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morality of popular government, as the
Liberal program was called, and predicted the dire consequences for England of this innovation. Governmental wisdom and virtue could rise no higher than their source, and under popular government the source was the new electorate, motivated by profit, greed, and the crude desires of the mob. At home the quality of British life would sink to the level of the cheap and nasty, and abroad, good-bye to national honor. England under the Liberals was on the way to becoming a second rate power, at the mercy of its mightier neighbors across the channel. According to Gilbert, this was the gloomy outlook for Great Britain under popular government, and it reflected, as the critical reception of
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themselves surrounded by the female fairies. The women are charmed by the mortals' oratorical virtuosity. At the fairies' request, they explain how "popular government" works. The fairies decide to introduce popular government into
Fairyland. The fairies are divided into Government and Opposition, and the members of the Opposition are sent away grumbling. Then, ministerial posts are allocated after a competitive examination in which those who show that they are the least fitted for the particular duties are appointed to fill them. For example, the fairy who asks what a ship may be is appointed First Lord of the Admiralty. All the fairies want to be Prime Minister, but, following precedent, Selene is so appointed.
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that "patriotism is the ladder by which the rising statesman ascends to the pinnacle of place," and "place is the pinnacle seated upon which the risen statesman kicks away the ladder of patriotism." Selene replies, "Sisters, I've done with office, give me a peerage and let me end my days in respectability and peace." Mr. G. advises that even in this situation, she should not consider resigning or apologising; but Selene ultimately rejects this, although she has feelings for Mr. G.
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original there was no indication whatsoever to point the allusions to individuals.... The manager expressed regret at what had occurred, and begged that the piece might be allowed to be performed as originally licensed, promising to adhere verbatim to the text, and to avoid anything which should convert the general allusions into personalities" including the make up of the actors. The theatre was only dark for two or three nights before the play was allowed to reopen. However,
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this and instead agree to return to the world themselves and ask the Fairy King (who is in
England studying "political economy", also known as "spending a pound to save a penny") to send three mortals up to Fairyland, so that the fairies may find out what men are really like. While the female fairies wait for the three mortals, Selene explains why England has an advantage over other countries: it enjoys a "popular government".
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235:. The three characters were described in the cast list as Mr. G., Mr. L., and Mr. A. Gladstone's government is portrayed as mean and uncaring of Britain's national interests, degrading British prestige abroad. The three men are seen to lack substance and taste. The daring political attack was almost unprecedented on the English stage. The opening night response was described by
276:, the theatre's manager, claimed that the eighteen pages were merely the number that contained a modification of some sort, and that she believed it was acceptable as it was being done elsewhere. She also published the script as it was originally performed – with the cut sections written in all capital letters, and posted a notice that read:
326:, "the Lord Chamberlain has proved a mighty instructor ... everybody perfectly knows whom are intended to represent, and every line they utter is the signal for an approving roar." The critics mostly praised the piece, although papers disagreed on whether or not the stage should be more subject to censorship than the press. For instance,
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The fairies' experiment in "popular government" is a disaster. Penny-pinching and shabbiness rule the state, the military is in disarray, and the
Chinese may soon invade. Leila and the other Opposition fairies revolt, and all the Government ministers resign. Selene appeals to Mr. A., who suggests
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civilisation. The female fairies suspect that the males may not hate the mortal world as much as they say, and complain of the dullness of life in
Fairyland, and long to experience that wonderful, wicked world. Selene, the Fairy Queen, expresses a determination to go to Earth. The three males resist
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commented that the play was "written with such talent, and catching very well the very spirit of Mr. Gilbert's manner and method that we cannot but suspect that the interest of Mr. Gilbert in it has not stopped with mere superintendence of stage management, as announced." The play became one of the
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The three mortal honourables return to earth, as they must attend a cabinet meeting. When the fairies realise that the mortals were corrupt, they exclaim, "How shabby!" Soon the three male fairies return with news from the Fairy King: they may enjoy the privilege of "popular government." Selene
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Comparing the licensed copy, which he had approved, with the prompt copy, which was performed, the Lord
