This page contains fragments of Joseph W. Herbert and John Philip Sousa’s comic operetta The Irish Dragoon, transcribed and edited by Arthur O’Dwyer (2025).
According to Paul E. Bierley’s The Works of John Philip Sousa, Sousa purchased Joseph Herbert’s libretto to The Irish Dragoon — based on Charles Lever’s 1841 novel Charles O’Malley, the Irish Dragoon — which included at least some music composed by another composer, but then set that music aside and composed his own. “The operetta was to have been produced in October 1915,” writes Bierley, based on a press release from May 16, 1915; but in fact it never made it to a theater. Sousa’s holograph scores, discovered in 1965, indicate that Sousa was still working on it off and on through 1916 and perhaps 1917. Sousa “made an unsuccessful attempt to revive the operetta in the late 1920s” with libretto by Bennett Chapple, but it’s unclear whether that libretto was ever completed; if so, whether it survives in any form; and whether Sousa wrote any more music than the fragments surviving here.
Meanwhile, by November 1915 a production titled The Irish Dragoon was being staged by E. E. Pidgeon at the Lyceum Theatre in New York, starring Andrew Mack, with a book by Theodore Burt Sayre.
Bierley lists as his source “Opa 384pp inc; overture dated 17Jul1915 np [LC].” I haven’t seen anything fitting that description. The lyrics below are collected from holograph score fragments located in the Sousa papers in the Sousa Archives at UIUC (box 138 folders 6–12; box 240 folder 9). Some of the scores are in Sousa’s hand; some are in a different hand. Notably the cockfighting scene (SA012) contains lyrics in both hands, as Sousa modifies the first composer’s work.
Many small corrections, especially to punctuation, have been made quietly. Larger corrections, issues, and notes are marked in the text like this, with further details in the mouseover text.
The typographical presentation is inspired by Asimov’s Annotated Gilbert & Sullivan (1988).
See also The Irish Dragoon’s entry in Paul E. Bierley’s The Works of John Philip Sousa (1984); Lever’s The Irish Dragoon at VictorianWeb; The Irish Dragoon (vol. I, vol. II) at Project Gutenberg; and newspaper clippings related to the project.
Book by Joseph W. Herbert
Lyrics by Joseph W. Herbert and/or John Philip Sousa
Music by John Philip Sousa
(Written circa 1915; never produced; probably unfinished)
[On stage at rise of curtain: Norah, Powers, The Showman, and a Mixed Chorus.]
Chorus
Whish! Huroo! To squeak of the fiddle, Forward and back and dance down the middle; Balance your partners; dance in a square; Gaiety reigns at the Donnybrook Fair! Lads and lassies are tripping so gaily, Order preserved by the handy shillelagh. Poteen in quantities, till ye are floatin’— Huroo, huroo! Huroo, huroo! Come, tread on the tail of (my/his) coat.
[Dance.]
Recitative—Showman
Walk up, walk up, And see my wondrous show. The price is but a penny; I doubt if ever any Have seen such a grand display. Walk up, walk up! The price is reduced to-day.
[sings] There’s a juggler from Japan; Find his equal if you can. Our fat woman hates to tell her weight; [Confidentially] ’Tis five hundred and ninety-eight. And our giant by the rule Far out-measures Finn McCool.
Chorus Faix, we read of him when we went to school— Ireland’s giant, Finn McCool!
Showman There’s a hippopotamus And a horned rhinoceros. Each one eats a load of hay For his breakfast ev’ry day. And you hardly can believe: Here’s the snake that tempted Eve!
[Parlante] Come, buy your tickets on the right.
If you think in truth I lack, You can have your money back.
I would have you all to know It’s a highly moral show. So come, buy your tickets—don’t be slow— To this highly moral show.
[During the Showman’s speech, enter an acrobatic clown, who performs. Freaks, etc., enter and exhibit themselves.]
Norah Did anybody see a certain Mister Free? He promised he would call for me This morning. Chorus This morning?
Showman Perhaps he’s gone away To make a prolong’d stay.
Norah I’m sure he wouldn’t do it without warning. Chorus What, no warning?
Showman [mysteriously] ’Tis lately I have heard His affections he’s transferred To a lady by the name of Kitty Kearney. Norah [angrily] Kitty Kearney!
