[
    {
        "id": 207107,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1974",
        "page_number": 178,
        "title": "RAS-1974",
        "content_text": "172 \n\nSUNG HOK-PANG \n\nHe then returned to the capital, and stayed in General Ngai's house where he was able to make friends with many famous scholars. He wrote a book named \"Yin t’oi san ngai” \n\nwhich had a preface written by Ts'oi Shing Yuen ## Noi Kok Hok Sz a political minister of high rank. Three years later Tang passed his Tsun sz degree, and was appointed district magistrate of Lung Yau Yuen in Chekiang province. \n\nTang Man Wai was of a kind-hearted disposition and some say that through this the wall of T'aai Hong Wai was built. The story goes that when Tang passed his Sau Tsoi degree he was sent to Kwai Shin district, now Wai Yeung, to collect the rent due on cultivated lands, belonging to his family property. While there he came across a young man named Lei Maan Wing * hanging upside down as a punishment. On asking the reason why, Tang learnt that Lei had contracted gambling debts and was unable to pay them. Tang was sorry for the young man, paid all his debts and was able to use his influence in obtaining a military post for him. This happened during the end of the Ming Dynasty. Later on when the Manchus drove out the Mings in the North and the Ming Emperor Wing Lik✯✯ had retreated to Kwangtung, Lei was a colonel under Cheung Ka Yuk ✯ who was fighting against the Manchus. When Cheung was defeated in battle in the 4th year of Shun Chi A.D., 1647 of Ts'ing dynasty, and drowned himself, Lei, who was with him, fled with about a hundred soldiers. Gradually many of Cheung's soldiers were able to rejoin him, and with a strong army he attacked both Tung Kwun ✯✯ and San On ✯* districts. He drove out the Manchus, and made his headquarters in what is now known as the New Territories. One of Lei's camps was situated in the district round K'ei Lun Wai LP'ing Shan A and T'sing Leung Fat Yuen ****. Before the latter, which is a nunnery, was built, the locality had been known as Ying P'oon Tei, \"The ground of the camp,\" and while the building was in progress the workmen dug up many old coffins which were supposed to be those of Lei's soldiers. Among them was found a general's sword, broken in many pieces. Anyone going to Kwun Yam Shaan to visit the Ling Wan monastery would notice half way up Taai Mo Shaan, far above the cultivated land, a stretch of hillside that has been terraced and flattened out in some former time. This is supposed to have been another of Lei's encampments. Lei burned and pillaged, and most of the \n\n+",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077",
        "rank": 0
    },
    {
        "id": 211783,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 198,
        "title": "RAS-1989",
        "content_text": "173\n\nat Shanghai\" occurred on Friday September 19 1856\" and by a remarkable coincidence it also marked the introduction of a brand new instrument to the China Coast music lover, viz the Saxophone. This, though, was not how it was announced. The artist, Ali Ben Sou Alle, who had studied at the Paris Conservatoire and made a career in France and England as a clarinetist, was of Turkish descent and had seen fit to rename the instrument invented by Adolphe Sax in 1840 into something recalling his fatherland: the Turkophone. He had made a tour through Asia and in Hong Kong his success had not been unequivocal.\" In Shanghai, reception was somewhat mixed (cf Calendar: 19.9.1856). Apart from the \"Turkophone” he handled the \"Turkophonini” (which may have been the soprano saxophone), the clarinet, and an instrument \"which we trust our Scottish friends will pardon us for pronouncing something worse than the bagpipe”. \n\nAs details of the activities of other artists that visited Shanghai will be found in the Calendar of Performances it seems hardly necessary here to elaborate on them. But attention should be drawn to the first lady singer\" who engrossed the public there in July 1863: Miss Amelia Bailey. On a second trip some months later, in October and November, she drew \"crowded houses small wonder in a place with so many soldiers and bachelors.