[
    {
        "id": 204385,
        "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-1962",
        "page_number": 17,
        "title": "RAS-1962",
        "content_text": "12\n\nF. S. DRAKE\n\nsouthern border of the Ordos region within the loop of the Yellow River, as Pao-t'ou was on its northern border. Fr. Mostaert, it appears, was already familiar with the Crosses and he gave some valuable information from his personal observations, as to the use to which they were put by the Mongols of his day:\n\nThe Mongols constantly dig them up from old graves and elsewhere; they know nothing about their history, but wear them on their girdles, especially the women. When they leave home to take their sheep to graze, they close their doors, and seal them with mud or clay, in the same way as other people use ordinary seals.4\n\nIn 1932 during his residence in Tsinan, Shantung, Mr. Nixon committed his collection to the late Dr. J. Mellon Menzies of Shang dynasty fame, then professor of Chinese Archaeology at Cheeloo University, for study and classification. The result was embodied in a monograph entitled Chinese Nestorian Bronze Crosses which was published with the help of a grant from the Harvard-Yenching Institute in December 1934 as a double number of the Cheeloo University Bulletin 齊大季刊,第三、五合期, 青銅十字專號。The volume consists of impressions in red (somewhat in the manner of Chinese rubbings, but not true rubbings) of each of the crosses and seals in the collection, to the number of 979, followed by tables giving the number, weight, measurements and description of each cross, and where possible the provenance of each, the whole being classified in certain clearly defined groups, together with two essays in Chinese: 'Christianity in China in the time of Marco Polo' by Dr. Menzies; 'The Swastika Cross Badges Unearthed in Sui Yüan Province, China' by Professor P. Y. Saeki; and a short Introduction in Chinese on the Nixon Collection by Dr. Menzies. This volume has long been out of print, and Cheeloo University itself has been disbanded, The Institute of Oriental Studies at the University of Hong Kong hopes, when funds are available, to publish a complete set of photographs and rubbings of the whole collection with Dr. Menzies' tables, classification and enumeration.\n\n4\n\nDr. Menzies classified the crosses, which measure from 11 to 31 ins. across, first according to shape into four main groups,\n\n1 Moule, Christians in China before the Year 1550, London, S.P.C.K., 1930, p. 92; Saeki, Nestorian Documents and Relics in China, Tokyo, 2nd ed., 1951, p. 423; Menzies, Chinese Nestorian Bronze Crosses, Cheeloo University Bulletin, 1934, pp. 92-3.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1962.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/9s166f47f",
        "rank": 0
    },
    {
        "id": 204911,
        "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-1965",
        "page_number": 19,
        "title": "RAS-1965",
        "content_text": "S. G. DAVIS\n\nthe work he very quickly graduated to a well-informed archaeologist capable of making shrewd observations and comparisons.\n\nAltogether, Father Maglioni mapped and recorded twenty-one principal sites and nine others where odd fragments of pottery were picked up. And here it is important to note that all the remains were collected from the surface and that no excavations were ever carried out. It would therefore seem reasonable to assume (on the basis of our experience in Hong Kong, especially at Lamma, Shek Pik, Man Kok Tsui and Fanling) that re-examination of the Hoifung sites with spot digs could be most revealing and fruitful. Perhaps this may be possible one day,\n\nFather Maglioni in his report (16) on the Hoifung District underlined and confirmed many of the conclusions reached by Dr. Heanley and Father Finn: principally that all the sites were either on raised beaches or low granite hills and that the absence of building remains pointed to their having been built of clay and wood (probably as at Tai O today on piles) and therefore easily and quickly disintegrated by weathering and typhoon attrition. He also concluded that all sites are neolithic with a strong reservation that the use of the term \"neolithic\" might be misleading. This was because he recognized distinctly different cultures present. In order to identify them he used the capital letters of the largest villages near the sites; SOW, SOS, PAT, KEB and SAK. Dr. Heanley in a letter (11) to Father Maglioni also was emphatic that the term \"neolithic\" should not be used for Asia. He felt that polished stones were almost certainly in common use in Hong Kong until iron became cheap and abundant.