Showman And I now regret to say That you’ll live to rue the day That you listened to the rascal with his blarney! Norah Blarney?
Chorus Mickey has the blarney—
Showman [with enthusiasm] —Since he’s Irish!
Song—Showman and Norah
Showman An Englishman, a Scotsman, and an Irishman, they say, In the dear old days of long ago, They traveled from the East and halted here upon their way, In the dear old days of long ago. The genie of the island met them when they landed here; He bid them honest welcome and he gave them hearty cheer. He gave unto the Englishman a piece of gold, they say; The Scot he got a catcake, and he went upon his way; While Barney, who was left alone, The genie gave to him a stone.
Chorus Ochone, ochone! Ochone, ochone! Ochone, ochone!
Norah But the stone he gave to Barney, It contained the gift of blarney. Everyone believes each yarn he tells Since the dear old days of long ago.
Chorus But the stone he gave to Barney, It contained the gift of blarney. And all believe each yarn he tells Since the dear old days of long ago.
Showman The Englishman was thrifty and his gold has multiplied Since the dear old days of long ago. The Scotsman has broad acres, he has flocks and herds beside, Since the dear old days of long ago. While Barney is as poor as when he landed on this isle; His riches are a minus; wealth his touch does not defile. But the gift that was his stone to him for riches will atone— No fortune, but content, he found, went with the Blarney Stone. So Barney, who was left alone, Is happy with his Blarney Stone.
Chorus Ochone, etc.
Chorus When an Irishman has kissed the Blarney Stone, There’s nothing can resist his oily tone. All in vain is your defense— He deprives you of your sense— When an Irishman has kissed the Blarney Stone.
[Martial music in the distance. Enter Captain Powers with a detachment of Dragoons.]
Recitative—Powers
Fellow-subjects of the Regent, your attention I crave! War is declared against the French; And ev’ry lad who is willing To take the Prince’s shilling I will enlist.
All Hurrah!
Song—Powers
Ev’ry day a joy Is the soldier boy With the fair ones the world around. Chorus With the ra-ta-ta-ta-ta! Powers And in flocks they’ll come To the beat of the drum; ’Tis such a welcome sound. Chorus With the ra-ta-plan-a-plan!
Powers With a smile in her eye Ev’ry lassie will fly To the door when the band goes by; For the maid well knows When the bugle blows That the brave sons of Mars are nigh.
Chorus Sons of Mars— Powers Sons of Mars! Chorus Sons of Mars— Powers Sons of Mars! All That the sons of Mars are nigh!
Powers With his shot-shell storming the gate— And the spoils are a maiden’s charms— Never hesitate; They capitulate At the sound of the call “Come to arms!”
With his shot-shell storming the fair On the ramparts of Cupid’s fort; For there’s none compare With the militaire When he sieges fair Venus’ court.
Chorus With his shot-shell storming the gate, etc.
[Dialogue omitted.]
Duet—Norah and Mickey
Mickey Don’t tell me that your heart is cold And love is an intruder bold. When Cupid calls, just ask him in; To keep him waiting is a sin. You’ll find this naked little sprite A guest to give you great delight. He’ll thaw you out before you part And warm the cockles of your heart.
Norah My heart is sealed. Mickey He’ll make you yield. Norah I’ll shut the door. Mickey You’re wrong, asthore. Norah What joy to me can Cupid bring? Both The joy of love, of which he’s king!
Mickey Then hey! sing a song of the ring. Cead mile failte, Mister Cupid. Night and mornin’, Come at any time of day. Sure the latchstring of my heart is waitin’ for your warnin’; You are welcome as the May.
Both Cead mile failte, Mister Cupid. Night and mornin’, Come at any time to-day. Sure the latchstring of (my/his) heart is waitin’ for your warnin’; You are welcome as the May.
[Dialogue omitted.]
[The next song involves O’Malley and four Gentlemen, consisting of two tenors, a baritone, and a bass.]
Song—O’Malley and Gentlemen
O Fortune, thou art fickle, false, and blind; Siren, temptress, whose heart is cold. Her sisters are tethered with ties that bind, Till ransomed by sordid gold. To you, fickle maiden, I’ll sing a serenade; I’m not a luggin monster that’s asking you for aid. It is not gold I long for; of fame I wish no part; I plead in tender song for the idol of my heart.
