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Excerpt ​

Excerpt from Songs of a Savoyard, by W. S. Gilbert

                       Songs of a Savoyard

CONTENTS

                                    PAGE<br />

THE DARNED MOUNSEER 6
THE ENGLISHMAN 13
THE DISAGREEABLE MAN 16
THE COMING BY-AND-BY 22
THE HIGHLY RESPECTABLE GONDOLIER 26
THE FAIRY QUEEN’S SONG 32
IS LIFE A BOON 38
THE MODERN MAJOR-GENERAL 42
THE HEAVY DRAGOON 49
PROPER PRIDE 56
THE POLICEMAN’S LOT 63
THE BAFFLED GRUMBLER 69
THE HOUSE OF PEERS 74
A MERRY MADRIGAL 81
THE DUKE AND THE DUCHESS 84
EHEU FUGACES—! 92
THEY’LL NONE OF ’EM BE MISSED 99
GIRL GRADUATES 106
BRAID THE RAVEN HAIR 113
THE WORKING MONARCH 119
THE APE AND THE LADY 123
ONLY ROSES 130
THE ROVER’S APOLOGY 136
AN APPEAL 143
THE REWARD OF MERIT 146
THE MAGNET AND THE CHURN 153
THE FAMILY FOOL 161
SANS SOUCI 169
A RECIPE 175
THE MERRYMAN AND HIS MAID 182
THE SUSCEPTIBLE CHANCELLOR 191
WHEN A MERRY MAIDEN MARRIES 198
THE BRITISH TAR 204
A MAN WHO WOULD WOO A FAIR MAID 209
THE SORCERER’S SONG 211
THE FICKLE BREEZE 219
THE FIRST LORD’S SONG 227
WOULD YOU KNOW? 240
SPECULATION 254
AH ME! 255
THE DUKE OF PLAZA-TORO 262
THE ÆSTHETE 271
SAID I TO MYSELF, SAID I 278
SORRY HER LOT 286
THE CONTEMPLATIVE SENTRY 292
THE PHILOSOPHIC PILL 299
BLUE BLOOD 307
THE JUDGE’S SONG 315
WHEN I FIRST PUT THIS UNIFORM ON 322
SOLATIUM 329
A NIGHTMARE 335
DON’T FORGET! 345
THE SUICIDE’S GRAVE 354
HE AND SHE 361
THE MIGHTY MUST 367
A MIRAGE 374
THE GHOSTS’ HIGH NOON 381
THE HUMANE MIKADO 388
WILLOW WALY! 397
LIFE IS LOVELY ALL THE YEAR 403
THE USHER’S CHARGE 411
THE GREAT OAK TREE 418
KING GOODHEART 424
SLEEP ON! 431
THE LOVE-SICK BOY 439
POETRY EVERYWHERE 445
HE LOVES! 453
TRUE DIFFIDENCE 458
THE TANGLED SKEIN 466
MY LADY 471
ONE AGAINST THE WORLD 473
PUT A PENNY IN THE SLOT 480
GOOD LITTLE GIRLS 482
LIFE 487
LIMITED LIABILITY 490
ANGLICISED UTOPIA 497
AN ENGLISH GIRL 499
A MANAGER’S PERPLEXITIES 504
OUT OF SORTS 506
HOW IT’S DONE 512
A CLASSICAL REVIVAL 515
THE PRACTICAL JOKER 523
THE NATIONAL ANTHEM 526
HER TERMS 534
THE INDEPENDENT BEE 536
THE DISCONCERTED TENOR 547
THE PLAYED-OUT HUMORIST 553

Explanation ​

The excerpt you’ve provided is the table of contents from Songs of a Savoyard (1890), a collection of lyrics by W. S. Gilbert (1836–1911), the celebrated librettist of the Gilbert and Sullivan comic operas. While this is not a full poem or song in itself, the titles alone reveal much about Gilbert’s satirical wit, social commentary, and theatrical style. Below is a detailed breakdown of the text’s context, themes, literary devices, and significance, with a focus on how the titles themselves function as a microcosm of Gilbert’s work.

