The Prince and the Beggar Maid (play)

[3] The Prince and the Beggar Maid deals with the mimic pomp, intrigues, wars, and petty tyrannies of those ducal States and little kingdoms which Anthony Hope resorted to when he placed The Prisoner of Zenda in an imaginary Ruritania.

Gorgeous uniforms, dazzling interiors, and the martial display dear to the heart of the playgoer, marked the progress of the new piece, which had been handsomely put on, with some picturesque sets by Mr. Rege Robins.

The best tableau this artist had hitherto painted showed the interior of the Cathedral of Illyria, with its pointed arches, richly stained glass, and decorated altar, before which the choristers swimg their censers, whilst the Bishop endeavoured to bring to a close a marriage ceremony, which was tragically interrupted.

The battlements of the Palace, with a beautiful view of the Bay of Illyria, and the banqueting hair at the Castle of Wellenberg, with stately windows occupyied the full width of a noble interior, and won the applause of the crowded house.

Her small State is under attack from Prince Hildred of Sylvania, the nominal dispute being a contested strip of territory, but the real reason is her refusal to become his bride.

In this scene the audacious gipsy falls in love with Olaf, and, leading him to a polished breast-plate, bids him see there the face of the man who stands at tho open door of the Princess Monica's heart.

But, to her dismay, instead of uniting her with Olaf, Prince Hildred forces upon her the hunchbacked Michael, who also is heart and soul in love with her and who is determined to take advantage of Monica's vow.