[
    {
        "id": 207147,
        "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",
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        "document_key": "RAS-1974",
        "page_number": 218,
        "title": "RAS-1974",
        "content_text": "212\n\nNOTES AND QUERIES\n\nsurvey. Sir E. Belcher, accordingly, landed on Monday, January 25, 1841, at the foot of Taipingshan, and on the hill, now occupied by the Chinese Recreation ground, Captain Belcher and his officers, considering themselves the bona fide first British possessors, drank Her Majesty's health with three cheers, the spot being thenceforth known as Possession Point. The Point remained an open space and came under the management of the Chinese Recreation Ground Committee created in 1890.\n\nIn 1887 there was a rearrangement of streets to the south of the Recreation Ground. With the change there was a renaming. The western terminus of Hollywood Road was shifted from the present Possession Street to what was known as Gap Street, so that Hollywood Road emptied into Queen's Road on the south side of the Recreation Ground rather than on its east side.\n\nOn the south side of old Gap Street across from the Chinese Recreation Ground the original St. Stephen's Anglican Church opened in 1866. Here also the Baxter Memorial School was built in 1872 in memory of Miss Sophia Harriet Baxter. She had come to Hong Kong in 1860 and until her death five years later established schools for Chinese, Eurasians and orphans. St. Matthew's Anglican Church now occupies a part of the original site granted to the Church in 1864.\n\nThe neighbourhood could have been regarded as a good missionary area for it was dominated by establishments devoted to pleasure. Nearby was a theatre, and the present Possession Street was lined with brothels in the nineteenth century. It was also, however, near a more sobering district.\n\nThe hillside between Possession Point and West Point was used as a Chinese burial ground. The I-tsz Temple, built to house commemorative tablets for Chinese residents who died without a family to remember them, and, temporarily, for those whose families were in their home villages in China, was behind Possession Point on Tai Ping Shan Street. It adjoined the burial ground and thus, in accordance with Chinese practice, was in a convenient location to be used as a depository for those who were about to die. Publicity regarding conditions at the temple started a movement to provide better medical services for the Chinese community. This resulted in the formation of Tung Wah Hospital. It was opened officially in 1872 across the street from the I-tsz Temple, occupying land that was a part of the old burial ground.",
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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",
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    {
        "id": 211812,
        "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": 227,
        "title": "RAS-1989",
        "content_text": "202\n\nByeplay showed that, although his first appearance here, it is by no means his first attempt at acting\". But another anti-French jibe was added when he wrote: \"Mrs. NESBIT and Miss DEXTER play indifferently and we are rather proud of it — for as they only profess to play English female characters it was no wonder that they did not feel at home\". These acid comments drew forth a letter from \"Another Man on the Bund\" in the Herald of May 2 in which a counterweight was offered: \"Are we to take the opinion of this would-be orator in preference to the unanimous opinion of the rest of the community? What meant those thunders of applause repeated again and again in a manner that has never been heard in Shanghai and the repeated calls at the fall of the curtain; are we to believe that a piece that has had an almost unprecedented run in both England and America and in the former country was played by the express command of Her Majesty at her own palace is worthless or so bad because condemned by 'The Man on the Bund?' (...) My own and the general opinion outside is that The Man on the Bund at the time of writing the above was either labouring under a severe attack of bile or intensely disgusted that the acknowledged best performance ever given here should have been given without the assistance of himself or his darling Peter Proteus\". After, at any rate his disappointment about Still Waters, in A Capital Match Mr. BRUSHWOOD restored \"The Man on the Bund\" to his comfort and equanimity, nay more, utterly overturned our critical gravity and made us laugh like the veriest schoolboy at a favourite pantomime\". Mr. Beverly NEWCOME made his debut and he appeared to be quite at home in the naval character and