This seems to be Bungo’s first Inquisitor – he has set several Listener puzzles.
The preamble: Clues are in alphabetical order of their solutions. The answers to six normal clues must undergo a thematic adjustment before entry in the grid; enumerations refer to answer lengths. Remaining clues each contain a misprint of one letter in the definition; with the clues in conventional grid order the correct letters give the theme and a hint to the thematic adjustment required. In the completed grid, solvers must reveal a character’s true identity, thereby completing the character’s mission, which solvers must highlight (two words, sixteen cells in total). At all points the completed grid contains only real words, names and places.
This is clearly going to be a daunting puzzle – no clue numbers, six answers to be adjusted before entry and enumerations not necessarily relating to the available cells in the grid! On top of that, we have to get the answers into the grid before we could sort out the theme from the corrected misprints and the hint as to how the six answers have to be adjusted – but we would have to have already adjusted them in order to fill the grid!
The only option is to set out to solve some clues and try to figure out how they might interconnect in the grid. We counted the number of answers of each word length, and counted the spaces available in the grid for each word length – the numbers weren’t the same – eg there are 14 places in the grid for 4-letter words, but only 12 clues to 4-letter words. It became apparent that the ‘adjustments’ to the six ‘normal’ clues involve omitting letters to the answers before entry.
We found a few clues surprisingly easy, but we really struggled with the majority and had various unsuccessful attempts to fit them into the grid. In the end we ‘cold’ solved 41 of the 49 clues without finding places for them in the grid.
The key to determining the ultimate grid-fill was solving the three 9-letter clues, with only 2 locations in the grid – however, we had difficulty solving one of the three clues, and one of the two we had solved was a ‘normal’ clue which needed ‘adjustment’. For the purposes of the blog we have included clue numbers in the completed grid (but not in the list of clues – presented in alphabetical order of their answers, as set out by Bungo.)
We tried putting the one 9-letter answer we had solved that does not need ‘adjustment’ (SNUBNOSED) in either of the 9-letter grid positions and then tried to see how any of the crossing entries might fit in. Unfortunately, we tried to put it in 9d first and although we managed to fit some of the other answers in, it became clear that this was the wrong location, so started again with SNUBNOSED in 20d. This turned out to be the right place, and we managed to fit a lot of the answers we had already solved into the left side of the grid, but had some difficulty connecting across to the right side.
Meantime, we began to sort out the ‘adjustment’ needed to the answers to the ‘normal’ clues – all of which we had solved. As we had solved TILLAGE and FUSELAGE early on, we had wondered whether we might need to take AGE away, but that would not have left real words in both cases. Looking at the other ‘normal’ answers we noticed that we could take POW out of AIRPOWER and OUTPOWERS, LAG out of TILLAGE and FUSELAGE, and CON out of DEACONRY and MUSCONE to leave real words, which we also managed to fit into the grid. So we have three abbreviations for prisoners ‘escaping’.
As we filled the grid, we also started to work out the theme from the misprints and, once we had completed the grid, in normal clue order these read:
LUDWIG VAN BEETHOVEN’S ONLY OPERA – FREE THE PRISONER.
We are not great classical music or opera fans, so we had to check the theme opera – FIDELIO. Apparently Fidelio is the assumed name of the wife of a man called Florestan who has been unjustly imprisoned. She disguises herself as a man to get into the prison and frees him.
‘FREE THE PRISONER’ clearly refers to removing POW, LAG and CON from the answers to ‘normal’ clues, as we had already worked out.
FIDELIO and FLORESTAN appear in the completed grid and comprise 16 cells, as mentioned in the preamble:
The preamble then asks us to ‘reveal a character’s true identity, thereby completing the character’s mission’. Fidelio’s real name is apparently LEONORE. We therefore have to replace FIDELIO with LEONORE to reveal her true identity, as below:
We can now ‘complete the character’s mission’:
We wondered why the title of the puzzle is ‘Refrain for a Stretch’. We suspect that this probably refers to the ‘Prisoners’ Chorus’ – apparently one of the highlights of the opera, but there doesn’t seem to be any reference to this in the grid.
