63 Sentences With "Vicar of Bray" | Random Sentence Generator

The Vicar of Bray was therefore following the King rather than the Church.

9 the Rev. Henry Sandford in The Vicar of Bray in 1892;"The Vicar of Bray", The Era, 30 January 1892, p. 11 and John Manners in Haddon Hall later that year."Haddon Hall," The Era, 1 October 1892, p.

"The Vicar of Bray" is a satirical songRoud # 4998. recounting the career of The Vicar of Bray and his contortions of principle in order to retain his ecclesiastic office despite the changes in the Established Church through the course of several English monarchs. The song is particularly interesting because of the number of (rather specific) allusions to English religious and political doctrines and events crammed into it, justifying the close reading and annotation given here.

13 The opera is based on the character described in a satirical 18th-century English folk song "The Vicar of Bray", as well as on The History of Sandford and Merton, a series of 18th century moral tales. In the parlour song, the eponymous vicar was the clergyman of the parish of Bray-on-Thames, Berkshire. The most familiar version of the lyrics recounts his adaptability (some would say amorality) over half a century, from the reigns of Charles II to George I. Over this period he embraced whichever form of liturgy, Protestant or Catholic, that was favoured by the monarch of the day to retain his position as vicar of Bray. See the annotated lyrics to "The Vicar of Bray".

The current Vicar of Bray is the Reverend Ainsley Swift. The ecclesiastical parish shares the wide parish boundaries and is named Bray St Michael with Braywoodside.The Church of England "A Church Near You".

Act 1: Low Church. The Village Green. The Rev. William Barlow, the Vicar of Bray, became Low Church to marry his rich wife who, now dead, has left him with a daughter, Dorothy.

Bernard Shaw, Volume 3: The Lure of Fantasy by Michael Holroyd, Chatto and Windus, London (1991) The title of the play is taken from the first line of the traditional song "The Vicar of Bray".

Therefore, the King of England was not, in some sense, an ordinary mortal. The Vicar of Bray comically adapts his political and ecclesiastical beliefs to fit the successively ascendant government and church parties of his day.

John Dryden became Roman Catholic at this time (and was taunted by a version of the "Vicar of Bray" tale pre-dating this song), but he remained Roman Catholic to his death and defended his conversion publicly.

The parish referred to in the song is Bray, Berkshire, which lies in close promimity to several sites of political and religious significance, including Hampton Court Palace and Windsor Castle. Several individuals have been proposed as the model for the song. Simon Symonds was vicar of Bray in 1522-51, during the reigns of Henry VIII and Edward VI. However the candidate favoured by church historian Thomas Fuller and dramatist Richard Brome was Simon Aleyn, vicar of Bray in 1557-65, during the reigns of Mary I and Elizabeth I. Although the song alludes to events of the 17th and 18th centuries, it could be that Bray had already developed a tradition of clerical 'realpolitik' and religious pliability as defence against the turbulence of Tudor religious upheavals. The candidate whose lifespan and career clearly correspond with the well-known lyrics is Francis Carswell, vicar of Bray for 42 years, 1667-1709, during the reigns of Charles II, James II, William III and Mary II and Anne.

The village is mentioned in the comedic song "The Vicar of Bray". Bray contains two of the five three-Michelin-starred restaurants in the United Kingdom and has several large business premises including Bray Studios, where the first series of Hammer Horror films were produced.

James Scott was an Irish Anglican priest who was the Archdeacon of Dublin from 1883 to 1908. Scott was educated at Trinity College, Dublin and ordained in 1853.Crockford's Clerical Directory, London, Horace Cox, 1908, p. 1271 After curacies in Athboy and Dublin he was the rector and Vicar of Bray.

"A Good Word for the Vicar of Bray" is an essay by the English author George Orwell. In it Orwell encourages the public-spirited action of planting trees, which may well make up for the harm people do in their lives. The essay was first published in Tribune on 26 April 1946.

The Vicar of Bray is a 1937 British historical film with songs, directed by Henry Edwards, and starring Stanley Holloway, Hugh Miller, Felix Aylmer and Margaret Vines. These songs include the melody and first verse of the traditional English song which gives the film its title, along with a new verse on Cromwell's rule.

