ABSTRACT
The second part of The Rovers shows signs of an ambitious parodie exercise cut short for lack of time. The parodie élan of Higgins’s introductory Philosophy, in the previous issue, is missing, and the play itself partly paraphrased. Sources are also reduced; Count Benyowsky is the single model given close attention. The Rovers retains its charm, however, skipping vivaciously on through ever more unlikely situations, towards a motley and extravagant dénouement.
