When for some fair the swain Burns with desire, In Hymen's fatal chain Eager to try her, He weds soon as he can, And jumps (unhappy man!) Out of the frying-pan Into the fire. Not to be outdone by the other lovers, the Queen and Roastando warble a duet, in which they confess their feelings for each other:-- _She._ This morning I to Covent Garden went, To purchase cabbages was my intent, But, my thoughts dwelling on Roastando's looks, Instead of cabbages I asked for cooks! _He._ Last night, neglecting fricassés for stews, On Coquetinda's charms I paused to muse, And, 'stead of charcoal, did my man desire To put some Coquetinda on the fire. Three months after "Amoroso" had been seen at Drury Lane, there was produced at the English Opera House a "serio-comic-bombastic-operatic interlude," written by George Daniel, and called "Doctor Bolus"--yet another burlesque of the old-fashioned drama, owing quite as much to "Bombastes Furioso" as did "Amoroso." In this piece the King, Artipadiades (Harley), is in love with Poggylina, a maid of honour, while the Queen, Katalinda (Miss Kelly), is enamoured of General Scaramoucho (Chatterley). The General revolts, and is defeated by the King. His amour is discovered, and, while the Queen is poisoned with one of Bolus's "infallible" pills, the General is stabbed by Artipadiades. The Queen, however, revives, and is thereupon stabbed by the King, who also stabs himself. But, in the end, as in "Amoroso," all the dead people are resuscitated. There are some gleams of humour in the dialogue, but not many. Bolus was played by John Wilkinson. II. THE "PALMY" DAYS. After the production of "Amoroso," Planché remained silent, so far as travestie was concerned, till 1831, when he began in earnest his successful career as a burlesque writer. In the interval a new votary of travestie appeared in the person of Fox Cooper, of whose "Elbow Shakers" and "Ion" I shall have something to say by-and-by. Moncrieff and Buckstone, too, followed the example of T. Dibdin, in dealing more or less humorously with the subject of "Don Giovanni," while Buckstone also essayed to do the same with that of "Billy Taylor." None of these effusions, however, were burlesques in the ordinary acceptation of the word; and 1831, therefore, may still be taken as the starting-point of the new theatrical era, of which Planché was the herald.