title: Fourier-transform infrared spectroscopy

text: The interferogram is converted to a spectrum by Fourier transformation. This requires it to be stored in digital form as a series of values at equal intervals of the path difference between the two beams. To measure the path difference a laser beam is sent through the interferometer, generating a sinusoidal signal where the separation between successive maxima is equal to the wavelength of the laser (typically a 633 nm HeNe laser is used). This can trigger an analog-to-digital converter to measure the IR signal each time the laser signal passes through zero. Alternatively, the laser and IR signals can be measured synchronously at smaller intervals with the IR signal at points corresponding to the laser signal zero crossing being determined by interpolation. This approach allows the use of analog-to-digital converters that are more accurate and precise than converters that can be triggered, resulting in lower noise.


title: Fourier-transform infrared spectroscopy

text: The result of Fourier transformation is a spectrum of the signal at a series of discrete wavelengths. The range of wavelengths that can be used in the calculation is limited by the separation of the data points in the interferogram. The shortest wavelength that can be recognized is twice the separation between these data points. For example, with one point per wavelength of a HeNe reference laser at () the shortest wavelength would be (). Because of aliasing any energy at shorter wavelengths would be interpreted as coming from longer wavelengths and so has to be minimized optically or electronically. The spectral resolution, i.e. the separation between wavelengths that can be distinguished, is determined by the maximum OPD. The wavelengths used in calculating the Fourier transform are such that an exact number of wavelengths fit into the length of the interferogram from zero to the maximum OPD as this makes their contributions orthogonal. This results in a spectrum with points separated by equal frequency intervals.


title: Fourier-transform infrared spectroscopy

text: For a maximum path difference adjacent wavelengths and will have and cycles, respectively, in the interferogram. The corresponding frequencies are ν and ν:


title: Fourier-transform infrared spectroscopy

text: The separation is the inverse of the maximum OPD. For example, a maximum OPD of 2 cm results in a separation of . This is the spectral resolution in the sense that the value at one point is independent of the values at adjacent points. Most instruments can be operated at different resolutions by choosing different OPD's. Instruments for routine analyses typically have a best resolution of around , while spectrometers have been built with resolutions as high as , corresponding to a maximum OPD of 10 m. The point in the interferogram corresponding to zero path difference has to be identified, commonly by assuming it is where the maximum signal occurs. This so-called centerburst is not always symmetrical in real world spectrometers so a phase correction may have to be calculated. The interferogram signal decays as the path difference increases, the rate of decay being inversely related to the width of features in the spectrum. If the OPD is not large enough to allow the interferogram signal to decay to a negligible level there will be unwanted oscillations or sidelobes associated with the features in the resulting spectrum. To reduce these sidelobes the interferogram is usually multiplied by a function that approaches zero at the maximum OPD. This so-called apodization reduces the amplitude of any sidelobes and also the noise level at the expense some reduction in resolution.


title: Fourier-transform infrared spectroscopy

text: For rapid calculation the number of points in the interferogram has to equal a power of two. A string of zeroes may be added to the measured interferogram to achieve this. More zeroes may be added in a process called zero filling to improve the appearance of the final spectrum although there is no improvement in resolution. Alternatively, interpolation after the Fourier transform gives a similar result.


title: Fourier-transform infrared spectroscopy

text: There are three principal advantages for an FT spectrometer compared to a scanning (dispersive) spectrometer.


title: Fourier-transform infrared spectroscopy

text: Another minor advantage is less sensitivity to stray light, that is radiation of one wavelength appearing at another wavelength in the spectrum. In dispersive instruments, this is the result of imperfections in the diffraction gratings and accidental reflections. In FT instruments there is no direct equivalent as the apparent wavelength is determined by the modulation frequency in the interferometer.


title: Fourier-transform infrared spectroscopy

text: The interferogram belongs in the length dimension. Fourier transform (FT) inverts the dimension, so the FT of the interferogram belongs in the reciprocal length dimension([L−1]), that is the dimension of wavenumber. The spectral resolution in cm is equal to the reciprocal of the maximal retardation in cm. Thus a 4 cm resolution will be obtained if the maximal retardation is 0.25 cm; this is typical of the cheaper FTIR instruments. Much higher resolution can be obtained by increasing the maximal retardation. This is not easy, as the moving mirror must travel in a near-perfect straight line. The use of corner-cube mirrors in place of the flat mirrors is helpful, as an outgoing ray from a corner-cube mirror is parallel to the incoming ray, regardless of the orientation of the mirror about axes perpendicular to the axis of the light beam. In 1966 Connes measured the temperature of the atmosphere of Venus by recording the vibration-rotation spectrum of Venusian CO at 0.1 cm resolution. Michelson himself attempted to resolve the hydrogen H emission band in the spectrum of a hydrogen atom into its two components by using his interferometer. A spectrometer with 0.001 cm resolution is now available commercially. The throughput advantage is important for high-resolution FTIR, as the monochromator in a dispersive instrument with the same resolution would have very narrow entrance and exit slits.


title: Fourier-transform infrared spectroscopy

text: FTIR is a method of measuring infrared absorption and emission spectra. For a discussion of "why" people measure infrared absorption and emission spectra, i.e. why and how substances absorb and emit infrared light, see the article: Infrared spectroscopy.


title: Fourier-transform infrared spectroscopy

text: FTIR spectrometers are mostly used for measurements in the mid and near IR regions. For the mid-IR region, 2−25 μm (5,000–400 cm), the most common source is a silicon carbide (SiC) element heated to about (Globar). The output is similar to a blackbody. Shorter wavelengths of the near-IR, 1−2.5 μm (10,000–4,000 cm), require a higher temperature source, typically a tungsten-halogen lamp. The long wavelength output of these is limited to about 5 μm (2,000 cm) by the absorption of the quartz envelope. For the far-IR, especially at wavelengths beyond 50 μm (200 cm) a mercury discharge lamp gives higher output than a thermal source.


title: Fourier-transform infrared spectroscopy

text: Near-IR spectrometers commonly use pyroelectric detectors that respond to changes in temperature as the intensity of IR radiation falling on them varies. The sensitive elements in these detectors are either deuterated triglycine sulfate (DTGS) or lithium tantalate (LiTaO). These detectors operate at ambient temperatures and provide adequate sensitivity for most routine applications. To achieve the best sensitivity the time for a scan is typically a few seconds. Cooled photoelectric detectors are employed for situations requiring higher sensitivity or faster response. Liquid nitrogen cooled mercury cadmium telluride (MCT) detectors are the most widely used in the mid-IR. With these detectors an interferogram can be measured in as little as 10 milliseconds. Uncooled indium gallium arsenide photodiodes or DTGS are the usual choices in near-IR systems. Very sensitive liquid-helium-cooled silicon or germanium bolometers are used in the far-IR where both sources and beamsplitters are inefficient.


title: Fourier-transform infrared spectroscopy

text: An ideal beam-splitter transmits and reflects 50% of the incident radiation. However, as any material has a limited range of optical transmittance, several beam-splitters may be used interchangeably to cover a wide spectral range. For the mid-IR region the beamsplitter is usually made of KBr with a germanium-based coating that makes it semi-reflective. KBr absorbs strongly at wavelengths beyond 25 μm (400 cm) so CsI or KRS-5 are sometimes used to extend the range to about 50 μm (200 cm). ZnSe is an alternative where moisture vapor can be a problem but is limited to about 20μm (500 cm). CaF is the usual material for the near-IR, being both harder and less sensitive to moisture than KBr but cannot be used beyond about 8 μm (1,200 cm). In a simple Michelson interferometer one beam passes twice through the beamsplitter but the other passes through only once. To correct for this an additional compensator plate of equal thickness is incorporated. Far-IR beamsplitters are mostly based on polymer films and cover a limited wavelength range.


title: Fourier-transform infrared spectroscopy

text: Attenuated total reflectance (ATR) is one accessory of FTIR spectrophotometer to measure surface properties of solid or thin film samples rather than their bulk properties. Generally, ATR has a penetration depth of around 1 or 2 micrometers depending on sample conditions.


title: Fourier-transform infrared spectroscopy

text: The interferogram in practice consists of a set of intensities measured for discrete values of retardation. The difference between successive retardation values is constant. Thus, a discrete Fourier transform is needed. The fast Fourier transform (FFT) algorithm is used.


title: Fourier-transform infrared spectroscopy

text: The first FTIR spectrometers were developed for far-infrared range. The reason for this has to do with the mechanical tolerance needed for good optical performance, which is related to the wavelength of the light being used. For the relatively long wavelengths of the far infrared, ~10 μm tolerances are adequate, whereas for the rock-salt region tolerances have to be better than 1 μm. A typical instrument was the cube interferometer developed at the NPL and marketed by Grubb Parsons. It used a stepper motor to drive the moving mirror, recording the detector response after each step was completed.


title: Fourier-transform infrared spectroscopy

text: With the advent of cheap microcomputers it became possible to have a computer dedicated to controlling the spectrometer, collecting the data, doing the Fourier transform and presenting the spectrum. This provided the impetus for the development of FTIR spectrometers for the rock-salt region. The problems of manufacturing ultra-high precision optical and mechanical components had to be solved. A wide range of instruments are now available commercially. Although instrument design has become more sophisticated, the basic principles remain the same. Nowadays, the moving mirror of the interferometer moves at a constant velocity, and sampling of the interferogram is triggered by finding zero-crossings in the fringes of a secondary interferometer lit by a helium–neon laser. In modern FTIR systems the constant mirror velocity is not strictly required, as long as the laser fringes and the original interferogram are recorded simultaneously with higher sampling rate and then re-interpolated on a constant grid, as pioneered by James W. Brault. This confers very high wavenumber accuracy on the resulting infrared spectrum and avoids wavenumber calibration errors.


title: Fourier-transform infrared spectroscopy

text: The near-infrared region spans the wavelength range between the rock-salt region and the start of the visible region at about 750 nm. Overtones of fundamental vibrations can be observed in this region. It is used mainly in industrial applications such as process control and chemical imaging.


title: Fourier-transform infrared spectroscopy

text: FTIR can be used in all applications where a dispersive spectrometer was used in the past (see external links). In addition, the improved sensitivity and speed have opened up new areas of application. Spectra can be measured in situations where very little energy reaches the detector and scan rates can exceed 50 spectra a second. Fourier transform infrared spectroscopy is used in geology, chemistry, materials and biology research fields.


