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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, See also: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 (1836– ) , See also:English playwright and humorist, son of William Gilbert (a descendant of Sir See also:Humphrey Gilbert), was See also:born in See also:London on the 18th of See also:November 1836. His See also:father was the author of a number of novels, the best-known of which were See also: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 (1863) and Dr See also:Austin's Guests (1866). Several of these novels—which were characterized by a singular acuteness and lucidity of See also:style, by a dry, subacid See also:humour, by a fund of humanitarian feeling and by a considerable medical knowledge, especially in regard to the See also:psychology of lunatics and monomaniacs—were illustrated by his son, who See also: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, at See also: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, graduating B.A. from the university of London in 1856. The termination of the See also:Crimean See also:War was fatal to his project of competing for a See also:commission in the Royal See also:Artillery, but he obtained a See also:post in the See also:education See also:department of the privy See also: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, he See also:left the See also:Civil Service, entered the Inner See also:Temple, was called to the See also:bar in November 1864, and joined the See also:northern See also:circuit. His practice was inconsiderable, and his military and legal ambitions were eventually satisfied by a captaincy in the See also:volunteers and See also:appointment as a See also:magistrate for See also:Middlesex (See also:June 1891). In 1861 the comic See also:journal Fun was started by H. J. See also:Byron, and Gilbert became from the first a valued contributor. Failing to obtain an entree to See also:Punch, he continued sending excellent comic See also:verse to Fun, with humorous illustrations, the work of his own See also:pen, over the See also:signature of " Bab." A collection of these lyrics, in which deft craftsmanship unites a titillating See also:satire on the deceptiveness of appearances with the irrepressible nonsense of a See also:Lewis See also:Carroll, was issued separately in 1869 under the See also:title of Bab See also:Ballads, and was followed by More Bab Ballads. The
two collections and Songs of a Savoyard were See also:united in a See also:volume issued in 1898, with many new illustrations. The best of the old cuts, such as those depicting the " See also:Bishop of See also:Rum-ti-Foo and the "Discontented See also:Sugar See also: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 to the See also:stage. He had not to wait See also:long for an opportunity. See also:Early in See also:December 1866 T. W. See also:Robertson was asked by See also:Miss See also: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, to find some one who could turn out a See also:bright See also:Christmas piece in a fortnight, and suggested Gilbert; the latter promptly produced Dulcamara, a See also:burlesque of L'Elisire d'amore, written in ten days, rehearsed in a See also: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 to write a See also:blank verse See also:fairy See also:comedy, based upon Le Palais de la verite, the novel by Madame de Geniis. The result was The See also:Palace of Truth, a fairy See also:drama, poor in structure but See also:clever in workman-See also:ship, which served the purpose of Mr and Mrs See also:Kendal in 187o at the Haymarket. This was followed in 1871 by See also:Pygmalion and Galatea, another three-See also:act " mythological comedy," a clever and effective but artificial piece. Another fairy comedy, The Wicked See also:World, written for Buckstone and the Kendals, was followed in See also:March 1873 by a burlesque version, in collaboration with Gilbert a Beckett, entitled The Happy See also:Land. Gilbert's next dramatic ventures inclined more to the conventional See also: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 of See also:Wales's theatre, 7th November 1874; -Tom See also:Cobb at the St James's, 24th See also:April 1875; Broken See also:Hearts at the See also:Court, 9th December 1875; See also:Dan'l Druce (a drama in darker vein, suggested to some extent by See also:Silas Marner) at the Haymarket, 11th See also:September 1876; and Engaged at the Haymarket, 3rd See also: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, 26th See also:January, 1884. Two dramatic trifles of later date were Foggerty's Fairy and Rozenkrantz and Guildenstern, a See also:travesty of See also:Hamlet, performed at the See also:Vaudeville in June 1891. Several of these dramas were based upon See also: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 of various See also: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 See also:Sullivan. The first two comic operas, See also:Thespis; or The Gods grown Old (26th September 1871) and Trial by See also:Jury (See also:Royalty, 25th March 1875) were merely essays. Like one or two of their successors, they were, as regards See also: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 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; or The Slave of See also:Duty (3rd April 188o), and See also: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, specially built for the Gilbert and Sullivan operas by See also:Richard D'Oyly See also:Carte. Patience was followed, on 25th November 1882, by lolanthe; or The Peer and the See also:Peri; and then came, on 5th January 1884, Princess See also:Ida; or See also:Castle See also:Adamant, a re-See also:cast of a charming and witty See also:fantasia which Gilbert had written some years previously, and had then described as a " respectful perversion of Mr. See also: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; or The See also: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 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 Limited (1893) and the exceptionally witty See also:Grand See also:Duke (1896) were written in See also:conjunction with Sullivan. As a See also:master of See also:metre Gilbert had shown himself consummate, as a dealer in quips and paradoxes and ludicrous dilemmas, unrivalled. Even for the See also:music of the operas he deserves some See also:credit, for the rhythms were frequently his own (as in " I have a See also: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 merit of the operas. Princess Ida and Patience are in some respects the daintiest. There is a genuine vein of See also: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, while with the See also: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. In 1909 his Fallen Fairies (music by See also:Edward See also:German) was produced at the Savoy. (T.
End of Article: GILBERT, SIR WILLIAM SCHWENK (1836– )
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