Chamberlain claimed in a Memorandum that "in the prompter's copy there were eighteen quarto pages of additions, interpolations, and deviations from the original licensed text; and that in the
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revealed in a clear and popular form the conservative Tory anguish as the balance of political power tilted away from the aristocracy, and land owners, and the upper middle class, and toward the lower middle class and the workers. Gilbert, in his topsy-turvy manner, stigmatized the ethics and
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The three mortal statesmen arrive – Mr. G., Mr. L. and Mr. A – declaring, "Oh, we are three most popular men! We want to know who'll turn us out!" At first, Fairyland is not to their liking, as it is decorated with "ridiculous extravagance", but they change their minds as soon as they find
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and
Britain's official censor at the time, about the nature of the play. Three days later, on 6 March, the Lord Chamberlain revoked the play's performance licence, while a public inquiry was begun. This found that "the piece licensed and the piece acted were virtually different productions,
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The fairies live in a lavish and art-filled
Fairyland, floating on a cloud overlooking the mortal world. Three male fairies, Ethais, Phylion and Lutin, relate to the female fairies their "detestation" at their experiences below, in the "wicked" world. However, they note the conveniences of
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However, for the Lord
Chamberlain, the whole affair was a fiasco. His action "raised the question of censorship of the stage in an acute form" and questions about why only the stage should be subject to censorship began to be asked in quarters beyond the theatre: one parliamentarian,
390:, which rehashed aspects of the scandal, even going so far as to attack the Lord Chamberlain himself, referring to him as "The Lord High Disinfectant". The whole affair had proved such a political liability for the Lord Chamberlain, however, that he had no choice but to order
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big hits of the season, running for 142 performances until the theatre closed for summer renovations on 9 August 1873. It then enjoyed a lengthy provincial tour and being immediately revived when the theatre reopened on 14 October 1873.
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on stage censorship, he said that his "maturer judgement" on the play was that the Lord
Chamberlain's "interference was absolutely justified". It was not until 1968 that the power of the Lord Chamberlain to censor plays was revoked.
314:. – Miss Litton begs to inform the public that the Lord Chamberlain has forbidden Messrs. Fisher, Hill, and Righton to make up their faces in imitation of Messrs. Gladstone, Lowe, and Ayrton. – Royal Court Theatre, 6 March.
169:, "As I consider that I am quite as well qualified to judge of what is fit for the ears of a theatrical audience as can be, I have systematically declined to take the slightest notice of his instructions".
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to be licensed, with only the "usual changes". Nevertheless, Gilbert never again directed his satire against specific persons: rather, he aimed his "hose of common sense" at types, such as Sir Joseph in
243:" appeared, rising through the clouds, there burst upon us another gale of boisterous merriment, which increased and increased in volume as we rose higher and higher, until the three figures from
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threatened to bring it up in the House of Commons, and some suggested that the Lord Chamberlain was demonstrating political bias in his censorship of the play. One historian wrote that the play:
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wrote that the satire made "Many a brilliant sally at the supposed short-comings of the present government." Meanwhile, Gilbert was having some trouble keeping up the pseudonym.
322:'s "Chronicle of Remarkable Occurrences", generated widespread publicity for the play, and, even without the makeup, everyone knew who was really being portrayed. In fact, wrote
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is an example of Gilbert's "repeated ridicule of idealistic panaceas for curing social ills Gilbert's conception of popular government as an imprac- tical theory. In the
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657:. Indeed, the general theme of mortals disturbing the peaceful state of affairs in fairyland is featured in a number of other Gilbert works, including the
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critiqued the contrasting ways in which Victorian society treated men and women who had sex outside of marriage, which anticipated the 'problem plays' of
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220:. Stedman calls this a "Gilbertian invasion plot". The three men depicted, and clearly identified by their make-up and by costumes designed after
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and several other Gilbert works, the play concerns chaos that is wreaked in Fairyland when an element of life in the mortal world is imported. In
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on 3 March 1873 and enjoyed a highly successful run, soon touring, and then being immediately revived at the same theatre in the autumn of 1873.
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unwarrantable alterations and enlargements having been introduced at the rehearsals, which the Lord Chamberlain would never have authorised."
