Summary

Various Punch, or the London Charivari…

It would be difficult to mention any Opera less dramatic than this. The question arises at once, adapting the immortal phrase of JAMES LE SIFFLEUR, "Why lug in Hamlet?" Why not have called it Ophelia? Whatever interest there may be in the Opera—and there is very little—is centred entirely in Ophelia. The Ghost is utterly purposeless, but of distinguished appearance as a robust spectre, marching in at one gate, and out at another, or hiding behind a sofa, and popping up suddenly, in order to frighten an equally purposeless Hamlet. Like father, like son.
Source: Gutenberg

Various Punch, or the London Charivari…

At a price, the vendor's property,—the vendor being you.
Then, since you must make a profit, call the public to your aid;
Let them give you all their money, which they think they only lend:
And of course you mustn't tell them, till the fools have safely paid,
Mines were made for sinking money, not for raising dividend.
And the clergy bring their savings, the widows bring their store,
And they push to reach your presence, and they jostle and they fall,
And at last they pile their money in a heap before your door
Source: Gutenberg

Various Punch, or the London Charivari…

A very hard-working Opera for the principals, and a thankless task. Hamlet's drinking song fine, and finely sung. But the whole point of the Opera is in the last Act, where there is a ballet that has nothing to do with the piece, but pretty to see little PALLADINO in short white skirts, dancing merrily in a forest glade, among the happy peasantry, to whom comes Ophelia, mad as several hatters, and after a lunatic scene, charming, both musically and dramatically, throws herself into the water, and dies singing.
Source: Gutenberg

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