But another important thing to consider is that the individuals with the highest fitness are more likely to find a mate and reproduce. Therefore, the chances of offspring with a higher fitness increases. The Vicar of Bray hypothesis proposes that sexual reproduction is more beneficial than asexual reproduction, despite the cost of time and effort.

Local attractions include the nearby Bodie Suspension Bridge and the Vicar of Bray shipwreck, which participated in the California gold rush. Goose Green farm itself is massive. At , it is double the size of the farms at Port Howard and North Arm. During the Falklands War, it was the scene of the Battle of Goose Green.

Quite an Adventure. The Gilbert and Sullivan Archive, accessed 25 June 2010 Further provincial performances were given when D'Oyly Carte took The Vicar of Bray and The Chieftain on tour between 1892 and 1895.Rollins and Witts, pp. 92 and 94; and "A New Opera at the Theatre Royal", The Huddersfield Daily Chronicle, 19 February 1895, p.

The "Vicar of Bray" hypothesis (or Fisher-Muller Model ) attempts to explain why sexual reproduction might have advantages over asexual reproduction. Reproduction is the process by which organisms give rise to offspring. Asexual reproduction involves a single parent and results in offspring that are genetically identical to each other and to the parent. In contrast to asexual reproduction, sexual reproduction involves two parents.

British History Online. Retrieved 3 January 2015. > The vivacious vicar [of Bray] living under King Henry VIII, King Edward VI, > Queen Mary, and Queen Elizabeth, was first a Papist, then a Protestant, then > a Papist, then a Protestant again. He had seen some martyrs burnt (two miles > off) at Windsor and found this fire too hot for his tender temper.

The generally known form of the song appears to have been based on an earlier version, "The Religious Turncoat; Or, the Trimming Parson". The melody is taken from the 17th-century folk melody "Country Gardens" which in turn was used in The Quaker's Opera, first printed in London in 1728, a three-act farce based on the story of Jack Sheppard which was performed at Bartholomew Fair. A parody of this parody song, "The American Vicar of Bray", with the same chorus, was published in the 30 June 1779 edition of Rivington's Royal Gazette, mocking the shifting loyalties of some American colonists during the American Revolutionary War. "The Vicar of Bray" is also referenced in the song "Parlour Songs" in the Stephen Sondheim musical, Sweeney Todd, although the song has been removed from more recent performances of that musical.

Savoy Theatre programme for double bill of Captain Billy and The Vicar of Bray Captain Billy is a one-act comic opera with a libretto by Harry Greenbank and music by François Cellier. It was first performed at the Savoy Theatre on 24 September 1891"Captain Billy", The Era, 26 September 1891, p. 11 until 16 January 1892, as a curtain raiser to The Nautch Girl, and from 1 February 1892 to 18 June 1892, as a curtain raiser to The Vicar of Bray, for a total of 217 performances.Introduction and cast list for Captain Billy The first stage production with an orchestra for over 100 years was done in May 2007 by the Chapel End Savoy Players at the Deaton Theatre, Forest School, Snaresbrook, London as a curtain raiser for their production of The Pirates of Penzance.

Diarmaid MacCulloch, Reformation: Europe's House Divided, London, 2005 But he owes his notoriety to his remarkable versatility, and, like the Vicar of Bray, he was always faithful to the national religion, whatever it might be. A weathervane he donated with his initials of AP was said to have swung between 'A Papist','A Protestant', and 'A Puritan', depending on which way the wind blew.Diarmaid MacCulloch, op. cit., p.209.

Therefore, the offspring of a population of sexually reproducing individuals will show a more varied selection of phenotypes. Due to faster attainment of favorable genetic combinations, sexually reproducing populations evolve more rapidly in response to environmental changes. Under the Vicar of Bray hypothesis, sex benefits a population as a whole, but not individuals within it, making it a case of group selection.Wilson, David Sloan and Scott K. Gleeson.

73 before returning to the Savoy to complete the run of The Gondoliers. Brandram had no role in The Nautch Girl at the Savoy, but she appeared as Widow Jackson in the curtain-raiser, Captain Billy (1891–92).The Observer, 27 September 1891, p. 6 She played Widow Merton in the revival of Grundy and Solomon's The Vicar of Bray at the Savoy (1892).The Observer, 31 January 1892, p.

