is the real Regent. All of the honours are to become permanent, and likewise Griffenfeld's demotion to the rank of Private is confirmed. The Regent asks Christina to marry him, and all of the couples are happily united. Musical numbers Act I 1. Set the merry bunting flying – Erling, Christina 2. When I bestow my bosom's store – Erling 3. Oh my goodness, here's the nobility! – Nanna and Thora 4. If all is as you say – Nanna, Thora, Erling and Tortenssen 5. Here are the warriors all ablaze – Chorus of Girls 6. Now what would I do if you proved untrue – Dame and Governor 7. Oh what a fund of joy – Nanna, Thora and Governor 8. A King who is pestered with cares – Regent 9. Now if you would atone – Regent and Governor with Christina 10. Now all that we've agreed upon, O – Dame and Syndic 11. My wedded life – Nanna 12. Finale: Come hither, ev'ry one – Company Act II 1. With anger stern ... A hive of bees, as I've heard say – Chorus; Christina and Regent 2. Quixotic is his enterprise – Governor 3. There once was a corporal bold – Harold and Blanca 4. One day the Syndic of this town – Syndic, Dame, Sentry and Griffenfeld 5. When a gentleman supposes – Nanna, Thora and Governor 6. So this is how you'd have us sue you – Thora, Nanna, Erling and Tortenssen 7. Ring the bells and bang the brasses! – Chorus 8. Finale: Now all that we've agreed upon, O – Company Critical reception The Times praised Gilbert's libretto, rating it his best since The Mikado. The paper thought Carr's music an inferior copy of the Sullivan style, but nevertheless better than "that more vulgar mould in which he has found favour with the purveyors of variety entertainments." The paper judged the cast "exceptionally strong". Its comments on Nancy McIntosh accorded, to some degree, with Sullivan's: "[She] has of late made rapid progress and has become an actress of decided skill and charm, though her voice and singing are scarcely as good as they were when she came out." The Manchester Guardian concurred, attributing the "undeniable triumph" of the piece solely to Gilbert's "inventive genius as a librettist and stage manager." The Saturday Review rated Gilbert's libretto "a pretty fair specimen" of "genuine Gilbertian