289:
to bed for a short nap. Cox then returns, having been given the day off by his employer. He has bought a mutton chop and, going to cook it on the gridiron, finds the fire already lit and the rasher of bacon on the gridiron. He removes it, puts his chop in its stead, and hurries into an adjoining room for a plate. The slamming of the door awakens Box, who, recollecting his bacon, leaps from the bed, and finds the chop where he had left the rasher. He angrily seizes the chop, flings it from the window, and leaves the room to fetch a plate. Cox re-enters, and, in lieu of his chop, discovers the rasher, which follows the chop out of the window. Box and Cox meet, each imagining the other to be an intruder, each pulling from his pocket the last week's receipt for rent, and each clamouring loudly for redress from the landlady. Mrs
Bouncer is forced to explain the mystery, and she throws herself on the kindness of Box and Cox by promising either of them a handsome second floor back room, which she hurries off to prepare.
317:. Box is astonished, as he too had once been engaged to Mrs Wiggins, but, he reveals, he had struck on an ingenious plan to escape her clutches: he had pretended to commit suicide by drowning. Cox is equally reluctant to marry her. The two argue about which of them is obliged to do so, and eventually they call for pistols. When Mrs Bouncer goes to bring them, Cox cries, "Stop! You don't mean to say ... that you keep loaded fire-arms in the house?" "Oh, no", says Mrs Bouncer, "they're not loaded". Cox: "Then produce the murderous weapons instantly!" Meanwhile, the two agree to cast dice; the loser must marry Penelope Anne. Both have loaded dice, and at each successive throw they continue to throw sixes. The dice are then changed for shillings. At every toss each man's coin lands on heads, as both contestants are using double-headed coins.
321:
arrives, which states that
Penelope Anne is quite safe and is on the road to London to claim her lover. Escape is now hopeless, and Box and Cox are in despair. A vehicle arrives, a knock resounds at the door, and Box and Cox place their backs to the door. Penelope Anne goes away again, leaving another letter revealing that she has decided to marry Mr Knox, an admirer nearer her own age. Box and Cox are delighted, and their happiness is completed by the realisation that they are brothers, who have been long separated (Box: "Have you such a thing as a strawberry mark on your left arm?" Cox: "No!" Box: "Then it is he!"). They reject the second-floor back room and determine to reside permanently in the same room, and under the tenancy of the same landlady.
270:
one comes in from work as the other is going out, but neither has any idea that Mrs
Bouncer is letting his room to the other. Cox, suspicious that Mrs Bouncer has been using his flat during the day, complains to her that his coal keeps disappearing and there is "a steady increase of evaporation among my candles, wood, sugar and lucifer matches." He also complains that his room is continually full of tobacco smoke. Mrs Bouncer gives various excuses – among others, that Box, who, she says, occupies the attic, is a persistent smoker, and that his smoke must come down the chimney. Cox departs for his work at the hat shop, and on the stairs passes Box who is returning from the night shift at the newspaper.
274:
471:
539:
191:
26:
293:
288:
Box has brought home with him a rasher of bacon, which he at once prepares to cook. He lights the fire, is indignant that his matches have been used and his candles burnt low; for, being at home only during the day, he suspects Mrs
Bouncer of these depredations. Leaving his bacon to cook, he retires
269:
Mrs
Bouncer, a London lodging-house keeper, is letting an apartment to a double tenantry – to Box, a printer on a daily newspaper, and to Cox, a journeyman hatter, the former occupying the room during the day, the latter during the night. They invariably meet on the stairs of the lodging-house when
558:
of
Somewhere, with a palazzo in Venice, commonly known as "James Cox"; Mrs Penelope Anne Knox; and Major General Bouncer. Box and Cox have inherited titles from a Spanish and a Venetian relative respectively, and both now seek to marry the widowed and immensely rich Penelope Anne. Their quarrel is
304:
Frustrated, Box asks, "Hark ye, sir – can you fight?" Cox answers, "No, sir." Box: "No? Then come on!" Agreeing, however, that they have no quarrel with each other, and that the whole mess is Mrs
Bouncer's fault, Box and Cox converse civilly. It emerges that Cox is about to be married to a widow,
239:
vulgarity of