Olivette, the English adaption of Les noces d'Olivette, a comic opera with music by Edmond Audran, debuted at the Bijou on Christmas Day with Jansen as the Waiting Maid to the Countess. In May 1881 Olivette opened at the Boston Globe, with Jansen assuming the role of the Countess, with great success."Record of Amusements", The New York Times, December 26, 1880, p. 7 She next played in The Vicar of Bray and Billee Taylor.

The image of the parish vicar is a popular one in British culture. A popular British television series on BBC depicts a fictional woman vicar humorously in The Vicar of Dibley, and the story of The Vicar of Bray appears as a song and otherwise. Rev., another popular sitcom on BBC Two, explores the struggles of a former rural vicar as he copes with the demands of running an inner-city church.

The early years of the decade brought the Globe little success. A comic opera in an attempted Gilbert and Sullivan vein,"Globe Theatre", The Manchester Guardian, 24 July 1882, p. 5 The Vicar of Bray, by Sydney Grundy and Edward Solomon (1882) ran for only 69 performances,Rollins and Witts, p. 13 and The Promise of May, a "Rustic Drama in Prose" by the Poet Laureate, Lord Tennyson, lasted only a few nights.

The hypothesis is called after the Vicar of Bray, a semi-fictionalized cleric who retained his ecclesiastic office by quickly adapting to the prevailing religious winds in England, switching between various Protestant and Catholic rites as the ruling hierarchy changed. Ridley, Matt. The Red Queen: Sex and the Evolution of Human Nature (1993), Penguin Books The figure described was Simon Aleyn between 1540 and 1588. The main work of Thomas Fuller (d.

The Hind's Head dates from the 15th century, and the interior of the pub includes a panel commemorating the Vicar of Bray from the Tudor period who reportedly changed his political allegiance on three occasions due to the changes in the state religion of England. The interior retains elements of its earlier eras, including an open fireplace. The pub is owned by chef Heston Blumenthal, and is located nearby his three Michelin star restaurant, The Fat Duck.

Because of the carpet quarrel, Gilbert had vowed to write no more for the Savoy. When The Gondoliers closed in 1891, Carte needed new authors and composers to write works for the Savoy Theatre. He turned to old friends George Dance, Frank Desprez and Edward Solomon for his next piece, The Nautch Girl, which ran for a satisfying 200 performances in 1891–92. Carte then revived Solomon and Sydney Grundy's The Vicar of Bray, which ran through the summer of 1892.

In 1892, she starred in In Town, which became a hit and ushered in the age of the Edwardian musical comedy. This was followed by the hit the burlesque Little Christopher Columbus. In 1894, she joined the D'Oyly Carte Opera Company in Mirette, created the role of Rita in The Chieftain and toured as Winifred in The Vicar of Bray. In the mid-1890s, she returned to concert singing, appearing regularly in the weekly Ballad Concerts at St James's Hall for many years.

45 Fishe was then engaged by the D'Oyly Carte Opera Company, immediately performing the role of Thomas Merton in The Vicar of Bray at the Savoy Theatre. At the end of the run, he left the Savoy to star in Ma mie Rosette at the Globe Theatre and then at the Prince of Wales Theatre from November 1892 to February 1893. Fishe began to suffer from tuberculosis, perhaps as early as on the South America tour, and the disease was to advance over the ensuing years.Lamb, p.

At 3pm on 5 November 1939, a recital in honour of Gladys Watkins was given by 'automatic player' on the National War Memorial Carillon. The programme consisted only of works or arrangements by Watkins herself: Changes on Eight Bells; I Waited for the Lord; My True Love Hath My Heart; Bells of St Mary's; Nearer My God to Thee; The Bells of Scotland - Men of Harlech - Vicar of Bray; The Last Rose of SummerSilver Threads Among the Gold; Oh God Our Help in Ages Past; God Defend New Zealand; The National Anthem.

Owen was born in Bristol, where she made her theatrical debut at the Prince's Theatre at the age of eleven. In 1891, Owen joined the D'Oyly Carte Opera Company on tour, playing the small role of Cheetah in The Nautch Girl. She left the company to appear in a Christmas pantomime in Birmingham, returning to tour with the company in 1892 as Cynthia in The Vicar of Bray and as Polly in the companion piece, Captain Billy. Late in the tour, she played Nance in Arthur Sullivan's Haddon Hall.

