These Bab Ballads took part in the Victorian efflorescence of comic and nonsense verse and were also a late flowering of the widespread interest in ballad revivals and ballad parodies that spans the nineteenth century. In "The Rival Curates," two clergymen vie for the honor of being known as the mildest and most insipid curate in the neighborhood.
Gilbert had written about two-thirds of an opera libretto based on his ballad, when he abandoned it in favor of the rivalry between two "Aesthetic fanatics, worshiped by a chorus of female aesthetics" Stedman, p. As he later explained, he "became uneasy at the thought of the danger [he] was incurring by dealing so freely with members of the clerical order, and [he] felt Luckily for us, the clerical version of Patience survives in manuscript and offers clear evidence that curates prefigured the aesthetes.
That character was to have been called "The Reverend Lawn Tennison. As we will see, Tennyson remains an active object of parody in the final version of Patience. But for now, we should pause briefly to appreciate the cleric behind the aesthete, whose "style is much too sanctified, [whose] cut is too canonical. An unknown error has occurred.
Gilbert and Sullivan: Gender, Genre, Parody (Gender and Culture Series) [ Carolyn Williams] on posati.cf *FREE* shipping on qualifying offers. Long before. Editorial Reviews. Review. A superb examination of Gilbert and Sullivan's comic operas. Gilbert and Sullivan: Gender, Genre, Parody (Gender and Culture Series) - Kindle edition by Carolyn Williams. Download it once and read it on your.
Please click the button below to reload the page. Carolyn Williams underscores Gilbert and Sullivan's creative and acute understanding of cultural formations.
Her unique perspective shows how anxiety drives the troubled mind in the Lord Chancellor's "Nightmare Song" in Iolanthe and is vividly realized in the sexual and economic phrasing of the song's patter lyrics. The modern body appears automated and performative in the "Junction Song" in Thespis , anticipating Charlie Chaplin's factory worker in Modern Times.
Williams also illuminates the use of magic in The Sorcerer , the parody of nautical melodrama in H. Pinafore , the ridicule of Victorian aesthetic and idyllic poetry in Patience , the autoethnography of The Mikado , the role of gender in Trial by Jury , and the theme of illegitimacy in The Pirates of Penzance.
With her provocative reinterpretation of these artists and their work, Williams recasts our understanding of creativity in the late nineteenth century. In Love and Struggle Margaretta Jolly.
Need an account? Iolanthe was the first of the operas to open at the Savoy. Genders 6. Call Number: PN This prince and two of his friends decide to disguise themselves as women and enter the university. Read more and add your thoughts 11 comments.
The Poetics of Gender Nancy K. Becoming a Heroine Rachel Brownstein.
A Certain Age Joanna Goldsworthy. Genres 1. Gender in the Breach: Trial by Jury 3. Pinafore 5.
Genders 6. Cultures 9. Estrangement and Familiarity: The Mikado Imaginary Republicanism: The Gondoliers Capitalism and Colonialism: Utopia, Limited Review quote A superb examination of Gilbert and Sullivan's comic operas Highly recommended.
CHOICE Williams substantive study is all the more praiseworthy because her biting insights into gender and sexuality, sharpened through the lens of contemporary critical theory, are tucked within what could pass as a much more staid study of Gilbert and Sullivan. Victorian Studies this book will be an important reference point for future discussions of Gilbert and Sullivan, gender, and the Victorian stage.
Midwest Book Review show more. About Carolyn Williams Carolyn Williams is professor of English at Rutgers University, where she teaches courses on Victorian literature, theater, and culture. She is the author of Transfigured World: Walter Pater's Aesthetic Historicism, as well as numerous essays and articles.