Buckstone, the printer, and both have ample room for the exhibition of their own peculiar conceits of method – those never-failing helps to mirth. Box and Cox, in short, are a pair of pleasant varlets, and promise to be long in the good graces of the public." The theatrical newspaper
534:
gave this plot summary: "Box and Cox have both retired from business, both having been left enough money to live on, and they have a wife and baby apiece. Cox's better half turns out to be the former sweetheart of Box, who, in imprudently making himself known to her, is discovered by the lady's
320:
The impasse is broken when a letter arrives from
Margate stating that Penelope Anne has drowned in a boating accident, and has left her property to her intended husband. Box and Cox now argue their claims to the bathing machines, but finally they agree to split the fortune. Now a second letter
380:
later wrote, "Mr Morton's dialogue can only be properly given by Messrs. Buckstone and
Compton, and in the mouths of any other actors it is, to those who have seen Messrs. Buckstone and Compton in the parts (and who has not?) a bore." In 1856 a performance was given by army personnel in the
68:, London, on 1 November 1847, billed as a "romance of real life." The play became popular and was revived frequently through the end of the nineteenth century, with occasional productions in the twentieth century. It spawned two sequels by other authors, and was adapted as a one-act
330:
234:
said, "The piece is neatly and smartly written, but it is not difficult to guess that it owes its salvation solely to the felicitous whimsicalities of the two actors upon whom it chiefly devolves. The grotesque gentility of Harley, the hatter, is drolly matched by the
535:
husband. There is, of course, immense indignation from Mr Cox and Mrs Box, and great fun arises out of the various demonstrations of these injured individuals. Everything, however, is arranged to the satisfaction of all parties."
528:, first performed at the Haymarket Theatre on 15 October 1852, with Buckstone as Box, Robert Keeley as Cox, Mr Coe as "an anonymous gent," Mrs Caulfield as Mrs Box, Mrs L. S. Buckingham as Mrs Cox, and Mrs Selby as Mrs Bouncer.
559:
abruptly stopped when Penelope Anne introduces her new husband, General Bouncer (who is no relation to their former landlady). Burnand incorporated three musical numbers, writing new words to existing tunes by
337:
The piece became a popular favourite; from late 1847 it was widely staged throughout the United Kingdom, and it was frequently performed to raise funds for causes including a new drama college and the proposed
417:
as Mrs Bouncer; and again at the Haymarket Theatre in 1889, with H. Nicholls as Cox, E. M. Robson as Box, and Mrs E. Phelps as Mrs Bouncer. It was first performed in America at the Arch Street Theatre,
591:, which played the piece repeatedly throughout Britain and overseas until 1977, and licensed it to numerous amateur companies. The opera continues to be performed regularly. A later musical adaptation,
358:
and her family and court. Harley and Buckstone repeated their original roles, and "the Royal party laughed heartily". The Queen and Prince Albert saw the play again in 1850, at a revival at the
171:, namely the men's connubial entanglements, their efforts to evade them, and the discovery that they are brothers, were not derived from anyone, and were "thoroughly Mortonian".
103:
In the nineteenth century, it was common practice for plays to be adapted from French originals for the London stage, with changes often made to conform to
178:, an unscrupulous landlady rents the same room to a young woman (Frisette, a lace-maker) by night, and to a young man (Gaudrion, a baker) by day. In
86:, which also became popular and continues to be performed regularly. Other musical adaptations were made, but have not remained in the repertory.
135:), which itself reputedly derived from earlier French, English and Spanish comedies. Morton is not known to have pronounced on the matter, but
95:
defines it as "applied allusively to an arrangement in which two persons take turns in sustaining a part, occupying a position, or the like."
497:
printed a mock examination paper on it for use in drama schools, with such questions as "What was Mrs Bouncer's ostensible employment? Would
603:, London, in 1895. Both the lodgers in that version were young women. In 1885, there had been another musical treatment of the same plot,
718:
155:
was 'taken from the Spanish', who, I dare say, have got on very well without it, or not, certainly it was not the original source of
583:
in 1866. The piece was Sullivan's first produced comic opera. It was played privately, then given a successful production by the
995:
1180:
501:, at any time in her career, have been justified in refusing this part? If so, state when, and give your reasons."