title: Fourier-transform infrared spectroscopy

text: FTIR is also used to investigate various nanomaterials and proteins in hydrophobic membrane environments. Studies show the ability of FTIR to directly determine the polarity at a given site along the backbone of a transmembrane protein. The bond features involved with various organic and inorganic nanomaterials and their quantitative analysis can be done with the help of FTIR.


title: Fourier-transform infrared spectroscopy

text: An infrared microscope allows samples to be observed and spectra measured from regions as small as 5 microns across. Images can be generated by combining a microscope with linear or 2-D array detectors. The spatial resolution can approach 5 microns with tens of thousands of pixels. The images contain a spectrum for each pixel and can be viewed as maps showing the intensity at any wavelength or combination of wavelengths. This allows the distribution of different chemical species within the sample to be seen. Typical studies include analysing tissue sections as an alternative to conventional histopathology and examining the homogeneity of pharmaceutical tablets.


title: Fourier-transform infrared spectroscopy

text: The spatial resolution of FTIR can be further improved below the micrometer scale by integrating it into scanning near-field optical microscopy platform. The corresponding technique is called nano-FTIR and allows for performing broadband spectroscopy on materials in ultra-small quantities (single viruses and protein complexes) and with 10 to 20 nm spatial resolution.


title: Fourier-transform infrared spectroscopy

text: The speed of FTIR allows spectra to be obtained from compounds as they are separated by a gas chromatograph. However this technique is little used compared to GC-MS (gas chromatography-mass spectrometry) which is more sensitive. The GC-IR method is particularly useful for identifying isomers, which by their nature have identical masses. Liquid chromatography fractions are more difficult because of the solvent present. One notable exception is to measure chain branching as a function of molecular size in polyethylene using gel permeation chromatography, which is possible using chlorinated solvents that have no absorption in the area in question.


title: Fourier-transform infrared spectroscopy

text: Measuring the gas evolved as a material is heated allows qualitative identification of the species to complement the purely quantitative information provided by measuring the weight loss.


title: Fourier-transform infrared spectroscopy

text: FTIR analysis is used to determine water content in fairly thin plastic and composite parts, more commonly in the laboratory setting. Such FTIR methods have long been used for plastics, and became extended for composite materials in 2018, when the method was introduced by Krauklis, Gagani and Echtermeyer. FTIR method uses the maxima of the absorbance band at about 5,200 cm−1 which correlates with the true water content in the material.


title: Intrusive thought

text: An intrusive thought is an unwelcome, involuntary thought, image, or unpleasant idea that may become an obsession, is upsetting or distressing, and can feel difficult to manage or eliminate. When such thoughts are associated with obsessive-compulsive disorder (OCD), depression, body dysmorphic disorder (BDD), and sometimes attention-deficit hyperactivity disorder (ADHD), the thoughts may become paralyzing, anxiety-provoking, or persistent. Intrusive thoughts may also be associated with episodic memory, unwanted worries or memories from OCD, post-traumatic stress disorder, other anxiety disorders, eating disorders, or psychosis. Intrusive thoughts, urges, and images are of inappropriate things at inappropriate times, and generally have aggressive, sexual, or blasphemous themes.


title: Intrusive thought

text: Many people experience the type of bad or unwanted thoughts that people with more troubling intrusive thoughts have, but most people can dismiss these thoughts. For most people, intrusive thoughts are a "fleeting annoyance". Psychologist Stanley Rachman presented a questionnaire to healthy college students and found that virtually all said they had these thoughts from time to time, including thoughts of sexual violence, sexual punishment, "unnatural" sex acts, painful sexual practices, blasphemous or obscene images, thoughts of harming elderly people or someone close to them, violence against animals or towards children, and impulsive or abusive outbursts or utterances. Such thoughts are universal among humans, and have "almost certainly always been a part of the human condition".


title: Intrusive thought

text: When intrusive thoughts occur with obsessive-compulsive disorder (OCD), patients are less able to ignore the unpleasant thoughts and may pay undue attention to them, causing the thoughts to become more frequent and distressing. The suppression of intrusive thoughts often cause these thoughts to become more intense and persistent. The thoughts may become obsessions that are paralyzing, severe, and constantly present, these might involve topics such as violence, sex, or religious blasphemy, among others. Distinguishing them from normal intrusive thoughts experienced by many people, the intrusive thoughts associated with OCD may be anxiety provoking, irrepressible, and persistent.


title: Intrusive thought

text: How people react to intrusive thoughts may determine whether these thoughts will become severe, turn into obsessions, or require treatment. Intrusive thoughts can occur with or without compulsions. Carrying out the compulsion reduces the anxiety, but makes the urge to perform the compulsion stronger each time it recurs, reinforcing the intrusive thoughts. According to Lee Baer, suppressing the thoughts only makes them stronger, and recognizing that bad thoughts do not signify that one is truly evil is one of the steps to overcoming them. There is evidence of the benefit of acceptance as an alternative to the suppression of intrusive thoughts. In one particular study, those instructed to suppress intrusive thoughts experienced more distress after suppression, while patients instructed to accept the bad thoughts experienced decreased discomfort. These results may be related to underlying cognitive processes involved in OCD. However, accepting the thoughts can be more difficult for persons with OCD.


title: Intrusive thought

text: The possibility that most patients with intrusive thoughts will ever act on those thoughts is low. Patients who are experiencing intense guilt, anxiety, shame, and are upset over these thoughts are very different from those who actually act on them. Patients who are not troubled or shamed by their thoughts, do not find them distasteful, or who have actually taken action, might need to have more serious conditions such as psychosis or potentially criminal behaviors ruled out. According to Lee Baer, a patient should be concerned that intrusive thoughts are dangerous if the person does not feel upset by the thoughts, or rather finds them pleasurable; has ever acted on violent or sexual thoughts or urges; hears voices or sees things that others do not see; or feels uncontrollable irresistible anger.


title: Intrusive thought

text: Intrusive thoughts may involve violent obsessions about hurting others or themselves. They can be related to primarily obsessional obsessive compulsive disorder. These thoughts can include harming a child; jumping from a bridge, mountain, or the top of a tall building; urges to jump in front of a train or automobile; and urges to push another in front of a train or automobile. Rachman's survey of healthy college students found that virtually all of them had intrusive thoughts from time to time, including:


title: Intrusive thought

text: These thoughts are part of being human, and need not ruin the quality of life. Treatment is available when the thoughts are associated with OCD and become persistent, severe, or distressing.


title: Intrusive thought

text: One example of an aggressive intrusive thought is the high place phenomenon, the sudden urge to jump from a high place. A 2011 study assessed the prevalence of this phenomenon among US college students; it found that even among those participants with no history of suicidal ideation, over 50% had experienced an urge to jump or imagined themselves jumping from a high place at least once. A 2020 study carried out in Germany reported similar results. The phenomenon is more commonly experienced by individuals with a high level of anxiety sensitivity, and may be caused by the conscious mind's misinterpretation of an instinctive safety signal.


title: Intrusive thought

text: Sexual obsession involves intrusive thoughts or images of "kissing, touching, fondling, oral sex, anal sex, intercourse, and rape" with "strangers, acquaintances, parents, children, family members, friends, coworkers, animals and religious figures", involving "heterosexual or homosexual content" with persons of any age.


title: Intrusive thought

text: Common sexual themes for intrusive thoughts for men involve "(a) having sex in a public place, (b) people I come in contact with being naked, and (c) engaging in a sexual act with someone who is unacceptable to me because they have authority over me." While common sexual intrusive thoughts for women are (a) having sex in a public place, (b) engaging in a sexual act with someone who is unacceptable to me because they have authority over me, and (c) being sexually victimized.


title: Intrusive thought

text: Like other unwanted intrusive thoughts or images, most people have some inappropriate sexual thoughts at times, but people with OCD may attach significance to the unwanted sexual thoughts, generating anxiety and distress. The doubt that accompanies OCD leads to uncertainty regarding whether one might act on the intrusive thoughts, resulting in self-criticism or loathing.


title: Intrusive thought

text: One of the more common sexual intrusive thoughts occurs when an obsessive person doubts their sexual identity. As in the case of most sexual obsessions, individuals may feel shame and live in isolation, finding it hard to discuss their fears, doubts, and concerns about their sexual identity.


title: Intrusive thought

text: A person experiencing sexual intrusive thoughts may feel shame, "embarrassment, guilt, distress, torment, fear of acting on the thought or perceived impulse, and doubt about whether they have already acted in such a way." Depression may be a result of the self-loathing that can occur, depending on how much the OCD interferes with daily functioning or causes distress. Their concern over these thoughts may cause them to scrutinize their bodies to determine if the thoughts result in feelings of arousal. However, focusing their attention on any part of the body can result in feelings in that body part, hence doing so may decrease confidence and increase fear about acting on the urges. Part of the treatment of sexual intrusive thoughts involves therapy to help them accept intrusive thoughts and stop trying to reassure themselves by checking their bodies. This arousal within the body parts is due to conditioned physiological responses in the brain, which do not respond to the subject of the sexual intrusive thought but rather to the fact that a sexual thought is occurring at all and thus engage an automatic response (research indicates that the correlation between what the genitalia regard as "sexually relevant" and what the brain regards as "sexually appealing" only correlates 50% of the time in men and 10% of the time in women). This means that an arousal response does not necessarily indicate that the person desires what they are thinking about. However, rational thinking processes attempt to explain this reaction and OCD causes people to attribute false meaning and importance to these physiological reactions in an attempt to make sense of them. People can also experience heightened anxiety caused by forbidden images or simply by discussing the matter which can then also cause physiological arousal, such as sweating, increased heart rate and some degree of tumescence or lubrication. This is often misinterpreted by the individual as an indication of desire or intent, when it is in fact not.


title: Intrusive thought

text: Blasphemous thoughts are a common component of OCD, documented throughout history; notable religious figures such as Martin Luther and Ignatius of Loyola were known to be tormented by intrusive, blasphemous or religious thoughts and urges. Martin Luther had urges to curse God and Jesus, and was obsessed with images of "the Devil's behind." St. Ignatius had numerous obsessions, including the fear of stepping on pieces of straw forming a cross, fearing that it showed disrespect to Christ. A study of 50 patients with a primary diagnosis of obsessive-compulsive disorder found that 40% had religious and blasphemous thoughts and doubts—a higher, but not statistically significantly different number than the 38% who had the obsessional thoughts related to dirt and contamination more commonly associated with OCD. One study suggests that the content of intrusive thoughts may vary depending on culture, and that blasphemous thoughts may be more common in men than in women.


