Page:Dictionary of National Biography, Second Supplement, volume 2.djvu/128

 the ground that it was 'too cannibalistic for his readers' tastes' (Fifty Bab Ballads, pref., 1884). Gilbert's connection with 'Punch' thereupon ceased. 'The Nancy Bell' appeared, without illustrations, in 'Fun' on 3 March 1866. Gilbert's other work in 'Fun' may be traced by single figure drawings signed 'Bab.' A series of dramatic notices commencing 15 Sept. 1866 and 'Men we Meet, by the Comic Physiognomist' (2 Feb. to 18 May 1867) are thus illustrated. The first illustrated ballad was 'General John' (1 June 1867). From this date they became a regular feature of the paper. But not until 23 Jan. 1869, in connection with 'The Two Ogres,' was the title 'The Bab Ballads' used. They were first collected in volume form in the same year. Further 'Bab Ballads ' continued to appear in 'Fun,' at varying intervals until 1871. A collected volume of 'More Bab Ballads' followed in 1873. The Bab Ballads established Gilbert's reputation as a whimsical humorist in verse.

At the same time Gilbert contributed articles or stories to the magazines — the 'Cornhill' (1863-4), 'London Society,' 'Tinsley's Magazine,' and 'Temple Bar'; he furnished the London correspondence to the 'Invalide Russe,' and, becoming dramatic critic to Vizetelly's 'Illustrated Times,' interested himself in the stage. In spite of these activities Gilbert found time to continue his military duties, and became captain of his militia regiment in 1867. He retired with the rank of major in 1883.

At the end of 1866 Gilbert commenced work as a playwright. To Thomas William Robertson [q. v.], the dramatist, he owed the needful introduction. Miss Herbert, the lessee of St. James's Theatre, wanted a Christmas piece in a fortnight, and Robertson recommended Gilbert for the work, which was written in ten days, rehearsed in a week, and produced at Christmas 1866. The piece was a burlesque on 'L'Elixir d'Amore,' called 'Dulcamara, or the Little Duck and the Great Quack.' Frank Matthews made a success in the title role, and it ran for several months and was twice revived. No terms had been arranged, and when Mr. Emden, the manager, paid Gilbert the 30l. that he asked, Emden advised him never again to sell so good a piece for so small a sum. Thenceforward Gilbert was a successful playwright, at first in the lighter branches of the drama. Another burlesque on 'La Figlia del Reggunento,' called 'La Vivandidre, or True to the Corps,' was produced at the Queen's Theatre on 22 Jan. 1868, and in it John Lawrence Toole [q. v. Suppl. II] and Lionel Brough [q. v. Suppl. II] played. It ran for 120 nights. A third burlesque, on the 'Bohemian Girl,' entitled 'The Merry Zingara, or the Tipsy Gipsy and the Popsy Wopsy,' was produced at the Royal Theatre on 21 March 1868 by Miss Patty Oliver. On 21 Dec. 1868 the new Gaiety Theatre was opened by John Hollingshead [q. v. Suppl. II] with a new operatic extravaganza by Gilbert called 'Robert the Devil,' in which Nellie Farren [q.v. Suppl. II] played the leading part. Next year, at the opening of the Charing Cross (afterwards Toole's) Theatre, on 19 June 1869, the performance concluded with a musical extravaganza by Gilbert, 'The Pretty Druidess, or the Mother, the Maid, and the Mistletoe Bough, a travestie of Norma.' Gilbert was much attached to second titles. Between 1869 and 1872 he also wrote many dramatic sketches, usually with music, for the German Reeds' 'entertainment' at the Gallery of Illustration, 14 Regent Street. His musical collaborator was Frederick Clay [q. v. Suppl. I]. On 22 Nov. 1869 they produced together 'Ages Ago,' which was afterwards expanded into the opera 'Ruddigore'; on 30 Jan. 1871 'A Sensation Novel'; and on 28 Oct. 1872 'Happy Arcadia.' Arthur Cecil, Corney Grain, and Fanny Holland were the chief performers. It was under the auspices of the German Reeds that Gilbert and (Sir) Arthur Sullivan [q. v. Suppl. I] first made each other's acquaintance. Sullivan was one of the composers of music for German Reed plays, and at the Gallery of Illustration in 1871 Clay introduced Sullivan to Gilbert (Lawrence's Life of Sullivan, p. 84, and E. A. Browne's Gilbert, p. 35). They soon were at work together on a burlesque, 'Thespis, or the Gods Grown Old,' which was produced at the Gaiety Theatre on 26 Dec. 1871 (John Hollingshead's Gaiety Chronicles, 202-7). They often met at Tom Taylor's, and engaged together in amateur theatricals (Ellen Terry's Story of My Life, 1908), but for the present no further dramatic collaboration followed.

Meanwhile Gilbert was assiduously seeking fame in more serious branches of the drama. On 8 Jan. 1870 'The Princess,' a respectful parody on Tennyson's poem, was produced at the Olympic with great success. This was afterwards the basis of the opera 'Princess Ida.' John Baldvui Buckstone [q. v.] now commissioned Gilbert to write a blank verse fairy comedy on