607:, by L. Machele and J. Batchelder, but that version was based directly on Labiche and Lefranc's 1846 vaudeville
1114:
588:
600:
406:
339:
124:
1043:
550:, published in 1872. The main characters are Don José John Boxos de Caballeros y Carvalhos y Regalias, of
505:(and others) also used the characters of Box and Cox to represent the two opposing British party leaders,
1228:
1145:
The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
908:
584:
1125:
1062:
596:
343:
91:
988:
Gilbert & Sullivan: a selling exhibition of memorabilia – Archive: Sir Arthur Seymour Sullivan
108:
51:
918:
510:
478:
254:
927:
116:
219:
205:
194:
65:
1196:
573:
achieved further notice when Burnand adapted it as a comic opera libretto under the title of
525:
455:
386:
373:
258:
159:. This immortal English farce was adapted – a masterpiece of adaptation, be it said – from a
868:
127:, Paris in 1846. Some commentators have stated that Morton also drew on another vaudeville,
230:
47:
30:
8:
1246:
1220:
1172:
913:
439:
242:
1165:
395:
25:
273:
1213:
1176:
1148:
1131:
1110:
1103:
1089:
1072:
1049:
564:
506:
474:
410:
359:
213:
560:
530:
493:
483:
435:
423:
991:
595:, with libretto by Walter Parke and music by Louise Barone, was presented by the
580:
431:
427:
426:
in the title roles. In the twentieth century, it was successfully revived at the
306:
120:
77:
355:
351:
107:
playgoers' expectations. The main source of Morton's play was a French one-act
470:
1240:
1160:
1152:
1135:
498:
451:
443:
377:
281:
136:
104:
73:
1076:
1093:
1053:
923:
419:
414:
277:
983:
575:
382:
144:
82:
69:
17:
459:
246:
said, "A more 'laughable farce' has not been produced for many a day."
292:
1208:
551:
587:
in 1869, followed by other revivals. It was later taken up by the
555:
314:
253:
became the first success of the Lyceum under the new management of
310:
236:
538:
190:
554:, generally known as "John Box"; Count Cornelius de Coxo, Land
364:
89:
The phrase "Box and Cox" has entered the English language: the
994:, G&S Opera, accessed 5 August 2014; and Goldberg, Eric.
43:
399:
called the play "the best farce of the nineteenth century".
462:
as Mrs. Bouncer, as part of an evening of 3 one-act plays.
329:
1088:(fourteenth ed.). London: Sir Isaac Pitman and Sons.
1064:
How we Managed our Private Theatricals. To which is added
491:
The play became so well known that the humorous magazine
167:." Burnand added that the later sections of the plot of
567:
and the unknown composer of "Les Pompiers de Nanterre".
542:
Programme for 1849 Royal Command performance at Windsor
982:
Rollins and Witts, pp. 92–97 and 184–86; Moss, Simon.
649:
Murray's wife performed as Mrs Elizabeth Leigh Murray.
777:, 5 December 1847, p. 12; and 19 December 1847, p. 12
261:. Matthews assumed the role of Cox later in the run.
1142:
305:
Penelope Anne Wiggins, a prosperous proprietress of
1164:
1102:
938:"Hints for a New and Original Dramatic College",
1238:
618:
434:, Hubert Harben and Dora Gregory, and in 1961
812:"Theatrical Performances at Windsor Castle",
208:, London, on 1 November 1847. The cast was:
58:, which had been produced in Paris in 1846.
846:magazine, issue for 1 June 1867, pp. 128–29
546:F. C. Burnand wrote another short sequel,
296:Box and Cox confront Mrs Bouncer; drawing
537:
469:
409:, London, in 1867 with G. Honey as Box,
328:
291:
272:
189:
24:
1159:
1060:
1239:
1143:Rollins, Cyril; R. John Witts (1962).
1123:
1100:
1068:, a Roaring Farce for Home Performance
224:Mrs Bouncer – Mrs (Frances) Macnamara.
185:
1105:Arthur Sullivan: A Victorian Musician
1041:
869:Obituary: The Author of "Box and Cox"
668:
666:
446:staged an off-Broadway production of
1083:
998:Cox and Box (The Long-Lost Brothers)
692:
690:
688:
686:
684:
682:
372:. Buckstone's revivals, co-starring
362:, starring Buckstone, together with
324:
1109:. Oxford: Oxford University Press.
520:led to the production of a sequel,
333:Poster for 1877 American production
284:as Box and Cox, caricatured in 1883
249:The audience was enthusiastic, and
50:. It is based on a French one-act
13:
1002:, Allmusic, accessed 5 August 2014
663:
14:
1258:
1190:
1011:"The German Reed Entertainment",
679:
228:Reviewing the first performance,
123:, which had been produced at the
1221:Details of first productions of
729:(2009), accessed 11 August 2010.
