Of course, false accents abound in Gilbert and Sullivan. It is one of the things that limits their popularity today (and they're still VERY popular...that's how good they were).
Gilbert virtually invented the funny theatre lyric in our language. Before he succeeded in writing operettas, his light verse was frequently published. Amusing rhymes that look good on paper, but don't really register in the theatre, are found in all of his works for stage.
When I wrote my musical in the style of Gilbert & Sullivan, I had to resist the urge to copy this. Yes, there had to be patter songs, and, throughout the show, the rhymes had to come every few syllables (think how many rhymes there are in The Moon and I) . . . but I knew a modern audience wouldn't sit still for lyrics they didn't "get" on first hearing.
The great generation of American lyricists that came of age in the 1920s (Harburg, Hart, Ira Gershwin, Howard Dietz, Porter, Fields, etc.) all loved Gilbert and Sullivan, but, it's clear to me, they knew that contemporary American audiences would need to understand their clever rhymes right away. So, in this great era of American song, false accents are relatively rare.
Just thinking of The Moon and I, now, one of my favorite songs. It begins:
The Sun, whose rays are all ablaze
With ever-living glory
Does not deny his majesty;
He scorns to tell the story.
He don't exclaim, "I blush for shame,
So kindly be indulgent,"
But fierce and bold in fiery gold
He glories all effulgent.
Here in 2004, a lyricist can't afford to accent majesty on its third syllable, (with a long "i" yet!) or use a word as obscure as effulgent.
But, if you want to believe Hampton and Black's Thames/requiems rhyme was an in-period homage to Gilbert, it's fine with me.