Gent. It is love, love, love; It’s the chalice of joys untold. O’Malley You can’t pay the loss, For your gold is dross When love in the heart grows cold. Gent. When her fair arms no longer enfold There’s no value to all your gold. O’Malley Your wealth is nought For her love can’t be bought By your gold, gold, gold.
[Dialogue omitted.]
Madrigal—Norah, Mrs. Dalrymple, Mickey, and O’Malley
Early dawn, Dame Rumor trundled On the road to Scandal Town, With her wares all sealed and [—] [—] This has been a good day’s work.
[Dialogue omitted.]
Duet—Lucy and O’Malley
O’Malley The years may roll; Thou art the goal For which I strive; Though Fate decree It cannot be, My love alive Nor weaken’d by the lapse of time I’ll chant in lovers’ sweetest rhyme. To you my love I’ll boldly sing: Though life be autumn, Love is spring. Lucy Though life be autumn, Love is spring!
Both Springtime of Love, season unchanging; Springtime of Love will ne’er depart. Time’s wintry hand finds love unchanging, Springtime of Love still in each heart.
Lucy Though time may place Upon thy face His wrinkles deep, And silver cold Through locks of gold Begin to creep— Though winter’s end approaches fast, Our Spring of Love will ever last. Though age be stamped upon thy brow, I’ll love thee, dear one, then as now. O’Malley You’ll love me, dear one, then as now.
Both Springtime of Love, etc.
Chorus—Dragoons
A soldier, imbued with a warlike desire, Sits toasting his shins by a bivouac fire. His armor is rusting; he mourns at his plight; He envies his comrades in front at the fight. Tenors He longs for the roll of the martial drum— Basses He longs for the time when the bullets hum— 1st Bass To fight for his flag, his country, and his King! No terror has he of what the clash may bring. The sound of the music’s blaring; Nought for the foeman caring, Off with a dash and daring, While the bugles ring!
All The roll of the drum, the bullet’s hum; The roll of the drum, the roll of the drum; The roll of the martial drum.
To fight for his flag, etc.
[The sound of Girls laughing outside.]
Sentry Who goes there?
Girls [outside] Hola!
Sentry Who goes there?
[Enter Girls.]
Girls Hola! We mean you no harm; Dispel all alarm; Permit our advance. For our ransom we’ll dance!
Song—Girls
The sensuous dance of Aragon Excels all dances of our time; As light as air, a paragon Combining melody and rhyme: El Jota!
[They dance.]
El Zapata— La Manola— Seguidilla— Caricola— El Sombrero— La Bolero— With the Jota can’t compare! Movement graceful, most entrancing, Eyes a-smiling, join the dancing. Hearts a-beating While time’s fleeting [words missing] far away. Far away—far away.
The song they sing of Araby Gives Jota Oriental charm; And mixed with spice from Carribee That makes the movement rather warm.
Let us gaily sing, while the heart is gay. Age has one regret: ’Tis the song unsung.
Youth’s a time for jest; Put to flight all care. Worry is a nest Cradling dark despair. Youth’s a time for jest, etc.
Worry is a nest for despair— Put to flight all dull care!
[Enter Mickey.]
Song—Mickey and Dragoons
Mickey The packet boat has just arrived From ’cross the ocean’s foam; A letther here for each of ye— It’s news from home sweet home!
[Giving letters] Pat Maginn, Teddy Flynn; Shaughnessy and Lacey; Mike McClure, Danny Moore; Lannigan and Casey; Finnegan and Brannigan and little Johnny Kyle; And each one has the postmark of the dear old Emerald Isle.
1st Soldier [reading] “The landlord’s on eviction bent, “Because I haven’t paid the rent.”
2nd Soldier [reading] “I beg to state with great delight “The Brannigans have had a fight.”
3rd Soldier While heart and hand are both a-tremble, I’ll break the seal! Chorus Break the seal!
All Five My feeling I cannot dissemble, Such dread I feel! Chorus Dread you feel!
4th Soldier The messages from dear beloved ones Beyond ocean’s foam— You find you love them all the dearer When they write “Come home.” Chorus When they write “Come home!”
