exclusively masculine affair, but Yum-Yum now arrives escorted by a bevy of dainty schoolfellows, who sing of their "Wondering what the world can be." This little chorus contains two exquisite verses--

"Is it but a world of trouble Sadness set to song?

Is its beauty but a bubble, Bound to break ere long?"

"Are its palaces and pleasures Fantasies that fade?

And the glory of its treasures Shadows of a shade?"

Yum-Yum and her bridesmaids, Peep-bo and Pitti Sing, introduce themselves by the delicious trio, "Three Little Maids." Ko-Ko and Pooh-Bah enter, and Yum-Yum reluctantly permits Ko-Ko to kiss her. At this moment, Nanki-Poo arrives and the "three little maids" rush over to him and welcome him with great effusion. Ko-Ko's jealousy is aroused, and he asks to be presented. Right boyishly Nanki-Poo blurts out to Ko-Ko that he loves Yum-Yum. He expects Ko-Ko to be angry, but instead Ko-Ko thanks him for agreeing with him as to the lady's charms.

Presently Nanki-Poo and Yum-Yum manage to get the Courtyard to themselves. During their _tete-a-tete_ Nanki-Poo reveals his secret to Yum-Yum. They are interrupted by the appearance of Ko-Ko and escape in different directions. As Ko-Ko soliloquises upon his beloved, he is interrupted by Pooh-Bah with a letter from the Mikado. This is an intimation that, as no executions have taken place in t.i.tipu for a year, the office of Lord High Executioner will be abolished and the city reduced to the rank of a village unless somebody is beheaded within one month. As this would involve the city in ruin, Ko-Ko declares that he will have to execute someone. Pooh-Bah, pointing out that Ko-Ko himself is under sentence of death, suggests that he should execute himself.

This leads to an acrimonious discussion, which is ended by Ko-Ko appointing Pooh-Bah, who is already holding all the other high offices of State, to be Lord High Subst.i.tute (for himself as a victim of the headsman). But Pooh-Bah declares "I must set bounds to my insatiable ambition." He draws the line at his own death.

Whilst Ko-Ko is lamenting the position as "simply appalling" he is disturbed by the entrance of Nanki-Poo with a rope in his hands. He has made up his mind to commit suicide because Ko-Ko is going to marry Yum-Yum. Finding "threats, entreaties, prayers all useless" Ko-Ko is struck with a brilliant idea. He suggests that Nanki-Poo should at the end of a month's time "be beheaded handsomely at the hands of the Public Executioner." To this Nanki-Poo agrees on condition that Ko-Ko permits him to marry Yum-Yum. Reluctantly Ko-Ko accepts the condition, and when Pooh-Bah returns to enquire what Ko-Ko has decided to do in regard to an execution, he replies, "Congratulate me! I've found a volunteer." Whilst the townsfolk of t.i.tipu are bantering Nanki-Poo on the prospect of marriage and death, their revelry is interrupted by the arrival of the lady who was the cause of Nanki-Poo's wandering. Katisha discovers Nanki-Poo and calls upon him to "give me my place." When he refuses she would have revealed his ident.i.ty, but every time she tries to say "He is the son of your Mikado" her voice is drowned by the singing of Nanki-Poo, Yum-Yum and the chorus. Eventually Katisha rushes away threatening furious vengeance.

When the curtain rises again the scene is the garden of Ko-Ko's palace.

We see Yum-Yum decked by her bridesmaids for the wedding, while they sing of her loveliness, and Pitti-Sing bids her "Sit with downcast eye; let it brim with dew." Pitti-Sing tells her also that "modesty at marriage tide well becomes a pretty bride," but this admonition seems lost upon a bride who, when her adornment is complete, frankly revels in her beauty. In "The Sun whose rays," a song of entrancing melody, she declares, "I mean to rule the earth as he the sky."

But her rapture is marred by the reminder from Peep-Bo that her bridegroom has only a month to live. Nanki-Poo finds her in tears, and has much difficulty in comforting her, their feelings being aptly expressed in that wonderful madrigal, which although it begins so joyfully with "Brightly dawns our wedding day," yet ends in tears. Ko-Ko now joins the wedding party, and although the sight of Yum-Yum in Nanki-Poo's arms is "simple torture," he insists on remaining so that he may get used to it. When Yum-Yum says it is only for a month, he tells of his discovery that when a married man is beheaded his wife must be buried alive. Naturally, Yum-Yum demurs to a wedding with such a hideous ending to the honeymoon, and Nanki-Poo declares that, as he cannot live without Yum-Yum, he intends to perform the "happy dispatch." Ko-Ko's protest is followed by the entry of Pooh-Bah to announce the approach of the Mikado and his suite. They will arrive in ten minutes. Ko-Ko, believing that the Mikado is coming to see whether his orders regarding an execution have been obeyed, is in great alarm. Nanki-Poo invites Ko-Ko to behead him at once, and Pooh-Bah agitatedly urges Ko-Ko to "chop it off," but he declares that he can't do it. He has "never even killed a blue-bottle." Ko-Ko decides that the making of an affidavit that Nanki-Poo has been executed, witnessed by Pooh-Bah in each of his capacities as Lord Chief Justice, etc., etc., will satisfy the Mikado.