\n\nOn the basis of European usage of the terms \"palaeolithic\" and \"neolithic\" it seems that there is no solid evidence of a pure palaeolithic culture being present. But many palaeolithic artifacts have been found both in Hong Kong and Hoifung and presumably were used by the later neolithic peoples.\n\nFather Maglioni noted that villages were usually located on the western hill slopes below the summit. This village siting is paralleled in Hong Kong and was done to provide shelter from the strong northeast monsoon winds. He also reported that \"Double-F\" pottery was not much in evidence in Hoifung. He concluded that this type of pottery had been imported from Hong Kong by sea.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1965.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/s752cj653",
        "rank": 0
    },
    {
        "id": 206068,
        "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-1970",
        "page_number": 148,
        "title": "RAS-1970",
        "content_text": "HONG KONG BEFORE THE BRITISH \n\n143 \n\nThe pottery is of two kinds, soft and hard. The soft includes bowls, pedestals on which they were balanced, pitchers and jugs and cups like Chinese funerary vessels. There is a gradation from a very soft type, a type as crude as pottery can be, made of clay and sand, fashioned by hand and baked either in the sun or on an open fire, to a slightly harder type, fashioned with more care and marked with a primitive pattern such as the \"panier\" made probably with a basket of reeds or the \"comb\" made with a small pronged instrument. Then there is a harder type fashioned on a potter's wheel and given various patterns either whilst it is on the wheel or stamped with a prepared die. Finally there is a very hard type, faultlessly made and baked in a closed oven, with stylised patterns, sometimes glazed and sometimes unglazed and containing in the rim or under the base little signs which look like hallmarks of fabrication. All these types exist side by side. For instance, a large pot of the hardest and most finished type has been found covered with a lid of the rudest and softest material.\n\nThe largest pots have a rounded base and could contain as much as a gallon of water. They are often glazed with a very light blue or dark green pigment which has not settled very well on the surface. The chief pattern is the \"double F.\" Another type is a vase with a low pedestal, often very well proportioned, rarely glazed, and bearing a great variety of patterns. This type is sometimes provided with handles through which a string can be passed. A third type is reminiscent of Chinese funerary cups and does not appear to have a definite domestic use. These cups are from 5 to 7 centimetres high and have shallow bowls and long concave pedestals. They are frequently glazed and always seem to have hallmarks under the base such as three wavy lines or a rough upsilon.\n\nSuch are the most usual types of vessel. Of course, there are many varieties, and enormous quantities of broken pieces have been found. But from what has been observed, various conclusions can be drawn.\n\nThe type of bowl without pedestal is common to-day in the Indonesian countries, though not in China. The resemblance in shape with peasant bowls in the markets in Indo-China and Burma is very striking. The \"comb\" pattern is also used to-day in",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241",
        "rank": 0
    },
    {
        "id": 206069,
        "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-1970",
        "page_number": 149,
        "title": "RAS-1970",