All in all, we were rather disappointed by this IQ. Several clues were very contrived with dubious surfaces and inclusion of unusual words, and unless we have missed something, the endgame felt somewhat unsatisfactory. Sorry Bungo!
| No. | Entry | Misprint | Grid location | |
| ABET | A | 18ac |
• According to Ed, b
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| A (afternoon) BET (wager) = according to Ed (Spenser) back up | ||||
| AIRER | – | 27ac |
• E.g. RAF might wear ripped trousers in radical punk outfits, initially (8)
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| An anagram (‘ripped’) of WEAR round or ‘trousering’ I R P O (‘initial’ letters of In Radical Punk Outfits) = AIR(POW)ER | ||||
| ANTA | R | 40d |
• He knocked out one answer on the tapi
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| We really struggled with this – we think it may be: ANTI (someone against anything – ‘he knocked’) missing (‘out’) i (one) + A (answer) = the tapir
See Sagittarius@1 for a much better parsing. |
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| AREADS | R | 8d |
• On theatre floor, doctor of surgery forme
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| AREA (theatre floor) DS (doctor of surgery) = former guesses | ||||
| CHERUPS | Y | 1d |
• Sounds like canar
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| Fancifully, the ‘opposite’ of ‘Sonny down’ is CHER UP (from 60s singing duo Sonny & Cher) + S (son) = sounds like a canary | ||||
| CODS | E | 4d |
• In the country, more than one f
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| D (last or ‘final’ letter of field) in (‘overwhelmed by’) COS (lettuce) = In the country, more than one fellow (dialect) | ||||
| CRUCIBLE | T | 31ac |
• Theatre where one might cue in severe
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| Double definition – the first being the theatre in Sheffield where the World Snooker Championships are held, the second = severe test. We live near Sheffield and used to regularly watch the snooker when it hosted the World Championships. Our son and daughter in law celebrated their marriage in the foyer too. However, we were unaware of the second definition. |
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| DEARY | – | 21d |
• Artfully crayoned church office (8)
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| An anagram (‘artfully’) of CRAYONED = DEA(CON)RY | ||||
| DEADSET | B | 21ac |
• Terribly sedated in stand – like la
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| An anagram (‘terribly’) of SEDATED = stand like lab (labrador) at game? | ||||
| DEFERS | S | 30d |
• Put
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| E R S (first letters or ‘fringes’ of extreme rough somehow) after (‘next to’) DEF (brilliant) = puts off | ||||
| ERIC | S | 42ac |
• Wi
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| Double definition, the first being Wise (Ernie Wise, ERIC Morecambe’s partner) | ||||
| FUSEE | – | 41ac |
• Going around gulf, see a kite’s body (8)
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| An anagram (‘going around’) of GOLF SEE A = FUSE(LAG)E | ||||
| GOLFER | I | 29d |
•
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| An anagram (‘breaks’) of FOR LEG = Ian Baker-Finch’s calling | ||||
| HEROISE | D | 12ac |
• Treat as
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| EROS (Greek god) round or ‘cuddling’ I (one) in or ‘nursed by’ HE = treat as daring man | ||||
| IRIS | P | 3d |
• Digital assistant looking up “eye
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| A reversal (‘looking up’) of SIRI (‘digital assistant’) = eye part | ||||
| LEASE | I | 15ac |
• Gather
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| L (left) EASE (free from troubles) = gather info in places (dialect) | ||||
| LOOF | V | 35ac |
• Cur
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| A reversal (‘retreats’) of FOOL (victim) = curve near front of ship | ||||
| LORES | E | 37ac |
• Reportedly established usages for head parts near
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| A homophone (‘reportedly’) of LAWS (established usages) = head parts near eye (in birds or fish) | ||||
| MACASSAR | E | 23d |
• RAC amass crude oil for Tr
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| An anagram (‘crude’) of RAC AMASS = oil for tress | ||||
| MUSE | – | 10d |
• Consume bananas – strong smelling stuff (7)
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| An anagram (‘bananas’) of CONSUME = MUS(CON)E | ||||
| OMNEITY | H | 32ac |
• T
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| An anagram (‘wrinkly’) of ON MY |
