ursions into the realm of
parody--parodies of grand opera, parodies of the traditional Handelian
manner, parodies of sentimental love-making--but it also contains some
of the purest and most beautiful music he ever wrote. Some of Sullivan's
melodies, indeed, would be more fitting on the lips of Tennyson's
romantic princess than on those of Mr. Gilbert's burlesque
"suffragette". 'Princess Ida' was not appreciated at its true value and
still awaits its revenge, but in 'The Mikado' (1885) the two
collaborators scored the greatest success of their career. The freshness
and novelty of its surroundings--Japan had not then, so to speak, become
the property of the man in the street--counted for something in the
triumph of 'The Mikado,' but it is unquestionably one of the very best
of the series. Mr. Gilbert never wrote wittier or more brilliant
dialogue, and Sullivan never dazzled his admirers by more astonishing
feats of musicianship. 'Ruddigore' (1887) was less successful than any
of its predecessors. If the satire of 'Princess Ida' was just a shade
above the heads of the Savoy audience, the satire of 'Ruddigore' was
perhaps a shade below them. 'Ruddigore' is a burlesque of transpontine
melodrama, and a very good burlesque too; but the Savoy audience knew
next to nothing about transpontine melodrama, and so the satire was
missed and the piece fell flat. It was a pity, because Sullivan's music
was in his happiest manner. There may yet, however, be a future for
'Ruddigore,' 'The Yeomen of the Guard' (1888) opened fresh ground. For
the moment Mr. Gilbert turned his back upon topsy-turvydom and Sullivan
approached the frontiers of grand opera.

'The Yeomen of the Guard' has a serious plot, and at times lingers on
the threshold of tragedy. Sullivan caught the altered spirit of his
collaborator with perfect sympathy, and struck a note of romantic
feeling unique in his career. With 'The Gondoliers' (1889) the scene
brightened again, and merriment reigned supreme once more. Perhaps at
times there was a suspicion of weariness in Mr. Gilbert's wit, and some
of Sullivan's melodies had not all the old distinction of manner, but
the piece was an incarnation of liveliness and gaiety, and its success
rivalled the historic glories of 'The Mikado.' With 'The Gondoliers'
came the first solution of continuity in the Gilbert and Sullivan
partnership. Differences arose; Mr. Gilbert retired from the councils of
the Savoy Theatre, and Sullivan had