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Stedman, p. 95: In "a Gilbertian invasion" plot, outsiders change a given society, as where the Thespians take control of Olympus in
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began vigorously defending him against the absolutely true allegations, forcing Gilbert to quietly take him into his confidence. The
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on 3 March 1873. Appalled at this attack on the government of which his mother the Queen was the titular head, he notified
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clearly fascinated Gilbert. Not only had he written a short story on the theme in 1871, but he returned to it in his 1909
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The play created a scandal by breaking regulations against the portrayal of public characters, parodying
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Kelly, Veronica (1983). "The Banning of Marcus Clarke's 'The Happy Land': Stage, Press and Parliament"
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Quintette and Chorus (Zayda, Darine, Ethais, Phyllon and Lutin) – "Send us up from yonder wicked den"
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stood on the stage; then the applause resembled the roaring of cannon or claps of thunder."
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these schemes range from the notion that "true love the source of every earthly joy," in
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The Importance of Being Serious: The Unexplored Connection between Gladstone and Humour
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rejects this with horror. The fairies will "Leave such blessings to a happy land."
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Article on the background of the play, by Andrew Crowther, at the G&S Archive
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followed so soon on its heels that the two plays ran simultaneously. The plot of
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1213:, Vol. 15, No. 2 (December 1971), Indiana University Press, pp. 161–83
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Plumb, Philip. "Gilbert and the censors: the Happy land conspiracy", in
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also anticipated some of the themes in the political satire seen in the
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Opening Duo and Chorus (Zayda, Darine and Chorus) – "Lullaby Fairyland"
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Trio (Mr. G., Mr. L., Mr. A.) – "We are three statesmen old and tried"
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1098:(used as the name of the play-within-a-play in the latter piece) and
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Gilbert returned to the West End later that year with a new play,
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Trio (Ethais, Phyllon and Lutin) – "We are three unhappy fairies"
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Casting information is from Tomline, F. and à Beckett, Gilbert
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Righton, Edward. "A suppressed burlesque – The happy land" in
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Cambridge: Cambridge University Press, 1980, pp. 118–24.
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Gilbert created several blank verse "fairy comedies" at the
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The scandal, which was great enough to be included in the
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Contradiction Contradicted – The Plays of W. S. Gilbert
107:. The scandal was great enough to be included in the
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W. S. Gilbert, A Classic Victorian & His Theatre
1125:and Terence Rees' introduction to Gilbert, W. S.,
1094:, and Stedman, pp. 108–09. Note that the titles,
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846:, and the Flowers of Progress remodel Utopia in
611:Antecedents and development of Gilbertian satire
255:, attended the play on its opening night at the
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165:The year before the play opened, Gilbert told
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376:showed, a large body of contemporary opinion.
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56:(under the pseudonym F. Latour Tomline) and
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702:poked many jokes at the Lord Chamberlain.
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1209:: W. S. Gilbert as Political Satirist",
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1006:"All Hands on Deck for Absurd Relevance"
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606:Finale – "Our little feet we never show"
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52:is a play with music written in 1873 by
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1521:List of compositions by Arthur Sullivan
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115:, which ironically caused it to become
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1239:Censorship of English Drama 1824–1901.
1227:vol. 1, no. 8 (1994), pp. 238–40.
794:: its true and remarkable history" in
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593:Finale – "By playing loose and fast"
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1090:'s introduction to Gilbert, W. S.,
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93:, respectively the Prime Minister,
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1026:. Associated University Presses.
39:of 22 March 1873; illustrated by
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1536:Works about Gilbert and Sullivan
1258:The Gilbert and Sullivan Archive
1234:(1 August 1896), pp. 63–66.
829:The Gilbert and Sullivan Archive
798:vol. 1, no. 8 (1994), pp. 228–37
771:, History 84 (274), p. 278–300.
336:may have thought F. Tomline was
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635:was the third of these, and
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1191:. Oxford University Press.
893:The Illustrated London News
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417:: in 1909, testifying to a
233:First Commissioner of Works
229:Chancellor of the Exchequer
181:of Gilbert's earlier play,
99:First Commissioner of Works
95:Chancellor of the Exchequer
36:The Illustrated London News
18:Happy Land (disambiguation)
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1509:W. S. Gilbert bibliography
1479:D'Oyly Carte Opera Company
1291:Australasian Drama Studies
160:W.S. Gilbert in about 1870
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1187:Stedman, Jane W. (1996).
1022:Crowther, Andrew (2000).
222:contemporary cartoons in
1237:Stephens, John Russell.