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| OUSE | N | 36d |
• Tre
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| A homophone (‘say’) of OOZE (slimy mud) = Trent fuses with this course of water (River Trent joins the Ouse in the Humber Estuary) | ||||
| OUTERS | – | 26d |
• Surpasses in strength man in East London – one pulling around piano section (9)
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| OU (man in East London, S Africa) TOWER (one pulling) round P (piano) + S (section) = OUT(POW)ERS | ||||
| PINOCHET | E | 22ac |
• Revolutionary packs grape in l
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| CHE (Guevara – ‘revolutionary’) in or ‘packing’ PINOT (grape) = leader from Chile | ||||
| PSALTER | O | 43ac |
• Prompt side to change t
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| PS (prompt side) ALTER (change) = tome for devotional songs | ||||
| RAPT | E | 38d |
• V
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| RAP (‘Victorian’s patter’ – as in Australia?) T (last letter or ‘end’ in act) = very pleased | ||||
| REABSORBS | E | 9d |
• System for checking eyes at end of religious education less
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| ABS (Anti-lock braking system – ‘system for checking’) ORBS (eyes) after RE (religious education) = lessens again | ||||
| RED SEA | N | 44ac |
• Mai
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| RED (‘revolutionary’) + a homophone (‘being proclaimed’) of SEE (behold) = main sent back by Moses | ||||
| REFINING | O | 2d |
• Means of purifying
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| An anagram (‘recklessly’) of INFRINGE |
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| RELEARN | R | 28d |
• To gain skill, once mo
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| LEAR (king) N (knight – in chess) after a reversal (‘lifting’) of ER (queen) = to gain skill once more | ||||
| RELENTED | P | 24d |
• Train tender: the French parts melted in the
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| An anagram (‘train’) of TENDER round or ‘parted by’ LE (‘the’ in French) = melted in the past | ||||
| RICTUS | L | 2ac |
•
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| R (first letter or ‘opening’ of Root) ICTUS (stroke) = lark’s gape, for one | ||||
| RISS | G | 16ac |
• Enter Antarctic sea with Institute for Ohio Sta
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| R |
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| SEIR | A | 6d |
• Se
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| Last or ‘ultimate’ letters in exerciseS thE ThaI prefeR = sea swimmer | ||||
| SLOTHS | T | 13d |
• Those with three
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| An anagram (‘ground’) of LOST + HS (hoc sensu – ‘in this sense’) = those with three toes maybe | ||||
| SMARMY | U | 7ac |
• Offensively s
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| SM (sergeant-major) ARMY (‘his men’) = offensively suave | ||||
| SNUBNOSED | H | 20d |
•
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| S (first letter or ‘face’ of sergeant) + an anagram (‘ill’) of BODES with NUN split (‘sectioned’) with the last letter in (‘arrested by’) the anagram = having a blunt end | ||||
| SNUCK | E | 25ac |
• N
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| UC (upper case – ‘capital’) in or ‘pocketed by’ S |
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| STORE | F | 7d |
•
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| An anagram (‘fancy’) of |
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| TANE | N | 40d |
• Burns’s O
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| First letters of To Auld Nessie’s Extemporised = Burns’s one | ||||
| TASSEL | O | 34ac |
• G
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| A reversal (‘westbound’) of LEST (for fear that) round or ‘broken by’ AS (Anglo-Saxon) = gold plate on vestment | ||||
| THREAD | L | 45ac |
• On Thursday, study very thin
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| TH (Thursday) READ (study) = very thin line | ||||
| TIETACKS | R | 5d |
• Those securing Ascot, say, to shi
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| T (Tesla) IE (that is) TACK (vulgar object) S (first letter or ‘front’ of SUV) = those securing Ascot, say, to shirt, an Ascot being a tie like a cravat, secured with a pin | ||||
| TILE | – | 39d |
• Time before wicked generation worked land (7)
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| T (time) ILL (wicked) AGE (generation) = TIL(LAG)E | ||||
| TIRE | W | 14ac |
• Become
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| Hidden (‘piece of’) in LigeTI REpertoire = become weary | ||||
