See also:

• SIR

SIR See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

WILLIAM SCHWENK See also:

• GILBERT
• GILBERT (KINGSMILL) ISLANDS
• GILBERT (or GYLBERDE), WILLIAM (1544-1603)
• GILBERT, ALFRED (1854– )
• GILBERT, ANN (1821-1904)
• GILBERT, GROVE KARL (1843– )
• GILBERT, J
• GILBERT, JOHN (1810-1889)
• GILBERT, MARIE DOLORES ELIZA ROSANNA [" LOLA MONTEZ "] (1818-1861)
• GILBERT, NICOLAS JOSEPH LAURENT (1751–1780)
• GILBERT, SIR HUMPHREY (c. 1539-1583)
• GILBERT, SIR JOSEPH HENRY (1817-1901)
• SIR WILLIAM SCHWENK GILBERT (1836– )

GILBERT (1836– )  , See also:

• ENGLISH

English playwright and humorist, son of See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• GILBERT
• GILBERT (KINGSMILL) ISLANDS
• GILBERT (or GYLBERDE), WILLIAM (1544-1603)
• GILBERT, ALFRED (1854– )
• GILBERT, ANN (1821-1904)
• GILBERT, GROVE KARL (1843– )
• GILBERT, J
• GILBERT, JOHN (1810-1889)
• GILBERT, MARIE DOLORES ELIZA ROSANNA [" LOLA MONTEZ "] (1818-1861)
• GILBERT, NICOLAS JOSEPH LAURENT (1751–1780)
• GILBERT, SIR HUMPHREY (c. 1539-1583)
• GILBERT, SIR JOSEPH HENRY (1817-1901)
• GILBERT, SIR WILLIAM SCHWENK (1836– )

Gilbert (a descendant of See also:

• SIR

Sir See also:

• HUMPHREY (or HUMFREY), LAWRENCE (1527?-1590)

Humphrey Gilbert), was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LONDON

London on the 18th of See also:

• NOVEMBER (Lat. novem, nine)

November 1836 . His See also:

• FATHER

father was the author of a number of novels, the best-known of which were See also:

• SHIRLEY (or SHERLEY), JAMES (1596-1666)
• SHIRLEY (or SHERLEY), SIR ANTHONY (1565-c. 1635)
• SHIRLEY, WILLIAM (1694-1771)

Shirley See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall See also:

• ASYLUM (from Gr. b.-, privative, arid earl, right'of seizure)
• ASYLUM, RIGHT OF (Fr. droit d'asile; Ger. Asylrecht)

Asylum (1863) and Dr See also:

• AUSTIN
• AUSTIN, ALFRED
• AUSTIN, JOHN (179o-1859)
• AUSTIN, SARAH (1793-1867)
• AUSTIN, STEPHEN FULLER (1793-1836)

Austin's Guests (1866) . Several of these novels—which were characterized by a singular acuteness and lucidity of See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, by a dry, subacid See also:

• HUMOUR (Latin humor)

humour, by a fund of humanitarian feeling and by a considerable medical knowledge, especially in regard to the See also:

• PSYCHOLOGY
• PSYCHOLOGY (>Guxrl, the mind or soul, and X yos, theory)

psychology of lunatics and monomaniacs—were illustrated by his son, who See also:

• DEVELOPED

developed a See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent for whimsical draughtsmanship . W . S . Gilbert was educated at See also:

• BOULOGNE, or BOULLONGNE

Boulogne, at See also:

• EALING

Ealing and at See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King's See also:

• COLLEGE (Collegium)

College, graduating B.A. from the university of London in 1856 . The termination of the See also:

• CRIMEAN

Crimean See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War was fatal to his project of competing for a See also:

• COMMISSION (from Lat. commissio, committere)

commission in the Royal See also:

• ARTILLERY (the O. Fr. artiller, to equip with engines of war, probably comes from Late Lat. articulum, dim. of ars, art, cf. " engine " from ingenium, or of artus, joint)

Artillery, but he obtained a See also:

• POST

post in the See also:

