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89-583: The phrase probably became known to English scholars through Pericles' Funeral Oration , as mentioned in Thucydides ' History of the Peloponnesian War . Pericles uses it in a positive way when praising the Athenian democracy , contrasting it with hoi oligoi , "the few" ( Greek : οἱ ὀλίγοι ; see also oligarchy ). Its current English usage originated in the early 19th century,

178-594: A pun of the Greek phrase. The August 14, 2001 episode of CNN 's Larry King Live program included a discussion about whether the sport of polo was an appropriate part of the image of the British Royal Family . Joining King on the program were "best-selling biographer and veteran royal watcher Robert Lacey " and Kitty Kelley , author of the book The Royals . Their discussions focused on Prince Charles and his son Prince William : Lacey said, "There

267-585: A Monastery (1940–1941, staged 1946), and Dmitri Shostakovich 's The Nose (1927–1928, staged 1930). Simultaneously, the genres of light music , operetta , musical comedy , and later, rock opera , were developed by such composers as Isaak Dunayevsky , Dmitri Kabalevsky , Dmitri Shostakovich (Opus 105: Moscow, Cheryomushki , operetta in 3 acts, (1958)), Tikhon Khrennikov , and later by Gennady Gladkov , Alexey Rybnikov and Alexander Zhurbin . The 21st century in Russian comic opera began with

356-636: A cheat and a matchmaker , text by Alexander Ablesimov (1779), on a subject resembling Rousseau 's Devin , is attributed to Mikhail Sokolovsky . Ivan Kerzelli , Vasily Pashkevich and Yevstigney Fomin also wrote a series of successful comic operas in the 18th century. In the 19th century, Russian comic opera was further developed by Alexey Verstovsky who composed more 30 opera-vaudevilles and 6 grand operas (most of them with spoken dialogue). Later, Modest Mussorgsky worked on two comic operas, The Fair at Sorochyntsi and Zhenitba ("The Marriage"), which he left unfinished (they were completed only in

445-434: A choral version, So they gave their bodies , published in 1976. The American Civil War scholars Louis Warren and Garry Wills have addressed the parallels of Pericles's funeral oration to Abraham Lincoln 's famous Gettysburg Address . Lincoln's speech, like Pericles's: It is uncertain to what degree, if any, Lincoln was directly influenced by Pericles's funeral oration. Wills never claims that Lincoln drew on it as

534-405: A citizen. He praises the soldiers for not faltering in their execution during the war. That the soldiers put aside their desires and wishes for the greater cause. Because as they are described by Pericles, Athenian citizens were distinct from the citizens of other nations – they were open minded, tolerant, and ready to understand and follow orders. Where their system of democracy allowed them to have

623-563: A countermeasure to the continental operettas, commissioned Clay's collaborator, W. S. Gilbert , and the promising young composer, Arthur Sullivan , to write a short one-act opera that would serve as an afterpiece to Offenbach's La Périchole . The result was Trial by Jury ; its success launched the Gilbert and Sullivan partnership. "Mr. R. D'Oyly Carte's Opera Bouffe Company" took Trial on tour, playing it alongside French works by Offenbach and Alexandre Charles Lecocq . Eager to liberate

712-515: A dozen hits, were Babes in Toyland (1903) and Naughty Marietta (1910). Others who wrote in a similar vein included Reginald de Koven , John Philip Sousa , Sigmund Romberg and Rudolf Friml . The modern American musical incorporated elements of the British and American light operas, with works like Show Boat and West Side Story , that explored more serious subjects and featured

801-540: A good place among the οἱ πολλοί, or crowd of men who do not go in for honours." W. S. Gilbert used the term in 1882 when he wrote the libretto of the comic opera Iolanthe . In Act I, the following exchange occurs between a group of disgruntled fairies who are arranging to elevate a lowly shepherd to the peerage , and members of the House of Lords who will not hear of such a thing: PEERS: Our lordly style You shall not quench With base canaille! FAIRIES: (That word

890-409: A great deal more. You will learn to savor language and words because they are the stepping stones to everything you might endeavor to do in life and do well. A moment ago I used the term 'hoi polloi.' Who knows what it means? Come on, Overstreet, you twirp. (laughter) Anderson, are you a man or a boil? Anderson shakes his head "no", but Meeks raises his hands and speaks: "The hoi polloi. Doesn't it mean

