Chapter XII (8)

His _Ernani_ was burlesqued as “_Harnali_, ou la Contrainte par Cor,” and as “_Ni, Ni_, ou le Danger des Castilles,” both produced in Paris as far back as 1830.

The elder Dumas’ play “_Quin_, ou désordre et génie” was travestied as “_Kinne_; ou, que de génie en désordre.”

Numerous other burlesques of the French dramatists exist, most of which are published by Messrs. Tresse and Stock, Galérie du Théâtre-Français, Paris, from whom lists of their theatrical publications (with prices) can be obtained.

When Herr Wagner’s _Rienzi_ was produced at the Théâtre Lyrique some Parisian punster brought out a parody called “Rien! scie en trois actes.” _Scie_ means literally a “saw,” but in French argot it is equivalent to our slang word “sell.”

――――

_Travestirte Fabeln des Phadrus_, mit einem Anhang Mysterioser
Gesange. Karl Dieffenbach. Frankfurt, 1794.

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

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

Lovers of parody will find in the feuilleton of the _Deutsche Montags Zeitung_ a series of “Poems and Novels by eminent Hands,” in which the styles of the leading German writers of the day are very happily burlesqued.

As to other German parodies, it must suffice to mention Dr. J. Scheible’s celebrated catalogue of German comic literature, which touches on Parodies and Travesties; and _Das Kloster_, another work by J. Scheible, published at Stuttgart in 1845. But the art of Parody does not appear to flourish so well in Germany as in France and England.

――――:o:――――

ENGLISH BURLESQUE TRANSLATIONS OF THE CLASSICS.
(_Not Theatrical._)

A list of the principal English translations of the ancient classics is given below in the following order: Anacreon, Aristophanes, Aristotle, Æsop, Homer, Horace, Lucian, Ovid and Virgil.

_Anacreon in Dublin_, with Notes. 1814. Satirical Parodies,
dedicated to Lord Byron.

_The British Birds._ A communication from the Ghost of Aristophanes.
By Mortimer Collins. London. The Publishing Company, Limited,
1872. Several extracts from this clever satire have been given in
_Parodies_.

_The Art of Pluck_, a Treatise after the fashion of Aristotle, writ
for the use of Students in the Universities. Oxford, 1843.

_Fables by G. Washington Æsop._ With humorous illustrations by F. S.
Church. London. W. Mack. No date, about 1885.

_Homer Travestie_, a Burlesque Translation of Homer, in Hudibrastic
verse. By Thomas Bridges.

Booksellers almost invariably catalogue this as “a work full of humour, but which often transgresses the bounds of decency,” a stolen phrase which very inadequately describes its coarseness. The first volume of this translation appeared in 1762 with the facetious title “_A New Translation of Homer’s Iliad_, adapted to the capacity of Honest English Roast Beef and Pudding Eaters, by Caustic Barebones, a broken apothecary.”

_Homer à la Mode._ A Mock Poem upon the First and Second Books of
Homer’s Iliads. Anonymous. Oxford, R. Davis. 1664.

_Homer for the Holidays._ By a Boy of Twelve. (Richard Doyle).
London. “Pall Mall Gazette” Office, 1887. Fifteen very humorous
plates to illustrate Homer’s Iliad.

_The Odes of Horace_, with a translation of Dr. Bentley’s Notes, and
Notes upon Notes; Done in the Bentleian Stile and Manner. London.
Bernard Lintott. 1712. This contained a burlesque criticism by
Oldisworth on Dr. Bentley’s _Horace_. It was published in
twenty-four parts.

_The Art of Politics_, in imitation of the Art of Poetry. James
Bramestone. Dublin, 1729.

_Horace in London_: consisting of Imitations of the First Two Books
of the Odes of Horace. By James and Horace Smith. London, 1815.

_Railway Horace._ By G. Chichester Oxenden. London: Upham and Beet.
1862.

_Horace at the University of Athens_, (Ascribed to Sir George Otto
Trevelyan.) Cambridge: Jonathan Palmer. 1862. Contains several
excellent parodies.

_Horace’s Odes Englished and Imitated_, by various hands, selected
and arranged by Charles W. J. Cooper. London: George Bell and
Sons. 1889.

This collection is in two parts, the first being simple translations, the second part being made up of burlesques, imitations, and satires founded upon the Odes of Horace. The best of these were written by the authors of _The Rejected Addresses_, James and Horace Smith.

_Lexiphanes_, a Dialogue, imitated from Lucian, and suited to the
present Times, with a dedication to Lord Lyttleton. 1767. A piece
of satire directed against Dr. Johnson by one Archibald Campbell.

