Shall I endure this state of things unjust? I, Arthur's destined spouse? I _spouse_ I must. How _sad a loss_ is mine! regrets are idle! A _saddle 'oss_, including _reign_ and _bridal_. My star uprising side by side with his'n, No more uprising now, my fate's _a-prison_. This roomy kingdom, mine in expectation-- Now I have nought but my own _room-i-nation_. Kept by the Saxon in this den of his, I'm numbed with cold--no doubt the _room-it-is_. In Australia, twenty-three years ago, there was produced a burlesque called "King Arthur, or Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table, and other Furniture"; the perpetrator's name was W. M. Akhurst. Of recent years, the only prominent travestie of the subject has been that produced in 1889, by Messrs. Richard Butler and Henry Chance Newton ("Richard-Henry"), who entitled their work "Launcelot the Lovely, or the Idol of the King." Here, again, Tennyson and Malory were both very loyally and lightly treated, and, though Mr. Arthur Roberts as Launcelot was eminently funny, the prepossessions of the audience were in no way shocked. The romantic tale of the loves of Fair Rosamond and His Majesty Henry II. has naturally attracted the notice of the travestie writers. In one instance, I regret to record, it fared very ill at the hands of the "dramatist." One T. P. Taylor brought out at Sadler's Wells in the 'thirties a one-act piece which he called "Fair Rosamond according to the History of England," in which the story was at once modernised and degraded. Henry became a Mr. Henry King--"a ruler, having been a stationer"; the Queen necessarily figured as "Mrs. Ellinor King." Rosamond herself was transmogrified into "a black girl, fair yet faulty," talking in "darkey" patois, and furnished with a father, black like herself, who combined the profession of fiddler and boot-black. The piece appears to have been successful in its day, but, to read, it is both vulgar and without a spark of wit. Happily, the subject was taken up in our own time by Mr. Burnand, whose "Fair Rosamond, or the Maze, the Maid, and the Monarch," seen at the Olympic in 1862, is among the most vivacious of his productions.[34] Here the writer boldly breaks away from historical tradition. He makes Henry in love with Rosamond, it is true; but Rosamond (Miss Hughes), on her side, has given her heart to Sir Pierre de Bonbon (Horace Wigan)--a Frenchman, as his name betokens. As Rosamond sings in the _finale_:-- [34] Mr. Frederick Langbridge has printed a burlesque on this subject, with a title somewhat similar. Hist'ry says that Rosamond Of King Hen-e-ry was fond; Thus my character was wronged, By a base aspersion; To old stories don't _you_ trust, Covered up with ages' dust. For the truth henceforth you must Take our Wych Street version.