979-505: A mixture of sentiment and humour, Offenbach's works were intended solely to amuse. Though generally well crafted and full of humorous satire and grand opera parodies, plots and characters in his works were often interchangeable. Given the frenetic pace at which he worked, Offenbach sometimes used the same material in more than one opera. Another Frenchman who took up this form was Charles Lecocq . The singspiel developed in 18th-century Vienna and spread throughout Austria and Germany. As in

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1068-632: A place of evil repute to the righteous British householder.... A first effort to bridge the gap was made by the German Reed Entertainers. Nevertheless, an 1867 production of Offenbach's The Grand Duchess of Gerolstein (seven months after its French première) ignited the English appetite for light operas with more carefully crafted librettos and scores, and continental European operettas continued to be extremely popular in Britain in

1157-567: A rare moment of cleverness, Spaulding Smails greets Danny Noonan as he arrives for the christening of The Flying Wasp, the boat belonging to Judge Elihu Smails (Spaulding's grandfather), with "Ahoy, polloi! Where did you come from, a scotch ad?" This is particularly ironic, because Danny has just finished mowing the Judge's lawn, and arrives overdressed, wearing a sailboat captain's outfit (as the girl seated next to him points out, Danny "looks like Dick Cavett "). Todd Rundgren 's band Utopia recorded

1246-459: A resolution in the field, though you may pray that it may have a happier outcome." Pericles addresses the widows of the dead only here, telling them that "the greatest glory for a woman is not to be spoken of at all, either for good or ill." This passage is often cited as characteristic of Athenian attitudes to women's role in public life, but is also connected to the standard behaviour of women as mourners at private funerals. Pericles ends with

1335-540: A short epilogue, reminding the audience of the difficulty of the task of speaking over the dead. The audience is then dismissed. Thucydides's Greek is notoriously difficult, but the language of Pericles Funeral Oration is considered by many to be the most difficult and virtuosic passage in the History of the Peloponnesian War . The speech is full of rhetorical devices , such as antithesis , anacoluthon , asyndeton , anastrophe , hyperbaton , and others; most famously

1424-533: A song titled "Hoi Polloi" on their album Deface the Music (1980), in which all of the songs are written and performed in the style of the Beatles . The Lovin' Spoonful 's song "Jug Band Music" includes the line: "He tried to mooch a towel from the hoi polloi." In the song " Risingson " on Massive Attack 's Mezzanine album, the singer apparently appeals to his company to leave the club they're in, deriding

1513-408: A source, though Edward Everett , who delivered a lengthy oration at the same ceremony at Gettysburg, began by describing the "Athenian example". Comic opera Comic opera , sometimes known as light opera , is a sung dramatic work of a light or comic nature, usually with a happy ending and often including spoken dialogue. Forms of comic opera first developed in late 17th-century Italy. By

1602-618: A speech at the end of the first year of the war, but there is no consensus as to what degree Thucydides's record resembles Pericles's actual speech. Another confusing factor is that Pericles is known to have delivered another funeral oration in BC 440 during the Samian War . It is possible that elements of both speeches are represented in Thucydides's version. Nevertheless, Thucydides was extremely meticulous in his documentation, and records

1691-400: A speech delivered by a prominent Athenian citizen chosen by the state. Several funeral orations from classical Athens are extant, which seem to corroborate Thucydides 's assertion that this was a regular feature of Athenian funerary custom in wartime. The Funeral Oration was recorded by Thucydides in book two of his famous History of the Peloponnesian War . Although Thucydides records

1780-474: A story about a woman who believes the letter 'q' should occur later in the alphabet. He goes on to say that "Q does not belong in the middle of the alphabet where it is, with the hoi polloi of the alphabet, with your 'm' 'n' and 'p'. Letters that will just join any word for the asking." The term was used in a first-series episode (The New Vicar, aired 5 November 1990) of the British sitcom Keeping Up Appearances . The main character, Hyacinth Bucket , gets into

1869-538: A telephone argument with a bakery employee. When the employee abruptly hangs up in frustration, Hyacinth disparagingly refers to him as "hoi polloi". This is in keeping with her character; she looks down upon those she considers to be of lesser social standing, including working-class people. Hoi Polloi was used in Larry Marder 's Tales of the Beanworld to name the unusual group of creatures that lived beneath

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1958-470: A time when it was generally accepted that one must be familiar with Greek and Latin in order to be considered well educated. The phrase was originally written in Greek letters . Knowledge of these languages served to set apart the speaker from hoi polloi in question, who were not similarly educated. Pronunciation depends on the speaker: Some linguists argue that, given that hoi is a definite article ,