163:by Labiche and Lefranc entitled
1018:
1005:
976:
967:
958:
945:
932:
900:
891:
878:
862:
849:
836:
823:
806:
793:
780:
643:
522:Box and Cox Married and Settled
147:, discounted the importance of
816:, 13 January 1849, p. 21; and
767:
758:
745:
732:
712:
699:
636:Some sources name the play as
630:
465:
1:
1048:. London: Chatto and Windus.
855:"Theatricals in the Crimea",
656:
619:Notes, references and sources
430:in 1924, the cast comprising
376:as Cox, were so popular that
182:, both the lodgers are male.
98:
1127:Madame Vestris and Her Times
1042:Adams, W. Davenport (1904).
672:"French and English Plays",
340:Shakespeare Memorial Theatre
7:
1124:Pearce, Charles E. (1900).
919:John John, Sir John and Tib
857:The Illustrated London News
814:The Illustrated London News
801:The Illustrated London News
788:The Illustrated London News
204:was first performed at the
10:
1263:
1147:. London: Michael Joseph.
1035:
1028:, 26 September 1885, p. 15
990:, accessed 5 August 2014;
909:How He Lied to Her Husband
773:"Provincial Theatricals",
705:Burnand, F. C., letter to
676:, 22 November 1874, p. 14.
589:D'Oyly Carte Opera Company
64:was first produced at the
15:
1084:Gaye, Freda, ed. (1967).
1071:. New York: Happy Hours.
1045:A Dictionary of the Drama
942:, 7 February 1880, p. 51.
833:, 17 February 1850, p. 11
723:, un Labiche qui défrise"
597:German Reed Entertainment
524:, a farce in one act, by
481:depicted as Box and Cox,
438:directed the work at the
407:Prince of Wales's Theatre
385:, with an officer of the
92:Oxford English Dictionary
72:in 1866 by the dramatist
1130:. London: Stanley Paul.
1086:Who's Who in the Theatre
875:, 22 December 1891, p. 2
786:"The Theatres, &c",
623:
422:, with W. E. Burton and
16:Not to be confused with
1101:Jacobs, Arthur (1984).
1061:Burnand, F. C. (1872).
1015:, 9 November 1895, p. 8
955:, 15 October 1852, p. 5
859:, 26 April 1856, p. 450
803:, 23 April 1864, p. 402
742:, 2 November 1847; p. 1
709:, 18 October 1889, p. 8
638:Une Chambre Ă Deux Lits
264:
255:Lucia Elizabeth Vestris
125:Théâtre du Palais-Royal
820:, 7 January 1849, p. 9
790:, 7 April 1860, p. 327
755:7 November 1847, p. 11
543:
488:
334:
301:
285:
220:John Baldwin Buckstone
198:
151:. He wrote, "Whether
149:La Chambre Ă Deux Lits
129:La Chambre Ă Deux Lits
34:
1024:"John and Jeanette",
888:, 4 March 1924, p. 12
541:
526:Joseph Stirling Coyne
473:
456:Charles Nelson Reilly
387:Royal Welsh Fusiliers
342:. In January 1849, a
332:
295:
276:
193:
33:, caricatured in 1876
28:
1173:Simon & Schuster
389:playing Mrs Bouncer
139:, who later adapted
117:Eugène Marin Labiche
48:John Maddison Morton
31:John Maddison Morton
1167:Married to Laughter
964:Burnand, pp. 41–57
914:George Bernard Shaw
906:The other two were
440:Royal Court Theatre
405:was revived at the
344:command performance
186:Original production
1229:Information about
996:"Arthur Sullivan:
873:The New York Times
829:"Theatres, etc ",
579:, set to music by
544:
516:The popularity of
489:
396:The New York Times
335:
302:
286:
199:
161:comédie-vaudeville
35:
1214:Project Gutenberg
611:, rather than on
605:John and Jeanette
507:Benjamin Disraeli
370:The Rough Diamond
360:Haymarket Theatre
325:Later productions
214:John Pritt Harley
76:and the composer
1254:
1216:
1186:
1170:
1156:
1139:
1120:
1108:
1097:
1080:
1057:
1029:
1022:
1016:
1009:
1003:
980:
974:
971:
965:
962:
956:
953:The Morning Post
949:
943:
936:
930:
904:
898:
895:
889:
882:
876:
866:
860:
853:
847:
840:
834:
827:
821:
810:
804:
799:"The Theatres",
797:
791:
784:
778:
771:
765:
762:
756:
751:"The Theatres",
749:
743:
736:
730:
716:
710:
703:
697:
694:
677:
670:
650:
647:
641:
634:
601:St George's Hall
531:The Morning Post
436:Lindsay Anderson
424:Joseph Jefferson
413:as Cox, and Mrs
368:and Buckstone's
307:bathing machines
259:Charles Matthews
1262:
1261:
1257:
1256:
1255:
1253:
1252:
1251:
1237:
1236:
1206:
1193:
1183:
1117:
1038:
1033:
1032:
1023:
1019:
1010:
1006:
981:
977:
972:
968:
963:
959:
950:
946:
937:
933:
905:
901:
896:
892:
884:"Box and Cox",
883:
879:
867:
863:
854:
850:
842:Gilbert, W. S.