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

_The New Lucian_, being a Series of Dialogues of the Dead. By H. D.
Traill. London, 1884.

_Burlesque upon Burlesque_: or, the Scoffer Scoff’d. Being some of
Lucian’s Dialogues newly put into English Fustian, for the
Consolation of those who had rather _Laugh and be Merry_, than be
_Merry and Wise_. By Charles Cotton. London.

_Ovid Travestie_, a Burlesque upon Ovid’s Epistles. By (Captain)
Alexander Radcliffe. London, J. Tonson. 1680.

_The Wits Paraphras’d_; or, Paraphrase upon Paraphrase. In a
Burlesque on the several late translations of Ovid’s Epistles.
London, 1680.

_Ovid in London_: Ludicrous Poem in Six Cantos. By a Member of the
University of Oxford. London: W. Anderson, 1814.

_Scarronides: or, Virgil Travestie._ A Mock Poem on the First and
Fourth Books of Virgil’s “Æneis” in English Burlesque. By Charles
Cotton. London, 1670. There have been many editions of this
burlesque.

_A Kerry Pastoral_, in imitation of the First Eclogue of Virgil.
Edited by T. C. Croker. (Reprint 1843).

_Maronides_, or Virgil Travestie, being a New Paraphrase upon Book
V. of Virgil’s Æneids, in Burlesque Verse. By John Phillips. 1672.

_The Canto added by Maphœus_ to Virgil’s Twelve Books of Æneas, from
the original Bombastic, done into English Hudibrastic; with Notes
beneath, and Latin text in every other page annext. By John
Ellis. 1758.

Those who wish to see an almost perfect specimen of a classical parody must turn to _Blackwood’s Edinburgh Magazine_, July 1823, in which they will find

_An Idyl on the Battle._

Fists and the man I sing, who, in the valleys of Hampshire
Close to the borough of Andover, one fine day of the springtime,
Being the twentieth of May, (the day moreover was Tuesday,)
Eighteen hundred and twenty-three, in a fistical combat,
Beat, in a handful of rounds, Bill Neat, the Butcher of Bristol.
What is the hero’s name? Indeed, ’tis bootless to mention.
Every one knows ’tis Spring――Tom Spring, now Champion of England.

* * * * *

In a somewhat similar vein of parody is Tom Moore’s _Milling-Match between Entellus and Dares_. Translated from the Fifth book of the Æneid.

With daddles high upraised, and nob held back,
In awful prescience of the impending thwack,
Both kiddies stood――and with prelusive spar,
And light manœvring kindled up the war.
* * * * *

_A Free and Independent Translation_ of the First and Fourth Books of
the Æneid of Virgil. In Hexameter and Pentameter. With
Illustrations by Thomas Worth. The Winsted Herald Office, Winsted,
Conn. U.S.A. 1870.

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

_The Siege of Oxford._ Fragments from the second book of the “Nova
Æneis.” Oxford: F. Macpherson. 1852.

_Georgics of Bacchicles._ In Three Books. Now first published in the
English tongue. Oxford, T. Shrimpton.

――――:o:――――

Many of the beautiful legends of the old Grecian mythology have been chosen as the themes for burlesques, both poetical and dramatic.

A list of the dramatic burlesques will be given later on, of the poetical mythological burlesques many may be found in _Punch_, and the other comic papers; the following originally appeared in the _Hornet_:

PYGMALION; OR, THE STATUE FAIR.

There was an ancient classic swell,
An interesting alien,
His kinsfolk called him “Piggy,” but
His full name was Pygmalion.

Like many a high artistic Greek,
He got his bread by chiselling;
I don’t mean running into debt,
And then by moonlight mizzling.

I don’t mean billiards, cards or dice,
At which the sharper garbles
Some spooney flat. The only game
Pygmalion played was _marbles_.

He chiselled marble into forms
Defying competition;
And won no end of _Kudos_ at
Each R. A. Exhibition.

One eve, he’d worked the whole day long,
And felt used up and wearied;
His subject was a Grecian Bend
Or Lady of the Period.

Now Piggy was a lonely man,
Since he had never mated;
But always kept a celibate,
Although so celebrated.

So when he laid his chisel down,
And saw that fair creation,
He said――as critics often say――
“She lacks but animation!”

And straightway Love and Phantasy,
Like disobedient vassals,
Heedless of Reason, in his brain,
Went building Spanish castles.

He thought it would be very nice
Each morning could he see
Presiding at his breakfast-board
Just such a Mrs. P.

He pictured her at parties, fêtes,
In pinery or grapery,
Looking as she was looking then――
_Plus_ just a little drapery.