2047-581: A versatility as the Athenian." Finally, Pericles links his praise of the city to the dead Athenians for whom he is speaking, "...for the Athens that I have celebrated is only what the heroism of these and their like have made her...none of these men allowed either wealth with its prospect of future enjoyment to unnerve his spirit, or poverty with its hope of a day of freedom and riches to tempt him to shrink from danger. No, holding that vengeance upon their enemies

2136-496: A voice amongst those who made important decisions that would affect them. Therefore, he proceeds to point out that the greatest honour and act of valour in Athens is to live and die for freedom of the state Pericles believed was different and more special than any other neighbouring city. Pericles then turns to the audience and exhorts them to live up to the standards set by the deceased, "So died these men as becomes Athenians. You, their survivors, must determine to have as unfaltering

2225-509: Is French.) PEERS: Distinction ebbs Before a herd Of vulgar plebs! FAIRIES: (A Latin word.) PEERS: 'Twould fill with joy, And madness stark The hoi polloi! FAIRIES: (A Greek remark.) Gilbert's parallel use of canaille , plebs ( plebeians ), and hoi polloi makes it clear that the term is derogatory of the lower classes . In many versions of the vocal score, it is written as "οἱ πολλοί", likely confusing generations of amateur choristers who couldn't read Greek. John Dryden used

2314-403: Is a theme too familiar to my hearers for me to dwell upon, and I shall therefore pass it by." Instead, Pericles proposes to focus on "the road by which we reached our position, the form of government under which our greatness grew, and the national habits out of which it sprang". This amounts to a focus on present-day Athens; Thucydides's Pericles thus decides to praise the war dead by glorifying

2403-416: Is a very "playboy" set. We saw Harry recently all night clubbing, and why not, some might say, playing polo down in the south of Spain. I think the whole polo syndrome is something that the royal family would do very well to get uninvolved with as soon as possible. King turned the question to Kelley, saying, "Kitty, it is kind of hoi polloi, although it is an incredible sport in which, I have been told, that

2492-435: Is another risk that I see in polo. Polo is a very nouveau riche , I think, rather vulgar game. I can say that having played it myself, and I don't think it does Prince Charles's image, or, I dare say, this is probably arrogant of me, his spirit any good. I don't think it is a good thing for him to be involved in. I also, I'm afraid, don't think [polo] is a good thing for [Charles] to be encouraging his sons to get involved in. It

2581-431: Is battle, boys. War! Your souls are at a critical juncture. Either you will succumb to the hoi polloi and the fruit will die on the vine—or you will triumph as individuals. It may be a coincidence that part of my duties are to teach you about Romanticism , but let me assure you that I take the task quite seriously. You will learn what this school wants you to learn in my class, but if I do my job properly, you will also learn

2670-555: Is by Elena Polenova, based on a folk-drama, Tsar Maksimilyan , and the work premiered on June 20, 2001, at the Mariinski Theatre , St Petersburg. Prize "Gold Mask, 2002" and "Gold Soffit, 2002". The Children of Rosenthal ( Дети Розенталя ), an opera in two acts by Leonid Desyatnikov , with a libretto by Vladimir Sorokin . This work was commissioned by the Bolshoi theatre and premiered on March 23, 2005. The staging of

2759-564: Is more important in shaping character. They make a bet and pick on nearby trashmen (the Stooges) to prove their theory. At the conclusion of three months in training, the Stooges attend a dinner party, where they thoroughly embarrass the professors. The University of Dayton 's Don Morlan says, "The theme in these shorts of the Stooges against the rich is bringing the rich down to their level and shaking their heads." A typical Stooges joke from

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2848-450: Is significant because it differs from the usual form of Athenian funeral speeches. David Cartwright describes it as "a eulogy of Athens itself...". The speech glorifies Athens' achievements, designed to stir the spirits of a state still at war. The speech begins by praising the custom of the public funeral for the dead, but criticises the inclusion of the speech, arguing that the "reputations of many brave men" should "not be imperilled in

2937-427: The acquisition of the empire . At this point, however, Pericles departs most dramatically from the example of other Athenian funeral orations and skips over the great martial achievements of Athens' past: "That part of our history which tells of the military achievements which gave us our several possessions, or of the ready valour with which either we or our fathers stemmed the tide of Hellenic or foreign aggression,

