condensation of Moore's well-known poem from the pen of Mr. W. Barclay
Squire, gave the composer ample opportunities for picturesque and
dramatic effect. Stanford's music is tuneful and vigorous throughout,
and such weaknesses as are occasionally perceptible are due rather to
inexperience of the stage than to any failure in inspiration.

'The Canterbury Pilgrims,' written to a libretto by Gilbert a Beckett,
which was produced in 1884, was happily named by some one at the time
an English 'Meistersinger,' and indeed it is not difficult to imagine
what model Stanford had in his mind when writing his brilliant and
genial opera, Geoffrey, the host of the Tabard Inn, has a pretty
daughter named Cicely, who is loved by the jovial apprentice, Hubert.
Geoffrey finds out their attachment, and determines to sent Cicely upon
a visit to an aunt in Kent, in company with a body of pilgrims who are
just starting for Canterbury. Sir Christopher Synge, a knight of Kent,
has cast sheep's eyes upon the pretty girl, and hearing of her intended
trip bids his factotum, Hal o' the Chepe, assemble a company of
ragamuffins, and carry her off on her way to Canterbury. Hubert
contrives to get enlisted among them, so as to be able to watch over his
sweetheart, and Dame Margery, Sir Christopher's wife, also in disguise,
joins the pilgrims, in the hope of keeping an eye upon her errant
spouse. In the second act the pilgrims arrive at Sidenbourne. Dame
Margery helps the lovers to escape, and taking Cicely's place receives
the vows and sighs of her husband. In the third act the lovers have been
overtaken and caught by the irate Geoffrey, and Hubert is dragged to
trial before Sir Christopher. After an amusing trial scene, the knight
discovers that Cicely is one of the culprits, and at once pardons them
both. Geoffrey is persuaded to forgive the young couple, and all ends
happily, Stanford's music is a happy compromise between old and new. In
his use of guiding themes, and in his contrapuntal treatment of the
orchestra he follows Wagner, but his employment of new devices is
tempered by due regard for established tradition. He is happiest in
dealing with humorous situations, and in the lighter parts of the opera
his music has a bustling gaiety which fits the situation very happily.
In the more passionate scenes he is less at home, and the love duet in
particular is by no means entirely satisfactory. Stanford's next work,
'Savonarola,' was performed in Lond