WALTER HAMILTON, (continued 18)

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 31 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:—

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:—

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 31 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—

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.

326 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.

* * * * *

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.

* * * * *

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:

——: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:—

——: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:—

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.

31 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.

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.

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, 31 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.

331

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 31 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.

333 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:—

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.

334 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.

335 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.

336 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.

337

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.

338 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.

339 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.