841:
837:
828:
824:
811:
807:
798:
794:
785:
781:
772:
768:
763:
759:
750:
746:
737:
733:
719:"Agen Théâtre:
717:
713:
704:
700:
695:
680:
671:
664:
659:
654:
653:
648:
644:
635:
631:
626:
621:
593:Daye and Knight
581:Arthur Sullivan
511:W. E. Gladstone
468:
432:Donald Calthrop
428:London Coliseum
327:
267:
197:, the first Box
195:J. B. Buckstone
188:
133:The Double Room
121:Auguste Lefranc
101:
78:Arthur Sullivan
21:
12:
11:
5:
1260:
1250:
1249:
1235:
1234:
1226:
1218:
1203:
1202:
1192:
1191:External links
1189:
1188:
1187:
1181:
1161:Stiller, Jerry
1157:
1140:
1121:
1115:
1098:
1081:
1058:
1037:
1034:
1031:
1030:
1017:
1004:
975:
966:
957:
944:
931:
899:
890:
877:
861:
848:
835:
822:
805:
792:
779:
766:
764:Pearce, p. 295
757:
744:
731:
711:
698:
678:
661:
660:
658:
655:
652:
651:
642:
628:
627:
625:
622:
620:
617:
467:
464:
356:Queen Victoria
352:Windsor Castle
326:
323:
266:
263:
226:
225:
222:
216:
206:Lyceum Theatre
187:
184:
100:
97:
66:Lyceum Theatre
9:
6:
4:
3:
2:
1259:
1248:
1245:
1244:
1242:
1233:
1232:
1227:
1225:
1224:
1219:
1215:
1211:
1210:
1205:
1204:
1201:
1200:
1197:Full text of
1195:
1194:
1184:
1182:0-7432-1146-4
1178:
1174:
1169:
1168:
1162:
1158:
1154:
1150:
1146:
1141:
1137:
1133:
1129:
1128:
1122:
1118:
1112:
1107:
1106:
1099:
1095:
1091:
1087:
1082:
1078:
1074:
1070:
1069:
1066:Penelope Anne
1065:
1059:
1055:
1051:
1047:
1046:
1040:
1039:
1027:
1021:
1014:
1008:
1001:
999:
993:
992:"Cox and Box"
989:
985:
984:"Cox and Box"
979:
973:Jacobs, p. 50
970:
961:
954:
948:
941:
935:
929:
925:
921:
920:
915:
911:
910:
903:
894:
887:
881:
874:
870:
865:
858:
852:
845:
839:
832:
826:
819:
815:
809:
802:
796:
789:
783:
776:
770:
761:
754:
748:
741:
735:
728:
724:
722:
715:
708:
702:
696:Adams, p. 195
693:
691:
689:
687:
685:
683:
675:
669:
667:
662:
646:
639:
633:
629:
616:
614:
610:
606:
602:
598:
594:
590:
586:
582:
578:
577:
572:
568:
566:
562:
557:
553:
549:
548:Penelope Anne
540:
536:
533:
532:
527:
523:
519:
514:
512:
508:
504:
500:
496:
495:
486:
485:
480:
476:
472:
463:
461:
457:
453:
452:Jerry Stiller
449:
445:
444:Walt Witcover
441:
437:
433:
429:
425:
421:
416:
412:
408:
404:
400:
398:
397:
392:
388:
384:
379:
378:W. S. Gilbert
375:
374:Henry Compton
371:
367:
366:
361:
357:
353:
350:was given at
349:
345:
341:
331:
322:
318:
316:
312:
308:
299:
294:
290:
283:
282:Lionel Brough
279:
275:
271:
262:
260:
256:
252:
247:
245:
244:
238:
233:
232:
223:
221:
217:
215:
211:
210:
209:
207:
203:
196:
192:
183:
181:
177:
172:
170:
166:
162:
158:
154:
150:
146:
142:
138:
137:F. C. Burnand
134:
130:
126:
122:
118:
114:
110:
106:
96:
94:
93:
87:
85:
84:
79:
75:
74:F. C. Burnand