He bent on her a steadfast gaze
(Mesmeric ’twas, I’m thinking)
And straight her sympathetic lids
Moved like――yes, just like――_winking_.

She breathed――she lived――she came to him,
And he embraced her _quick_;
“You are not _stone_!” he fondly cried――
“You are a little _brick_!”

His vision thus was realised;
Next morning he was able
To see that partner exquisite
Presiding at his table.

He ordered in no end of “things,”
He thought it but his duty;
Since, even for that antique age,
Too “unadorned” her beauty.

And knowing well that spinsters prim
Would make her case a handle
For rude remark, he put a stop
Effectually to scandal.

For shortly in the _Morning Post_,
This won the _Monde’s_ regards――
“Mr. PYGMALION, R.A.,
Married Miss STONE. No cards.”

And many an artist, since that day,
Has found his sighs love-laden
Warm into animated clay
The coldest “marble maiden.”

――――:o:――――

_Arundines Cami_ sive Musarum Cantabrigiensium Lusus Canori.
Henricus Drury, A.M. Cambridge. Parker and Son. 1841.

This contains Latin versions of all the most celebrated short English poems, including Gray’s Elegy, the Burial of Sir John Moore, and some nursery rhymes.

Before leaving the Classics mention must be made of a curious branch of poetry entitled _Macaronic verse_. Examples of this, and many of them very ingenious, are to be found in _Poetical Ingenuities and Eccentricities_ selected by William T. Dobson. London. Chatto and Windus, 1882.

Octave Delepierre also wrote several essays on the subject, the principal being entitled _Littérature Macaronique_.

One of the best of these literary curiosities is a small pamphlet (to be had of Mr. J. Vincent, Oxford,) entitled――

“_Uniomachia_; a Greek-Latin Macaronic Poem,” by Thomas Jackson, M.A. This was originally published in 1833, with a translation into English verse (after the manner of the late ingenious Mr. Alexander Pope), styled “The Battle at the Union.”

Another humorous pamphlet also published by Vincent, _Viae per Angliam Ferro Stratae_, and written by Mr. Fanshawe of Baliol College in 1841, was a comical skit on the early railways, in Latin hexameters.

Many Macaronic poems have appeared in _Punch_ from time to time, to the great delight and amusement of classical scholars. The following, published in March, 1852, is a fine example of this class of learned frivolity:――

THE DEATH OF THE SEA-SERPENT,

_By Publius Jonathan Virgilius Jefferson Smith_.

Arma virumque cano, qui first, in the _Monongahela_,
Tarnally squampush’d the Sarpent, mittens horrentia tela.
Musa, look smart with your Banjo! I guess, to relate or invent, I
Shall need all the aid you can give; so, Nunc aspirate canenti.
Mighty slick were the vessel progressing, jactata per æquora ventis;
But the brow of the skipper was cloudy cum sollicitudine mentis;
For whales had been skase in them pearts; and the clipper, so long
as he’d known her,
Ne’er had gather’d less ile in her cruise, to gladden the heart of
her owner.
“Darn the whales!” cried the skipper at length, “with a telescope
forte videbo
Aut pisces, aut terras.” While speaking, just two or three points on
the lee bow,
He saw coming towards them, as fast as though to a combat ’twould
tempt ’em,
A monstrum, horrendum, informe (cui lumen was shortly ademptum).
On the taffrail up jumps in a hurry dux fortis, and seizing a trumpet,
With a blast that would waken the dead, mare turbat et aëra rumpit――
“Tumble up, all you lubbers!” he cries, “tumble up! for, careering
before us,
Is the raal old Sea-Sarpent himself, cristis maculisque decorus.”
“Consarn it!” cried one of the sailors, “if e’er we provoke him, he’ll
kill us;
He’ll sartainly chaw up _hos_ morsu, et longis implexibus _illos_.”
Loud laughs the bold skipper, and quick premit alto corde dolorem;
If he does feel like running, he knows it won’t do to betray it before
’em.
“O Socii,” inquit, “I’m sartin you air not the fellers to funk, or
Shrink from the durum certamen, whose fathers fought bravely to Bunker.
You! who have waged with the bars, and the buffeler, prœlia dura,
Down to the freshes, and licks of our own free enlighten’d Missourer!
You! who could whip your own weight catulis sævis sine telo,
Get your eyes skinn’d in a twinkling, et ponite tela phaselo!”
Talia voce refert, curisque ingentibus æger,
Marshalls his ’cute little band, now panting their foe to beleaguer.
Swiftly they lower the boats, and swiftly each man at his oar is,
Excipe Britanni timidi duo, virque coloris;
(Blackskin, you know, never feels how sweet ’tis pro patriâ mori;
OVID had him in view when he said, “Nimium ne crede colori.”)
Now swiftly they pull towards the monster, who seeing the cutter and
gig nigh,
Glares at them with terrible eyes, suffectis sanguine et igni;
And never conceiving their chief so swiftly will deal him a floorer,
Opens wide, to receive them at once, his linguis vibrantibus ora;
But just as he’s licking his lips, and gladly preparing to taste ’em,
Straight into his eyeball the skipper stridentem conjicit hastam.
Soon as he feels in his eyeball the lance, growing mightily sulky,
At ’em he comes in a rage ore minax, linguâque trisulcâ.
“Starn all!” cry the sailors at once, for they think he has certainly
caught ’em;
Præsentemque viris intentant omnia mortem.
But the bold skipper exclaims, “O terque quaterque beati!
Now, with a will, dare viam, when I want you, be only parati;
This hoss feels like raising his hair, and in spite of his scaly old
cortex,
Full soon you shall see that his corpse rapidus vorat æquore vortex.”
Hoc ait, and choosing a lance, “With this one I think I shall hit it.”
He cries; and straight into its mouth ad intima viscera mittit.
Screeches the crittur in pain, and writhes till the sea is commotum,
As if all its waves had been lash’d in a tempest per Eurum et Notum;
Interea terrible shindy NEPTUNUS sensit, et alto
Prospiciens sadly around, wiped his eye with the cuff of his paletôt;
And mad at his favourite’s fate, of oaths utter’d two or three
thousand,
Such as, Corpo di Bacco! Mehercule! Sacré! Mille tonnerres!
Potztausend!
But the skipper, who thought it was time to this terrible fight dare
finem,
With a scalping-knife jumps on the neck of the snake, secat et dextrâ
crinem;
And hurling the scalp in the air, half wild with delight to possess
it,
Shouts, “Darn it! We’ve fixed up _his_ flint, for in ventos vita
recessit.”