we admired his style almost as much as the widow did. And the widow; none other than Mrs. NESBIT. It was also the occasion on which the critic showed his disapproval of the new interior of the theatre: \"'On entering the Thespian temple, I observed that there had been a change in the decoration of it - I cannot add improvements. The same taste which had furnished me with a posting bill streaked all over with lightning threatened to overwhelm me with a fall of flowers and garlands from the roof and treat me as if I were a prima donna or the boeuf gras of a Parisian festival\". Yet, thinking about Mrs. Nesbit, he continued ironically: \"What will a man not undergo when a woman is on the tapis! So, in imminent danger of being garlanded, like the Ass of Silenus [attendant of Bacchus usually represented as riding on an ass, drunken and crowned with flowers — JH] in a classic fresco, I took my seat and, unfolding my portentous play bill, began to scan it over at my leisure\". (NCH 25.4.1857).\n\n8.10.1857 (Thur)\n\nM. BARNETT: \"The Serious Family\" (1849)\n\nT: Comedy (3 acts)\n\nB.N. WEBSTER: \"The Golden Farmer\" (1832)\n\nT: Domestic drama (2 acts)\n\nJ.S. COYNE: \"Binks the Bagman\" (1843)\n\nT: Farce (1 act)\n\nC: The \"Union Theatrical Company of the U.S.S. San Jacinto\"\n\nTh: On board ship\n\nN: More entertainment had been given by the crew of this ship, but this is the only one which has been recorded.\n\nR: Specially noticed was the prison scene in The Golden Farmer wherein the robber \"takes a tender farewell of his beloved wife and infant daughter Louisa. It brought moisture to the eyes of many\". Could it be of laughter, bearing in mind the ruling travesties? (NCH 10.10.1857). The San Jacinto was a U.S. warsteamer with a crew of 218.\n\n29.12.1857 (Tue)\n\nEntertainment by Mr. George Henri, a conjurer and ventriloquist. Th: Theatre Royal (C)",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211858,
        "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": 273,
        "title": "RAS-1989",
        "content_text": "248\n\n39 NCH 14.3.1863.\n\n40 NCH 2.5.1863.\n\n41 NCH 17.6.1865, 24.6.1865.\n\n42 NCH 28.3.1863.\n\n43 For minstrel shows see: Engle; Toll.\n\n44 NCH 13.2.1864.\n\n43\n\n46 NCH 7.5.1864. cf Dictionary of National Biography, Suppl. 2, Vol. I, p. 545. Here it is mentioned that the touring group was disbanded in 1863, but this is obviously incorrect.\n\n47 NCH 15.2.1862. Could it be that the originator of this Company was the same as \"G.B.W. Lewis\", who built the Astley Amphitheatre in Melbourne in 1854? Cf MacGuire, p. 97, n. 1.\n\n43 NCH 19.11.1864.\n\n49 Smith, p. 243.\n\n50 SCR 5.5.1865.\n\n51 NCH 14.1.1865.\n\n52 SCR 25.1.1865. Probably they first tried their luck in Macao, but there the public interest was very small on February 11 and the next day the performance had even to be cancelled (BGM 13.2.1865).\n\n53 of Appleton, p. 54; about the decline of the benefit system see Troubridge, p. 87ff. 34 Performance 24.3.1852. NCH 27.3.1852.\n\n53\n\n36 NCH 26.1.1856. NCH 28.2.1861. Letter to the \"Daily Shipping & Commercial News\" 27.12.1861; see also NCH 9.10.1858.\n\n47 Carse, p. 70; this was in the 1851-1852 season. Biographical data are given in Fétis, Vol. VII, p. 229; Born in Bordeaux, 11.5.1815; he was admitted to the Conservatoire de Paris, 25.10.1830, where he became a pupil of the famous flautist Jean Louis Tulou. In 1832 he won the first prize in a competition for his qualités précieuses: beau son, reticulation brilliante dans les traits et belle manière de phraser. He spent part of his life in Britain, where he was engaged as the first flautist of the \"Théâtre de la Reine\". This should not read Queen's Theatre (as it is translated by Riemann and others), but Her Majesty's Theatre at the Haymarket. In Fétis it is stated that the theatre closed in 1853; in fact it closed for the season 1852-1853 (Howard, P. 111). Rémusat subsequently returned to France to become a member of the Théâtre Lyrique orchestra (Théâtre de la Gaîté-Lyrique?). Pougin, in the Supplement (Vol. II, p. 403) however doubts this: \"Je ne sais si le fait est exact; en tout cas Rémusat n'aurait pas tardé à retourner en Angleterre, car en 1856 j'ai connu cet excellent artiste à Londres où il occupait une brilliante situation\". He died in Shanghai 1.9.1880. Besides being a soloist he composed a number of concertinos, fantasias, etc for his own instrument.\n\n58 Supplement to Fétis by Pougin, Vol. II, p. 403. of note 57.\n\n59 BGM 4.6.1866, 18.6.1866.\n\n60 Lang, p. 51.\n\n61 A concert of the Philharmonic Society on 26.2.1867 is mentioned in NCH 23.3.1867.\n\n42 NCH 26.2.1859.",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
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