        "content_text": "144\n\nS. F. BALFOUR\n\nIndonesian pottery, particularly round the rim of the vessel. The other patterns appear to have no counterparts in pottery that we know. Especially the \"double F\" is intriguing. It appears at a glance a type of stylised design derived from an animal motif such as might have come from ancient China, but it is very unsafe ground to suppose that it is so. Lastly, the glaze is of a good pigment and was certainly derived from China. The variety of pottery from the primitive soft type through the \"Indonesian\" type to the half-Chinese \"double F\" pattern shows that while much of it was imported, some was made locally.\n\nMetal implements have been found in the sites in much smaller quantities than the stone and pottery, but moulds for making them have been found in larger quantities. They are made of baked clay in two separate pieces which fitted together and into which the molten metal was poured and took its shape. These moulds were probably made locally. Therefore the people using them were not plentifully supplied with metal and they were obliged to melt and reshape old weapons when they became unserviceable, continuing to use the same pattern without any efforts to improve it. This inference neutralises any attempt to date the inhabitation of the sites by comparing the metal implements with those used in China at certain dates. It is true that the shape of the weapons originally came from China, but there is no certainty that the Chinese influence continued for long; in fact, the opposite seems the most likely.\n\nThe most typically Chinese of the bronze weapons are the ko and the small axe. The ko is the small cutting and piercing implement with a curved blade ending in a sharp point which is written with the character. It is of very ancient origin and continued to be used by Chinese soldiers in the Han dynasty and later. The small axe with a convex blade and a hollow socket for insertion of the handle is also of early Chinese origin. It was once used in a more simplified shape for money, but that the inhabitants of this region used it for killing can be proved by a piece of bone which was found adhering to an axe in one of the sites. Both these types of weapon are most ancient, in addition to them fragments of bronze swords and daggers, some of them embossed with Chinese designs, have been excavated and a small number of bronze utensils.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241",
        "rank": 0
    },
    {
        "id": 206590,
        "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-1972",
        "page_number": 138,
        "title": "RAS-1972",
        "content_text": "132\n\nLINDA F. SULLIVAN\n\nmain crop, rice, requires an extensive system of irrigation. Rice farming divides the land into small paddies which tend to separate the communities. The mountainous country with its many isolated valleys further compartmentalizes the area into small and closely knit groups, speaking a large number of dialects. These conditions aided in the development of a strong clan system which is most heavily concentrated in the provinces of Kwangtung and Fukien. This type of social organization demanded an architecture that would reflect the community structure. In the rugged, mountainous regions, as in Chekiang, where land is precious, the Chinese utilized the smallest possible space for building. Hence, the Chinese, when they developed their systems of architecture, were acutely conscious of the natural environment and tried to come to an understanding with it.\n\nThe townhouse courtyard complex plan () is the most familiar architectural structure for Chinese houses. It is, however, by no means the most common of all domestic architecture but rather represents the home of the affluent. The basic plan was a rectangular walled area consisting of two courtyards separated by the guest hall. The less important buildings, kitchen, storage sheds, animal pens and servants' quarters, were located along the sides, or adjacent to the front wall. The first or main courtyard normally was larger than the second courtyard and was used for receiving visitors. The second courtyard was that of the family where the women and children spent their days. Only intimate friends and relatives would be invited into it. At the end of this courtyard, adjacent to the back wall, was the parents' suite. The