――――:o:――――

THE OLDEST CLASSICAL BURLESQUE.

_Batrachomyomachia_ is the cheerful title of the oldest burlesque extant, and even if we do not accept the tradition which assigns its composition to Homer, we may safely consider it to be the earliest of the many travesties of the heroic style of the “Iliad” and “Odyssey.”

According to Plutarch, the real author was one Pigres, of Halicarnassus, who flourished during the Persian war. Statius conjectures that Homer wrote it when a youth, as a trial of his poetical powers; whilst the author of one of finest English translations of Homer, George Chapman, asserts that the work was composed in his old age; when, disgusted with the neglect and ingratitude of his contemporaries, he set to work to show that he could elevate and dignify the wars and struggles of insignificant animals, as he had previously described the heroic actions of the Greeks and Trojans.

Samuel Wesley published an English translation of the _Batrachomyomachia_, which he called “The Iliad in a Nutshell.” He speaks of it “as perhaps the best, as well as the oldest burlesque in the world.”

The following is a synopsis of the plot of this poem, generally known as the _Battle of the Frogs and Mice_.

A mouse, having just escaped the pursuit of a hungry weasel, stays by the edge of a pond to drink and take breath, when a frog swims up, enters into conversation, and invites the mouse to visit his abode. The mouse consents, and mounts upon the back of the frog, who swims into the middle of the pool. Suddenly an otter appears, the terrified frog dives to the bottom, leaving the mouse to struggle with the foaming billows. Unable to reach the shore, he sinks to a watery grave; a comrade who had arrived at the brink too late to be of service, hastens to relate the pitiful tale to a council of his fellows, and war is at once declared against the Frogs.

Jupiter and the gods deliberate in Olympus on the issue of the contest. Mars and Minerva decline personal interference, partly from awe inspired by such mighty combatants, and partly from the ill will they bear towards the contending parties.

A band of mosquitoes sound the war-alarum with their trumpets, and, after a bloody engagement, the frogs are defeated with great slaughter. Jupiter, sympathising with their fate, endeavours in vain by his thunders to intimidate the victors from further pursuit. The rescue of the frogs is at last effected by an army of landcrabs, which marches up, attacks the mice, and drives them from the field in great disorder.

Wesley’s translation of the _dénouement_ is a specimen of the mock-heroic style which runs through the original:――

The Muses, knowing all things, list not show
The wailing for the Dead and Funeral Rites,
To blameless Ethiopians must they go
To feast with Jove for twelve succeeding nights.
Therefore abrupt thus end they. Let suffice
The gods’ august assembly to relate,
Heroic Frogs and Demigods of Mice,
Troxartes’ vengeance and Pelides’ fate.
Hosts routed, lakes of gore, and hills of slain,
An Iliad, work divine! raised from a day’s campaign.

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.