\n\nIV. The Actors\n\n>72\n\nJ\n\nFor those that did not belong to the taipan class, that is, those not partners in a firm but lower mercantile assistants, the freedom to engage in whatever activities they wanted in their spare time was limited. Employees out on their first term called griffins were usually not allowed to marry because the firm did not feel like paying for home leave for an entire family. Another restriction put in their way was that commonly there was a clause in their contract which ran: \"All horse and pony racing, or riding in races, and all acting in public theatricals is forbidden without the consent of the resident partner”.73\n\nHere the reasons were partly financial as the employers feared that the youngsters might be carried away with the rehearsals, with disadvantageous consequences for the job they were supposed to do; and partly social, in that the senior merchants were perhaps afraid that the juniors would prove to be more popular on the stage than they themselves. Of those that were permitted and willing to don sock and buskin it is",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 211808,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 223,
        "title": "RAS-1989",
        "content_text": "198\n\nT: Farce (1 act) C: Amateurs\n\nF: Music\n\nTh: D\n\nR: This was the last theatrical entertainment organised by Horatio BUSKIN and he could look back on a successful \"career\" as manager. Only the music had flagged of late (tonight \"a buzz in a box near the proscenium represented the music — we were ten feet away from it and it was therefore lost upon us\" the days of \"Sir George Smart and Messrs Thalberg\" and \"Koenig\" were over).\n\n—\n\nTo make up for these shortcomings \"Mr. CLAY as Honeybun (in the Infanticidal Farce) was, as he always is, first rate\". In Slasher and Crasher the public witnessed the debut of \"Miss Polly DEXTER as Rosa, affording hope of a new evening star of the first magnitude\" (NCH 23.2.1856).\n\n14.8.1856 (Thur)\n\nN.N.: The Nigger Doctor and his Patient Patient or the First Lesson in Surgery\n\nT: Negro farce\n\nC: Travelling American Company (Messrs Baker, Woodward and Montgomery) Th: Old Theatre (C)\n\nN: The whole evening was announced as a \"Grand Ethiopian Musical Soirée\"\n\nR: An advertisement only was published in the NCH of August 9. In it the above mentioned gentlemen (formerly of the New York Serenaders) praised their performances as having been \"the theme of universal admiration during the past four years throughout the East Indies as well as the Australian Colonies\". In addition to the farce, the programme consisted of \"Negro songs, interspersed with willy saying and doings peculiar to the African race in America\".\n\n19.9.1856 (Fri)\n\nConcert by Ali Ben Sou Alle and some local amateurs.\n\nInstruments: Turkophone, \"Turkophonini\", clarinet, piano.\n\nProgramme:\n\nG. ROSSINI: Two overtures. V. BELLINI: Selections from \"La Sonnambula\". F. MENDELSSOHN-BARTHOLDY: \"The Fairest Flower\" (song). Some German songs, The \"Shanghai Redowa Walse\", Medley of English, Scottish and Irish airs. Th: N.N. (C)\n\nR: Tonight was the occasion of the first real concert in the Settlement's history. It was given by Mr. ALI BEN SOU ALLE, a Turk who, after a study at the Conservatoire de Paris, had been appointed Directeur de Musique de Marine in Senegal (which had been French since 1871) in 1844. In 1847 he returned to Paris to enter the orchestra of the Opéra Comique, but the following year he went to London where he found employment in the orchestra of Her Majesty's Theatre at the Haymarket. He learned to play some instruments that had been invented by Adolphe Sax, the Belgian musician (1814-1894) and thereafter he made an extensive tour to Australia, Java, Singapore, Manila and China (CM 16, 10, 1856). In Hong Kong and even Canton he had appeared in August and October 1856 (CM 7.8. 14.8. 21.8. 16.10.1856). In between he gave two recitals in the Yangtze port. In the Survey it has already been stated that the soloist entertained the public with performances on several instruments that had been rechristened Turkophone and Turkophonini: in reality they were the Saxophone and (probably) the soprano saxophone. Well may we ask how these instruments, which were only of recent origin (1840s), were received by an audience completely unused to their sound. The artist interpreted a selection from Bellini's \"La Sonnambula\" on the \"Turkophone\" and the critic wrote that \"the compass of the instrument is very great but we confess to some disappointment as regards its quality of tone, and correctness of tone also, in some few notes, and altogether we think it an imperfect instrument",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 211809,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 224,