title: Intrusive thought

text: According to Fred Penzel, a New York psychologist, some common religious obsessions and intrusive thoughts are:


title: Intrusive thought

text: Suffering can be greater and treatment complicated when intrusive thoughts involve religious implications; patients may believe the thoughts are inspired by Satan, and may fear punishment from God or have magnified shame because they perceive themselves as sinful. Symptoms can be more distressing for individuals with strong religious convictions or beliefs.


title: Intrusive thought

text: Baer believes that blasphemous thoughts are more common in Catholics and evangelical Protestants than in other religions, whereas Jews or Muslims tend to have obsessions related more to complying with the laws and rituals of their faith, and performing the rituals perfectly. He hypothesizes that this is because what is considered inappropriate varies among cultures and religions, and intrusive thoughts torment their sufferers with whatever is considered most inappropriate in the surrounding culture.


title: Intrusive thought

text: Adults under the age of 40 seem to be the most affected by intrusive thoughts. Individuals in this age range tend to be less experienced at coping with these thoughts, and the stress and negative effect induced by them. Younger adults also tend to have stressors specific to that period of life that can be particularly challenging especially in the face of intrusive thoughts. Although, when introduced with an intrusive thought, both age groups immediately look for ways to reduce the recurrence of the thoughts.


title: Intrusive thought

text: Those in middle adulthood (40-60) have the highest prevalence of OCD and therefore seem to be the most susceptible to the anxiety and negative emotions associated with intrusive thought. Middle adults are in a unique position because they have to struggle with both the stressors of early and late adulthood. They may be more vulnerable to intrusive thought because they have more topics to relate to. Even with this being the case, middle adults are still better at coping with intrusive thoughts than early adults, although it takes them longer at first to process an intrusive thought. Older adults tend to see the intrusive thought more as a cognitive failure rather than a moral failure in opposition to young adults. They have a harder time suppressing the intrusive thoughts than young adults causing them to experience higher stress levels when dealing with these thoughts.


title: Intrusive thought

text: Intrusive thoughts appear to occur at the same rate across the lifespan, however, older adults seem to be less negatively affected than younger adults. Older adults have more experience in ignoring or suppressing strong negative reactions to stress.


title: Intrusive thought

text: Intrusive thoughts are associated with OCD or OCPD, but may also occur with other conditions such as post-traumatic stress disorder, clinical depression, postpartum depression, generalized anxiety disorder and anxiety. One of these conditions is almost always present in people whose intrusive thoughts reach a clinical level of severity. A large study published in 2005 found that aggressive, sexual, and religious obsessions were broadly associated with comorbid anxiety disorders and depression. The intrusive thoughts that occur in a schizophrenic episode differ from the obsessional thoughts that occur with OCD or depression in that the intrusive thoughts of people with schizophrenia are false or delusional beliefs (i.e., held by the schizophrenic individual to be real and not doubted, as is typically the case with intrusive thoughts) .


title: Intrusive thought

text: The key difference between OCD and post-traumatic stress disorder (PTSD) is that the intrusive thoughts of people with PTSD are of content relating to traumatic events that actually happened to them, whereas people with OCD have thoughts of imagined catastrophes. PTSD patients with intrusive thoughts have to sort out violent, sexual, or blasphemous thoughts from memories of traumatic experiences. When patients with intrusive thoughts do not respond to treatment, physicians may suspect past physical, emotional, or sexual abuse. If a person who has experienced trauma practices looks for the positive outcomes, it is suggested they will experience less depression and higher self well-being. While a person may experience less depression for benefit finding, they may also experience an increased amount of intrusive and/or avoidant thoughts.


title: Intrusive thought

text: One study looking at women with PTSD found that intrusive thoughts were more persistent when the individual tried to cope by using avoidance-based thought regulation strategies. Their findings further support that not all coping strategies are helpful in diminishing the frequency of intrusive thoughts.


title: Intrusive thought

text: People who are clinically depressed may experience intrusive thoughts more intensely, and view them as evidence that they are worthless or sinful people. The suicidal thoughts that are common in depression must be distinguished from intrusive thoughts, because suicidal thoughts—unlike harmless sexual, aggressive, or religious thoughts—can be dangerous.


title: Intrusive thought

text: Non-depressed individuals have been shown to have a higher activation in the dorsolateral prefrontal cortex, which is the area of the brain that primarily functions in cognition, working memory, and planning, while attempting to suppress intrusive thoughts. This activation decreases in people at risk of or currently diagnosed with depression. When the intrusive thoughts re-emerge, non depressed individuals also show higher activation levels in the anterior cingulate cortices, which functions in error detection, motivation, and emotional regulation, than their depressed counterparts.


title: Intrusive thought

text: Roughly 60% of depressed individuals report experiencing bodily, visual, or auditory perceptions along with their intrusive thoughts. There is a correlation with experiencing those sensations with intrusive thoughts and more intense depressive symptoms as well as the need for heavier treatment.


title: Intrusive thought

text: Unwanted thoughts by mothers about harming infants are common in postpartum depression. A 1999 study of 65 women with postpartum major depression by Katherine Wisner "et al." found the most frequent aggressive thought for women with postpartum depression was causing harm to their newborn infants. A study of 85 new parents found that 89% experienced intrusive images, for example, of the baby suffocating, having an accident, being harmed, or being kidnapped.


title: Intrusive thought

text: Some women may develop symptoms of OCD during pregnancy or the postpartum period. Postpartum OCD occurs mainly in women who may already have OCD, perhaps in a mild or undiagnosed form. Postpartum depression and OCD may be comorbid (often occurring together). And though physicians may focus more on the depressive symptoms, one study found that obsessive thoughts did accompany postpartum depression in 57% of new mothers.


title: Intrusive thought

text: Wisner found common obsessions about harming babies in mothers experiencing postpartum depression include images of the baby lying dead in a casket or being eaten by sharks; stabbing the baby; throwing the baby down the stairs; or drowning or burning the baby (as by submerging it in the bathtub in the former case or throwing it in the fire or putting it in the microwave in the latter). Baer estimates that up to 200,000 new mothers with postpartum depression each year may develop these obsessional thoughts about their babies; and because they may be reluctant to share these thoughts with a physician or family member, or suffer in silence out of fear they could be "crazy", their depression can worsen.


title: Intrusive thought

text: Intrusive fears of harming immediate children can last longer than the postpartum period. A study of 100 clinically depressed women found that 41% had obsessive fears that they might harm their child, and some were afraid to care for their children. Among non-depressed mothers, the study found 7% had thoughts of harming their child—a rate that yields an additional 280,000 non-depressed mothers in the United States with intrusive thoughts about harming their children.


title: Intrusive thought

text: Treatment for intrusive thoughts is similar to treatment for OCD. Exposure and response prevention therapy—also referred to as habituation or desensitization—is useful in treating intrusive thoughts. Mild cases can also be treated with cognitive behavioral therapy, which helps patients identify and manage the unwanted thoughts.


title: Intrusive thought

text: Exposure therapy is the treatment of choice for intrusive thoughts. According to Deborah Osgood-Hynes, Psy.D. Director of Psychological Services and Training at the MGH/McLean OCD Institute, "In order to reduce a fear, you have to face a fear. This is true of all types of anxiety and fear reactions, not just OCD." Because it is uncomfortable to experience bad thoughts and urges, shame, doubt or fear, the initial reaction is usually to do something to make the feelings diminish. By engaging in a ritual or compulsion to diminish the anxiety or bad feeling, the action is strengthened via a process called negative reinforcement—the mind learns that the way to avoid the bad feeling is by engaging in a ritual or compulsions. When OCD becomes severe, this leads to more interference in life and continues the frequency and severity of the thoughts the person sought to avoid.


title: Intrusive thought

text: Exposure therapy (or exposure and response prevention) is the practice of staying in an anxiety-provoking or feared situation until the distress or anxiety diminishes. The goal is to reduce the fear reaction, learning to not react to the bad thoughts. This is the most effective way to reduce the frequency and severity of the intrusive thoughts. The goal is to be able to "expose yourself to the thing that most triggers your fear or discomfort for one to two hours at a time, without leaving the situation, or doing anything else to distract or comfort you." Exposure therapy will not eliminate intrusive thoughts—everyone has bad thoughts—but most patients find that it can decrease their thoughts sufficiently that intrusive thoughts no longer interfere with their lives.


title: Intrusive thought

text: Cognitive behavioral therapy (CBT) is a newer therapy than exposure therapy, available for those unable or unwilling to undergo exposure therapy. Cognitive therapy has been shown to be useful in reducing intrusive thoughts, but developing a conceptualization of the obsessions and compulsions with the patient is important. One of the strategies sometimes used in Cognitive Behavioral Theory is mindfulness exercises. These include practices such as being aware of the thoughts, accepting the thoughts without judgement for them, and "being larger than your thoughts."


title: Intrusive thought

text: Antidepressants or antipsychotic medications may be used for more severe cases if intrusive thoughts do not respond to cognitive behavioral or exposure therapy alone. Whether the cause of intrusive thoughts is OCD, depression, or post-traumatic stress disorder, the selective serotonin reuptake inhibitor (SSRI) drugs (a class of antidepressants) are the most commonly prescribed. Intrusive thoughts may occur in persons with Tourette syndrome (TS) who also have OCD; the obsessions in TS-related OCD are thought to respond to SSRI drugs as well.


title: Intrusive thought

text: Antidepressants that have been shown to be effective in treating OCD include fluvoxamine (trade name Luvox), fluoxetine (Prozac), sertraline (Zoloft), paroxetine (Paxil), citalopram (Celexa), and clomipramine (Anafranil). Although SSRIs are known to be effective for OCD in general, there have been fewer studies on their effectiveness for intrusive thoughts. A retrospective chart review of patients with sexual symptoms treated with SSRIs showed the greatest improvement was in those with intrusive sexual obsessions typical of OCD. A study of ten patients with religious or blasphemous obsessions found that most patients responded to treatment with fluoxetine or clomipramine. Women with postpartum depression often have anxiety as well, and may need lower starting doses of SSRIs; they may not respond fully to the medication, and may benefit from adding cognitive behavioral or response prevention therapy.


title: Intrusive thought

text: Patients with intense intrusive thoughts that do not respond to SSRIs or other antidepressants may be prescribed typical and atypical neuroleptics including risperidone (trade name Risperdal), ziprasidone (Geodon), haloperidol (Haldol), and pimozide (Orap).


title: Intrusive thought

text: Studies suggest that therapeutic doses of inositol may be useful in the treatment of obsessive thoughts.


