b. Arthur Reed Ropes, 23 Dec 1859, Lewisham, London, Britain, d. 10 Sept 1933, London, Britain. Ropes’ early profession is at academia and he obtained respect and admiration as an historian so that as a translator, from French and German. He followed a pseudonym upon getting into the theatre globe, to be able to retain his educational popularity. As Adrian Ross he composed many librettos for musicals, a lot of which became very effective. He collaborated with many composers, enjoying an especially fruitful working romantic relationship with Lionel Monckton, leading to songs interpolated in to the Shop Gal (1894), The Orchid (1903) and Our Miss Gibbs (1909). Interpolation of music into shows generally compiled by others was a common practice of your day. Ross and Harry Greenbank had been lyricists for The Circus Gal (1896), with music by Ivan Caryll, as well as for A Greek Slave (1898), music by Sidney Jones. With Percy Greenbank he composed lyrics for The Messenger Guy as well as the Toreador (both 1901), music by Caryll and Monckton. He was co-lyricist with Claude Aveling, with music by Cecil Make and Caryll, for Owen Hall’s 1902 present, THE LADY From Kays; and with Percy Greenbank and Monckton he composed music for The Cingalee (1904). Ross’ linguistic abilities came in very helpful when he modified Franz Lehár’s operetta The Merry Widow (1907) into an English-language edition; comparing the initial text message to Ross’ edition present that he was a lot more innovative than could have been an orthodox translator. Other adaptations from German and Austrian originals implemented, on a few of which he collaborated with Basil Hood: The Money Princess (1908), A Waltz Wish (1911), The Count number Of Luxemburg (1911) and Gypsy Appreciate (1912). Furthermore to his function in the theater, Ross also had written popular fiction, like the horror tale The Hole FROM THE Pit (1914).