• EDUCATION

education See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department of the privy See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office (1857–1861) . Disliking the routine See also:

• WORK

work, he See also:

• LEFT

left the See also:

• CIVIL

Civil Service, entered the Inner See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple, was called to the See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

bar in November 1864, and joined the See also:

• NORTHERN

northern See also:

• CIRCUIT (Lat. circuitus, from circum, round, and ire, to go)

circuit . His practice was inconsiderable, and his military and legal ambitions were eventually satisfied by a captaincy in the See also:

• VOLUNTEERS

volunteers and See also:

• APPOINTMENT, POWER OF

appointment as a See also:

• MAGISTRATE (Lat. magistratus, from magister, master, properly a public office, hence the person holding such an office)

magistrate for See also:

• MIDDLESEX
• MIDDLESEX, LIONEL CRANFIELD, 1ST EARL OF (1575-1645)

Middlesex (See also:

• JUNE

June 1891) . In 1861 the comic See also:

• JOURNAL
• JOURNAL (through Fr. from late Lat. diurnalis, daily)

journal Fun was started by H . J . See also:

• BYRON, GEORGE GORDON BYRON, 6TH BARON (1788-1824)
• BYRON, HENRY JAMES (1834-1884)
• BYRON, HON
• BYRON, JOHN BYRON

Byron, and Gilbert became from the first a valued contributor .

Failing to obtain an entree to See also:

• PUNCH

Punch, he continued sending excellent comic See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse to Fun, with humorous illustrations, the work of his own See also:

• PEN (Lat. penna, a feather, pen)

pen, over the See also:

• SIGNATURE (through Fr. from Lat. signature, signare, to sign, signum, mark, token, sign)

signature of " Bab." A collection of these lyrics, in which deft craftsmanship unites a titillating See also:

• SATIRE (Lat. satira, satura; see below)

satire on the deceptiveness of appearances with the irrepressible nonsense of a See also:

• LEWIS, HENRY CARVILL
• LEWIS, JOHN FREDERICK (180 1876)
• LEWIS, MATTHEW GREGORY (1775-1818)
• LEWIS, MERIWETHER (1774-1809)
• LEWIS, SIR GEORGE CORNEWALL, BART

Lewis See also:

• CARROLL, CHARLES (1737-1832)
• CARROLL, JOHN (1735-1815)

Carroll, was issued separately in 1869 under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of Bab See also:

• BALLADS

Ballads, and was followed by More Bab Ballads . The two collections and Songs of a Savoyard were See also:

• UNITED

united in a See also:

• VOLUME

volume issued in 1898, with many new illustrations . The best of the old cuts, such as those depicting the " See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

Bishop of See also:

• RUM
• RUM (according to Skeat, a corruption of Malay brum or bram; the adjective " rum," i.e. " queer," being a distinct word, in Gipsy rem)

Rum-ti-Foo and the "Discontented See also:

• SUGAR

Sugar See also:

• BROKER (according to the New English Dictionary, from Lat. brocca, spit, spike, broccare, to broach "—another Eng. form of the same word; hence O. Fr. vendre d broche, to retail, e.g. wine, from the tap, and thus the general sense of dealing; see also for

Broker," were preserved intact . While remaining a staunch supporter of Fun, Gilbert was soon immersed in other journalistic work, and his position as dramatic critic to the Illustrated Times turned his See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage . He had not to wait See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long for an opportunity . See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

Early in See also:

• DECEMBER (Lat. decent, ten)

December 1866 T . W . See also:

• ROBERTSON, FREDERICK WILLIAM (1816-1853)
• ROBERTSON, GEORGE CROOM (1842-1892)
• ROBERTSON, JOSEPH (1810-1866)
• ROBERTSON, THOMAS WILLIAM (1829-1871)
• ROBERTSON, WILLIAM BRUCE (182o-1886)

Robertson was asked by See also:

• MISS

Miss See also:

• HERBERT (FAMILY)
• HERBERT, GEORGE (1593-1633)
• HERBERT, HENRY WILLIAM
• HERBERT, SIR THOMAS (1606-1682)

