n
of the Guard, with whom, in spite of her vows, the young girl falls in
love. A pardon for Fairfax arrives, his identity is established, the
singer learns that the man she loves is already her husband, and all
ends happily. In this transmutation of character, from the imprisoned
sorcerer to one of the prison-keepers, we recognize the topsyturvydom
of Gilbert, which is the distinguishing mark of his genius, from the
Bab Ballads all through his later productions. In catchwords the
present opera is lacking, and in the puns which never failed to draw
out the "ohs" of the audience. But there is the same genial
undercurrent of innocent humor which for years has amused the whole
English-speaking public, and for which Mr. Gilbert deserves the
lasting gratitude of a world too much given to life-sadness and mental
worry. If "a merry heart doeth good like a medicine," it is safe to
say that the prescriptions of this most ingenious dramatic author have
effected more widespread good than those of the most celebrated
followers of AEsculapius.

It is especially to its music that the operetta owes its success. In
this production Sullivan has excelled his former efforts. The first
chorus is very fine, and in orchestration Sir Arthur shows himself to
be without a rival. Its pure melodies form a valuable addition to
English music, and mark the growth of a new school of which he is the
leader. The influence of Wagner is clearly seen in some of its
majestic marches, but the English composer escapes the metaphysical
and unintelligible harmonies of the German school. Sir Arthur has
evidently aimed at producing a more classical composition than any of
his previous works, and he has done this perhaps at some slight
sacrifice of immediate popularity. The jingle of "Pinafore" and "The
Pirates" is replaced by a more sober style, which is likely to produce
a lasting impression on English music.

Mary Anderson captured the town, as usual, on her return from England
early in November. Palmer's theatre was so crowded that it was
difficult to get a seat even four weeks in advance, and the audiences
were so enthusiastic that their enthusiasm constituted quite an
interruption to the play. She chose "The Winter's Tale" as her opening
piece, taking the parts both of Hermione the queen and of her daughter
Perdita. Miss Anderson is the first actress who has ever dared to so
interpret the play. She tried it at the London Lyceum, to the horror
of the criti