Scene from Act II: The "Pas de Cinq", 1892 at the Savoy Theatre The Vicar of Bray is a comic opera by Edward Solomon with a libretto by Sydney Grundy which opened at the Globe Theatre, in London, on 22 July 1882, for a run of only 69 performances. The public was not amused at a clergyman's being made the subject of ridicule, and the opera was regarded by some as scandalous. An 1892 revival at the Savoy Theatre was more successful, lasting for 143 performances, after public perceptions had changed.Rollins and Witts, p.

Hewson grew up in Swansea. He joined the D'Oyly Carte Opera Company 1894 as a member of the chorus of the original production of Mirette at the Savoy Theatre in London. He soon went on tour with the company, doubling in the small roles of Captain Corcoran and Calynx in Utopia Limited and playing Francal in Mirette. In early 1895, he took the larger roles of Mr. Goldbury in Utopia, Gerard de Montigny in Mirette, Tommy Merton in The Vicar of Bray, and Ferdinand de Roxas in The Chieftain.

Florence Julia Perry was born in London in 1869. Her first professional appearance was in 1887 as Phyllis Tuppitt in Dorothy at the Prince of Wales's Theatre. She then toured in The Red Hussar and Doris. Shortly after her return to London, she was hired by the D'Oyly Carte Opera Company. Perry toured with the company from 1890 to 1893, appearing as Yum-Yum in The Mikado, Gianetta in The Gondoliers, Phyllis in Iolanthe, Winifred in The Vicar of Bray and Phoebe Fairleigh in Billee Taylor. Her elder sister, Beatrice (1865-1944), also performed with the company beginning in 1892.

As Tapioca in The Lucky Star In 1892 Evett joined the D'Oyly Carte Opera Company on tour in The Vicar of Bray, playing the Reverend Henry Sandford, the tenor lead. In 1893, Evett added the role of Oswald in Haddon Hall. In 1894, the company toured with Gilbert and Sullivan's Utopia Limited, with Evett playing the smaller role of Lord Dramaleigh and also Sandford and Oswald in repertory. In 1895, Evett next played the roles of Bertuccio in Mirette, Count Vazquez (and sometimes Pedro Gomez) in The Chieftain, Mr. Box in Cox and Box, and Prince Hilarion in Princess Ida.

During a visit from his governor in Ireland the Earl of Brendon, Charles I asks advice on finding a new tutor for his wayward son Prince Charles and accepts Brendon's recommendation of the vicar of Bray, County Wicklow. On returning to Ireland Brendon passes on news of the appointment to the vicar, who travels to London to take up the post, promising to return one day. He falls asleep during his first lesson with the Prince, allowing the latter to slip away to see his actress lover Meg Clancy. The vicar follows the Prince and mildly reprimands him before they are reconciled.

In December 1897 he left the tour to take a year's leave of absence. He rejoined a D'Oyly Carte touring company, playing Bedford Rowe in The Vicar of Bray and Pennyfather in the companion piece After All!, from December 1898 to February 1899, and later as Tobasco and then Sirocco in The Lucky Star and also The McCrankie in Haddon Hall, until September 1899. From April to December 1900 he toured in the principal comic role of Hassan in The Rose of Persia and, from September to December 1901, as Professor Bunn in The Emerald Isle.

The "Vicar of Bray" is a song about a 17th-century cleric who changed his religious views from one extreme to another according to the government of the time in order to retain his living. In 1936, Orwell took the lease of a cottage at Wallington, Hertfordshire and moved in by 2 April, two months before his marriage. It was a very small cottage called the "Stores" with almost no modern facilities in a tiny village. He needed somewhere quiet to work on The Road to Wigan Pier, and as well as writing, he spent hours regenerating the garden.