        "title": "RAS-1989",
        "content_text": "199\n\n-- it may, however, improve on further acquaintance but we had no other opportunity of judging during the evening\". The \"Turkophonini” could be heard in a solo with variations and it was deemed \"by far the most perfect and pleasing instrument of the two`. The Shanghai Redowa Waise (Redowa: a Bohemian dance) which had been \"composed expressly for this Concert and dedicated to the Ladies of Shanghai — as the programme informed us\", also performed on the Turkophonini was not thought of \"very highly”, but it convinced the reporter that \"the instrument is well adopted for that class of music\". Obviously not everyone in the audience was of the same view, for the editor wrote in the Herald of September 27: \"The critique of our reporter has been much discussed in fashionable circles and the correctness of his judgement as to the perfection of these new instruments questioned. Knowing his high attainments as a musician, we defer to his opinion. Matters of taste do not admit of dispute. De gustibus non est disputandum. We may all enjoy our own and as a second glass of wine enables us to pronounce better judgement as to its quality, so will this second performance (on September 29) by familiarizing us with the instruments enable us better to decide upon their excellence\". In Hong Kong the China Mail could not speak \"in very warm terms of praise at least as regards their suitability for solo performances\" (CM 21.8.1856). On the other hand it admitted that \"by men of cultivated taste M. Ali's talents are fully appreciated and it will be long ere those who have had the pleasure of listening to his performances will forget the sweet but powerful tones of the Turkophone or the duleet melody of the Grand Clarionet and Turkophonini\" (CM 16.10.1856). Ali Ben Sou Alle was assisted by local amateurs who played a number of pieces including two Rossini overtures on the piano; and \"very creditably\" sung Mendelssohn's \"The Fairest Flower\".\n\nThe evening was attended by a \"numerous audience, comprising the beauty and fashion of our Settlement'' (NCH 20.8.1856).\n\n29.9.1856 (Mon)\n\nA second concert by Ali Ben Sou Alle.\n\nNo review was published in the Herald, only an announcement (NCH 27.9.1856).\n\n18.2.1857 (Wedn)\n\nD. BOUCICAULT & C. MATHEWS: \"Used Up\" (1846)\n\nT: Comedietta (2 acts)\n\nJ.M. MORTON: “Box and Cox\" (1847)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Prologue\n\nTh: N.N. (C)\n\n―\n\nR: The season opened both under the new management of \"Peter PROTEUS\" (again: a stage name, Proteus being an old Greek who could assume different shapes, as some actors are able to; also a character from Shakespeare's \"Two Gentlemen of Verona') and with a new theatrical reviewer in the Herald: \"The Man on the Bund\" (for the current season only). And although some months later he was heavily criticized because of some strictures he made about the choice of plays, in general his articles in a highly personal style were a mere continuation of the \"nothing but praise\" attitude that so prevailed. Thus Used Up was \"rendered with unquestionable ability by Mr. Peter Proteus, the manager\" who himself played Sir Charles Coldstream; and Mr. CLAY gave the part of the forlorn, but blunt and honest blacksmith Ironbrace with much skill and effect\". Making her debut Mrs. NESBIT impersonated Lady Clutterbuck: \"One would not have thought that so much deceit could lurk under so smooth and charming a face\". She brought to this part \"not only much cleverness and knowledge of the feminine heart but a very imposing person and decided good looks; and one could not help thinking the baronet might have stumbled upon a less pretty face in his",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    }
]