3026-566: The singspiel and the French model. Franz von Suppé is remembered mainly for his overtures. Johann Strauss II , the "waltz king", contributed Die Fledermaus (1874) and The Gypsy Baron (1885). Carl Millöcker a long-time conductor at the Theater an der Wien , also composed some of the most popular Viennese operettas of the late 19th century, including Der Bettelstudent (1882), Gasparone (1884) and Der arme Jonathan (1890). After

3115-416: The "first true Italian comic opera" – that is to say, it had everything: it was in standard Italian and not in dialect; it was no longer simply an intermezzo, but rather an independent piece; it had a real story that people liked; it had dramatic variety; and, musically, it had strong melodies and even strong supporting orchestral parts, including a strong "stand-alone" overture (i.e., you could even enjoy

3204-498: The 1730s, a new operatic genre, opera buffa , emerged as an alternative to opera seria . It quickly made its way to France, where it became opéra comique , and eventually, in the following century, French operetta , with Jacques Offenbach as its most accomplished practitioner. The influence of the Italian and French forms spread to other parts of Europe. Many countries developed their own genres of comic opera, incorporating

3293-568: The 1860s and 1870s, including Les Cloches de Corneville , Madame Favart and others into the 1880s, often adapted by H. B. Farnie and Robert Reece . F. C. Burnand collaborated with several composers, including Arthur Sullivan in Cox and Box , to write several comic operas on English themes in the 1860s and 1870s. In 1875, Richard D'Oyly Carte , one of the impresarios aiming to establish an English school of family-friendly light opera by composers such as Frederic Clay and Edward Solomon as

3382-474: The 2003 Broadway musical Wicked , where it is used by the characters Elphaba and Glinda to refer to the many inhabitants of the Emerald City : "... I wanna be in this hoi polloi ..." The term also appears in the 2007 film Hairspray , where it is used by the character Edna saying: "You see me hobnobbing and drinking Rum and Cokes with all those hoi polloi?" Jack Cafferty , a CNN anchorman ,

3471-426: The 20th century). Pyotr Tchaikovsky wrote a comic opera, Cherevichki (1885). Nikolai Rimsky-Korsakov composed May Night 1878–1879 and The Golden Cockerel 1906–1907. In the 20th century, the best examples of comic opera by Russian composers were Igor Stravinsky 's Mavra (1922) and The Rake's Progress (1951), Sergey Prokofiev 's The Love for Three Oranges (1919) and Betrothal in

3560-450: The Beanworld. In the first scene of The PlayStation ad " Double Life ," a British man says, "In the day, I do my job, I ride the bus, Roll up my sleeves with the Hoi polloi". Sue Townsend 's Adrian Mole writes a poem called "The Hoi Polloi Reception" and later works as a cook "offal chef" in a Soho restaurant called Hoi Polloi. The Scottish punk rock band Oi Polloi got their name as

3649-625: The English stage from risqué French influences, and emboldened by the success of Trial by Jury , Carte formed a syndicate in 1877 to perform "light opera of a legitimate kind". Gilbert and Sullivan were commissioned to write a new comic opera, The Sorcerer , starting the series that came to be known as the Savoy operas (named for the Savoy Theatre , which Carte later built for these works) that included H.M.S. Pinafore , The Pirates of Penzance and The Mikado , which became popular around

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3738-411: The French opéra comique , the singspiel was an opera with spoken dialogue, and usually a comic subject, such as Mozart's Die Entführung aus dem Serail (1782) and The Magic Flute (1791). Later singspiels , such as Beethoven's Fidelio (1805) and Weber's Der Freischütz (1821), retained the form, but explored more serious subjects. 19th century Viennese operetta was built on both

3827-496: The Italian and French models along with their own musical traditions. Examples include German singspiel , Viennese operetta , Spanish zarzuela , Russian comic opera, English ballad and Savoy opera , North American operetta and musical comedy . In late 17th-century Italy, light-hearted musical plays began to be offered as an alternative to weightier opera seria (17th-century Italian opera based on classical mythology ). Il Trespolo tutore (1679) by Alessandro Stradella

3916-491: The Media program, 8 November 2005, used the phrase in reference to changing practices in the media , especially Misplaced Pages , "The people in the encyclopedia business, I understand, tend to sniff at the wiki process as being the product of the mere hoi polloi." Pericles%27 Funeral Oration " Pericles's Funeral Oration " ( Ancient Greek : Περικλέους Επιτάφιος) is a famous speech from Thucydides 's History of

