New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-05-23

French and German competitors. or
the latter only Johann Strauss could
have endured such a comparison. Pub
lie taste had been educated TO point
which il has never reached since; IN
stead, il has degenerated steadily, until
it is now willing 20 accept the buff
fooneries and musical dishwater OF
present dey musical comedy
save the mark! Things were different
even when the post-"Mikado" operettas
we're received with disappointment,
The records were always made by the
serious critics regretfully. In the pres
ence of Mr.. Gilbert's effervescent in
tellectualty they could always forgive
his cynicism, and in the hearing OF Sir
Arthur's music retain their respect Tor
him and their appreciation OF the art,
even while wishing that he had more
fecund fancy and a more varied style.
So The Tribune reviewer is found al
ways seeking out the good in each sue
cessive work and holding up the ex-
cellences which had been overlooked
by the public. In his criticism
of 1.-THE Yeomen of the Guard"
which had its first performance here
at the Casino on October II, 1883
London a fortnight earlier), he said:
THE good qualities of both authors
are present in a measure IN the new
operetta, but are scarcely obvious
enough to meet the demands which
they have taught US to make OF each
new work from their pens; and so II
must regretfully be recorded that Pin
afore.' Patience and The Mikado'
have not worthy successor in The
Yeomen of the Guard Least Of all
can the new work be cOnsorted with
Princess Ida for its greatest weak
ness is found right where the greatest
charm of the respectful. perversion' of
Tennyson's poem lay-namely, in the
book. In its literary quality Princess
Ida was distinctly above any of It's
congeners, and its failure was best ex-
planned on the ground of want Of sp-
probation on the part of q public that
had come to look FOR broad farce
where It should have gone for refined
comicality. Princess Ida seemed 10
point in the direction in which Messrs.
Gilbert and Sullivan might have devel-
oped the unique style of operetta which
IS their invention. With all It's para
dox and logic gone mad, with all its
burlesque Of Oldtlme chivalry and the
severity of its satire on so-called
'woman's rights there was in it
dellcacy Of treatment, an affectionate
touch, so far as the central character
was concerned, that brought the whole
play pretty near the standard of true
comedy" The reviewer then pointed
GU: that the satire of the new comedy
seemed TO be directed against love, and
therefore could not meet with SYM
pathy, or Shakespeare's fool "a mani
testify absurd proceeding; for 70 the
world OF to-day the stage fool can only
be vehicle, not an object OF satire.
tie lacks contemporaneous human in
terest. Besides, there is no satire in
the treatment Of the fool who seems TO
have been introduced 10 play exactly
the same part that he does in Shake
speare." Mercy on US! How serious
we were In those daysl Who would
think of cogitating such solemnities
over the invertebrate vulgarities called
comic operas and musical comedies
now? But "The Yeomen of the Guard"
had its prescribed run, and now that
it has been revived by Mr. Hopper and
his helpers we find mental refresh
ment and an aesthetic delight in its text
and music, and count as naught against