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Tomahawk (1867-1870), 17th July 1869, Edition 1 of 1, Page 29

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    • THE WIMBLE DON WOLUNTEER* or, THE FIELD OF GORE. An Operatic Tragedy.
  • Text (4)
  • Transcript

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      July 17, 1869.] The To M Aha W K. 29

      July 17 , 1869 . ] THE TO AHA W K . 29

      The Wimble Don Wolunteer* Or, The Field Of Gore. An Operatic Tragedy.

      THE WIMBLE DON WOLUNTEER * or , THE FIELD OF GORE . An Operatic Tragedy .

      The [This Old Dra Play Ma Is The An Inte...

      the [ This old dra play ma is an interest humble attemp f the t to dern combine drama the , th di e gnity melody of thinks of opera it , oug an ht d , to the succeed attraction . ] of ballet . As such , the author Dramatis Pjlrson / E . EUSTACE Volunteer MONTMORENCY Light Artillery ( Colonel Dragoons -Commanding . In love the with $ th Musi Royal - Gustavus DORA . ) Gardiner ( Private in the 87 th Belvoir Volun-The teer Prince Breech of -loaders Pomerania . In love ( Cominander with MUSLDORA -in-Chief . ) . I ? i love with Musidora . ) OfficersPrivates , Volunteers , , Regulars , Irregulars , Very Musidora Irregulars , ( , In and love Commissionaires with herself . ) . ( In love with Musidora . ^ Lavinia ( A contralto , of course . In love with Musidora . ) Act I . Scene rifles . —The ammunition Camp at Wimbledon drumheads . & An fc . Refreshment avenue of tents Tent , & R * c . , , decorated , with flowers , . Mountains , and Richmond Park in the distancefurze bushes , ginger , -beer bottles , and gravel rifles loung . ing -pits outside , to give , their local tents colouring , and unde . The r . the Volunteers shade of their are Chorus of Volunteers ( with drum accompaniment ) . Sing Rations we are so gail dail y y , — Rations Sing we are so gail dail y , Sing First Nightl we comes y we so gail warble breakfast y y , , & over c . , then the punch there conies ; lunch ( da . capo . ) - Enter Eustace , gloomily ( recitative . ) Still is the maiden of my heart ' s desire Ha Still Unmindful ! smiles if she of knew she my on the passion my great hated ' s revival lambent rival , fire . Which Soon what I contemplate we shall see —no soon , it , must soon not see be shall , we . Air . Musidora ! I Down adore before her , her On my knees I oft , implore her , Pray Hoping ing that that I some do not bull bore might her gore — her , If to life I could restore her—Not Aurora Jane Venus , or , Dian Laura , May , , or Flora , Juno Can , Ceres , Poll with , or Musidora Cora ; Oh ! compare my , Oh ! my , how I adore , her ! Chorus . Sweet So do we sweet , so do sweet we , sweet Musidora . Wewe ,, wewe , all adore , her ! ( Enter Gustavus , , , armed , in gaiters . ) Caitiffsdesist ( Recitative know not . ) what For Musidora , , will ye be mine to-day ye . say , Grand Duo , Chorus , and Finale . Eustace . You lie ! Gustavus . I don ' t . Eustace Chorus . . Measureless O yes you do liar , you , know you do , You Dare shall aspire feel — my rage ' s fire .

      The [This Old Dra Play Ma Is The An Inte...

      GUSTAVUS . I Fire am away the tenor ! ( I . can sing higher ;) j Eustace . He You the , O tenor sire , — Gustavus Chorus . . Yes ! ! ! he Hi is gher a liar ! hi ! gher ! Eustace . Of my yes theme yes I'll never tire—Chorus Gustavus . . That Oh ! oh is B — oh my ! he is a hi liar ghe ! rr Never will < ( they I ) > tire . ALL A . -j ' you are > l lie ) I He is > a liar . I 1 am ) GUSTAVUS . Higher , Baritone , oh J higher—Eustace . I a baritone—Chorus . He ' s a liar . Eustace . He shall feel my furious fire . Gustavus . In Ha me ha you ! ha see ha your ! both defier are . liars CHORUS . Both shall feel each other ' s fires ; . Eustace . You ! Gustavus . You ! Eustace . You ! Gustavus . You ! Both . Are a liar I { Chorus da capo . ) Act II . Scene rated . — Interior . Messrs of . Spiers the Refreshment a ? id Pondr Te . aud 7 it — gorgeousl L . Sandwiches y deco- , bitter beercold ? neatS ^ c . , ^ , Lovely Maidens in short co 7 / e 7 'cd dresses eating . Musidora ices . —Lavinia dis-Musidora ( in explanation ) . The lovely Musidora here I lov you e the see V ; olunteersand they love me . Lavinia ( aside What ) . She tears lies I — shed ' tis me for , they these love sweet , the Volunteers little dears ! ; MUSIDORA . The Is th onl e re fre co shments mfort which sold m b y P sorrow ond and cheers Siers . Lavinia . She She r knows eally is she the awf ht ullest to y have f liars pronounced ; p it Spiers . oug Grand and Ballet are struck , in into the course various of attitudes which enter of amazement the Volunteers and , deli recovering ght at the the ? length nselves of , join the dancers in a Grand ' dresses Pas , de and Skirts afterwards . Dur- , scowl ing the at dance one another Eustace . E ente USTACE ? -s r draws and Gustavus his ramrod l ; they and points at Gustavus significantl y . Tableau . , ACT III . The Pomerania Field of Battle and . his Grand Staff rolls cross — and trumpets rccross . The the Stage Prince ( so of as to show their uniforms back and front ) . ( Enter EUSTACE , in full uniform , with Batteries . ) Eustace . Wh These y was Batteries I made ? a Nough Colonel t know to command I of grim war . That I am if a man leave of peace the — ramrod yet stay in — the I ' ve read Though you that the cartridge be a blank gun , the , rod Will Gustavus riddle in — his yes corps —this attacks riddle I the will left solve — . Which I command—what if his corpse were left ? This 'Tis done for , and rival I ' m revenge shall d find , —O a ! floorer Musidora . , my you Prince . You Colonel will , be away left ! behind The cannon if here calls you — stay away . ! Eustace . ( Your To march Batteries highness ! ricochette jests ) By at your ! scars left —Pah forward , I forget wheel , ! { Aside . ) I see that I was destined to command , The I have audience always here got the will right think mot I mean d ' ordre a joke at hand , . ' My Tis heart but my is fun sick at —I them hate I guns feebl going y poke off — ,

      1 V Is Altered To W For The Sake Of Harm...

      1 V Is altered to W for the sake of harmony .

  • Citation
    • Tomahawk (1867-1870), July 17, 1869, page 29, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/t/issues/ttw_17071869/page/11/