| TORRS | V | 17ac |
• Royal Society recalled rubbish first measures of
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| RS (Royal Society) after a reversal (‘recalled’) of ROT (rubbish) = measures of very low pressures | ||||
| TOSCA | O | 33d |
• Sopran
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| Hidden in LobiTOS CAlifornia = soprano | ||||
| UNSEAT | N | 19ac |
• Filleted sole and tuna, battered as take away from be
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| An anagram (‘battered’) of S |
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| YVETTE | E | 11d |
• Dam
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| E (base) after or ‘covered by’ YT (obsolete form of ‘that’) round or ‘guarding’ VET (examine) = dame – the only dame Yvette we can find is former New Zealand athlete, Dame Yvette Williams – can this be the one referred to? Or is it just the generic slang name for a woman? A complicated clue with an extremely vague definition – are we missing something? | ||||



I agree with BandJ’s reservations about this one. It’s fine to have a tricky alphabetical with tricky clues, but it felt an awful slog having to count out how many words of what length would be in the final grid, and then seeing how that matched or didn’t match the apparent numbers of unmodified answers as indicated by the clues. Getting the solutions correctly placed was crucial for reading the instructions, but one could not place the solutions without having worked out what the instructions would have to be, which seems unsatisfactory. I did get almost all the way, though failing to notice RELEASE in the final grid. I parsed ANTA as AN (one) on T (THE with HE knocked out), followed by A (answer), with the whole thing being TAPIR, but I had YVETTE simply as a woman’s name. Despite the reservations, thanks to Bungo for the puzzle and to bertandjoyce for a pretty challenging blogging task.
Thanks Sagittarius- we think your parsing of ANTA is much better.
I (Joyce) can take no credit for the blog this week (or next) – all I did was check it and make a few suggestions. Bert fractured his patella last Thursday and is hopping around on crutches! He is an avid walker so has had time available to sit and compile the blogs.
I didn’t find this quite so much of a struggle, though I agree the choice of devices used does seem a bit ‘circular’ (if you will) – I also worked out the adjustment needed before sorting out the message.
At the start though I didn’t bother with looking at what word lengths did or didn’t fit, I just went straight to clue solving and looked to solve/find the normal clues that way.
The clues steadily fell but I didn’t start trying to enter anything for a while, and like B&J my way in was the 9-letter answers, once I’d got them all. Once the gridfill started, everything fell relatively quickly into place and I was able to construct the message and sort the endgame.
I agree that the definition for YVETTE is rather vague, and I also felt that the ‘Enter’ in the clue for RISS was entirely superfluous, though I didn’t have any other major quibbles with the clues.
I thought the title might refer to the opera itself, that being a ‘refrain’ regarding a ‘stretch’ in prison.
Thanks to Bungo for the puzzle and B&J for the blog, despite their struggles, and I hope B’s patella heals quickly so he can resume his walking!
Many thanks to Bungo (a name previously encountered in the Lord Peter Wimsey saga) and Bertandjoyce — all sympathy with the affliction!
After picking away for days at the cold-solving and getting maybe 75%, I expected not to finish despite twigging that CONs, LAGs and POWs were being freed. Eventually got the right 7-letter answer for 1D (what a fiendish clue) and the whole NW quadrant followed, after which I felt more confident and pressed on. FIDELIO in the filled grid rang a vague bell although FLORESTAN didn’t, and looking up the opera made it clear what had to be changed, simply from the preamble without (shamefully) bothering to parse the message. Good confirmation that writing in LEONORE gave real words.
After all that, there was a temptation to highlight her and her hubby and call it a day, but a further think about “mission” put me right.
Well I enjoyed it. Perhaps this just suited my standard tactic with jigsaws: group all of the words by length and use different colours to highlight the spaces in the grid so the ‘slog’ described by Sagittarius@1 just came naturally to me. It was a huge help here by immediately suggesting that three letters needed to be removed from the 6 mystery clues. A bit of reading about Fidelio at the end and all done. Thanks Bungo.