title: Intrusive thought

text: A 2007 study found that 78% of a clinical sample of OCD patients had intrusive images. Most people with intrusive thoughts have not identified themselves as having OCD, because they may not have what they believe to be classic symptoms of OCD, such as handwashing. Yet, epidemiological studies suggest that intrusive thoughts are the most common kind of OCD worldwide; if people in the United States with intrusive thoughts gathered, they would form the fourth-largest city in the US, following New York City, Los Angeles, and Chicago.


title: Intrusive thought

text: The prevalence of OCD in every culture studied is at least 2% of the population, and the majority of those have obsessions, or bad thoughts, only; this results in a conservative estimate of more than 2 million affected individuals in the United States alone (as of 2000). One author estimates that one in 50 adults have OCD and about 10–20% of these have sexual obsessions. A recent study found that 25% of 293 patients with a primary diagnosis of OCD had a history of sexual obsessions.


title: Eurasian Steppe

text: The Eurasian Steppe, also simply called the Great Steppe or the steppes, is the vast steppe ecoregion of Eurasia in the temperate grasslands, savannas and shrublands biome. It stretches through Hungary, Bulgaria, Romania, Moldova and Transnistria, Ukraine, Western Russia, Siberia, Kazakhstan, Xinjiang, Mongolia and Manchuria, with one major exclave, the Pannonian steppe or Puszta, located mostly in Hungary.


title: Eurasian Steppe

text: Since the Paleolithic age, the Steppe Route has connected Central Europe, Eastern Europe, Western Asia, Central Asia, East Asia and South Asia economically, politically and culturally through overland trade routes. The Steppe route is a predecessor not only of the Silk Road which developed during antiquity and the Middle Ages, but also of the Eurasian Land Bridge in the modern era. It has been home to nomadic empires and many large tribal confederations and ancient states throughout history, such as the Xiongnu, Scythia, Cimmeria, Sarmatia, Hunnic Empire, Chorasmia, Transoxiana, Sogdia, Xianbei, Mongol Empire and Göktürk Khaganate.


title: Eurasian Steppe

text: The Eurasian Steppe extends for 8,000 kilometres (5,000 miles) from near the mouth of the Danube almost to the Pacific Ocean. It is bounded on the north by the forests of European Russia, Siberia and Asian Russia. There is no clear southern boundary although the land becomes increasingly dry as one moves south. The steppe narrows at two points, dividing it into three major parts.


title: Eurasian Steppe

text: The Pannonian steppe is an exclave of the Eurasian Steppe belt. It is found in modern-day Austria, Bulgaria, Hungary, Romania, Serbia and Slovakia.


title: Eurasian Steppe

text: The Pontic–Caspian steppe begins near the mouth of the Danube and extends northeast almost to Kazan and then southeast to the southern tip of the Ural Mountains. Its northern edge was a broad band of forest steppe which has now been obliterated by the conversion of the whole area to agricultural land. In the southeast the Black Sea–Caspian Steppe extends between the Black Sea and Caspian Sea to the Caucasus Mountains. In the west, the Great Hungarian Plain is an island of steppe separated from the main steppe by the mountains of Transylvania. On the north shore of the Black Sea, the Crimean Peninsula has some interior steppe and ports on the south coast which link the steppe to the civilizations of the Mediterranean basin.


title: Eurasian Steppe

text: The Kazakh Steppe extends from the Urals to Dzungaria. To the south, it grades off into semi-desert and desert which is interrupted by two great rivers, the Amu Darya (Oxus) and Syr Darya (Jaxartes), which flow northwest into the Aral Sea and provide irrigation for agriculture. In the southeast is the densely populated Fergana Valley and west of it the great oasis cities of Tashkent, Samarkand and Bukhara along the Zeravshan River. The southern area has a complex history (see Central Asia and Greater Iran), while in the north, the Kazakh Steppe proper was relatively isolated from the main currents of written history.


title: Eurasian Steppe

text: On the east side of the former Sino-Soviet border, mountains extend north almost to the forest zone with only limited grassland in Dzungaria.


title: Eurasian Steppe

text: The east-west Tian Shan Mountains divide the steppe into Dzungaria in the north and the Tarim Basin to the south. "Dzungaria" is bounded by the Tarbagatai Mountains on the west and the Mongolian Altai Mountains on the east, neither of which is a significant barrier. Dzungaria has good grassland around the edges and a central desert. It often behaved as a westward extension of Mongolia and connected Mongolia to the Kazakh Steppe. To the north of Dzungaria are mountains and the Siberian forest. To the south and west of Dzungaria, and separated from it by the Tian Shan mountains, is an area about twice the size of Dzungaria, the oval Tarim Basin. The Tarim Basin is too dry to support even a nomadic population, but around its edges rivers flow down from the mountains giving rise to a ring of cities which lived by irrigation agriculture and east-west trade. The Tarim Basin formed an island of near civilization in the center of the steppe. The Northern Silk Road went along the north and south sides of the Tarim Basin and then crossed the mountains west to the Fergana Valley. At the west end of the basin the Pamir Mountains connect the Tian Shan Mountains to the Himalayas. To the south, the Kunlun Mountains separate the Tarim Basin from the thinly peopled Tibetan Plateau.


title: Eurasian Steppe

text: The Mongol Steppe includes both Mongolia and the Chinese province of Inner Mongolia. The two are separated by a relatively dry area marked by the Gobi Desert. South of the Mongol Steppe is the high and thinly peopled Tibetan Plateau. The northern edge of the plateau is the Gansu or Hexi Corridor, a belt of moderately dense population that connects China proper with the Tarim Basin. The Hexi Corridor was the main route of the Silk Road. In the southeast the Silk Road led over some hills to the east-flowing Wei River valley which led to the North China Plain.


title: Eurasian Steppe

text: South of the Khingan Mountains and north of the Taihang Mountains, the Mongolian-Manchurian steppe extends east into Manchuria as the Liao Xi steppe. In Manchuria, the steppe grades off into forest and mountains without reaching the Pacific. The central area of forest-steppe was inhabited by pastoral and agricultural peoples, while to the north and east was a thin population of hunting tribes of the Siberian type.


title: Eurasian Steppe

text: Big mammals of the Eurasian steppe were the Przewalski's horse, the saiga antelope, the Mongolian gazelle, the goitered gazelle, the wild Bactrian camel and the onager. The gray wolf and the corsac fox and occasionally the brown bear are predators roaming the steppe. Smaller mammal species are the Mongolian gerbil, the little souslik and the bobak marmot.


title: Eurasian Steppe

text: Furthermore, the Eurasian steppe is home to a great variety of bird species. Threatened bird species living there are for example the imperial eagle, the lesser kestrel, the great bustard, the pale-back pigeon and the white-throated bushchat.


title: Eurasian Steppe

text: The primary domesticated animals raised were sheep and goats with fewer cattle than one might expect. Camels were used in the drier areas for transport as far west as Astrakhan. There were some yaks along the edge of Tibet. The horse was used for transportation and warfare. The horse was first domesticated on the Pontic–Caspian or Kazakh steppe sometime before 3000 BC, but it took a long time for mounted archery to develop and the process is not fully understood. The stirrup does not seem to have been completely developed until 300 AD (see Stirrup, Saddle, Composite bow, Domestication of the horse and related articles).


title: Eurasian Steppe

text: The World Wide Fund for Nature divides the Eurasian steppe's temperate grasslands, savannas and shrublands into a number of ecoregions, distinguished by elevation, climate, rainfall, and other characteristics and home to distinct animal and plant communities and species and distinct habitat ecosystems.


title: Eurasian Steppe

text: The major centers of population and high culture in Eurasia are Europe, the Middle East, India and China. For some purposes it is useful to treat Greater Iran as a separate region. All these regions are connected by the Eurasian Steppe route which was an active predecessor of the Silk Road. The latter started in the Guanzhong region of China and ran west along the Hexi Corridor to the Tarim Basin. From there it went southwest to Greater Iran and turned southeast to India or west to the Middle East and Europe. A minor branch went northwest along the great rivers and north of the Caspian Sea to the Black Sea. When faced with a rich caravan the steppe nomads could either rob it, or tax it, or hire themselves out as guards. Economically these three forms of taxation or parasitism amounted to the same thing. Trade was usually most vigorous when a strong empire controlled the steppe and reduced the number of petty chieftains preying on trade. The silk road first became significant and Chinese silk began reaching the Roman Empire about the time that the Emperor of Han pushed Chinese power west to the Tarim Basin.


title: Eurasian Steppe

text: The nomads would occasionally tolerate colonies of peasants on the steppe in the few areas where farming was possible. These were often captives who grew grain for their nomadic masters. Along the fringes there were areas that could be used for either plowland or grassland. These alternated between one and the other depending on the relative strength of the nomadic and agrarian heartlands. Over the last few hundred years, the Russian steppe and much of Inner Mongolia has been cultivated. The fact that most of the Russian steppe is not irrigated implies that it was maintained as grasslands as a result of the military strength of the nomads.


title: Eurasian Steppe

text: According to the most widely held hypothesis of the origin of the Indo-European languages, the Kurgan hypothesis, their common ancestor is thought to have originated on the Pontic-Caspian steppe. The Tocharians were an early Indo-European branch in the Tarim Basin. At the beginning of written history the entire steppe population west of Dzungaria spoke Iranian languages. From about 500 AD the Turkic languages replaced the Iranian languages first on the steppe, and later in the oases north of Iran. Additionally, Hungarian speakers, a branch of the Uralic language family, who previously lived in the steppe in what is now Southern Russia, settled in the Carpathian basin in year 895. Mongolic languages are in Mongolia. In Manchuria one finds Tungusic languages and some others.


title: Eurasian Steppe

text: Tengrism was introduced by Turko-Mongol nomads. Nestorianism and Manichaeism spread to the Tarim Basin and into China, but they never became established majority religions. Buddhism spread from the north of India to the Tarim Basin and found a new home in China. By about 1400 AD, the entire steppe west of Dzungaria had adopted Islam. By about 1600 AD, Islam was established in the Tarim Basin while Dzungaria and Mongolia had adopted Tibetan Buddhism.