Herbert, lessee of the St See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James's See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre, to find some one who could turn out a See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright See also:

• CHRISTMAS (i.e. the Mass of Christ)

Christmas piece in a fortnight, and suggested Gilbert; the latter promptly produced Dulcamara, a See also:

• BURLESQUE (Ital. burlesco, from burla, a joke, fun, playful trick)

burlesque of L'Elisire d'amore, written in ten days, rehearsed in a See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

week, and duly performed at Christmas . He sold the piece outright for 3o, a piece of rashness which he had cause to regret, for it turned out a commercial success . In 1870 he was commissioned by See also:

• BUCKSTONE, JOHN BALDWIN (1802-1879)

Buckstone to write a See also:

• BLANK (from the Fr. blanc, white)

blank verse See also:

• FAIRY (Fr. fee, faerie; Prov. facia; Sp. hada; Ital. fata; med. Lat. fatare, to enchant, from Lat. fatum, fate, destiny)

fairy See also:

• COMEDY

comedy, based upon Le Palais de la verite, the novel by Madame de Geniis . The result was The See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace of Truth, a fairy See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama, poor in structure but See also:

• CLEVER

clever in workman-See also:

• SHIP

ship, which served the purpose of Mr and Mrs See also:

• KENDAL
• KENDAL, DUKEDOM OF
• KENDAL, WILLIAM HUNTER (1843– )

Kendal in 187o at the Haymarket . This was followed in 1871 by See also:

• PYGMALION

Pygmalion and Galatea, another three-See also:

• ACT (Lat. actus, actum)

act " mythological comedy," a clever and effective but artificial piece .

Another fairy comedy, The Wicked See also:

• WORLD

World, written for Buckstone and the Kendals, was followed in See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1873 by a burlesque version, in collaboration with Gilbert a Beckett, entitled The Happy See also:

• LAND

Land . Gilbert's next dramatic ventures inclined more to the conventional See also:

• PATTERN

pattern, combining sentiment and a cynical humour in a manner strongly reminiscent of his father's style . Of these pieces, Sweethearts was given at the See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince of See also:

• WALES (Cymru, Gwalia, Cambria)

Wales's theatre, 7th November 1874; -Tom See also:

• COBB, HOWELL (1815–1868)

Cobb at the St James's, 24th See also:

• APRIL

April 1875; Broken See also:

• HEARTS

Hearts at the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court, 9th December 1875; See also:

• DAN

Dan'l Druce (a drama in darker vein, suggested to some extent by See also:

• SILAS (fl. A.D. 50)

Silas Marner) at the Haymarket, 11th See also:

• SEPTEMBER (Lat. septem, seven)

September 1876; and Engaged at the Haymarket, 3rd See also:

• OCTOBER

October 1877 . The first and last of these proved decidedly popular . Gretchen, a verse drama in four acts, appeared in 1879 . A one-act piece, called Comedy and Tragedy, was produced at the See also:

• LYCEUM

Lyceum, 26th See also:

• JANUARY

January, 1884 . Two dramatic trifles of later date were Foggerty's Fairy and Rozenkrantz and Guildenstern, a See also:

• TRAVESTY (Fr. travestie, from travestir, to disguise, se travestir, to change one's clothes; Lat. trans, across, and vestire, to clothe)

travesty of See also:

• HAMLET

Hamlet, performed at the See also:

• VAUDEVILLE

Vaudeville in June 1891 . Several of these dramas were based upon See also:

• SHORT, FRANCIS JOB (1857– )

short stories by Gilbert, a number of which had appeared from See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to time in the Christmas See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers of various See also:

• PERIODICALS

periodicals . The best of them have been collected in the volume entitled Foggerty's Fairy, and other Stories . In the autumn of 1871 Gilbert commenced his memorable collaboration (which lasted over twenty years) with Sir See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur See also:

• SULLIVAN, JOHN (1740–1795)
• SULLIVAN, SIR ARTHUR SEYMOUR (1842—1900)
• SULLIVAN, THOMAS BARRY (1824-1891)

Sullivan . The first two comic operas, See also:

• THESPIS (6th cent. B.C.)