Queen Anne's first government was Whig, but the Tories rose soon to negotiate the Treaty of Utrecht to end the Whig War of the Spanish Succession. During this period, several men of great force rose under the leadership of Robert Harley, 1st Earl of Oxford and Earl Mortimer, and Henry St. John, the Viscount Bolingbroke. This is notable, because the voices of this Tory administration (including Alexander Pope and Jonathan Swift) were adept satirists, and the "Vicar of Bray" was composed, most likely, by a sympathetic wit. The idea that the Church was in danger (lines 32–33) was a common rallying cry of the Tory churchmen from 1701 onward.

Carswell "was of like easy conscience"Citation needed - check Fuller and Brome. to his antecedents and remained vicar of Bray until his "dying day", through most of the events described, except the accession of the first Hanoverian king George I alluded to in the final verse. It would not be surprising if, as the song grew in popularity, an additional verse was appended to make it relevant during the mid-18th-century and beyond. Thomas Barlow has also been suggested as an inspiration for the song, but this may just be because he had a prominent clerical and academic career spanning the vicissitudes alluded to.

His critics argue that he, as a loyal servant to Stalin, is responsible for the deaths of thousands during the 1930s purges when many Armenian intellectuals were assassinated. According to academician Hayk Demoyan, he "symbolizes evil, mass murders, and an atmosphere of fear." His supporters argue that he was a major figure on global political stage and usually point to his role in the Cuban missile crisis. Dubbed the Vicar of Bray of politics and known as the "Survivor" during his time, Mikoyan was one of the few Old Bolsheviks who was spared from Stalin's purges and was able to retire comfortably from political life.

Rutland Barrington as the Vicar and Mary Duggan as Nelly Bly When the Gilbert and Sullivan partnership disbanded after the production of The Gondoliers in 1889, impresario Richard D'Oyly Carte was forced to find new works to present at the Savoy Theatre. Solomon's The Nautch Girl was the first non-Gilbert and Sullivan "Savoy Opera" in 1891. Sullivan was writing a new opera for the Savoy that would become Haddon Hall, but this was delayed because of Sullivan's ill health. In the meantime, when The Nautch Girl closed after a modestly successful run, Carte revived The Vicar of Bray at the Savoy in 1892.

8; and The Palace Theatre at the Arthur Lloyd theatre site, accessed 13 October 2009 After The Gondoliers closed in 1891, Gilbert withdrew the performance rights to his libretti and vowed to write no more operas for the Savoy. The D'Oyly Carte company turned to new writing teams for the Savoy, first producing The Nautch Girl, by George Dance, Desprez and Edward Solomon, which ran for a satisfying 200 performances in 1891–92. Next was a revival of Solomon and Sydney Grundy's The Vicar of Bray, which played through the summer of 1892. Grundy and Sullivan's Haddon Hall then held the stage until April 1893.

The English Church is an Established Church, meaning that it is regulated by Parliamentary law; at the time ecclesiastics could be and were removed from office for their religious and political opinions. This is the gist of the song's satire: the Vicar of Bray accommodated his beliefs to those of the current ruler, in order to retain his ecclesiastic office. During the period in question, one of the most difficult and fluid questions was the degree to which Non-conformist and Non-juror clerics could participate in the Established Church. Non-conformists were those ministers who, though ordained and appointed by the church hierarchy, would not conform to the liturgical practices outlined by the church authorities.

Florence Easton (not to be confused with the better known soprano Florence Easton) was a British singer and actress who sang with the D'Oyly Carte Opera Company in the early 1890s. Easton appeared with the D'Oyly Carte Opera Company in Savoy Operas from May 1892 to June 1894. In Captain Billy, a one- act curtain raiser that accompanied The Vicar of Bray, she played the small role of Polly in May and June 1892. She originated another small role, Deborah, in Haddon Hall in September 1892, and in April 1893 she had the opportunity to play the leading role of Dorothy Vernon in that opera for several nights until the end of that opera's run.

A considerable proportion of his output consisted of short piano pieces and unison songs suitable for children, and in an advertisement for his music in 1916 it was thought that "more than doubtful whether he has a rival among modern British composers who specialise in educational music." Musical Opinion and Music Trade Review (1916), Volume 40, p. 77 The orchestral suite Stella-Mary Dances was written in memory of his oldest daughter who died in 1917, aged 12. They were played (along with his Vicar of Bray variations) on BBC Radio on 15 November 1929; the broadcast was followed by a concert of music from The Beggar's Opera by his brother Frederic, who also conducted.