1147:1 September 2006 at the
1121:3 September 2006 at the
1076:from the G&S Archive
831:, accessed 11 March 2009
765:Joseph S Meisel (1999),
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64:Gilbert's earlier play,
58:Gilbert Arthur à Beckett
1436:The Yeomen of the Guard
1394:The Pirates of Penzance
1102:are roughly synonymous.
942:The Manchester Guardian
896:, 15 March 1873, p, 243
777:10.1111/1468-229X.00109
426:Roles and original cast
404:The Pirates of Penzance
401:, the Major-General in
329:The Manchester Guardian
239:, who played "Mr. A.":
83:William Ewart Gladstone
1689:Works by W. S. Gilbert
1275:Staffordshire Sentinel
1205:Lawrence, Elwood P., "
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906:Review of the play in
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1571:The Sapphire Necklace
628:Pygmalion and Galatea
487:The Right Honourable
480:The Right Honourable
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1494:Bridget D'Oyly Carte
1349:Richard D'Oyly Carte
1328:Gilbert and Sullivan
977:Lawrence, pp. 161–62
659:Gilbert and Sullivan
530:Leila – L. Henderson
521:Darine – Bella Moore
472:The Right Honourable
127:Gilbert and Sullivan
74:piece opened at the
16:For other uses, see
1489:Rupert D'Oyly Carte
1159:Lawrence, p. 180–82
986:Stedman, pp. 109–10
812:Stedman, pp. 106–07
622:The Palace of Truth
466:Mortal Counterparts
76:Royal Court Theatre
60:. The musical play
1627:The Rose of Persia
1579:The Contrabandista
1137:Crowther, Andrew.
1111:Crowther, Andrew,
1010:The New York Times
527:Locrine – G. Clair
477:– Walter H. Fisher
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1211:Victorian Studies
861:Lawrence, p. 162.
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491:– Edward Righton
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1277:, 9 May 1873
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1668:WikiProject
1603:Haddon Hall
1563:Cox and Box
1541:Adaptations
1526:Grim's Dyke
1484:Helen Carte
1474:Savoy opera
1232:The Theatre
1072:Article on
692:(1873) and
649:comic opera
625:(1870) and
511:Helen Barry
261:Lord Sydney
245:Vanity Fair
224:Vanity Fair
175:blank verse
104:Vanity Fair
87:Robert Lowe
72:blank verse
29:Scene from
1694:1873 plays
1683:Categories
1638:(1901) w/
1422:The Mikado
1167:References
449:W. J. Hill
447:Phyllon –
410:The Mikado
310:Notice. –
294:parodying
151:Background
62:burlesques
1429:Ruddigore
1266:The Times
921:The Times
547:Victorian
509:Selene –
441:Ethais –
363:for East
347:Athenaeum
324:The Times
304:Gladstone
210:Gladstone
179:burlesque
1658:Category
1408:Iolanthe
1401:Patience
1145:Archived
1119:Archived
1038:page 112
667:(1882).
664:Iolanthe
631:(1871).
535:Synopsis
515:Zayda –
453:Lutin –
177:musical
138:Iolanthe
1595:Ivanhoe
1587:The Zoo
1467:Related
1366:Thespis
1141:Charity
843:Thespis
704:Charity
695:Charity
284:Righton
167:The Era
1640:German
1630:(1899)
1622:(1898)
1614:(1894)
1606:(1892)
1598:(1891)
1590:(1875)
1582:(1867)
1574:(1867)
1566:(1866)
1358:Operas
1195:
1180:
1030:
910:, 1873
722:operas
661:opera
598:Act II
558:Act II
495:
489:Mr. A.
482:Mr. L.
475:Mr. G.
296:Ayrton
292:Fisher
263:, the
218:Ayrton
216:, and
194:As in
97:, and
89:, and
70:. The
746:Notes
712:Ibsen
674:with
576:Act I
540:Act I
365:Devon
173:is a
1193:ISBN
1178:ISBN
1086:See
1028:ISBN
710:and
708:Shaw
643:and
302:and
300:Lowe
290:and
288:Hill
251:The
231:and
214:Lowe
1289:in
1256:at
827:at
773:doi
1685::
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949:^
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361:MP
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1320:e
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20:.
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