Thespis; or The Gods grown Old (26th September 1871) and Trial by See also:

• JURY

Jury (See also:

• ROYALTY (0. Fr. realte, reialte, royaulte, from Med. Lat. regalitas, the substantive of regalis, of or belonging to a king, rex)

Royalty, 25th March 1875) were merely essays . Like one or two of their successors, they were, as regards See also:

• PLOT
• PLOT, ROBERT (164o-1696)

plot, little more than extended " Bab Ballads." Later (especially in the Yeomen of the Guard), much more elaboration was attempted .

The next piece was produced at the See also:

• OPERA (Italian for " work ")

Opera Comique (17th November 1877) as The Sorcerer . At the same theatre were successfully given H.M.S . Pinafore (25th May 1878), The Pirates of See also:

• PENZANCE

Penzance; or The Slave of See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

Duty (3rd April 188o), and See also:

• PATIENCE

Patience; or Bunthorne's See also:

• BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

Bride (23rd April 1881) . In October 1881 the successful Patience was removed to a new theatre, the See also:

• SAVOY, HOUSE
• SAVOY, HOUSE OF

Savoy, specially built for the Gilbert and Sullivan operas by See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard D'Oyly See also:

• CARTE, THOMAS (1686-1754)

Carte . Patience was followed, on 25th November 1882, by lolanthe; or The Peer and the See also:

• PERI, JACOPO (1561–16 ?)

Peri; and then came, on 5th January 1884, Princess See also:

• IDA (d. 559)

Ida; or See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle See also:

• ADAMANT (from Gr. aba,uas, untameable)

Adamant, a re-See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast of a charming and witty See also:

• FANTASIA (Italian for " fantasy," a causing to be seen, from Greek, 4aivew, to show)

fantasia which Gilbert had written some years previously, and had then described as a " respectful perversion of Mr . See also:

• TENNYSON, ALFRED TENNYSON

Tennyson's exquisite poem." The impulse reached its fullest development in the operas that followed next in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order—The See also:

• MIKADO (Japanese for " exalted gate ")

Mikado; or The See also:

• TOWN

Town of Titipu (14th March 1885); Ruddigore (22nd January 1887); The Yeomen of the Guard (3rd October 1888) ; and The Gondoliers (7th December 1889) . After the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of The Gondoliers a coolness occurred between the composer and librettist, owing to Gilbert's considering that Sullivan had not supported him ina business disagreement with D'Oyly Carte . But the estrangement was only temporary . Gilbert wrote several more librettos, and of these See also:

• UTOPIA

Utopia Limited (1893) and the exceptionally witty See also:

• GRAND

Grand See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

Duke (1896) were written in See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with Sullivan . As a See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre Gilbert had shown himself consummate, as a dealer in quips and paradoxes and ludicrous dilemmas, unrivalled . Even for the See also:

• MUSIC

music of the operas he deserves some See also:

• CREDIT (Lat. credere, to believe)

credit, for the rhythms were frequently his own (as in " I have a See also:

• SONG

Song to Sing, 0 "), and the metres were in many cases invented by himself . One or two of his librettos, such as that of Patience, are virtually flawless .

Enthusiasts are divided only as to the See also:

• COMPARATIVE

comparative merit of the operas . Princess Ida and Patience are in some respects the daintiest . There is a genuine vein of See also:

• POETRY

poetry in The Yeomen of the Guard . Some of the drollest songs are in Pinafore and Ruddigore . The Gondoliers shows the most charming lightness of See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch, while with the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general public The Mikado proved the favourite . The enduring popularity of the Gilbert and Sullivan operas was abundantly proved by later revivals . Among the birthday honours in June 1907 Gilbert was given a See also:

• KNIGHTHOOD

knighthood . In 1909 his Fallen Fairies (music by See also:

• EDWARD

Edward See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German) was produced at the Savoy . (T .