"The Bum-Boat Woman's Story," and "General John;" in Pirates the idea of duty expressed by "Captain Reece;" in Patience "The Rival Curates ;" and in Iolanthe "The Fairy Curate;" and it is really interesting to trace the working out of the old ideas in fresh forms. Indeed, he does so much of this sort of thing that one cannot but come to the conclusion that, after all, his good ideas are limited. Again and again one comes upon the same thought, and almost the same expression. However, he has a right to make the best of his capital, and what there is of it is undoubtedly capital. The Palace of Truth influence is also evident throughout, and Gilbert has most consistently and persistently worked his original discovery, which consists in making serious people say absurd things. Moral axioms are carried to extremest limits, with most ludicrous results, and the operas abound with oddest, quaintest, brightest fun, while through them all runs the golden thread of clever but good-humoured satire. In Pinafore is shown the absurdity of carrying consideration for inferiors too far; in Pirates it is made abundantly clear that people may have too high a sense of duty; Patience ridicules most effectively the æsthetic craze, while Iolanthe is an elaborate satire on the House of Lords. Gilbert's powers of versification and of rhyme are seen to the best advantage, his ingenuity in rhyme being particularly remarkable; take, for instance, the modern Major-General's song in Pirates. If Byron's rhyme to intellectual brought him fame, Gilbert is entitled to even greater fame, for he has done any quantity of rhyme fully equal to that. Added to all this is Sullivan's music, and it is difficult to say exactly what credit is due to each, but in my view Gilbert is the moving spirit of it all.

Princess Ida follows on the same lines, though it is not founded upon the Bab Ballads. First brought out as The Princess, it has been remodelled and set to music by

Sullivan, and I consider it the finest of the series.

As

every one knows, it is a travesty of Tennyson's curious. medley, a work which is neither here nor there, neither a a serious poem nor a burlesque. In Gilbert's hands the theme becomes exquisitely humorous; the assertion of the rights of woman and her overthrow are worked out with delightful ingenuity. The travesty of Tennyson is really perfect, neither too much nor too little, but just enough. And again I must express my admiration for Sullivan's music, which is all in such harmony that the whole might be the offspring of one hand and brain.

These pieces are marvels of picturesque stage management, the credit of which is also mainly due to Gilbert, for he sketches scenes, models properties, designs dresses, instructs and diligently drills the performers, and, if it comes to dancing, can teach the ballet. When Princess Ida was first produced at "The Savoy," he had the theatre closed three days, and was rehearsing the opera all the time, the last rehearsal only ending in the early morning. Of stage managers he is the most imperious and exacting; he insists upon having his own way absolutely and entirely, and possibly for that reason is not popular in the theatrical world. But there can be no doubt that his management produces the happiest results, and so long as that is the case he can afford to be, and probably is, indifferent to other considerations.

A word or two as to Gilbert's manner of writing and working. First he thinks over and moulds his story; then he sets it down in the shape of an anecdote; next he expands it to the length of an ordinary magazine article; the next steps are to divide it into skeleton acts and arrange the scenes, exits, and entrances; and finally the dialogue is written, that of the important scenes first. He likes to write on into the small hours of the morning, insists upon always

having perfect quiet, and smokes a dozen and a half cigars per day. He has double windows at "The Boltons" for the purpose of excluding every sound, but prefers to write on board his fine sea-going yacht, "The Pleione," being there perfectly safe from interruption. This altogether seems a sensible way of managing matters, and I would recommend authors generally to go and do likewise.

Gilbert is another proof of the saying that nothing succeeds like success. As evidence of this witness the recent successful revival of pieces which originally were not received with so much favour. But he has richly deserved his success, which cannot be said of all successful people. He has created a new English opera, delightfully fresh and pure and attractive, which has done much to displace the inanities and indecencies of late years presented to us as comic opera. He has written plays of a humour peculiarly his own, which he has educated the public to appreciate and enjoy; plays of real literary merit, readable as well as actable, and altogether I consider him the most strikingly original playwright of the day, not, be it understood, as a writer of dramas, but as the author of ironical comedy. He is but eight and forty years of age; he has, as I have shown, already accomplished a vast quantity of good work, and I confidently look forward to future performance which shall even exceed his past promise.

A CHRISTMAS SYMPOSIUM, 1884.

THE

HE Christmas meeting of the Manchester Literary Club was held on Monday evening, December 15, 1884, at the Grand Hotel. There was a very large gathering of members and visitors. Mr. George Milner, the president of the Club, was in the chair, and the chief guest of the evening was Mr. Alexander Ireland. Other guests were Mr. H. J. Fairchild, Mr. Joseph Broome, Mr. A. K. Dyson, and Mr. C. Smith.

The Club Room, in which supper was served, was suitably decorated with laurel, holly, and mistletoe. Mr. J. C. Lockhart, apparelled as an ancient cook, brought the boar's head into the room whilst the old carol was sung. Mr. Charles Hardwick, according to custom, recited Eliza Cook's "Ode to Christmas," at the end of which Mr. John Page, noted as Father Christmas, made his appearance and was greeted with loud applause. The Wassail Bowl was at the same time borne into the room. During the evening Mr. Thomas Derby sang "The Mistletoe Bough," Mr. Frank Hollins "The Arethusa," and several musical pieces were given by

a party of singers under the leadership of Mr. Bannister. Mr. Edwin Waugh also gave the company a great treat by singing with much feeling his own beautiful song, "My Mary."

The PRESIDENT read the following letter dated December 14, which he had received from Mr. Thomas Read Wilkinson, who was unable through illness to attend the meeting:

"I regret exceedingly that it is quite impossible for me to be with you on Monday evening as I am for the present confined to my bed, where I have been for the last ten days. I am glad, however, to say that I am improving steadily, and am sufficiently cheerful to be with you in spirit. The remembrance of past meetings is very pleasant, and I cannot refrain from telling you how much happiness in past years the Christmas festivities of the Club have given me. I am glad to see by the newspaper that our old friend, Mr. Ireland, is to be the guest of the evening. Greet the old boy very warmly from me. I am sure he will regret my absence. Dearest Edwin, too, I understand is to be with you. Bless his dear old heart. I see him before me, that sturdy, squareset frame, encased in garments vast and solid-which no doubt stand upright of themselves at night when he has extricated himself from them. The dear old boy generally carries a section of pine forest as a walking stick. I can hear him crooning those delightful songs with which some of us are so familiar. I suppose old Charles will be with you as usual on his favourite battlefield; and Page as rubicund as ever. Apart from the real work of the Club, which has been considerable, the past few years have brought to many of us who have met together much happiness both by sea and land, the memory of which we would not willingly let die; and I hope the future has many more such experiences in store for all of us."