_Phyllis._ {You'll ar-ray, ah! wi' Pol trudge, oh![46] (_fiercely_). _Galatea._ {You'll ar-ray, ah! wi' Pol trudge, oh! (_distractedly_). _Phyllis._ {Veep! ye'll ne'er go to rest o' shore, eh! (_fiercely_). _Galatea._ {Veep! we'll ne'er go to rest o' shore, eh? (_distractedly_). _Phyllis._ {Gay! tomb! ah! one full! no beau! (_wildly and demoniacally_). _Galatea._ {Gay! tomb! ah! one full! no beau! (_wildly and distractedly_). [46] This, says Mr. Burnand in a note, is the poetic for "You'll get on your bonnet and accompany Polyphemus." Six years after the production of Mr. Burnand's piece, Mr. T. F. Plowman brought out at Oxford "a piece of extravagance," to which he gave the name of "A Very New Edition of Acis and Galatea, or the Beau! the Belle! and the Blacksmith!" Of Meyerbeer's operas three have been burlesqued in England--"Dinorah," "L'Africaine" and "Robert le Diable." The first of these was parodied in "Dinorah under Difficulties," a burlesque by William Brough, which dates back as far as 1859 (at the Adelphi). "L'Africaine" was handled by Mr. Burnand six years later at the Strand. Three years more, and "Robert le Diable" was being travestied at the Gaiety by Mr. Gilbert, under the title of "Robert the Devil, or the Nun, the Dun, and the Sun of a Gun."[47] This last is on the old lines of "palmy-day" burlesque, and has not much in it that is characteristically Gilbertian. The lyrics are written chiefly to operatic airs, and there is no room, therefore, for rhythmical invention. In the dialogue, however, one comes across an occasional passage which strikes one as quite Gilbertian in its cynicism. Take, for example, these lines from the scene in which fun is made of the Tussaud "Chamber of Horrors":-- [47] In this Miss Farren, as Robert, was supported by Miss Constance Loseby as Raimbault, Miss Emily Fowler as Alice, Miss Annie Tremaine as Prince of Granada, and Joseph Eldred as Gobetto. _Bertram._ These are all statues, raised from time to time To people who're remarkable for crime. _Robert._ But if their wicked deeds could so unnerve one, Why give them statues? _Bert._ 'Cause they don't deserve one. That's our strict rule--a rule we never garble-- Good deeds we write in sand, bad deeds in marble. Some of the puns in the piece are worth recording. Thus, Alice says of a porter, to whom half a crown has been given:-- He'll spend it all upon his favourite wets-- He tipsy gets with all the _tips he gets_. Again, Gobetto says of Robert:-- He's smoking to a pretty tune, I'll bet, oh! _Prince._ That pretty tune must be "Il Cigaretto." Gobetto says to Robert:-- We saw you through the window, pouring fizz in! _Robert._ I liked the wines, but didn't like the _quizzin_. Again:--