"You think we will acknowledge him as heir to the estates of Huntingdon? Never!" Scarlet declared.

"Traitor!" Robin Hood cried to the Sheriff. "In the absence of the King I know that your word is law; but wait till the King returns from his Crusade! I'll show you then whose word is to prevail."

"My friend!" Little John then cried, stepping into the middle of the row, "take thou this good stout bow of yew. You are going to join us and make one of Sherwood's merry men till his Majesty returns and reinstates you as the rightful Earl of Huntingdon. Come! Say you will be one of us." All the outlaws crowded affectionately about Robert and urged him.

"You shall become King of Outlaws, if you will," Scarlet cried. "Come!

accept our friendship. Become our outlaw king!"

After thinking a moment, Robert turned and looked at the gay cavalier whom he knew to be his cousin Marian, in masquerade, and whom he loved. Then he decided he would go and live a gay and roving life in the forest till he could return and marry his cousin as the Earl of Huntingdon should.

"Farewell," he sang to her. "Farewell, till we meet again," and he was carried off amid the uproarious welcome of the outlaws of Sherwood forest, to become their leader till the King returned from the Crusades to make him Earl.

ACT II

Away in Sherwood forest the outlaws were encamped--which meant merely the building of a fire and the a.s.sembling of the merry men. Robin Hood had become their leader.

Oh, cheerily soundeth the hunter's horn, Its clarion blast so fine; Through depths of old Sherwood so clearly borne, We hear it at eve and at break of morn, Of Robin Hood's band the sign.

A hunting we will go, Tra-ra-ra-tra-ra!

We'll chase for the roe, Tra-ra-ra-tra-ra!

Oh where is band so jolly As Robin's band in their Lincoln green?

Their life is naught but folly, A rollicking life I ween!

Now the merry men gathered about their fire, and while the old monk was broiling the meat, they all lounged about in comfortable ways and Little John sang to them:

And it's will ye quaff with me, my lads, And it's will ye quaff with me?

It is a draught of nut-brown ale I offer unto ye.

All humming in the tankard, lads, It cheers the heart forlorn; Oh! here's a friend to everyone, 'Tis stout John Barley-corn.

So laugh, lads, and quaff, lads!

'Twill make you stout and hale, Through all my days I'll sing the praise Of brown October ale!

While the outlaws were lounging thus, in came the Sheriff, Sir Guy, the spurious Earl, and a lot of journeymen tinkers. Immediately they began a gay chorus, telling how they were men of such metal that no can or kettle can withstand their attack, and as they hammered upon their tin pans, one believed them. Of all the merriment and nonsense that ever was, the most infectious took place there in the forest, while the tinkers sang and hammered, and Friar Tuck made jokes, and the other outlaws drank their brown October ale: but soon Maid Marian, the dainty cavalier, wandered that way, looking for Robin Hood--Robert of Huntingdon. She had missed him dreadfully, and finally could not refrain from going in search of him. She was certain she should find him thinking of her and as true to her as she was to him.

Robin Hood found that she had come to the forest, and sang to her a serenade which was overheard by the other outlaws. Alan-a-Dale, who was in love, became jealous, and the Sheriff came on to the scene, and the outlaws, finding him on their ground, took him prisoner, and Dame Durden, who secretly had been married to the Sheriff, and from whose shrewish tongue the Sheriff had fled, came to free him. She declared that if the Sheriff of Nottingham would acknowledge her, she would get him free from the stocks, into which the outlaws had put him, and would take him home. But the prospect of having to stand Dame Durden's tongue was so much worse than the stocks, that the Sheriff begged the outlaws to take him anywhere so long as it was away from his wife.

Woman, get thee gone, I'd rather live alone!

If Guy should come with the King's men, I'd turn the tables on them,

the Sheriff cried, trying to plan a way to get free.

At that all the outlaws danced gaily about him, gibing at him and making the pompous Sheriff miserable. They were trying to pay him for his mistreatment of Robin Hood, their beloved leader.

In the height of their gaiety in rushed Sir Guy with the King's men.

"We're lost," all cried.

"You are," Sir Guy recklessly shouts, "because we're brave as lions, all of us, and shall make short work of you."

We're brave as lions, every one, We're brave as lions--for we're two to one,

all cried, and immediately they marched the gay outlaws off to prison and set the Sheriff free.

As it turned out, Maid Marian, the cousin and beloved of Robin Hood, had been commanded by the King himself to become Robin's wife, or rather the wife of the Earl of Huntingdon. As the false Earl, Guy had tried to make love to the maid, and to win her, but the cousins loved each other, and all Guy's efforts were quite hopeless. But now that the outlaws, and Robin Hood with them, were all in the power of the Sheriff again, the case looked serious. As outlaws, the Sheriff could hang them, every one. Little John and the leading outlaws pleaded for their friend, reminding the Sheriff and Sir Guy that, since Robin must, by the King's command, marry Marian, the Sheriff dare not kill him.

