Benford's Gilbert & Sullivan Lexicon | GSOpera

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Peroration

Gilbert spun lines by the yard,
He found it not at all hard.
His verses ring true
And from our point of view
He’s lots more fun than the Bard!

And Sullivan, too, had a stake
With music delightful to make.
With simple perfection
He enhanced the confection
And nicely frosted the cake.

D’Oyly Carte joined the good pair,
He managed the books with care.
His accounting was right
And accurate, quite,
(Aside from that carpet affair).

--Harry Benford

: 1074

Appendix

(Isaac Asimov’s special contribution in his Foreword to the first two editions of this book.)

The Gilbert and Sullivan Enthusiasts

(with apologies to W. S. Gilbert)

If you give me your attention, I will tell you who we are.
We are G and S enthusiasts –– we find them caviar.
We know the notes of every play, excepting, of course, Thespis.
For its music has been hurtled off some undiscovered prec’pice.
But cheerfully we carol out a jolly Trial by Jury
From beginning to finale when the judge erupts in fury.
We love the patter singing –– in particular, The Sorcerer.
We yodel of John Wellington till hoarse and growing hoarserer,
And we’ll never stop.

We’ll do a bouncy hornpipe on your decks, H.M.S. Pinafore.
If happiness is sinful, yours the music we will sinafore.
And then as slaves of duty meet The Pirates of Penzance
We will sing without regarding, now and then, a dissonance.
But if you want some lovesick maids, dragoons, and poets ––Patience
(Since simple words can turn to plays with capitalizations.)
For fairies and lord chancellors, there’s always Iolanthe.
The music fills us all with joy and makes us feel romanthe,
So we’ll never stop.

In three acts and in blank verse we will greet you, Princess Ida,
With cheers for Castle Adamant had you but fortified ‘er.
And then the all-time maximum, the Japanese Mikado
For there, if anywhere, we’ll find a tuneful El Dorado.
Then back at once to magic spells and grim old Ruddigore
Where a ghost is just as deadly as an executioner.
In full-fledged operatic notes The Yeomen of the Guard
Is where we’ll sing of poor Jack Point whose love turns out ill-starred.
And we’ll never stop.

Then everything is doubled when we sing The Gondoliers
With babies changed in infancy (that ploy now reappears).
And there’s a pause, but they return –– Utopia Limited
Where wise men try to turn their king into a figurehead.
So finally we end, alas, and sing of The Grand Duke
And call down on the Fates an unavailing sad rebuke.
Why couldn’t G and S have written fifty thousand more?
We’d have sung out all the notes till all our throats were good and sore,
And we’d never stop.
No, we’d never stop.