4005-468: The Peloponnesian War . The speech was supposed to have been delivered by Pericles , an eminent Athenian politician, at the end of the first year of the Peloponnesian War (BC 431–404) as a part of the annual public funeral for the war dead. It was an established Athenian practice by the late BC 5th century to hold a public funeral in honour of all those who had died in war. The remains of

4094-624: The Teatro de la Zarzuela de Madrid, but with little success and light attendance. In spite of this, in 1873 a new theater, the Teatro Apolo , was opened for zarzuela grande , which shared the failures of the Teatro de la Zarzuela, until it was forced to change its program to género chico . The first opera presented in Russia , in 1731, was a comic opera (or "commedia per musica"), Calandro , by an Italian composer, Giovanni Alberto Ristori . It

4183-580: The article duplet, even if it is grammatically correct as a connected loan word “hoi polloi.” There have been numerous uses of the term in English literature . James Fenimore Cooper , author of The Last of the Mohicans , is often credited with making the first recorded usage of the term in English. The first recorded use by Cooper occurs in his 1837 work Gleanings in Europe where he writes "After which

4272-456: The city for which they died. "If we look to the laws, they afford equal justice to all in their private differences...if a man is able to serve the state, he is not hindered by the obscurity of his condition. The freedom we enjoy in our government extends also to our ordinary life. There, far from exercising a jealous surveillance over each other, we do not feel called upon to be angry with our neighbour for doing what he likes..." These lines form

4361-416: The common persons' infatuation with them, and implying that he's about to slide into antisocial behaviour : Toy-like people make me boy-like (...) And everything you got, hoi polloi like Now you're lost and you're lethal And now's about the time you gotta leave all These good people...dream on. In an episode of This American Life , radio host Ira Glass uses the term hoi polloi while relaying

4450-399: The dead were left in a tent for three days so that offerings could be made. Then a funeral procession was held, with ten cypress coffins carrying the remains, one for each of the Athenian tribes , and another left symbolically empty for the missing or those whose remains were unable to be recovered. Finally they were buried at a public grave (at Kerameikos ). The last part of the ceremony was

4539-492: The film is when someone addresses them as "gentlemen", and they look over their shoulders to see who is being addressed. The Three Stooges turn the tables on their hosts by calling them "hoi polloi" at the end. At the English public school (i.e., private school) Haileybury and Imperial Service College , in the 1950s and '60s, grammar schoolboys from nearby Hertford were referred to as "oips", from "hoi polloi", to distinguish them from comprehensive and secondary modern schoolboys,

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4628-703: The genre was like in the 17th century. In the 18th century, the Italian operatic style influenced zarzuela . But beginning with the reign of Bourbon King Charles III , anti-Italian sentiment increased. Zarzuela returned to its roots in popular Spanish tradition in works such as the sainetes (or Entr'actes) of Don Ramón de la Cruz. This author's first work in this genre was Las segadoras de Vallecas ("The Reapers of Vallecas", 1768), with music by Rodríguez de Hita . Single act zarzuelas were classified as género chico (the "little genre" or "little form") and zarzuelas of three or more acts were género grande (the "big genre" or "big form"). Zarzuela grande battled on at

4717-428: The herd?" Keating: Precisely, Meeks. Greek for the herd. However, be warned that, when you say "the hoi polloi" you are actually saying "the the herd." Indicating that you too are "hoi polloi". Keating's tone makes clear that he considers this statement to be an insult. He used the phrase "the hoi polloi", to demonstrate the mistake he warned against. The term was also used in the comedy film Caddyshack (1980). In

4806-435: The horse is 80 percent of the game, the rider 20 percent. But it is a great sport to watch. But it is hoi polloi isn't it?" To which Kelley replied, "Yes, I do agree with Robert. The time is come and gone for the royals to be involved with polo. I mean it is – it just increases that dissipated aristo-image that they have, and it is too bad to encourage someone like Prince William to get involved." The term appears in

4895-486: The latter incorporating dances, with chorus numbers and humorous scenes that are usually duets. These works are relatively short, and ticket prices were often low, to appeal to the general public. There are two main forms of zarzuela : Baroque zarzuela ( c.  1630 –1750), the earliest style, and Romantic zarzuela ( c.  1850 –1950), which can be further divided into the two subgenres of género grande and género chico . Pedro Calderón de la Barca

4984-492: The lowest of the low, who were called "oiks". Carole King 's TV special Really Rosie (based on Maurice Sendak 's works) contains a song called "My Simple Humble Neighborhood", in which Rosie remembers those whom she's met over the years. In the process, she mentions the hoi polloi as well as the grand elite . The term continues to be used in contemporary writing. In his 1983 introduction to Robert Anton Wilson 's Prometheus Rising , Israel Regardie writes, "Once I

