[6] In "Olympic Revels," as in some other pieces, Planché had the valuable assistance of Charles Dance. The gods and goddesses are presented in "Midas" in a light more or less ludicrous, and the dialogue, songs, and choruses are flavoured with contemporary allusion, more or less humorous. But the form given to the work is that of the old-fashioned burletta. Indeed, the chief merit of "Midas," from a historical point of view, lies in the fact that it was its successful revival, with Mme. Vestris as Apollo, which, coupled with the publication of Colman junior's story, "The Sun-Poker," suggested to Planché the composition of his first "classical" burlesque. This had for subject the story of Prometheus and Pandora, and was remarkable, not only for the smooth flow of its versification and the general refinement of its tone, but also for the accuracy and consistency of the costumes, which were throughout "classical," and therefore in strong contrast to the haphazard, incongruous attire in which "classical" characters had hitherto been exhibited on the comic boards. Prometheus and Pandora, I may note, figured later--in 1865--as the leading personages in Mr. Reece's "Prometheus, or the Man on the Rock,"[7] in which the writer differed from his predecessor in admitting into his dialogue a large infusion of the punning element. In this direction Mr. Reece has always been proficient. Here are a few specimens of his work, picked out at random:-- [7] Byron also wrote a burlesque in which Prometheus figures--"Pandora's Box," seen at the Prince of Wales's in 1866. "Those steeds of yours will burn my house some day. Fine animals." "That leader came from Sestos; Stands _fire_ well, and so he counts _as best 'os_." "What! don't you think me handsome?" "Not very. You've got _red hair_!" "Well, that's _hair-red_-itary." "Why, darn your impudence!" "There, stop your clatter. With all your _darning_ you'll not _mend_ the matter." "A couch that's made 'midst buttercups, he's shy on; The verdant sward how could a _dandy lie on_?" "You jeer at Pallas 'cos she's strict and staid. With all your _railing_ you'll need _Pallas' aid_!" Planché's "Olympic Revels" proved so brilliantly successful that he was encouraged to follow it up, at the end of the year, with a companion composition--"Olympic Devils, or Orpheus and Eurydice." In this work, James Bland, the son of the lady who "created" Planché's Coquetinda, made his first appearance in burlesque, and among the female Bacchantes who took part in the groupings was a clever young girl, named Leonora Pincott, who was destined one day to be a great public favourite as "Mrs. Alfred Wigan." In "Olympic Devils" Planché's style is seen to excellent effect. Note, as an instance, the remarks addressed by Minos, Lord _Low_ Chancellor, to the Fates:--