children's rooms were along the sides. Richer and larger families would extend this basic design by adding more courtyards and halls and of course, gardens. Life behind the walls of the courtyard house was isolated from the life of the busy streets. The walls were normally built high enough so that only the peaks of the roofs were visible from the street. There were no windows facing out but only onto the inner yards. The courtyard house shows the attempt of the Chinese man to seek privacy and seclusion from the outside world,\n\nIn Hopei province in the city of Peking, this architectural plan was quite common. The outer walls of the complex were normally built of sun-dried brick and the roofs were made of overlapping clay tiles. It is not unusual that this house would be popular in the city of Peking, for in many ways it is a small scale model of the",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h",
        "rank": 0
    },
    {
        "id": 208402,
        "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-1978",
        "page_number": 126,
        "title": "RAS-1978",
        "content_text": "JİSHİ \n\nANCIENT SHİWAN KILN SİTE \n\nTANG-N. SONG (618-1127 A.D.) \n\nA 'DRAGON' KILN IS BUILT OVER THE \n\nREMAINS OF AN EARLIER MANTOU” KILN \n\nSquare Bricks \n\n21x6cm Round Bricks \n\nCLAY & SAND \n\nEXCAVATION \n\nMANY CROSS COVERED 'MANTOU' KILNS \n\nFLAMBE SHARDS \n\nFigure 2. Diagram of “dragon\" and \"mantou\" kilns at the Jishi archaeological site.\n\n110 \n\nFREDRIKKE F. SCOLLARD",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593",
        "rank": 0
    },
    {
        "id": 209612,
        "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-1982",
        "page_number": 269,
        "title": "RAS-1982",
        "content_text": "1892/93\n\n―\n\n1893/94\n\n247\n\n\"Honour Bound\" (W. S. Gilbert and Sydney Grundy, 1880)\n\n12, 15 Nov. 1892\n\n\"On Bail\" a farce (W. S. Gilbert, 1877)\n\n26, 28, 30 Dec. 1893, 3, 6, 9, 16, 24 Jan. 1894\n\n\"Princess Toto\" (W. S. Gilbert and Clay, 1876)\n\n1894/95\n\n30 Jan. 4, 6, 9, 12, 16, 18, 23 Feb. 1895\n\n\"Robinson Crusoe\"\n\nPantomime:\n\n17, 20, 24 Apr. 1895 \"The Magistrate\" (A. W. Pinero, 1885)\n\n1895/96\n\n26, 28 Dec. 1895\n\n\"Dandy Dick\" (A. W. Pinero, 1887)\n\n8, 10, 20 Feb. 1896\n\n1888)\n\n1896/97\n\n\"Trial by Jury” (Gilbert and Sullivan, 1888)\n\n19, 21 Dec. 1896 — “Cups and Saucers\" (G. Grossmith, 1878)\n\ngiven in 1886.\n\n\"Charley's Aunt\" (Brandon Thomas, 1892)\n\n25 Feb. 1897 — \"Les Cloches de Carneville\" (H. B. Farnie and R. Reece, 1878)\n\n1897/98\n\n19 Nov. 1897\n\n1890)\n\nF\n\n1898/99\n\n19, 21 Feb. 1898\n\n—\n\n\"A Pair of Spectacles\" (Sidney Grundy, 1890)\n\n\"The Duchess of Bayswater and Co.\" comedietta (A. M. Heathcote, 1888)\n\n\"A Pantomime Rehearsal\" (C. Clay, 1891)\n\n17, 19 Nov. 1898 — “Our Bitterest Foe\" (G. C. Herbst, 1874)\n\n\"Sugar and Cream\" comedietta (J. P. Hurst, 1883) \"The Steeple Chase\" (J. M. Morton, 1865) given in 1874.\n\n―\n\n5, 7, 9, 11, 14, 17, 18 Jan., 1, 3 Feb. 1899 pantomime \"The Yellow Dwarf, or Harlequin the Knave of Hearts\"\n\n1899/1900\n\n4, 6 Nov. 1899\n\n\"The Magistrate\" (A. W. Pinero, 1885) given in 1895.\n\n12, 13 Dec. 1899 \"The Mother In Law\" farcical comedy (G. R. Sims, 1881)\n\nJL\n\n12, 15, 17, 24, 26 Feb. 1900 \"Yeoman of the Guard\" (Gilbert and Sullivan, 1888)\n\n1900/01 24 Nov. 3 Dec. 1900—\n\n1901/02\n\n1902/03\n\n—\n\n―\n\n\"Our Flat\" (Mrs. M. Musgrove, 1889)\n\n15, 19 Nov. 1901 “Trying It On” farce (W. Brough)\n\n\"Plantation Revels\" minstrel variety\n\n13, 14, 15 Nov. 1902\n\n\"Liberty Hall\" drama (R. C. Carton, 1892)",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p",
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    },
    {
        "id": 209613,
        "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-1982",
        "page_number": 270,
        "title": "RAS-1982",