5073-509: The mid-19th century, despite Giuseppe Verdi 's Falstaff staged in 1893. French composers eagerly seized upon the Italian model and made it their own, calling it opéra comique . Early proponents included the Italian Egidio Duni , François-André Philidor , Pierre-Alexandre Monsigny , André Grétry , François-Adrien Boïeldieu , Daniel François Auber and Adolphe Adam . Although originally reserved for less serious works,

5162-517: The most English of bards. I should place Rogers next in the living list (I value him more as the last of the best school) — Moore and Campbell both third— Southey and Wordsworth and Coleridge —the rest, οι πολλοί [hoi polloi in Greek]. Byron also wrote an 1821 entry in his journal "... one or two others, with myself, put on masks, and went on the stage with the 'oi polloi." In Confessions of an English Opium-Eater , Thomas De Quincey uses

5251-579: The most popular form of staged entertainment in Italy from about 1750 to 1800. In 1749, thirteen years after Pergolesi's death, his La serva padrona swept Italy and France, evoking the praise of such French Enlightenment figures as Rousseau . In 1760, Niccolò Piccinni wrote the music to La Cecchina to a text by the great Venetian playwright, Carlo Goldoni . That text was based on Samuel Richardson 's popular English novel, Pamela, or Virtue Rewarded (1740). Many years later, Verdi called La Cecchina

5340-436: The mouth of a single individual". Pericles argues that the speaker of the oration has the impossible task of satisfying the associates of the dead, who would wish that their deeds be magnified, while everyone else might feel jealous and suspect exaggeration. Pericles begins by praising the dead, as the other Athenian funeral orations do, by regard for the ancestors of present-day Athenians (2.36.1 – 2.36.3), touching briefly on

5429-456: The noisy premieres of two works whose genre could be described as "opera-farce": Tsar Demyan ( Царь Демьян ) – A frightful opera performance . A collective project of five authors wrote the work: Leonid Desyatnikov and Vyacheslav Gaivoronsky from St. Petersburg , Iraida Yusupova and Vladimir Nikolayev from Moscow , and the creative collective "Kompozitor", which is a pseudonym for the well-known music critic Pyotr Pospelov. The libretto

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5518-454: The oi polloi are enrolled as they can find interest." Lord Byron had, in fact, previously used the term in his letters and journal. In one journal entry, dated 24 November 1813, Byron writes: I have not answered W. Scott 's last letter,—but I will. I regret to hear from others, that he has lately been unfortunate in pecuniary involvements. He is undoubtedly the Monarch of Parnassus , and

5607-431: The opera was accompanied by juicy scandal; however it was an enormous success. England traces its light opera tradition to the ballad opera , typically a comic play that incorporated songs set to popular tunes. John Gay's The Beggar's Opera was the earliest and most popular of these. Richard Brinsley Sheridan's The Duenna (1775), with a score by Thomas Linley , was expressly described as "a comic opera". By

5696-491: The operas of Scarlatti, Pergolesi ( La serva padrona , 1733), Galuppi ( Il filosofo di campagna , 1754), Piccinni ( La Cecchina , 1760), Paisiello ( Nina , 1789), Cimarosa ( Il matrimonio segreto , 1792), and then the great comic operas of Mozart and, later, Rossini and Donizetti . At first, comic operas were generally presented as intermezzi between acts of more serious works. Neapolitan and then Italian comic opera grew into an independent form and became

5785-479: The overture as an independent orchestral piece). Verdi was also enthusiastic because the music was by a southern Italian and the text by a northerner, which appealed to Verdi's pan-Italian vision. The genre was developed further in the first half of the 19th century by Gioachino Rossini in his works such as The Barber of Seville (1816) and La Cenerentola (1817) and by Gaetano Donizetti in L'elisir d'amore (1832) and Don Pasquale (1843), but declined in

5874-452: The phrase "the hoi polloi" is redundant, akin to saying "the the masses". Others argue that this is inconsistent with other English loanwords. The word "alcohol", for instance, derives from the Arabic al-kuhl , al being an article , yet "the alcohol" is universally accepted as good grammar. However, as a social marker of security in the classical languages, the point is rather undercut by