title: Eurasian Steppe

text: Raids between tribes were prevalent throughout the region's history. This relates to the ease with which a defeated enemy's flocks and herds can be driven away, making raiding profitable. In terms of warfare and raiding, in relation to sedentary societies, the horse gave the nomads an advantage of mobility. Horsemen could raid a village and retreat with their loot before an infantry-based army could be mustered and deployed. When confronted with superior infantry, horsemen could simply ride away, retreat and regroup. Outside of Europe and parts of the Middle East, agrarian societies had difficulty raising a sufficient supply of war horses and often had to enlist cavalry from their nomadic enemies (as mercenaries). Nomads could not easily be pursued onto the steppe since the steppe could not easily support a land army. If the Chinese sent an army into Mongolia, the nomads would flee and come back when the Chinese ran out of supplies. But the steppe nomads were relatively few and their rulers had difficulty holding together enough clans and tribes to field a large army. If steppe nomads conquered an agricultural area they often lacked the skills to administer it. If they tried to hold agrarian land they gradually absorbed the civilization of their subjects, lost their nomadic skills and were either assimilated or driven out.


title: Eurasian Steppe

text: Along the northern fringe of the Eurasian steppe, nomads would collect tribute from and blend with the forest tribes (see Khanate of Sibir, Buryats). Russia paid tribute (compare "yasak") to the Golden Horde


title: Eurasian Steppe

text: South of the Kazakh steppe the nomads blended with the sedentary population, partly because the Middle East has significant areas of steppe (taken by force in past invasions) and pastoralism. There was a sharp cultural divide between Mongolia and China and almost constant warfare from the dawn of history until the Qing conquest of Dzungaria in 1757. The nomads collected large amounts of tribute from the Chinese and several Chinese dynasties were of steppe origin. Perhaps because of the mixture of agriculture and pastoralism in Manchuria its inhabitants, the Manchu, knew how to deal with both nomads and the settled populations and therefore were able to conquer much of northern China when both Chinese and Mongols were weak.


title: Eurasian Steppe

text: Russian culture and people were much influenced by the Asian nomads in the Russian steppe and the adjoining steppes and deserts. The steppe culture of Russia was shaped in Russia through cross-cultural contact mostly by Slavic, Tatar-Turkic, Mongolian and Iranian people. Rus' rulers would ally themselves by marriage with fellow-steppe peoples.


title: Eurasian Steppe

text: In addition to ethnicity, also instruments such as the domra, traditional costumes such as the kaftan and the sarafan, Ukrainian Cossack and tea culture were strongly influenced by the culture of Asian nomadic peoples. The Eurasian steppes play a major role in Eastern Europe history and the steppes are a subject of many Slavic as well as Russian folk-songs.


title: Mungo Jerry

text: Mungo Jerry are a British rock band, formed by Ray Dorset in Ashford, Middlesex in 1970. Experiencing their greatest success in the early 1970s, with a changing lineup always fronted by Ray Dorset, the group's biggest hit was "In the Summertime". They had nine charting singles in the UK, including two number ones, five top 20 hits in South Africa, and four in the Top 100 in Canada.


title: Mungo Jerry

text: Mungo Jerry came to prominence in 1970 after their performances at the Hollywood Festival at Newcastle-under-Lyme, Staffordshire, on 23–24 May, which was their first gig under this name, inspired by the poem "Mungojerrie and Rumpleteazer" from T. S. Eliot's "Old Possum's Book of Practical Cats", performing alongside Black Sabbath, Traffic, Ginger Baker's Air Force, the Grateful Dead (their first performance in the UK) and José Feliciano. Their 23 May show was well received and the organisers asked them to perform again on the following day. The band's first single, "In the Summertime", the first maxi-single in the world, released on 22 May, entered the UK charts at No. 13 and the following week went straight to No. 1. Ray Dorset had to ask his boss for time off to do the UK TV Show "Top of the Pops".


title: Mungo Jerry

text: Ray Dorset and Colin Earl had previously been members of The Good Earth. Bassist Dave Hutchins left to join Bobby Parker's band and the drummer was dismissed so Dorset and Earl decided to fulfil the one remaining gig, an Oxford University Christmas Ball in December 1968, as a three-piece with Joe Rush, one of Dorset's colleagues, on double bass. Also on the bill was Miller Anderson, making his debut as a singer and guitarist, and Mick Farren and the Social Deviants. Though booked for only one set, Good Earth were asked to perform another after the bands had finished, playing a selection of American folk/blues/skiffle/jug band music from Lead Belly, Woody Guthrie and others, and some of Dorset's songs.


title: Mungo Jerry

text: The trio played more gigs and landed a regular slot at the Master Robert Motel in Osterley, Middlesex, where they soon built up a following, including banjo, guitar and blues harp player Paul King who eventually joined the band, making it a four-piece.


title: Mungo Jerry

text: After Rush left, Mike Cole was recruited on double bass, and this line-up recorded the first seventeen Mungo Jerry tracks which made up the first album and maxi-single including "In the Summertime". When they made their national debut at the Hollywood Festival, Rush joined them on stage for some numbers to play washboard. The record topped the UK Singles Chart for seven weeks, made No. 1 in 26 countries around the world and to date has sold around 30 million copies.


title: Mungo Jerry

text: According to Joseph Murrell's "The Book of Golden Discs" (1978), "Mungomania" was possibly the most startling and unpredictable pop phenomenon to hit Britain since The Beatles.


title: Mungo Jerry

text: Mungo Jerry made their first trip to the United States in September 1970. On their return Mike Cole was fired and replaced by John Godfrey, who played bass on their second UK maxi-single, "Baby Jump", which also topped the UK chart in March 1971. The third UK single, another maxi, "Lady Rose", also released in 1971, was set to become another No. 1 hit, but it was temporarily withdrawn from sale on the order of the Public Prosecutor's Office. This was due to complaints about the inclusion of the traditional song "Have A Whiff on Me" (to which Dorset had added some of his own lyrics) on the grounds that it advocated the use of cocaine. The maxi-single was then reissued with “She Rowed” in place of the offending song.


title: Mungo Jerry

text: Dorset was the composer, guitarist, blues harp, kazoo player, frontman and singer. On return from a long tour of the Far East at the beginning of 1972 he was summoned to the band's management office and told by two of the other band members that he was fired and that his place was being taken by Dave Lambert.


title: Mungo Jerry

text: With time, Dorset found the group's good-time blues and jug band repertoire a little restricting, and in 1972 he released a solo album "Cold Blue Excursion", with his songs backed by strings and brass and, in one instance, a jazz band. His intention to broaden the group's appeal by recruiting a drummer led to King and Earl trying to sack him, but the management, regarding Dorset as inseparable in the public eye from Mungo Jerry, fired them both instead. Dorset and Godfrey, the bassist, recruited new members and presented a new sound, heard on the fourth album "Boot Power". Colin Earl and Paul King went on to form The King Earl Boogie Band and recorded an album at Richard Branson's Manor Studios called "Trouble at Mill", produced by Dave Cousins of Strawbs. They played together on and off in the years following and ended up with a band called Skeleton Crew.


title: Mungo Jerry

text: Mungo Jerry's hits continued through to 1976 with "Open Up" (Top Twenty in Europe); "Alright, Alright, Alright" (a rewrite of an old French hit for Jacques Dutronc, and again a major hit worldwide reaching the Top 3 in the UK); "Wild Love"; "Long Legged Woman Dressed in Black"; "Hello Nadine" (European hit and Top Five in Canada); and "It's a Secret" (European hit). "You Don't Have to Be in the Army to Fight in the War" gave Mungo Jerry another hit.


title: Mungo Jerry

text: In 1975, Earl returned to play keyboards, drummer Peter Sullivan joined and percussion player Joe Rush, part-time member of the band in earlier days, also came back for a while. The group's line-up continued to change. Among those who have played with them are bassist Bob Daisley, drummers Dave Bidwell, Paul Hancox and Boris Williams, guitarist Dick Middleton, keyboard player Sev Lewkowicz, and keyboard/accordion player Steve Jones. They have remained popular throughout Europe. Mungo Jerry was the first western band to have live television gigs in all countries behind the Iron Curtain.


title: Mungo Jerry

text: In 1980 another Dorset song, "Feels Like I'm in Love", originally written for Elvis Presley, and recorded by the band as a B side of a single, became a British number one hit for Kelly Marie. They remained successful with overseas hits like "On A Night Like This", "Knockin' on Heaven's Door" (a reggae version of the Bob Dylan song) and "Sunshine Reggae" (British version by Mungo Jerry & Horizon).


title: Mungo Jerry

text: In 1983, Dorset was part of the blues super-group Katmandu, which recorded "A Case for the Blues", with guitarist Peter Green, formerly of Fleetwood Mac, and keyboard player Vincent Crane, formerly of Atomic Rooster and The Crazy World of Arthur Brown.


title: Gilbert and Sullivan

text: Gilbert and Sullivan was a Victorian-era theatrical partnership of the dramatist W. S. Gilbert (1836–1911) and the composer Arthur Sullivan (1842–1900), who jointly created fourteen comic operas between 1871 and 1896, of which "H.M.S. Pinafore", "The Pirates of Penzance" and "The Mikado" are among the best known.


title: Gilbert and Sullivan

text: Gilbert, who wrote the libretti for these operas, created fanciful "topsy-turvy" worlds where each absurdity is taken to its logical conclusion; fairies rub elbows with British lords, flirting is a capital offence, gondoliers ascend to the monarchy, and pirates emerge as noblemen who have gone astray. Sullivan, six years Gilbert's junior, composed the music, contributing memorable melodies that could convey both humour and pathos.


title: Gilbert and Sullivan

text: Their operas have enjoyed broad and enduring international success and are still performed frequently throughout the English-speaking world. Gilbert and Sullivan introduced innovations in content and form that directly influenced the development of musical theatre through the 20th century. The operas have also influenced political discourse, literature, film and television and have been widely parodied and pastiched by humorists.


title: Gilbert and Sullivan

text: The producer Richard D'Oyly Carte brought Gilbert and Sullivan together and nurtured their collaboration. He built the Savoy Theatre in 1881 to present their joint works (which came to be known as the Savoy Operas) and founded the D'Oyly Carte Opera Company, which performed and promoted Gilbert and Sullivan's works for over a century.


title: Gilbert and Sullivan

text: Gilbert was born in London on 18 November 1836. His father, William, was a naval surgeon who later wrote novels and short stories, some of which included illustrations by his son. In 1861, to supplement his income, the younger Gilbert began writing illustrated stories, poems and articles of his own, many of which would later be mined as inspiration for his plays and operas, particularly Gilbert's series of illustrated poems, the "Bab Ballads".


