Abstract
This paper aims at studying how national identity was put into words and music by Gilbert in Sullivan in Utopia Limited (1893). Whereas the libretto reads like a mild Horatian satire of British institutions – in particular the system of corporate law, music sounds like the classical sublime eulogy of a conquering nation – commercially, politically and militarily. Under the guise of a witty criticism relying on absurd, topsy-turvy situations and characters, Utopia Limited partakes of a vast national enterprise, building up and asserting the national identity of an imperialist kingdom.
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