--Isaac Asimov

: 1075

References List

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_____ Playbill (for H.M.S. Pinafore). New York, 1976.
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_____ Personal communication, 1981.
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_____ The Bab Ballads. James Ellis. (ed). Cambridge, Mass.: Harvard University Press, Belknap Press, 1970.
_____ The Complete Plays of Gilbert and Sullivan. New York: W. W. Norton & Co., 1976.
_____ The Savoy Operas. London: Macmillan & Co., 1959.
_____ Songs of a Savoyard. London: G. Routledge & Sons, 1890.
_____ The Savoy Operas. London: Oxford University Press, 1962, 1963.
_____ The Pinafore Picture Book. New York: The Macmillan Company, 1908.
_____ The Story of the Mikado. London: Daniel O’Connor, 1921.
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_____“U800 or Armor News,” GASBAG, October/November/December 1990.
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_____ Gilbert & Sullivan at Law. London: Associated University Press, 1983.
_____ Personal communication, 1989.
_____ Personal communication, 1998.
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_____ Personal communications, 1989, 1990.
_____ Personal communication, 1998.
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_____ Personal communication, 1980.
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Joseph, Tony. Personal communication, 1979.
_____ Personal communication, 1990.
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_____ Personal communication, 1989.
Kelly, Raymond. Personal communication, 1998.
Kenny, Nigel. Personal communication, 1990.
Kesilman, Sylvan. Personal communication, 1989.
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_____ Personal communication, 1989.
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_____ Personal communication, 1976.
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_____ Personal communications, 1998.
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_____ Personal communications, 1998.
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Marryat, Captain. Peter Simple. London & Glasgow: University Press, 1929.
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_____ Peter the Great. New York: Alfred A. Knopf, 1980.
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_____ Personal communication, 1998.
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_____ Personal communications. 1989, 1990.
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_____ Personal communications, 1978 and 1984.
_____ Personal communications, 1990.
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_____ Personal communications, 1981, 1989, 1990.
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Round-table discussion with Patricia Cope, Lorraine Daniels, Alistair Donkin, David Mackie, Kenneth Sandford, and Geoffrey Shovelton. Ann Arbor, March 1990.
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_____ Peveril of the Peak. Boston and New York: Houghton Mifflin Co., 1923.
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_____Personal communications, 1998.
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Stasheff, Edward. Personal communication, 1990.
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_____ Personal communications, 1976, 1977.
_____ Personal communication, 1989.
_____ W.S. Gilbert: A Classic Victorian and His Theatre. New York: Oxford University Press, 1996.
_____ Personal communication, 1993.
_____ Gilbert Before Sullivan. Chicago: The University of Chicago Press, 1967.
Stell, John. Personal communication, 1976.
Stephenson, B. C. [Bolton Rowe], and Sullivan, Arthur. The Zoo. London: 25 Nightingale Square, n.d.
_____ The Zoo, Vocal score. Chorleywood, Herts , R. Clyde, 1991.
Stephenson, Thomas. “Remarkable People in History,” The Gilbert and Sullivan Journal. London: The Gilbert & Sullivan Society, July 1926.
Sternenberg, Philip. Personal communication, 1998.
Stone, David. Personal communications, 1989.
_____ Personal communication, 1998.
Terry, Madge; Johnson, Reavely; and Davis, D. Graham. “An Operatic Glossary.” The Gilbert and Sullivan Journal. London: The Gilbert & Sullivan Society, 1935-1937 and 1948-1949.
Terry, Madge. An Operatic Glossary, rev. ed. London: The Gilbert and Sullivan Society, 1975.
Thackeray, William Makepeace. Vanity Fair. New York: W.W. Norton, 1994.
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Thompson, Constance. Personal communication, 1977.
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Tillett, Selwyn. Personal communication, 1997.
Trevelyan, George Otto. The Life and Letters of Lord Macaulay. London: Longmans, Green, and Co., 1878.
Trollope, Anthony. The Small House at Allington. London: Penguin Books, 1964.
Turnbull, Stephen. Personal communication, 1998.
Venman, William. Personal communication, 1989.
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Von Eckhardt, Wolf; Gilman, Sander L.; and Chamberlain, J. Edward. Oscar Wilde’s London. Garden City, N. Y.: Doubleday, 1987.
Wallworth, Bernadette. “Iolanthe Glossary,” Katisha Scream, 1988 No.1.
Walmisley, Guy H., and Walmisley, Claude A. Tit-Willow. London: privately printed, n.d.
Walsh, Philip. Personal communication, 1998.
Walters, Michael. Personal communications, 1976, 1977.
_____ Personal communication, 1989.
_____ “Origin of Ko-Ko’s Name,” Palace Peeper, June 1992.
Ware, Em. Personal communication, 1998.
Weaver, Daniel. Personal communication, 1998.
Webster’s New International Dictionary of the English Language. 2nd ed. Springfield, Mass.: G. & C. Merriam Co., 1959.
Webster’s Third New International Dictionary of the English Language, unabridged. Springfield, Mass.: G. & C. Merriam Co., 1963.
Wenzel, Duane. Personal communication, 1998.
Wernick, Robert. “Bewigged, bothered and beleagured, the barristers of London carry on,” Smithsonian, June 1991.
Whaley, Douglas. Personal communication, 1997.
Whipple, A. B. C. Fighting Sail. Alexandria, Virginia: Time-Life Books, 1978.
Who Was Who in America, 1607-1896. Chicago: Marquis Who’s Who, 1967.
Wilde, Oscar. The Importance of Being Earnest, New York: Dover, 1990
Wilkes, James O. Personal communication, 1990.
Wilkes, Jocelyn. Personal communication, 1979.
Williams, Frank F. “Heigh-ho,” The Gilbert & Sullivan Journal. Vol 10, No. 11. London: The Gilbert & Sullivan Society, autumn 1976.
Williams, George. Personal communication, ca. 1979.
Williamson, Audrey. Gilbert & Sullivan Opera. London: Marion Boyars, Ltd., 1982.
Wilson, Derek. The Tower of London. London: Constable/Dorset, 1989.
Wilson, Fredric Woodbridge. Personal communication, 1989.
Wilson, Geoffrey. “Teeming with Hidden Meaning,” The Savoyard, D’Oyly Carte Opera Co., September, 1978.
Wolfson, John. Final Curtain. London: Chappell & Co., 1976.
Wright, Elinor. Personal communication, 1998.
Young, Percy. Sir Arthur Sullivan. London: J. M. Dent & Sons, 1971.
_____ The Flotation of H.M.S. Pinafore 1878: The University of Birmingham Institute for Advanced Study in the Humanities, 1998.
Zavon, Peter. Personal communication, 1976.

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References Note

References will be updated as terms are updated. Numbers may change.

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Back Cover of the Third Edition

Drawing for Dame Carruthers and Sgt. Merryl

Gilbert and Sullivan's famous Savoy operas, such as The Mikado and H.M.S. Pinafore, are well known throughout the English-speaking world. And yet, having been written more than a century ago, many of the terms are unfamiliar to modern audiences. This led Harry Benford to publish the first edition of this comprehensive lexicon back in 1978, and a revision in 1991. With those editions out of print, Benford has prepared this third edition, which features many new entries suggested by readers, and new insights resulting from more careful study and sound advice from many experts.

What some G&S authorities say:

"Buy it, read it, and never lend it to anyone. Make those deadbeats buy their own copies."

--Isaac Asimov (famous author, in his foreword to the first edition)

"This book is not just about the love of G&S, but about the love of learning in general, and something all great works of art (including the Savoy operas) should inspire."

--Daniel Kravetz (former president of the N.Y. Gilbert & Sullivan Society)

"Harry Benford never forgets that the G&S operas are fundamentally FUN. So is this book. This is a work that will have me happily dipping into it for years."

Stephen Turnbull (Secretary of the Sir Arthur Sullivan Society)

"Benford's book is an essential guide to the Savoy operas, with a wealth of scholarly informationadn insights into Gilbert's linguistic usages."

Fredric W. Wilson (Curator, Harvard University Theatre Collection)

"I have made extensive use of the book and recommend it to all G&S admirers, whether in the audience, on the stage, or behind the scenes."

Kenneth Sandford (long-time principal performer with the original D'Oyly Carte Opera Company)

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