title: Gilbert and Sullivan

text: In the "Bab Ballads" and his early plays, Gilbert developed a unique "topsy-turvy" style in which humour was derived by setting up a ridiculous premise and working out its logical consequences, however absurd. Director and playwright Mike Leigh described the "Gilbertian" style as follows:


title: Gilbert and Sullivan

text: Gilbert developed his innovative theories on the art of stage direction, following the playwright and theatrical reformer Tom Robertson. At the time Gilbert began writing, theatre in Britain was in disrepute. Gilbert helped to reform and elevate the respectability of the theatre, especially beginning with his six short family-friendly comic operas, or "entertainments", for Thomas German Reed.


title: Gilbert and Sullivan

text: At a rehearsal for one of these entertainments, "Ages Ago", in 1870, the composer Frederic Clay introduced Gilbert to his friend, the young composer Arthur Sullivan. Over the next year, before the two first collaborated, Gilbert continued to write humorous verse, stories and plays, including the comic operas "Our Island Home" (1870) and "A Sensation Novel" (1871), and the blank verse comedies "The Princess" (1870), "The Palace of Truth" (1870) and "Pygmalion and Galatea" (1871).


title: Gilbert and Sullivan

text: Sullivan was born in London on 13 May 1842. His father was a military bandmaster, and by the time Arthur had reached the age of eight, he was proficient with all the instruments in the band. In school he began to compose anthems and songs. In 1856, he received the first Mendelssohn Scholarship and studied conducting at the Royal Academy of Music and then at the Leipzig Conservatory, where he also took up composing. His graduation piece, completed in 1861, was a suite of incidental music to Shakespeare's "The Tempest". Revised and expanded, it was performed at the Crystal Palace in 1862 and was an immediate sensation. He began building a reputation as England's most promising young composer, composing a symphony, a concerto, and several overtures, among them the "Overture di Ballo", in 1870.


title: Gilbert and Sullivan

text: His early major works for the voice included "The Masque at Kenilworth" (1864); an oratorio, "The Prodigal Son" (1869); and a dramatic cantata, "On Shore and Sea" (1871). He composed a ballet, "L'Île Enchantée" (1864) and incidental music for a number of Shakespeare plays. Other early pieces that were praised were his "Symphony in E", "Cello Concerto", and "Overture in C (In Memoriam)" (all three of which premiered in 1866). These commissions were not sufficient to keep Sullivan afloat. He worked as a church organist and composed numerous hymns, popular songs, and parlour ballads.


title: Gilbert and Sullivan

text: Sullivan's first foray into comic opera was "Cox and Box" (1866), written with the librettist F. C. Burnand for an informal gathering of friends. Public performance followed, with W. S. Gilbert (then writing dramatic criticism for the magazine "Fun") saying that Sullivan's score "is, in many places, of too high a class for the grotesquely absurd plot to which it is wedded." Nonetheless, it proved highly successful, and is still regularly performed today. Sullivan and Burnand's second opera, "The Contrabandista" (1867) was not as successful.


title: Gilbert and Sullivan

text: In 1871, producer John Hollingshead brought Gilbert and Sullivan together to produce a Christmas entertainment, "Thespis", at his Gaiety Theatre, a large West End house. The piece was an extravaganza in which the classical Greek gods, grown elderly, are temporarily replaced by a troupe of 19th-century actors and actresses, one of whom is the eponymous Thespis, the Greek father of the drama. Its mixture of political satire and grand opera parody mimicked Offenbach's "Orpheus in the Underworld" and "La belle Hélène", which (in translation) then dominated the English musical stage.


title: Gilbert and Sullivan

text: "Thespis" opened on Boxing Day and ran for 63 performances. It outran five of its nine competitors for the 1871 holiday season, and its run was extended beyond the length of a normal run at the Gaiety, but no one at the time foresaw that this was the beginning of a great collaboration. Unlike the later Gilbert and Sullivan works, it was hastily prepared, and its nature was more risqué, like Gilbert's earlier burlesques, with a broader style of comedy that allowed for improvisation by the actors. Two of the male characters were played by women, whose shapely legs were put on display in a fashion that Gilbert later condemned. The musical score to "Thespis" was never published and is now lost, except for one song that was published separately, a chorus that was re-used in "The Pirates of Penzance", and the Act II ballet music.


title: Gilbert and Sullivan

text: Over the next three years, Gilbert and Sullivan did not have occasion to work together again, but each man became more eminent in his field. Gilbert worked with Frederic Clay on "Happy Arcadia" (1872) and Alfred Cellier on "Topsyturveydom" (1874) and wrote "The Wicked World" (1873), "Sweethearts" (1874) and several other libretti, farces, extravaganzas, fairy comedies, dramas and adaptations. Sullivan completed his "Festival Te Deum" (1872); another oratorio, "The Light of the World" (1873); his only song cycle, "The Window; or, The Song of the Wrens" (1871); incidental music to "The Merry Wives of Windsor" (1874); and more songs, parlour ballads, and hymns, including "Onward, Christian Soldiers" (1872). At the same time, the audience for theatre was growing because of the rapidly expanding British population; improvement in education and the standard of living, especially of the middle class; improving public transport; and installation of street lighting, which made travel home from the theatre safer. The number of pianos manufactured in England doubled between 1870 and 1890 as more people began to play parlour music at home and more theatres and concert halls opened.


title: Gilbert and Sullivan

text: In 1874, Gilbert wrote a short libretto on commission from producer-conductor Carl Rosa, whose wife would have played the leading role, but her death in childbirth cancelled the project. Not long afterwards, Richard D'Oyly Carte was managing the Royalty Theatre and needed a short opera to be played as an afterpiece to Offenbach's "La Périchole". Carte knew about Gilbert's libretto for Rosa and suggested that Sullivan write a score for it. Gilbert read the piece to Sullivan in February 1875, and the composer was delighted with it; "Trial by Jury" was composed and staged, at the Royalty, in a matter of weeks.


title: Gilbert and Sullivan

text: The piece is one of Gilbert's humorous spoofs of the law and the legal profession, based on his short experience as a barrister. It concerns a breach of promise of marriage suit. The defendant argues that damages should be slight, since "he is such a very bad lot," while the plaintiff argues that she loves the defendant fervently and seeks "substantial damages." After much argument, the judge resolves the case by marrying the lovely plaintiff himself. With Sullivan's brother, Fred, as the Learned Judge, the opera was a runaway hit, outlasting the run of "La Périchole". Provincial tours and productions at other theatres quickly followed.


title: Gilbert and Sullivan

text: Fred Sullivan was the prototype for the "patter" (comic) baritone roles in the later operas. F. C. Burnand wrote that he "was one of the most naturally "comic little men" I ever came across. He, too, was a first-rate practical musician... As he was the most absurd person, so was he the very kindliest..." Fred's creation would serve as a model for the rest of the collaborators' works, and each of them has a crucial "comic little man" role, as Burnand had put it. The "patter" baritone (or "principal comedian", as these roles later were called) would often assume the leading role in Gilbert and Sullivan's comic operas, and was usually allotted the speedy patter songs.


title: Gilbert and Sullivan

text: After the success of "Trial by Jury", Gilbert and Sullivan were suddenly in demand to write more operas together. Over the next two years, Richard D'Oyly Carte and Carl Rosa were two of several theatrical managers who negotiated with the team but were unable to come to terms. Carte proposed a revival of "Thespis" for the 1875 Christmas season, which Gilbert and Sullivan would have revised, but he was unable to obtain financing for the project. In early 1876, Carte requested that Gilbert and Sullivan create another one-act opera on the theme of burglars, but this was never completed.


title: Gilbert and Sullivan

text: Carte's real ambition was to develop an English form of light opera that would displace the bawdy burlesques and badly translated French operettas then dominating the London stage. He assembled a syndicate and formed the Comedy Opera Company, with Gilbert and Sullivan commissioned to write a comic opera that would serve as the centrepiece for an evening's entertainment.


title: Gilbert and Sullivan

text: Gilbert found a subject in one of his own short stories, "The Elixir of Love", which concerned the complications arising when a love potion is distributed to all the residents of a small village. The leading character was a Cockney businessman who happened to be a sorcerer, a purveyor of blessings (not much called for) and curses (very popular). Gilbert and Sullivan were tireless taskmasters, seeing to it that "The Sorcerer" (1877) opened at the Opera Comique in London as a fully polished production, in marked contrast to the under-rehearsed "Thespis". While "The Sorcerer" won critical acclaim, it did not duplicate the success of "Trial by Jury". Nevertheless, it ran for more than six months, and Carte and his syndicate were sufficiently encouraged to commission another full-length opera from the team.


title: Gilbert and Sullivan

text: Gilbert and Sullivan scored their first international hit with "H.M.S. Pinafore" (1878), satirising the rise of unqualified people to positions of authority and poking good-natured fun at the Royal Navy and the English obsession with social status (building on a theme introduced in "The Sorcerer", love between members of different social classes). As with many of the Gilbert and Sullivan operas, a surprise twist changes everything dramatically near the end of the story.


title: Gilbert and Sullivan

text: Gilbert oversaw the designs of sets and costumes, and he directed the performers on stage. He sought realism in acting, shunned self-conscious interaction with the audience, and insisted on a standard of characterisation in which the characters were never aware of their own absurdity. He insisted that his actors know their words perfectly and obey his stage directions, which was something new to many actors of the day. Sullivan personally oversaw the musical preparation. The result was a crispness and polish new to the English musical theatre. Jessie Bond wrote later:


title: Gilbert and Sullivan

text: "H.M.S. Pinafore" ran in London at the Opera Comique for 571 performances, an exceptional run for the period. Hundreds of unauthorised, or "pirated", productions of "Pinafore" appeared in America. During the run of "Pinafore", Richard D'Oyly Carte split up with his former investors. The disgruntled former partners, who had invested in the production with no return, staged a public fracas, sending a group of thugs to seize the scenery during a performance. Stagehands managed to ward off their backstage attackers. This event cleared the way for Carte, in alliance with Gilbert and Sullivan, to form the D'Oyly Carte Opera Company, which then produced all their succeeding operas.


title: Gilbert and Sullivan

text: The libretto of "H.M.S. Pinafore" relied on stock character types, many of which were familiar from European opera (and some of which grew out of Gilbert's earlier association with the German Reeds): the heroic protagonist (tenor) and his love-interest (soprano); the older woman with a secret or a sharp tongue (contralto); the baffled lyric baritone—the girl's father; and a classic villain (bass-baritone). Gilbert and Sullivan added the element of the comic patter-singing character. With the success of "H.M.S. Pinafore", the D'Oyly Carte repertory and production system was cemented, and each opera would make use of these stock character types. Before "The Sorcerer", Gilbert had constructed his plays around the established stars of whatever theatre he happened to be writing for, as had been the case with "Thespis" and "Trial by Jury". Building on the team he had assembled for "The Sorcerer", Gilbert no longer hired stars; he created them. He and Sullivan selected the performers, writing their operas for ensemble casts rather than individual stars.