Upon Elizabeth's ascension, the 1558 Act of Uniformity, 1559 Act and Oath of Supremacy, and the Thirty-Nine Articles of 1563 formed the Religious Settlement which restored the Protestant Church of England. The vicissitudes of the clergy during the period were satirized in "The Vicar of Bray". The papal bull Regnans in Excelsis supporting the Rising of the North and the Irish Desmond Rebellions against Elizabeth proved ineffective, but similarly ineffective were the Marian exiles who returned from Calvin's Geneva as Puritans. James I supported the bishops of Anglicanism and the production of an authoritative English Bible while easing persecution against Catholics; several attempts against his person—including the Bye & Gunpowder Plots—finally led to harsher measures.

Rollins and Witts, p. 93 and later in 1895 King Gama in Princess Ida, finally appearing in the role he had understudied in his first season with D'Oyly Carte eleven years earlier.Rollins and Witts, p. 94 In 1896 he toured as Ludwig in the final Gilbert and Sullivan opera, The Grand Duke.Rollins and Witts, p. 98 In most of these provincial tours Lytton's wife was a fellow member of the company.Rollins and Witts, pp. 68, 71, 75, 78, 82, 86, 90–91, 94, 96–97, 98 and 100 During them he also appeared in Savoy operas by librettists or composers other than Gilbert and Sullivan, playing the title role in The Vicar of Bray (1892),Rollins and Witts, p.

In August 1891 Kenningham joined a D'Oyly Carte Opera Company touring company as Indru in The Nautch Girl. He replaced Courtice Pounds as Indru at the Savoy Theatre in October 1891 before returning to the Royal English Opera House to play Jeban D'Eveille in La Basoche by André Messager, and reprising his role as de Bracy in Ivanhoe for six performances during November and December 1891. Kenningham rejoined D'Oyly Carte on tour in March 1892 in the role of the Reverend Harry Sandford in The Vicar of Bray. Returning to the Savoy Theatre in September 1892, he created the parts of Oswald in Haddon Hall, Tom in Jane Annie, and Captain Fitzbattleaxe in Gilbert and Sullivan's penultimate opera, Utopia, Limited.

Orwell notes that the Vicar of Bray has a very poor reputation because of his political opportunism, but yet he left two positive legacies - an entertaining song and a giant yew tree which he is said to have planted in Bray church yard. Orwell then quotes two examples, one of murder and the other of adultery, where the perpetrators left something that could be appreciated after their deaths. Thibaw, last king of Burma, decapitated seventy or eighty of his brothers on his accession, but planted Tamarind trees in Mandalay, and Mrs Overall, wife of Dean Overall was a wanton but was commemorated in an entertaining poem about her - "The Shepherd Swaine" by John Aubrey. Orwell then makes a plea in favour of tree- planting.

Thornton returned to England in September 1890,The Era, 6 September 1890, p. 8 and in June 1891 he created the role of Pyjama, the Grand Vizier, in The Nautch Girl for D'Oyly Carte.The Era, 4 July 1891, p. 9 After this closed, he toured with the company in The Vicar of Bray,Birmingham Daily Post, 22 March 1892, p. 7 leaving the company again in 1892. In London, he appeared in La Rosière in 1893The Times, 16 January 1893, p. 6 and later in that year he began his third tour of Australia, with Charley's Aunt and, again, The Private Secretary.The Era, 25 November 1893, p. 7 On his return to London he appeared in G. Stuart Ogilvie's romantic drama, The Sin of Saint Hulda, with Lewis Waller.The Era, 28 March 1896, p.

Crystal Palace playbill, 26 December 1889 Other later Gaiety burlesques choreographed by D'Auban included Ruy Blas and the Blasé Roué (1889) and Carmen Up to Data (1890). D'Auban continued to choreograph most of the Gilbert and Sullivan and other Savoy Theatre pieces throughout the 1880s and 1890s. These included Iolanthe (1882),Savoy Theatre playbill, Iolanthe, 25 November 1882Princess Ida (1884), The Mikado (1885)The Mikado , review in The Entr'acte, London, 28 March 1885, p.6a, accessed at the Footlight Notes website, 21 December 2009 (D'Auban is played by Andy Serkis in the 1999 film Topsy-Turvy concerning the making of The Mikado), Ruddigore (1887),Ruddigore cast information at The Gilbert and Sullivan Archive, accessed 15 December 2009 The Yeomen of the Guard (1888),The Era, 6 October 1888, p. 9 The Vicar of Bray (1892), Captain Billy (1892), Haddon Hall (1892),Trutt, David.