        "content_text": "248\n\nCARL T. SMITH\n\n30, 31 Jan., 2 Feb. 1903\n\nMarshall, 1898)\n\n1903/04\n\n14, 16, 17 Nov. 1903 -\n\n1898)\n\n―\n\n1903/04\n\n1904/05\n\n▬▬\n\n\"His Excellency the Governor\" (R.\n\n\"Lord and Lady Algy\" (R. C. Carton,\n\n11, 12, 14 Dec. 1903\n\n(Wilde, 1895)\n\n\"The Importance of Being Earnest\"\n\nT\n\n13, 18, 19, 20 Feb., 11, 12 Mar. 1904 \"His Excellency\"\n\n(W. S. Gilbert and O. Carr, 1890)\n\n19, 20, 23, 24, 26, 28 Nov. 1904 \"Dorothy\" comedy opera\n\n(B. C. Stephenson and A. Collier, 1886)\n\n21, 23, 28, Jan. 1905 \"Jane\" (H. Nichols and W. Lestrey,\n\n1890)\n\n7, 8, 10 Apr. 1905\n\nEsmond, 1897) —\n\n\"One Summer Day\" comedy (H. V.\n\n1905/06\n\n12, 13, 15 Jan. 1906\n\n1894) —\n\n\"The New Boy\" farce (Arthur Law,\n\n\"Princess Toto\" (W. S.\n\n15, 16, 17, 19, 20, 21 Feb. 1906 Gilbert and F. Clay, 1876)\n\n+\n\n31 Mar. 2, 3 Apr. 1906\n\n28, 30 Apr., 1 May, 1906\n\n(Arthur Law, 1902)\n\n1906/07\n\n20, 21, 22 Dec. 1906\n\nPinero, 1888) —\n\n15, 16, 18 Feb. 1907\n\n(C. H. Darnley,\n\n\"Lady Huntsworth Experiment\"\n\n\"A Country Mouse\" comedy\n\n\"The Hobby Horse\" comedy (A. W.\n\n\"Facing the Music\" farcical comedy 1899)\n\n1907/08\n\n←\n\n20, 21, 22, 25 Feb. 1908\n\n1897) -\n\n1908/09\n\n1909/10\n\n\"The Liars\" comedy (H. A. Jones,\n\n2, 3, 4, 5, 7, 8 Dec. 1908, 19, 20 Feb. 1909: \"A Country Girl\"\n\nmusical\n\n17, 18, 19, 20, 21, 22, Jan., 18, 19 Feb. 1910 \"The Torcodor\"\n\nmusical comedy\n\n12, 13, 16 Apr. 1910\n\nRyley, 1901)\n\n\"Mice and Men\" comedy (M. L.\n\n!\n\n1910/11\n\nno production.\n\n1911/12\n\n-\n\n13, 27 Jan. 1912 Grand Variety Entertainment and\n\nHarlequinade \"as performed at Drury Lane in 1870\",\n\nPage 270\n\nPage 271",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt",
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    },
    {
        "id": 211807,
        "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": 222,
        "title": "RAS-1989",
        "content_text": "197\n\nfrom Shanghai on the 20th. Despite that, the \"soirée\" was \"kept up to a late hour with great spirit\". The programme consisted of tunes by Dabney, de Costa and Tripp: one of them was called \"Japanese make yourselves ready\" (NCH 26.5.1855).\n\n23.1.1856 (Wedn)\n\nE. MAYHEW: \"Make your Wills” (1836)\n\nT: Farce (1 act)\n\nW. BROUGH: \"No 1 Round the Corner\" (1854)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"Whitebait at Greenwich\" (1853)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music\n\nTh: D\n\nN: Once more politics crept into the theatre since, due to the Anglo-French campaigns in the Crimean War, \"the proscenium was very tastefully emblazoned with the arms and ciphers of the Allies”. The drop scene now represented the \"Lake of Geneva with the far famed Castle of Chillon” (far famed because of Lord Byron's poem \"The Prisoner of Chillon\"). For a change the Herald allowed itself some criticism of the amateurs, but about the costumes only: \"We are perfectly aware of the great difficulties which beset the wardrobe department of the Theatre here, but still we think that two or three alterations might be made with advantage. It must be remembered that the assumption of a part on the stage requires the submergence of the individual into his assumed character. Proteus must not be more unlike his last shape than the actor must be unlike his mere self and the difficulty of effecting this is enormously increased by an appearance in every-day costume. In melodramatic pieces some decided change is absolutely necessary because success depends on the power of exciting the sympathies of the audience for the various situations of the actors and it is quite impossible that the desponding accents of one young gentleman or the grasping villainy of another (both of whom we know to be very good fellows and far from desponding or hypocritical characters) in the garb of 1856 can excite these sympathies. In Farce it is less important because the effect depends upon a successful appeal to our sense of the ludicrous and this may be done by situations which are quite within the range of every-day life. (...) It also struck us that a little more attention to the chronology of dress would be attended with increased effect; there were two or three anachronisms: for instance the mob cap of Mrs. Foreright (a most admirable 'make-up' by the way) hardly accorded with the modern elegance of Clara; or the venerable beard of the implacable Mr. Ireton with the modern costume of his disinherited son. It is astonishing how greatly unity in these