Mickey [sweetly] Norah, Norah, my dear, It’s shameful to think that you doubt me; Faith, it’s the truth that my conscience is clear, Though temptation’s always about me.
Chorus Norah, Norah, my dear, etc.
1st Soldier [reading] “They washed the baby in the trough “And now he’s got the whooping cough.”
2nd Soldier [reading] “Remember when you go to bed “To put your night-cap on your head.”
3rd Soldier While heart and hand, etc.
[Repeat through “temptation’s always about him.”]
[They start dancing, but stop when they hear a rooster crow.
[Enter two Portuguese Peasants, each a bag under his arm containing a fighting cock. They argue in pantomime. The soldiers watch them intently.]
Song—Peasant and Chorus
Chorus Say the word; Choose your bird; Both are in fine feather. Soon we’ll see A melee— One will get a shock. Gaffs are barred, Muscles hard; Fit as a fighting cock. Bet a quid; Take the bid And a couple more. There’s the tin; Come, begin; Give the birds the floor.
Peasant [displaying his bird] Take your pick; There‘s a chick; He’s the bird by far.
Bet on this youngster—he never lost a fight. He’ll make the other bird turn tail in flight.
Chorus Make your bets; See the pets Ready for the scramble. Such a match, Such a scratch, Seldom do we see.
Peasant Bet on this youngster—he never lost a fight. He’ll make the other bird turn tail in flight. Just look in his fighting eye— He’ll make the feathers fly!
[Imitating a rooster] Kook kook a kook kook a kook, Kook kook a kook kook a kook.
Chorus Bet on this youngster—he never lost a fight. He’ll make the other bird turn tail in flight. Ah, notice his flashing eye; He’ll soon make the feathers fly! Kook kook a kook kook, kook kook, Kook kook a kook kook, kook kook.
[The Dragoons come to attention as their officers are seen approaching.]
Song—Dragoons
To fight for his flag, his country, and his King— No terror has he of what the clash may bring! To sound of the music’s blaring, Nought for the foeman caring, Off with a dash and daring When the bugles ring!
[Dialogue omitted.]
[The operetta has three acts; the division between Act II and Act III comes somewhere in here. Each of the following passages might belong to either Act II or Act III.]
Song—Lucy, O’Malley, and Powers
Lucy The hearts are hard to melt Of Saxon or of Celt, Until some time they’ve dwelt In Portugal or Spain. For ’neath these southern skies The girls have midnight eyes, Compelling lovers’ sighs: Resistance is in vain.
Powers You’ll find a willing captive I would be If those bombarding glances turned to me.
Lucy Would you surrender and with your comrade agree?
O’Malley I doubt if I shall ever meet a maid Beneath whose glance I’d quail and be afraid.
Lucy Vain boaster, mark my words: You soon will be A prisoner in love’s captivity!
In this land ’neath the southern skies Where the maidens have wondrous eyes A coquette, cigarette, then a loving duet— In the net you forget one you adore. Then the old love forever dies; Señor Cupid has won the prize; And you get a brunette with such lovely eyes of jet You regret you hadn’t met before.
[Dialogue omitted.]
O’Malley And now I’ll take the purse.
Bodkin One minute—allow me— Here is your fee.
O’Malley The purse, I say!
Bodkin Your fee! You rode my horse to victory!
[Attached to the above dialogue: Bodkin and O’Malley engage in a duel.]
[Dialogue omitted.]
Song—O’Malley and St. Croix
O’Malley All the world, the poets say,
Loves a lover, grave or gay.
St. C. If the poets speak the truth,
We are lovers, then, forsooth.
O’Malley Love’s impulsive, always blind;
Love’s soft fetters will not bind.
St. C. Till love’s tested, you’ll agree,
True love’s camaraderie.
O’Malley [giving his hand]
There’s my hand.
St. C. Good luck ’twill bring.
That for sorrow;
No trouble borrow;
To Love and friendship’s blessings cling.
There’s my hand—
O’Malley Good luck ’twill bring.
That for sorrow;
No trouble borrow;
To Love and friendship’s blessings cling.
St. C. Buried fame, and riches fled,
Siren charms forever dead—
O’Malley Two staunch friends remain with thee:
Both ’Tis love and camaraderie!