5963-515: The phrase in his Essay of Dramatick Poesie , published in 1668. Dryden spells the phrase with Greek letters, but the rest of the sentence is in English (and he does precede it with "the"). The term has appeared in several films and radio programs. For example, one of the earliest short films from the Three Stooges , Hoi Polloi (1935), opens in an exclusive restaurant where two wealthy gentlemen are arguing whether heredity or environment

6052-443: The pursuits of industry, are still fair judges of public matters...at Athens we live exactly as we please, and yet are just as ready to encounter every legitimate danger." In the climax of his praise of Athens, Pericles declares: "In short, I say that as a city we are the school of Hellas; while I doubt if the world can produce a man, who, where he has only himself to depend upon, is equal to so many emergencies, and graced by so happy

6141-425: The rapid succession of proparoxytone words beginning with e (" τὸ εὔδαιμον τὸ ἐλεύθερον, τὸ δ' ἐλεύθερον τὸ εὔψυχον κρίναντες " [judging courage freedom and freedom happiness]) at the climax of the speech (43.4). The style is deliberately elaborate, in accord with the stylistic preference associated with the sophists . There are several different English translations of the speech available. Peter Aston wrote

6230-411: The risks of war". With the linkage of Athens' greatness complete, Pericles moves to addressing his audience. In his speech, Pericles states that he had been emphasising the greatness of Athens in order to convey that the citizens of Athens must continue to support the war, to show them that what they were fighting for was of the utmost importance. To help make his point he stated that the soldiers whom he

6319-415: The risqué state of musical theatre and introduced short comic operas designed to be more family-friendly and to elevate the intellectual level of musical entertainments. Jessie Bond wrote, The stage was at a low ebb, Elizabethan glories and Georgian artificialities had alike faded into the past, stilted tragedy and vulgar farce were all the would-be playgoer had to choose from, and the theatre had become

6408-652: The roots of the famous phrase " equal justice under law ." The liberality of which Pericles spoke also extended to Athens' foreign policy: "We throw open our city to the world, and never by alien acts exclude foreigners from any opportunity of learning or observing, although the eyes of an enemy may occasionally profit by our liberality ..." Yet Athens's values of equality and openness do not, according to Pericles, hinder Athens' greatness, indeed, they enhance it, "...advancement in public life falls to reputations for capacity, class considerations not being allowed to interfere with merit...our ordinary citizens, though occupied with

6497-483: The second half of the 19th century, the London musical stage was dominated by pantomime and musical burlesque , as well as bawdy, badly translated continental operettas, often including "ballets" featuring much prurient interest, and visiting the theatre became distasteful to the respectable public, especially women and children. Mr. and Mrs. Thomas German Reed , beginning in 1855, and a number of other Britons, deplored

6586-436: The soldiers who gave their lives as truly worth of merit. That if anyone should ask, they should look at their final moments when they gave their lives to their country and that should leave no doubt in the mind of the doubtful. He explained that fighting for one's country was a great honour, and that it was like wearing a cloak that concealed any negative implications because his imperfections would be outweighed by his merits as

6675-829: The sole representatives of the genre surviving today. Only recently, some of these other English light operas have begun to be explored by scholars and to receive performances and recordings. In the United States, Victor Herbert was one of the first to pick up the family-friendly style of light opera that Gilbert and Sullivan had made popular, although his music was also influenced by the European operetta composers. His earliest pieces, starting with Prince Ananias in 1894, were styled "comic operas", but his later works were described as "musical extravaganza", "musical comedy", "musical play", "musical farce", and even "opera comique". His two most successful pieces, out of more than half

6764-443: The speech in the first person as if it were a word for word record of what Pericles said, there can be little doubt that he edited the speech at the very least. Thucydides says early in his History that the speeches presented are not verbatim records, but are intended to represent the main ideas of what was said and what was, according to Thucydides, "called for in the situation". We can be reasonably sure that Pericles delivered

6853-439: The term opéra comique came to refer to any opera that included spoken dialogue, including works such as Cherubini's Médée and Bizet's Carmen that are not "comic" in any sense of the word. Florimond Hervé is credited as the inventor of French opéra bouffe , or opérette . Working on the same model, Jacques Offenbach quickly surpassed him, writing over ninety operettas . Whereas earlier French comic operas had

6942-425: The term during a passage discussing which of the English classes is most proud, noting "... the children of bishops carry about with them an austere and repulsive air, indicative of claims not generally acknowledged, a sort of noli me tangere manner, nervously apprehensive of too familiar approach, and shrinking with the sensitiveness of a gouty man from all contact with the οι πολλοι." While Charles Darwin