matters adds to the effect of such performances and in spite of the difficulties of such performances and in spite of the difficulties of securing dresses we think a consultation between the Manager and the performers might produce a harmony which would be attended with the best effect”. The music too was thought to be \"ineffective\", but for the remainder it was, as usual, amusing, with Whitebait at Greenwich as the hit of the evening. The character of Buzzard — by no means a graceful one — was played with great effect and we heartily congratulate Mr. SLOWCOME upon the power he displayed\". In Make your Wills the reviewer could not \"forbear mentioning the excellent impersonation of Joseph Bragg by Mr CLAY\" (NCH 26.1.1856).\n\n21.2.1856 (Thur)\n\n—\n\nJ.S. COYNE: \"The Infanticidal Farce\" (1846)\n\nT: Farce (1 act)\n\nMrs. C.G.F. GORE: \"A Good Night's Rest\" (1839)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"Slasher and Crasher\" (1848)",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
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    },
    {
        "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",
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    },
    {
        "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",
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    },
    {
        "id": 212846,
        "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-1992",
        "page_number": 155,
        "title": "RAS-1992",
        "content_text": "140\n\nthough that description is scarcely fair to him. I do not think he was really disloyal to his elder brother, the Myosa; he had merely been caught in a situation which was beyond him. He was a weak character, the Chinese had terrified him, and he was as butter in their hands. I was concerned for our protection; though Lunghtang was ten miles back from the Salween, apart from the unarmed village watchers at the ferries, and an odd post of the K.D.F., there was nothing between us and the enemy. I asked the Puppet to let us have twenty men of the Defence Force. We would arm them, train them, and retain them as our personal bodyguards. He could not refuse.\n\nDuring his reconnaissance Stan had investigated the state of the Defence Force. They were about 200 strong at Sincheng, to watch the Japanese opposite the Kunlong bridgehead; their arms consisted half of British and half of Chinese rifles; they were desperately short of ammunition; their training was poor. I arranged with the Puppet that after training the bodyguards he would send us his five Bren teams for a course and for equipping with new guns, as most of those they had were damaged. Later we would train a platoon at a time, and equip them with further rifles and light automatics. I hoped also to find men of the guerilla type for use in trans-Salween operations, but these men would mostly have to be recruited from the tribes across the river, so that they could return to operate on their own ground.\n\nThe controversy between Tommy and Sten guns had settled itself. I had been for standardising on Stens, but Jack and Stan were both used to the Tommy and insisted on carrying one; I carried a Sten, which with its clip weighed 5 lbs against their 10. I noticed one day a Tommy had been loaded on the pack animals and on going up the line found Stan carrying a Sten! An extra 5 lbs makes a lot of difference when you are marching up and down mountains! Jack too soon fell into line and we made presents of our Tommy guns to the Puppet, who already had one or two. I also arranged to replenish his ammunition supplies.\n\nThe country people were poorly clad; no new cloth had come in for several years. We were able to include in our supplies some bolts of cloth, Shan pants, jerseys, and rubber shoes; they were originally intended as gifts for those across the Salween who worked for us, but we soon found they dared not receive such gifts because the Japanese, when they saw anything new, immediately realised that it came from their enemies, and concluded that those who wore it were helping our",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1992.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/qf85tx75x",
        "rank": 0
    }
]