Pooh-Bah agrees on condition that he shall be "grossly insulted" with "cash down."

Then as Commissionaire Pooh-Bah is ordered to find Yum-Yum, Ko-Ko orders her to go along with the Archbishop (Pooh-Bah), who will marry her to Nanki-Poo at once. Waving aside all questions, Ko-Ko urges them off just as the procession heralding the Mikado and Katisha enters the garden to the strains of "Miya sama, miya sama." The Mikado extols himself as "a true philanthropist" and declares "my object all sublime, I shall achieve in time; to let the punishment fit the crime." His list of social crimes and the penalties prescribed for each cla.s.s of offender are equally amusing. Ko-Ko, Pooh-Bah and Pitti-Sing now kneel in the presence, and Ko-Ko informs the Mikado that "the execution has taken place" and hands in the coroner's certificate signed by Pooh-Bah. Then the three proceed to describe an event which had happened only in their imaginations.

The Mikado seems bored, and explains that though all this is very interesting, he has come about a totally different matter. He asks for his son, who is masquerading in t.i.tipu under the name of Nanki-Poo.

Ko-Ko and his a.s.sociates are visibly disturbed, but he stammers out that Nanki-Poo has gone abroad. The Mikado demands his address.

"Knightsbridge" is the reply. (At the time this opera was originally produced there was a j.a.panese colony in Knightsbridge.) Just then Katisha, reading the coroner's certificate, discovers that it contains the name of Nanki-Poo and shrieks her dismay. Pooh-Bah, Ko-Ko, and Pitti-Sing grovel at the Mikado's feet, and apologise abjectly. The Mikado urges them not to distress themselves, and just as they are feeling that it doesn't really matter, the Mikado turns to Katisha with "I forget the punishment for compa.s.sing the death of the heir-apparent."

The three culprits learn with horror that it is "something humorous, but lingering, with either boiling oil or molten lead in it." The Mikado appoints "after luncheon" for the punishment which "fits their crime."

When the Mikado has departed Ko-Ko and Pooh-Bah decide that Nanki-Poo must "come to life at once." At this moment he and his bride cross the garden--leaving for their honeymoon. Ko-Ko explains that the Mikado wants Nanki-Poo, and Pooh-Bah ironically adds, "So does Katisha." But Nanki Poo fears that, in her anger at his marriage, Katisha will persuade the Mikado to order his execution, thus involving Yum-Yum in a worse fate. He therefore refuses to re-appear until Ko-Ko has persuaded Katisha to marry him. Then "existence will be as welcome as the flowers in spring." As this seems to be the only way of escape, Ko-Ko seeks Katisha. At first she repulses him, but after he has told her in song the story of the little tom-t.i.t that committed suicide because of blighted affection, she relents.

Now the Mikado returns from luncheon, and asks if "the painful preparations have been made." Being a.s.sured that they have, he orders the three culprits to be produced. As they again grovel at his feet, Katisha intercedes for mercy. She tells the Mikado that she has just married "this miserable object," indicating Ko-Ko. The Mikado is remarking "But as you have slain the heir-apparent" when Nanki-Poo enters saying "the heir-apparent is not slain." He is heartily welcomed by the Mikado, while Katisha denounces Ko-Ko as a traitor. Ko-Ko then explains everything to the Mikado's satisfaction, and the opera ends with the joyous strains of Nanki-Poo and Yum-Yum uniting in "the threatened cloud has pa.s.sed away and fairly s.h.i.+nes the dawning day,"

whilst the entire company help them--

"With joyous shout and ringing cheer, Inaugurate our new career."

"RUDDIGORE."

_Produced January 22nd, 1887._

In the days of long, long ago there live the wicked Sir Rupert Murgatroyd, baronet of Ruddigore. He spent all his leisure and his wealth in the persecution of witches, and the more fiendish his cruelties, the more he enjoyed the ruthless sport. But there came a day when he was roasting alive an old witch on the village green. The hag uttered a terrible curse both on the baronet and on all his descendants.

Every lord of Ruddigore was doomed to commit one crime a day, and if he attempted to avoid it or became satiated with guilt, that very day he should die in awful agony. The prophecy came true. Each heir to the t.i.tle inherited the curse and came in the end to a fearful death.

Upon this plot Gilbert wrote his clever burlesque on the transpontine drama--the drama of the virtuous peasant girl in the clutches of the bold and bad baronet--and amongst his characters is a tragic figure not unlike Shakespeare's Ophelia. The first scene is laid in the pretty Cornish fis.h.i.+ng village of Rederring. This village, by the way, has a quaint inst.i.tution in the form of a troop of professional bridesmaids, who are bound to be on duty from ten to four o'clock every day, but whose services have of late been in little request. The girls can only hope that they may soon be able to celebrate the betrothal of Rose Maybud, the belle of Rederring, a precise little maid whose every action is regulated by a book of etiquette, written by no less an authority than the wife of a Lord Mayor. Should an utter stranger be allowed to pay her pretty compliments? "Always speak the truth," answers the book.

It tells her that "in accepting an offer of marriage, do so with apparent hesitation," and this same guide and monitor declares that, in similar circ.u.mstances, "a little show of emotion will not be misplaced."