1. Context: Who Was W. S. Gilbert, and What Is Songs of a Savoyard? ​

  • W. S. Gilbert was half of the legendary Victorian-era partnership Gilbert and Sullivan, which produced comic operas like The Mikado (1885), H.M.S. Pinafore (1878), and The Pirates of Penzance (1879). These works were known for their absurd humor, sharp social satire, and clever wordplay.
  • Songs of a Savoyard (1890) is a compilation of lyrics from Gilbert’s operas and other works, named after the Savoy Theatre (built by impresario Richard D’Oyly Carte), where many Gilbert and Sullivan operas premiered.
  • The collection reflects Gilbert’s dual role as a poet and a dramatist—his lyrics were meant to be sung, so they often rely on rhythm, repetition, and comedic timing.

2. Themes in the Titles: What Do They Reveal? ​

Even without reading the full songs, the titles alone suggest several recurring themes in Gilbert’s work:

A. Satire of Social Hierarchy & Institutions ​

Gilbert was a master of mocking the pretensions of the British class system, bureaucracy, and authority figures. Titles like:

  • "The Duke of Plaza-Toro" (a parody of aristocratic incompetence)
  • "The House of Peers" (a jab at the British House of Lords)
  • "The Judge’s Song" (likely satirizing legal pomposity)
  • "The Highly Respectable Gondolier" (mocking social climbing)
  • "Blue Blood" (critiquing aristocratic snobbery)

These suggest Gilbert’s disdain for unearned privilege and his love of deflating self-important figures.

B. Absurdity & Nonsense ​

Gilbert’s humor often relies on logical extremes and surreal scenarios:

  • "The Ape and the Lady" (a bizarre, likely comedic pairing)
  • "The Magnetic Churn" (a playful, almost Lewis Carroll-esque title)
  • "The Disconcerted Tenor" (a singer losing control—classic Gilbertian chaos)
  • "A Nightmare" (suggesting a descent into absurdity)

These titles hint at his love of the ridiculous, where normal situations spiral into farce.

C. Love, Courtship, and Gender Roles ​

Gilbert frequently parodied romantic tropes and gender expectations:

  • "A Man Who Would Woo a Fair Maid" (mocking overly poetic suitors)
  • "The Susceptible Chancellor" (a judge swayed by beauty)
  • "Her Terms" (a woman dictating conditions in love—unusual for Victorian times)
  • "Only Roses" (likely a sarcastic take on sentimental love poetry)

His treatment of romance was often cynical or humorous, subverting traditional ideals.

D. Existential & Philosophical Musings ​

Some titles suggest deeper, sometimes dark reflections on life:

  • "Is Life a Boon?" (a question about whether life is a gift or a curse)
  • "The Suicide’s Grave" (a rare moment of solemnity in Gilbert’s work)
  • "Eheu Fugaces—!" (Latin for "Alas, fleeting things!"—a meditation on time)
  • "Life" (a broad, possibly ironic title)

These contrast with his usual comedy, showing his range as a writer.

E. Patriotism & National Identity ​

Gilbert often played with British stereotypes:

  • "The British Tar" (a sailor, a common figure in patriotic songs)
  • "The Englishman" (likely a satirical portrait)
  • "The National Anthem" (probably a humorous rewrite)

His patriotism was tongue-in-cheek, poking fun at jingoism.

F. Theatrical & Meta-Theatrical Elements ​

Some titles reference performance itself:

  • "The Played-Out Humorist" (a comedian running out of jokes—possibly self-referential)
  • "The Disconcerted Tenor" (a singer failing on stage)
  • "A Manager’s Perplexities" (likely about theatrical production)

Gilbert was deeply aware of the artifice of theater, and these titles suggest self-aware humor.

3. Literary Devices in the Titles ​

Even in just the titles, Gilbert employs several key techniques:

A. Puns & Wordplay ​

  • "The Darned Mounseer" – "Darned" could mean both "sewn" (a literal darn) and "damned" (a cursed Frenchman, or "Monsieur").
  • "The Magnetic Churn" – A play on "magnetic" and "churn" (possibly a machine with absurd properties).
  • "Sans Souci" – French for "without care," but also the name of a palace—Gilbert loved multilingual puns.

B. Irony & Juxtaposition ​

  • "The Highly Respectable Gondolier" – Gondoliers were not typically "respectable"; the title is mock-grand.
  • "The Humane Mikado" – The Mikado is a tyrant who enforces absurd laws; calling him "humane" is ironic.
  • "The Philosophic Pill" – A pill that makes you philosophical—absurd and satirical.

