In 1873 Mr. E. W. Royce goes to the Gaiety, and Miss Lottie Venne is seen at the Court in "The Happy Land." At the Folly, next year, Mr. Edouin takes the fancy of the town as the Heathen Chinee in Mr. Farnie's "Blue Beard;" Belmore, Mr. Odell, and Mr. Leonard Boyne all essay to burlesque Mr. Irving as Hamlet; and Miss Pattie Laverne plays the hero in Mr. Burnand's "Ixion Re-Wheeled." A "Robinson Crusoe," by Mr. Farnie, at the Folly in 1876, brings to the front a droll Will Atkins in the form of Mr. George Barrett. In 1877, at the Gaiety, Edward Terry joins Miss Farren and Mr. Royce, and in 1878 Selina Dolaro and G. W. Anson are playing at the Folly in "Another Drink," while Alma Stanley and Charles Groves are playing in "Venus" at the Royalty. Miss Kate Vaughan, at the Gaiety, is already beginning to revolutionise stage dancing, making it at once graceful and decorous. At the Royalty, in 1880, are Miss Kate Lawler and Mr. Frank Wyatt; at the Gaiety are Mr. Dallas and Miss Gilchrist. In 1882, Mr. Toole, who has not been seen in burlesque for some time, takes part in a skit on rural melodrama. A year later Mr. Harry Monkhouse figures at the Gaiety; Mr. E. D. Ward and Miss Marie Linden first show, at Toole's, their talent for travestie; and Miss Laura Linden does the same thing at the Strand. In 1884 Mr. Willie Edouin and Miss Alice Atherton make, in "The Babes," their first joint success in London; and Mr. Edward Terry and Miss Kate Vaughan appear at the Gaiety for the last time in burlesque. It is from this point that we may date the foundation of the New Burlesque, to which I shall return in my last chapter. In the chapters that immediately follow we shall be able to see how numerous were the topics essayed by burlesque writers in the "palmy" days, and also with how much wit and humour those writers were able, for the most part, to charge the stories that they told and the pictures that they presented. III. "CLASSICAL" BURLESQUE. Planché was not only the founder of modern burlesque: he was the originator, in particular, of that form of travestie which is commonly described as "classical"--which deals with the characteristics and adventures of the gods and goddesses, heroes and heroines, of the Greek and Latin mythology and fable. It is true that comic pieces on classical subjects had been played in England before Planché brought out, at the Olympic, his "Olympic Revels"[6] (January 1831). But these pieces were not burlesques in the present-century sense of the word. Take, for example, the "Midas" of Kane O'Hara, which, produced in 1762, remained popular for so many years, and will always be remembered as including the once famous ditty:-- Pray, goody, please to moderate the rancour of your tongue: Why flash those sparks of fury from your eyes? Remember, where the judgment's weak the prejudice is strong, A stranger why will you despise?