title: Gilbert and Sullivan

text: The repertory system ensured that the comic patter character who performed the role of the sorcerer, John Wellington Wells, would become the ruler of the Queen's navy as Sir Joseph Porter in "H.M.S. Pinafore", then join the army as Major-General Stanley in "The Pirates of Penzance", and so on. Similarly, Mrs. Partlet in "The Sorcerer" transformed into Little Buttercup in "Pinafore", then into Ruth, the piratical maid-of-all-work in "Pirates". Relatively unknown performers whom Gilbert and Sullivan engaged early in the collaboration would stay with the company for many years, becoming stars of the Victorian stage. These included George Grossmith, the principal comic; Rutland Barrington, the lyric baritone; Richard Temple, the bass-baritone; and Jessie Bond, the mezzo-soprano soubrette.


title: Gilbert and Sullivan

text: "The Pirates of Penzance" (New Year's Eve, 1879) also poked fun at grand opera conventions, sense of duty, family obligation, the "respectability" of civilisation and the peerage, and the relevance of a liberal education. The story also revisits "Pinafore"s theme of unqualified people in positions of authority, in the person of the "modern Major-General" who has up-to-date knowledge about everything except the military. The Major-General and his many daughters escape from the tender-hearted Pirates of Penzance, who are all orphans, on the false plea that he is an orphan himself. The pirates learn of the deception and re-capture the Major-General, but when it is revealed that the pirates are all peers, the Major-General bids them: "resume your ranks and legislative duties, and take my daughters, all of whom are beauties!"


title: Gilbert and Sullivan

text: The piece premiered in New York rather than London, in an (unsuccessful) attempt to secure the American copyright, and was another big success with both critics and audiences. Gilbert, Sullivan and Carte tried for many years to control the American performance copyrights over their operas, without success. Nevertheless, "Pirates" was a hit both in New York, again spawning numerous imitators, and then in London at the Opera Comique, and it became one of the most frequently performed, translated and parodied Gilbert and Sullivan works, also enjoying successful 1981 Broadway and 1982 West End revivals by Joseph Papp that continue to influence productions of the opera.


title: Gilbert and Sullivan

text: In 1880, Sullivan's cantata "The Martyr of Antioch" premiered at the Leeds Triennial Music Festival, with a libretto adapted by Sullivan and Gilbert from an 1822 epic poem by Henry Hart Milman concerning the 3rd-century martyrdom of St. Margaret of Antioch. Sullivan became the conductor of the Leeds festival beginning in 1880 and conducted the performance. The Carl Rosa Opera Company staged the cantata as an opera in 1898.


title: Gilbert and Sullivan

text: "Patience" (1881) satirised the aesthetic movement in general and its colourful poets in particular, combining aspects of A. C. Swinburne, Dante Gabriel Rossetti, Oscar Wilde, James McNeill Whistler and others in the rival poets Bunthorne and Grosvenor. Grossmith, who created the role of Bunthorne, based his makeup, wig and costume on Swinburne and especially Whistler, as seen in the adjacent photograph. The work also lampoons male vanity and chauvinism in the military. The story concerns two rival aesthetic poets, who attract the attention of the young ladies of the village, formerly engaged to the members of a cavalry regiment. But both poets are in love with Patience, the village milkmaid, who detests one of them and feels that it is her duty to avoid the other despite her love for him. Richard D'Oyly Carte was the booking manager for Oscar Wilde, a then lesser-known proponent of aestheticism, and dispatched him on an American lecture tour in conjunction with the opera's U.S. run, so that American audiences might better understand what the satire was all about.


title: Gilbert and Sullivan

text: During the run of "Patience", Carte built the large, modern Savoy Theatre, which became the partnership's permanent home. It was the first theatre (and the world's first public building) to be lit entirely by electric lighting. "Patience" moved into the Savoy after six months at the Opera Comique and ran for a total of 578 performances, surpassing the run of "H.M.S. Pinafore".


title: Gilbert and Sullivan

text: "Iolanthe" (1882) was the first of the operas to open at the Savoy. The fully electric Savoy made possible numerous special effects, such as sparkling magic wands for the female chorus of fairies. The opera poked fun at English law and the House of Lords and made much of the war between the sexes. The critics felt that Sullivan's work in "Iolanthe" had taken a step forward. "The Daily Telegraph" commented, "The composer has risen to his opportunity, and we are disposed to account "Iolanthe" his best effort in all the Gilbertian series." Similarly, "The Theatre" judged that "the music of "Iolanthe" is Dr Sullivan's "chef d'oeuvre". The quality throughout is more even, and maintained at a higher standard, than in any of his earlier works..."


title: Gilbert and Sullivan

text: "Iolanthe" is one of several of Gilbert's works, including "The Wicked World" (1873), "Broken Hearts" (1875), "Princess Ida" (1884) and "Fallen Fairies" (1909), where the introduction of men and "mortal love" into a tranquil world of women wreaks havoc with the status quo. Gilbert had created several "fairy comedies" at the Haymarket Theatre in the early 1870s. These plays, influenced by the fairy work of James Planché, are founded upon the idea of self-revelation by characters under the influence of some magic or some supernatural interference.


title: Gilbert and Sullivan

text: In 1882, Gilbert had a telephone installed in his home and at the prompt desk at the Savoy Theatre so that he could monitor performances and rehearsals from his home study. Gilbert had referred to the new technology in "Pinafore" in 1878, only two years after the device was invented and before London even had telephone service. Sullivan had one installed as well, and on 13 May 1883, at a party to celebrate the composer's 41st birthday, the guests, including the Prince of Wales (later Edward VII), heard a direct relay of parts of "Iolanthe" from the Savoy. This was probably the first live "broadcast" of an opera.


title: Gilbert and Sullivan

text: During the run of "Iolanthe", in 1883, Sullivan was knighted by Queen Victoria. Although it was the operas with Gilbert that had earned him the broadest fame, the honour was conferred for his services to serious music. The musical establishment, and many critics, believed that this should put an end to his career as a composer of comic opera—that a musical knight should not stoop below oratorio or grand opera. Sullivan, despite the financial security of writing for the Savoy, increasingly viewed his work with Gilbert as unimportant, beneath his skills, and repetitious. Furthermore, he was unhappy that he had to simplify his music to ensure that Gilbert's words could be heard. But paradoxically, in February 1883, just after "Iolanthe" opened, Sullivan had signed a five-year agreement with Gilbert and Carte requiring him to produce a new comic opera on six months' notice.


title: Gilbert and Sullivan

text: "Princess Ida" (1884) spoofed women's education and male chauvinism and continued the theme from "Iolanthe" of the war between the sexes. The opera is based on Tennyson's poem "The Princess: A Medley". Gilbert had written a blank verse farce based on the same material in 1870, called "The Princess", and he reused a good deal of the dialogue from his earlier play in the libretto of "Princess Ida". "Ida" is the only Gilbert and Sullivan work with dialogue entirely in blank verse and is also the only one of their works in three acts. Lillian Russell had been engaged to create the title role, but Gilbert did not believe that she was dedicated enough, and when she missed a rehearsal, he dismissed her.


title: Gilbert and Sullivan

text: "Princess Ida" was the first of the Gilbert and Sullivan operas that, by the partnership's previous standards, was not a success. A particularly hot summer in London did not help ticket sales. The piece ran for a comparatively short 246 performances and was not revived in London until 1919. Sullivan had been satisfied with the libretto, but two months after "Ida" opened, Sullivan told Carte that "it is impossible for me to do another piece of the character of those already written by Gilbert and myself." As "Princess Ida" showed signs of flagging, Carte realised that, for the first time in the partnership's history, no new opera would be ready when the old one closed. On 22 March 1884, he gave Gilbert and Sullivan contractual notice that a new opera would be required in six months' time. In the meantime, when "Ida" closed, Carte produced a revival of "The Sorcerer".


title: Gilbert and Sullivan

text: The most successful of the Savoy Operas was "The Mikado" (1885), which made fun of English bureaucracy, thinly disguised by a Japanese setting. Gilbert initially proposed a story for a new opera about a magic lozenge that would change the characters, which Sullivan found artificial and lacking in "human interest and probability", as well as being too similar to their earlier opera, "The Sorcerer". As dramatised in the film "Topsy-Turvy", the author and composer were at an impasse until 8 May 1884, when Gilbert dropped the lozenge idea and agreed to provide a libretto without any supernatural elements.


title: Gilbert and Sullivan

text: The story focuses on a "cheap tailor", Ko-Ko, who is promoted to the position of Lord High Executioner of the town of Titipu. He loves his ward, Yum-Yum, but she loves a musician, who is really the son of the emperor of Japan (the Mikado) and who is in disguise to escape the attentions of the elderly and amorous Katisha. The Mikado has decreed that executions must resume without delay in Titipu. When news arrives that the Mikado will be visiting the town, Ko-Ko assumes that he is coming to ascertain whether Ko-Ko has carried out the executions. Too timid to execute anyone, Ko-Ko cooks up a conspiracy to misdirect the Mikado, which goes awry. Eventually, Ko-Ko must persuade Katisha to marry him to save his own life and the lives of the other conspirators.


title: Gilbert and Sullivan

text: With the opening of trade between England and Japan, Japanese imports, art and styles became fashionable, and a Japanese village exhibition opened in Knightsbridge, London, making the time ripe for an opera set in Japan. Gilbert said, "I cannot give you a good reason for our... piece being laid in Japan. It... afforded scope for picturesque treatment, scenery and costume, and I think that the idea of a chief magistrate, who is... judge and actual executioner in one, and yet would not hurt a worm, may perhaps please the public."


title: Gilbert and Sullivan

text: Setting the opera in Japan, an exotic locale far away from Britain, allowed Gilbert and Sullivan to satirise British politics and institutions more freely by clothing them in superficial Japanese trappings. Gilbert wrote, "The Mikado of the opera was an imaginary monarch of a remote period and cannot by any exercise of ingenuity be taken to be a slap on an existing institution." G. K. Chesterton compared it to Swift's "Gulliver's Travels": "Gilbert pursued and persecuted the evils of modern England till they had literally not a leg to stand on, exactly as Swift did... I doubt if there is a single joke in the whole play that fits the Japanese. But all the jokes in the play fit the English. ... About England Pooh-bah is something more than a satire; he is the truth." Several of the later operas are similarly set in foreign or fictional locales, including "The Gondoliers", "Utopia, Limited" and "The Grand Duke".