Waller's later poems were strongly influenced by Hobbes, whose Leviathan he admired, and whose De Cive he at one point proposed to translate. Waller was a central figure at the court of Charles I, many of his poems being finely written for a court audience, and he continued to write occasional and complimentary poems for following monarchs, as well as the Protectorate leaders such as Cromwell. Samuel Johnson criticised him for his radical shifts in support of ruling parties during the periods of monarchy, commonwealth and Restoration, in which Waller appears as a character not unlike the Vicar of Bray, but even Waller's panegyric works were finely tuned and intended to be politically persuasive. While his stance towards ruling parties changed, he maintained an internal consistency, often assuming the role of a peacemaker and mediator both in his poems and in politics.

Oliver Goldsmith's novel The Vicar of Wakefield (1766) and Honoré de Balzac's The Curate of Tours (Le Curé de Tours; 1832) evoke the impoverished world of the 18th- and 19th-century vicar. Anthony Trollope's Chronicles of Barsetshire are peopled with churchmen of varying situations, from wealthy to impoverished; the income differences prompted a digression in Framley Parsonage (chapter 14) on the incomprehensible logic that made one vicar rich and another poor. The 18th- century satirical ballad "The Vicar of Bray" reveals the changes of conscience a vicar (whether of the Bray in Berkshire or of that in County Wicklow) might undergo in order to retain his meagre post, between the 1680s and 1720s. "The Curate of Ars" (usually in French: Le Curé d'Ars) is a style often used to refer to Saint Jean Vianney, a French parish priest canonized on account of his piety and simplicity of life.

Savoy Theatre programme: double bill of Captain Billy and The Vicar of Bray – Lewis appeared in both Lewis's first public appearance as a bass singer seems to have been in 1882, in a concert performance of Faust given by Gilardoni's pupils, during which Lewis made "the success of the evening" as Mephistopheles. By October 1884, at the age of 40, he was performing at the Savoy Theatre in the chorus of the D'Oyly Carte Opera Company in the revival of Gilbert and Sullivan's The Sorcerer and Trial by Jury. In March of the following year he originated the small role of Go-To in The Mikado,Savoy Theatre programme The Mikado, original 1885 production, accessed 13 May 2018 which was created because the baritone voice of Frederick Bovill, who played Pish-Tush, was not deep enough to bring out the bass line in the madrigal "Brightly Dawns Our Wedding Day".Ainger, Michael. Gilbert and Sullivan: A Dual Biography, Oxford University Press (2002), p.

Now approaching the age of 40, St. John was engaged by the D'Oyly Carte Opera Company in October 1894 as a replacement in the title role of Mirette by Messager at the Savoy Theatre, giving a boost to the ailing production. The Era's reviewer wrote, "Mirette has gained in favour, and the other artists, stimulated by Miss St. John's presence, act and sing with greater animation." After this, she created the role of Rita in Arthur Sullivan and F. C. Burnand's The Chieftain at the Savoy (1894–95), earning good notices. She then toured briefly in 1895 with a D'Oyly Carte company as Mirette and as Winifred in The Vicar of Bray. On 9 June 1896, St. John played the plaintiff in a benefit performance of Trial by Jury for Kate Vaughan at the Gaiety Theatre, with Rutland Barrington as the judge and many other D'Oyly Carte singers, and the benefit also featured Marie Tempest, Letty Lind and other famous performers.