71:
67:
63:
59:
57:
53:
49:
45:
42:is a one act
41:
40:
32:
27:
23:
19:
1230:
1222:
1207:
1198:
1171:. New York:
1166:
1144:
1126:
1104:
1085:
1067:
1063:
1044:
1025:
1020:
1012:
1007:
997:
987:
978:
969:
960:
952:
947:
939:
934:
924:John Heywood
917:
907:
902:
897:Gaye, p. 303
893:
885:
880:
872:
864:
856:
851:
843:
838:
830:
825:
817:
813:
808:
800:
795:
787:
782:
774:
769:
760:
752:
747:
740:The Standard
739:
738:"Theatres",
734:
727:ladepeche.fr
726:
720:
714:
706:
701:
673:
645:
637:
632:
612:
608:
604:
592:
585:German Reeds
574:
570:
569:
547:
545:
529:
521:
517:
515:
502:
492:
490:
482:
447:
420:Philadelphia
415:Leigh Murray
402:
401:
394:
390:
369:
363:
347:
336:
319:
303:
297:
287:
278:Edward Saker
268:
250:
248:
241:
231:The Standard
229:
227:
212:James Cox –
201:
200:
179:
175:
173:
168:
164:
160:
156:
152:
148:
140:
132:
128:
112:
102:
90:
88:
81:
61:
60:
55:
38:
37:
36:
29:The author,
22:
1231:Box and Cox
1223:Box and Cox
1209:Box and Cox
1199:Box and Cox
1000:, operetta"
926:. Stiller,
613:Box and Cox
576:Cox and Box
571:Box and Cox
518:Box and Cox
499:Mrs Siddons
477:(left) and
466:Adaptations
458:as Cox and
448:Box and Cox
442:. In 1956,
403:Box and Cox
391:en travesti
348:Box and Cox
251:Box and Cox
218:John Box –
202:Box and Cox
180:Box and Cox
169:Box and Cox
157:Box and Cox
141:Box and Cox
83:Cox and Box
70:comic opera
62:Box and Cox
39:Box and Cox
18:Cox and Box
1247:1847 plays
1116:0192820338
657:References
460:Anne Meara
153:La Chambre
109:vaudeville
99:Background
52:vaudeville
1153:504581419
1136:848554132
886:The Times
707:The Times
565:Offenbach
552:Salamanca
479:Gladstone
411:John Hare
105:Victorian
1241:Category
1163:(2000).
1077:12097957
951:Review,
753:The Era,
721:Frisette
609:Frisette
556:Margrave
475:Disraeli
454:as Box,
315:Ramsgate
176:Frisette
165:Frisette
145:operetta
113:Frisette
56:Frisette
1094:5997224
1054:1012840
1036:Sources
1026:The Era
1013:The Era
831:The Era
818:The Era
775:The Era
674:The Era
561:Bellini
311:Margate
243:The Era
237:cockney
1179:
1151:
1134:
1113:
1092:
1075:
1052:
928:p. 163
487:, 1870
383:Crimea
365:Hamlet
143:as an
940:Punch
624:Notes
503:Punch
494:Punch
484:Punch
450:with
298:circa
115:, by
44:farce
1177:ISBN
1149:OCLC
1132:OCLC
1111:ISBN
1090:OCLC
1073:OCLC
1050:OCLC
916:and
509:and
313:and
300:1850
280:and
265:Plot
257:and
119:and
1212:at
922:by
912:by
844:Fun
725:.
599:at
393:.
354:to
346:of
309:at
174:In
46:by
1243::
1175:.
986:,
871:,
681:^
665:^
615:.
563:,
513:.
111:,
80:,
54:,
1217:.
1185:.
1155:.
1138:.
1119:.
1096:.
1079:.
1056:.
640:.
131:(
20:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