C. Alliteration & Rhythm ​

Many titles have a musical, sing-song quality, fitting for lyrics:

  • "Braid the Raven Hair"
  • "The Heavy Dragoon"
  • "The Merryman and His Maid"
  • "The Tangled Skein"

This reflects Gilbert’s background in opera, where phonetic flow was crucial.

D. Archaic & Formal Diction ​

Gilbert often used old-fashioned or exaggeratedly formal language for comedic effect:

  • "Eheu Fugaces—!" (Latin)
  • "Ah Me!" (a melodramatic exclamation)
  • "The Æsthete" (a pretentious term for an art lover)

This heightened language contrasts with the absurd situations, creating humor.

4. Significance of the Collection ​

A. A Showcase of Gilbert’s Genius ​

The table of contents alone demonstrates Gilbert’s versatility:

  • He could write sharp satire ("The House of Peers").
  • Whimsical nonsense ("The Magnetic Churn").
  • Romantic parody ("Only Roses").
  • Dark humor ("The Suicide’s Grave").

This range is why his work remains enduringly popular.

B. Influence on Musical Theater & Comedy ​

Gilbert’s lyrical wit and satirical edge influenced later writers like:

  • P. G. Wodehouse (for his absurd humor).
  • Noël Coward (for his sharp societal critiques).
  • Monty Python (for surreal, rule-breaking comedy).

His blend of intelligence and silliness set a standard for comic opera and musical theater.

C. Victorian Social Commentary ​

Many titles reflect Victorian anxieties:

  • Class struggle ("The Duke of Plaza-Toro").
  • Gender roles ("Her Terms").
  • Colonialism (implied in "The British Tar").
  • Industrialization ("The Magnetic Churn").

Gilbert’s work was both entertaining and subtly critical of his era.

D. The Savoyard Legacy ​

The term "Savoyard" refers to the Savoy Theatre, but it also evokes:

  • The troupers who performed Gilbert and Sullivan.
  • The unique style of their operas (witty, fast-paced, satirical).
  • The cult following of Gilbert and Sullivan fans ("Savoyards").

This collection cemented Gilbert’s reputation as a master of comic verse.

5. Close Reading of Select Titles (Examples) ​

To illustrate how Gilbert’s titles alone convey meaning, let’s analyze a few:

"They’ll None of ’Em Be Missed" ​

  • Context: From The Mikado (1885), this is a list song where characters cheerfully describe executions.
  • Themes: Dark humor, bureaucratic cruelty—the title suggests that the people being killed are so awful that no one will mourn them.
  • Literary Device: Irony—the cheerful tone contrasts with the grim subject.

"The Modern Major-General" ​

  • Context: From The Pirates of Penzance (1879), this is a patter song where the Major-General brags about his useless knowledge.
  • Themes: Satire of military pomposity, absurdity of expertise.
  • Literary Device: Hyperbole—the "Modern" Major-General is a walking contradiction, knowledgeable but incompetent.

"The Policeman’s Lot" ​

  • Context: From The Pirates of Penzance, this song laments the thankless job of a policeman.
  • Themes: Social duty, unappreciated labor.
  • Literary Device: Pathos mixed with humor—the title sounds like a tragic ballad, but the song is comically exaggerated.

"The Fairy Queen’s Song" ​

  • Context: Likely from Iolanthe (1882), which involves fairies interfering in politics.
  • Themes: Fantasy vs. reality, absurdity of power.
  • Literary Device: Juxtaposition—a whimsical fairy singing about serious political matters.

6. Conclusion: Why This Table of Contents Matters ​

While this is "just" a list of titles, it encapsulates Gilbert’s entire artistic philosophy:

  • Satire with a smile—he mocks society, but with charm rather than bitterness.
  • Linguistic playfulness—every title is carefully crafted for humor or irony.
  • Theatricality—these are songs meant to be performed, so even the titles hint at drama.
  • Timelessness—many themes (bureaucracy, love, class) still resonate today.

Gilbert’s genius lies in his ability to make profound points while making people laugh, and this table of contents is a microcosm of that talent. Whether you’re reading "The Ape and the Lady" or "The Judge’s Song", you’re entering a world where language, music, and satire collide in delightfully absurd ways.

Would you like a deeper dive into any specific song from the list?