7031-520: The turn of the 20th century, Franz Lehár wrote The Merry Widow (1905); Oscar Straus supplied Ein Walzertraum ("A Waltz Dream", 1907) and The Chocolate Soldier (1908); and Emmerich Kálmán composed Die Csárdásfürstin (1915). Zarzuela , introduced in Spain in the 17th century, is rooted in popular Spanish traditional musical theatre. It alternates between spoken and sung scenes,

7120-590: The varied certainty of his sources each time. Significantly he begins recounting the speech by saying: " Περικλῆς ὁ Ξανθίππου… ἔλεγε τοιάδε ", i.e. "Pericles, son of Xanthippos, spoke like this". Had he quoted the speech verbatim, he would have written " τάδε " ("this", or "these words") instead of " τοιάδε " ("like this" or "words like these"). The authorship of the Funeral Oration is also not certain. Plato , in his Menexenus , ascribes authorship to Pericles's companion, Aspasia . The Funeral Oration

7209-535: The world. The D'Oyly Carte Opera Company continued to perform Gilbert and Sullivan almost continuously until it closed in 1982. The Gilbert and Sullivan style was widely imitated by their contemporaries (for example, in Dorothy ), and the creators themselves wrote works in this style with other collaborators in the 1890s. None of these, however, had lasting popularity, leaving the Savoy Operas as practically

7298-518: Was an early precursor of opera buffa . The opera has a farcical plot, and the characters of the ridiculous guardian Trespolo and the maid Despina are prototypes of characters widely used later in the opera buffa genre. The form began to flourish in Naples with Alessandro Scarlatti 's Il trionfo dell'onore (1718). At first written in Neapolitan dialect, these works became "Italianized" with

7387-666: Was at the University of Cambridge from 1828 to 1831, undergraduates used the term "hoi polloi" or "Poll" for those reading for an ordinary degree, the "pass degree". At that time only capable mathematicians would take the Tripos or honours degree. In his autobiography written in the 1870s, Darwin recalled that "By answering well the examination questions in Paley, by doing Euclid well, and by not failing miserably in Classics, I gained

7476-434: Was caught misusing the term. On 9 December 2004 he retracted his statement, saying "And hoi-polloi refers to common people, not those rich morons that are evicting those two red-tail hawks (ph) from that fifth Avenue co-op . I misused the word hoi-polloi. And for that I humbly apologize." New media and new inventions have also been described as being by or for the hoi polloi. Bob Garfield , co-host of NPR 's On

7565-408: Was even so presumptuous as to warn (Wilson) in a letter that his humor was much too good to waste on hoi polloi who generally speaking would not understand it and might even resent it." The term "hoi polloi" was used in a dramatic scene in the film Dead Poets Society (1989). In this scene, Professor Keating speaks negatively about the use of the article "the" in front of the phrase: Keating: This

7654-406: Was followed by the comic operas of other Italians, like Galuppi , Paisiello and Cimarosa , and also Belgian / French composer Grétry . The first Russian comic opera was Anyuta (1772). The text was written by Mikhail Popov , with music by an unknown composer, consisting of a selection of popular songs specified in the libretto. Another successful comic opera, The miller who was a wizard,

7743-402: Was more to be desired than any personal blessings, and reckoning this to be the most glorious of hazards, they joyfully determined to accept the risk... Thus, choosing to die resisting, rather than to live submitting, they fled only from dishonour..." The conclusion seems inevitable: "Therefore, having judged that to be happy means to be free, and to be free means to be brave, do not shy away from

7832-482: Was speaking of gave their lives to a cause to protect the city of Athens, and its freedom. He praised Athens for its attributes that stood out amongst their neighbours such as its democracy when he elaborates that trust is justly placed on the citizens rather than relying only on the system and the policy of the city. Where citizens boast a freedom that differs from their enemies' the Lacedaemonians. He regards

7921-685: Was the first playwright to adopt the term zarzuela for his work entitled El golfo de las sirenas ("The Gulf of the Sirens", 1657). Lope de Vega soon wrote a work titled La selva sin amor, drama con orquesta ("The Loveless Jungle, A Drama with Orchestra"). The instruments orchestra was hidden from the audience, the actors sang in harmony, and the musical composition itself was intended to evoke an emotional response. Some of these early pieces were lost, but Los celos hacen estrellas ("Jealousies Turn Into Stars") by Juan Hidalgo and Juan Vélez, which premiered in 1672, survives and gives us some sense of what

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