title: Gilbert and Sullivan

text: "The Mikado" became the partnership's longest-running hit, enjoying 672 performances at the Savoy Theatre, and surpassing the runs of "Pinafore" and "Patience". It remains the most frequently performed Savoy Opera. It has been translated into numerous languages and is one of the most frequently played musical theatre pieces in history.


title: Gilbert and Sullivan

text: "Ruddigore" (1887), a topsy-turvy take on Victorian melodrama, was less successful than most of the earlier collaborations with a run of 288 performances. The original title, "Ruddygore", together with some of the plot devices, including the revivification of ghosts, drew negative comments from critics. Gilbert and Sullivan respelled the title and made a number of changes and cuts. Nevertheless, the piece was profitable, and the reviews were not all bad. For instance, "The Illustrated London News" praised the work and both Gilbert and, especially, Sullivan: "Sir Arthur Sullivan has eminently succeeded alike in the expression of refined sentiment and comic humour. In the former respect, the charm of graceful melody prevails; while, in the latter, the music of the most grotesque situations is redolent of fun." Further changes were made, including a new overture, when Rupert D'Oyly Carte revived "Ruddigore" after the First World War, and the piece was regularly performed by the D'Oyly Carte Opera Company thereafter.


title: Gilbert and Sullivan

text: Some of the plot elements of "Ruddigore" were introduced by Gilbert in his earlier one-act opera, "Ages Ago" (1869), including the tale of the wicked ancestor and the device of the ghostly ancestors stepping out of their portraits. When "Ruddigore" closed, no new opera was ready. Gilbert again proposed a version of the "lozenge" plot for their next opera, and Sullivan reiterated his reluctance to set it. While the two men worked out their artistic differences, and Sullivan finished other obligations, Carte produced revivals of such old favourites as "H.M.S. Pinafore", "The Pirates of Penzance", and "The Mikado".


title: Gilbert and Sullivan

text: "The Yeomen of the Guard" (1888), their only joint work with a serious ending, concerns a pair of strolling players—a jester and a singing girl—who are caught up in a risky intrigue at the Tower of London during the 16th century. The dialogue, though in prose, is quasi-early modern English in style, and there is no satire of British institutions. For some of the plot elements, Gilbert had reached back to his 1875 tragedy, "Broken Hearts". "The Times" praised the libretto: "It should... be acknowledged that Mr. Gilbert has earnestly endeavoured to leave familiar grooves and rise to higher things". Although not a grand opera, the new libretto provided Sullivan with the opportunity to write his most ambitious theatre score to date. The critics, who had recently lauded the composer for his successful oratorio, "The Golden Legend", considered the score to "Yeomen" to be Sullivan's finest, including its overture, which was written in sonata form, rather than as a sequential pot-pourri of tunes from the opera, as in most of his other overtures. The "Daily Telegraph" said:


title: Gilbert and Sullivan

text: "Yeomen" was a hit, running for over a year, with strong New York and touring productions. During the run, on 12 March 1889, Sullivan wrote to Gilbert,


title: Gilbert and Sullivan

text: Sullivan insisted that the next opera must be a grand opera. Gilbert did not feel that he could write a grand opera libretto, but he offered a compromise that Sullivan eventually accepted. The two would write a light opera for the Savoy, and at the same time, Sullivan a grand opera ("Ivanhoe") for a new theatre that Carte was constructing to present British opera. After a brief impasse over the choice of subject, Sullivan accepted an idea connected with Venice and Venetian life, as "this seemed to me to hold out great chances of bright colour and taking music."


title: Gilbert and Sullivan

text: "The Gondoliers" (1889) takes place partly in Venice and partly in a kingdom ruled by a pair of gondoliers who attempt to remodel the monarchy in a spirit of "republican equality." Gilbert recapitulates a number of his earlier themes, including the satire of class distinctions figuring in many of his earlier librettos. The libretto also reflects Gilbert's fascination with the "Stock Company Act", highlighting the absurd convergence of natural persons and legal entities, which plays an even larger part in the next opera, "Utopia Limited". Press accounts were almost entirely favourable. The "Illustrated London News" reported:


title: Gilbert and Sullivan

text: Sullivan's old collaborator on "Cox and Box" (later the editor of "Punch" magazine), F. C. Burnand, wrote to the composer: "Magnificento!...I envy you and W.S.G. being able to place a piece like this on the stage in so complete a fashion." The opera enjoyed a run longer than any of their other joint works except for "H.M.S. Pinafore", "Patience" and "The Mikado". There was a command performance of "The Gondoliers" for Queen Victoria and the royal family at Windsor Castle in 1891, the first Gilbert and Sullivan opera to be so honoured. "The Gondoliers" was Gilbert and Sullivan's last great success.


title: Gilbert and Sullivan

text: Though Gilbert and Sullivan's working relationship was mostly cordial and even friendly, it sometimes became strained, especially during their later operas, partly because each man saw himself as allowing his work to be subjugated to the other's, and partly caused by the opposing personalities of the two: Gilbert was often confrontational and notoriously thin-skinned (though prone to acts of extraordinary kindness), while Sullivan eschewed conflict. Gilbert imbued his libretti with absurdist "topsy-turvy" situations in which the social order was turned upside down. After a time, these subjects were often at odds with Sullivan's desire for realism and emotional content. Gilbert's political satire often poked fun at the wealthy and powerful whom Sullivan sought out for friendship and patronage.


title: Gilbert and Sullivan

text: Gilbert and Sullivan disagreed several times over the choice of a subject. After each of "Princess Ida" and "Ruddigore", which were less successful than their seven other operas from "H.M.S. Pinafore" to "The Gondoliers", Sullivan asked to leave the partnership, saying that he found Gilbert's plots repetitive and that the operas were not artistically satisfying to him. While the two artists worked out their differences in those cases, Carte kept the Savoy open with revivals of their earlier works. On each occasion, after a few months' pause, Gilbert responded with a libretto that met Sullivan's objections, and the partnership was able to continue.


title: Gilbert and Sullivan

text: In April 1890, during the run of "The Gondoliers", Gilbert challenged Carte over the expenses of the production. Among other items to which Gilbert objected, Carte had charged the cost of a new carpet for the Savoy Theatre lobby to the partnership. Gilbert believed that this was a maintenance expense that should be charged to Carte alone. Gilbert confronted Carte, who refused to reconsider the accounts. Gilbert stormed out and wrote to Sullivan that "I left him with the remark that it was a mistake to kick down the ladder by which he had risen". Helen Carte wrote that Gilbert had addressed Carte "in a way that I should not have thought you would have used to an offending menial". On 5 May 1890, Gilbert wrote to Sullivan: "The time for putting an end to our collaboration has at last arrived. … I am writing a letter to Carte ... giving him notice that he is not to produce or perform any of my libretti after Christmas 1890." As biographer Andrew Crowther has explained:


title: Gilbert and Sullivan

text: Things soon degraded, Gilbert lost his temper with his partners and brought a lawsuit against Carte. Sullivan supported Carte by making an affidavit erroneously stating that there were minor legal expenses outstanding from a battle Gilbert had in 1884 with Lillian Russell when, in fact, those expenses had already been paid. When Gilbert discovered this, he asked for a retraction of the affidavit; Sullivan refused. Gilbert felt it was a moral issue and could not look past it. Sullivan felt that Gilbert was questioning his good faith, and in any event Sullivan had other reasons to stay in Carte's good graces: Carte was building a new theatre, the Royal English Opera House (now the Palace Theatre), to produce Sullivan's only grand opera, "Ivanhoe". After "The Gondoliers" closed in 1891, Gilbert withdrew the performance rights to his libretti, vowing to write no more operas for the Savoy.


title: Gilbert and Sullivan

text: Gilbert next wrote "The Mountebanks" with Alfred Cellier and the flop "Haste to the Wedding" with George Grossmith, and Sullivan wrote "Haddon Hall" with Sydney Grundy. Gilbert eventually won the lawsuit, but his actions and statements had been hurtful to his partners. Nevertheless, the partnership had been so profitable that, after the financial failure of the Royal English Opera House, Carte and his wife sought to reunite the author and composer. In late 1891, after many failed attempts at reconciliation, Gilbert and Sullivan's music publisher, Tom Chappell, stepped in to mediate between two of his most profitable artists, and within two weeks he had succeeded, eventually leading to two further collaborations between Gilbert and Sullivan.


title: Gilbert and Sullivan

text: "Utopia, Limited" (1893), their penultimate opera, was a very modest success, and their last, "The Grand Duke" (1896), was an outright failure. Neither work entered the canon of regularly performed Gilbert and Sullivan works until the D'Oyly Carte Opera Company made the first complete professional recordings of the two operas in the 1970s. Gilbert had also offered Sullivan another libretto, "His Excellency" (1894), but Gilbert's insistence on casting Nancy McIntosh, his protege from "Utopia", led to Sullivan's refusal, and "His Excellency" was instead composed by F. Osmond Carr. Meanwhile, the Savoy Theatre continued to revive the Gilbert and Sullivan operas, in between new pieces, and D'Oyly Carte touring companies also played them in repertory.


title: Gilbert and Sullivan

text: After "The Grand Duke", the partners saw no reason to work together again. A last unpleasant misunderstanding occurred in 1898. At the premiere of Sullivan’s opera "The Beauty Stone" on 28 May, Gilbert arrived at the Savoy Theatre with friends, assuming that Sullivan had reserved some seats for him. Instead, he was informed that Sullivan objected to his presence. The composer later denied that this was true. The last time they met was at the Savoy Theatre on 17 November 1898 at the celebration of the 21st anniversary of the first performance of "The Sorcerer". They did not speak to each other. Sullivan, by this time in exceedingly poor health, died in 1900, although to the end he continued to write new comic operas for the Savoy with other librettists, most successfully with Basil Hood in "The Rose of Persia" (1899). Gilbert also wrote several works, some with other collaborators, in the 1890s. By the time of Sullivan's death in 1900, Gilbert wrote that any memory of their rift had been "completely bridged over," and "the most cordial relations existed between us." He stated that "Sullivan ... because he was a composer of the rarest genius, was as modest and as unassuming as a neophyte should be, but seldom is...I remember all that he has done for me in allowing his genius to shed some of its lustre upon my humble name."