"Don't count upon that," the wily Sheriff cried "The King's command was to the Earl of Huntingdon--and he is my ward, Sir Guy; not your outlaw friend! Robin Hood shall go to the gallows and Guy shall marry the Maid Marian." At that everybody sighed very sadly. It really began to look as if the wicked Sheriff was going to get the best of them.

ACT III

Among the outlaws, the strongest and also the cleverest, perhaps, was Will Scarlet. He had not been captured with the others of the band, and so he had come into Nottingham, whence the prisoners had been taken, to spy out the ground and to see if he could not help to free his comrades. He had set up a blacksmith's shop and had set about forging a sword. All the while he was watching what took place about him, and hoping to get news of his friends.

Friar Tuck was finally discovered locked up in a tower, and with his dirty face at the window. It would have been a shame for so dirty and merry a gentleman as the Friar to have his life cut short, and of course he was freed, but before this happened he had plenty of chance to get scared half to death.

At the very moment when Maid Marian was distracted because she feared that her lover, Robin Hood, was to be led to the gallows, a message came from the King, pardoning all of the outlaws. Some one had revealed to his Majesty the doings of the Sheriff, and the King had hastened to look into matters. When everybody's life seemed to be in danger, the King rushed back from the Crusades and saved them all, and put the temporary outlaw into his rightful place, and forgave all the other merry men because they had befriended Robert of Huntingdon.

In the midst of the rejoicing, Robin bade the foresters farewell, clasped his cousin in his arms, the Sheriff was properly punished, and the merriest of operas came to an end.

FLOTOW

There has never been more uncertainty and disagreement about the production, composition, and source of any opera than about the opera of "Martha." Among the reasonable guesses as to its source is one that Flotow found the theme for the story in a French ballet named "Lady Henriette, ou la Foire de Richmond," also, "Lady Harriette, ou la Servante de Greenwich." Among the German t.i.tles we find "Martha, oder der Markt zu Richmond," and "Martha, oder der Magdemarkt zu Richmond."

When all is said and done, it is still a German opera.

Flotow belonged to the petty n.o.bility of Mecklenburg. He was destined for the diplomatic profession and his art work was continually interrupted by revolutions in his own country and in France.

He had already written a number of unimportant pieces before he undertook "Martha." This opera was made under particularly interesting circ.u.mstances, being originally the work of three composers. The Marquis Saint-Georges--the librettist of the day--asked Flotow to undertake the music of one act only, as the other two had already been a.s.signed to two different composers. This proved to be on account of a contract made by the manager of the Grand Opera with the French Government to produce a new ballet in three acts every year--and the Marquis had tried to evade the contract on the ground that it would bankrupt him. The manager's _Premiere_ heard of this appeal, and she in her turn went to headquarters, asking that the manager be compelled to put on the piece as agreed. The next day he received an offer of 100,000 francs to mount the new ballet if he would put the dancer, Mlle. Dumilatre, into the leading part, and do it in an incredibly short time. This was how three composers brought into being the piece that one day was to become the "Martha" with which we are now familiar. After Flotow had written "Stradella" he was asked to write an opera for the court, and remembering the peculiarly carpentered piece, "Martha," he went to Saint-Georges's ballet for his court-opera theme. When finished it was "Martha."

The librettist for "Martha" and another Flotow piece was Reise, but he wrote under the name of W. Friedrich. Balfe used the story for an opera which he called "The Maid of Honour." The opera was about ten years in gaining popularity outside of Germany. It was perhaps somewhat longer than that in reaching Paris and London. It was known in New York, having been presented at Niblo's Garden, before it was known in Paris or London, and Madame Anna Bishop sang it. The great singers who have appeared in the cast are Anna Bishop, Mario, Lehman, Nilsson, Patti, Brignoli, and others.

Flotow's best claim to distinction lies in this opera of "Martha." He was not a special favourite nor a genius, but in "Martha" he turned out a number of fascinating tunes of a humable sort. One of them has been adapted to sacred words, and is much used in churches, but for the most part "Martha" is made of a series of jiggy choruses. Berlioz, who especially hated Flotow, declared that the "introduction of the Irish melody ('Last Rose of Summer') served to disinfect the rottenness of the Martha music."

Flotow was born April 27, 1812. Died January 24, 1883.

MARTHA

CHARACTERS OF THE OPERA WITH THE ORIGINAL CAST AS PRESENTED AT THE FIRST PERFORMANCE

Lady Harriet Anna Zerr Nancy Therese Schwarz Lionel Joseph Erl Plunkett Carl Formes

Sheriff of Richmond, three servants of Lady Harriet, three maid servants.

Chorus of ladies, servants, farmers, hunters and huntresses, pages, etc.