74 and then toured as Iolanthe, Pitti-Sing and Tessa, as well as Nelly Bly in The Vicar of Bray, Arabella Lane in Billee Taylor and Dorcas in Haddon Hall. In 1894–95, she played Princess Nekaya in Utopia, Limited, Nelly Bly, Zerbinetta in Mirette, Dolly Grigg in The Chieftain, and Melissa in Princess Ida. In 1896–97, Henri toured as Julia Jellicoe in The Grand Duke (together with Lytton as Ludwig),"Theatre Royal – The Grand Duke", The Manchester Guardian, 16 June 1896 as well as Nekaya; Constance in The Sorcerer; Cousin Hebe in Pinafore; Edith; Lady Angela in Patience; Iolanthe; Melissa; Pitti-Sing; Phoebe; and Tessa. In June 1897, she was called to the Savoy Theatre, joining Lytton there, where she was a chorister in the revival of Yeomen and the new production of The Grand Duchess of Gerolstein, while creating the title role in Old Sarah, the companion piece to both works.

Jones Hewson, The Savoy Photo Gallery at The Gilbert and Sullivan Archive He also played the Counsel to the Plaintiff in Trial by Jury and Sir Marmaduke Pointdextre in The Sorcerer when they were revived together in the autumn of 1898. Hewson went back on tour at the beginning of 1899, reprising his role of Tommy Merton in The Vicar of Bray, and then toured in seven leading baritone roles in repertory: Captain Corcoran in H.M.S. Pinafore, the Pirate King in Pirates, Lord Mountararat in Iolanthe, the title role in The Mikado, Sergeant Meryll in Yeomen, Giuseppe in The Gondoliers and Mr. Goldbury in Utopia Limited, until August 1899, when he left the company for ten months. He returned to the D'Oyly Carte Opera Company at the Savoy as a replacement for the role of Abdallah during the original production of The Rose of Persia in the summer of 1900. After this, he played the Pirate King in Pirates (1900)"Savoy Theatre", The Times, 2 July 1900, p.

Stone, David. Agnes Fraser, Who Was Who in the D'Oyly Carte Opera Company, at The Gilbert and Sullivan Archive, 27 August 2001, accessed 16 June 2020 Fraser made her professional début with a D'Oyly Carte Opera Company touring company in the chorus of The Vicar of Bray, The Lucky Star and Haddon Hall from December 1898 to September 1899. She then moved to the main D'Oyly Carte company at the Savoy Theatre in London, where she appeared in The Rose of Persia (1899–1900), taking over the small role of "Blush-of-Morning" from Isabel Jay, and occasionally playing the lead role of the Sultana during Jay's temporary absence; the 1900 revival of The Pirates of Penzance as Isabel, understudying Jay as Mabel and going on in that role in September 1900; the revival of Patience as Lady Ella (1900 – 1901); The Emerald Isle as Kathleen, occasionally going on for Jay as Lady Rose Pippin (1901); the first revival of Iolanthe as Celia (1901); and The Willow Pattern as Ah Mee (1901–1902). When Isabel Jay left the company, Fraser replaced her as the lead soprano, originating the role of Bessie Throckmorton in Merrie England at the Savoy Theatre in 1902 and then on tour.

Theatre Royal, Drury Lane playbill, 26 December 1881 In 1880, he choreographed Billee Taylor at the Imperial Theatre, Franz von Suppé's Boccaccio for H. B. Farnie,Comedy Theatre playbill, 15 June 1882 The Vicar of Bray at the Globe Theatre, and Rip van Winkle by Henri Meilhac, Phillipe Gille and Farnie, both at the Comedy Theatre.Comedy Theatre playbill, 14 October 1882 In 1886, D'Auban choreographed Vetah, a comic opera with a libretto by Kate Santley and music by Firmin Bernicat and Georges Jacobi, which toured the British provinces in 1886.Gänzl, p. 302 He played Demonico in Frankenstein, or The Vampire's Victim in 1887 at the Gaiety and arranged the dances.Drury Lane pantomime site accessed 14 December 2009 He also choreographed Faust up to date by Meyer Lutz, including his famous ballet music, a Pas de Quatre (1888), that became very popular and is still available today on CD."Pas de Quatre", track 7 on British Light Music Classics, Hyperion, 1996, accessed 15 December 2009 In 1889, he choreographed Cinderella; Or, Ladybird, Ladybird, Fly Away Home at Her Majesty's TheatreCinderella casts, accessed 14 December 2009 and both choreographed and appeared in Aladdin, and the Wonderful Lamp; or, The Willow Pattern plate and the Flying Crystal Palace at the Crystal Palace.