[
    {
        "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",
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    {
        "id": 204732,
        "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-1964",
        "page_number": 35,
        "title": "RAS-1964",
        "content_text": "26\n\nW. C. HUNTER\n\nFriday 12th\n\n1* at\n\nAt nine this morning received a letter from Macao dated the 8th, in answer to mine of the 5th; all quiet there but everyone ready to be off the moment any trouble was at hand. Delano received, enclosed in mine, a chit from Russell Sturgis which contained much news. The Hercules and Austen left for the Bogue on Tuesday last to deliver their opium and were to be followed by the Jane and Aeriel. The Chinese would only let two vessels come up at a time. The Good Success left Macao on the 9th for Madras, with despatches to the British admiral on the India Station, and the Rob Roy was to leave today for Calcutta. The Exchange sailed for Manila on the 8th; the Nar† Naples, Roza and Benuo Successo and Poppy had also sailed for Manila but the letter does not say if they took opium or not.\n\nMr. Inness was on board the Hercules with Alex. Matthews and Chay. Beal36. The Hercules and Austen had in all over 5,000 chests.\n\nGave two bottles of beer to the Se-Ying37 or lieutenants on guard in the second line of boats in front of the Factories. Had a long chat with several of the officers belonging to Name Hoe's guard relative to matters in dispute. They appear exceedingly friendly but take no interest whatever in what is going on,\n\nSaturday, 13, 1839\n\nLast night at 12 o'clock Captain Elliot received a communication from the Commissioner, dated in the morning from the Bogue, in which he requests that the opium ships might be ordered to come up and anchor close to Chinn-up to deliver the opium, instead of Lankeel where there was much inconvenience owing to rough water. He also said that the compradores and cooks were ordered to return but they have not come yet. However it will take some time for the order to be generally promulgated.\n\nMidnight I have just returned from a chat of three hours duration held at the Hoppo House or \"Custom-House Station\" at the water's edge opposite our Factory between two officers, one equal to a captain and the other to a lieutenant, the Custom-House Officer and myself. The Captain, who wore a crystal button, was\n\n*Two words illegible.\n\n† Part of ship's name illegible.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1964.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/qz20zx09r",
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    },
    {
        "id": 204743,
        "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-1964",
        "page_number": 46,
        "title": "RAS-1964",
        "content_text": "JOURNAL OF OCCURRANCES AT CANTON\n\n35\n\nare the vessels of war who could alone defend the place. But it is doubtful if Mr. Commissioner will allow matters to get to such a length. If they do, the Governor of Macao intends to defend it to the last extremity. He has ordered all the inhabitants between the ages of 15 and 50 to hold themselves in readiness to be called upon to carry arms.\n\nWe hear of three more vessels from the east coast, the Corsair, Amelia, and Anna. There are yet there the Lord Amherst, Henry Clay, and Lady Hayes.\n\nLetters from Chumpee to the 30th have been received. 13,800 chests were delivered and no more vessels were there but the Lady Grant and Mahmoodie were in sight in their way up. It is said they have on board near 200 chests and when they are discharged we shall see if the Commissioner intends to break his word again. Weather rainy; have not had a fine day these ten days past and it is very cold for this season of the year, thermometer at 60° to 63°. Wrote to Captain Gilman and Mr. Sturgis at Macao gave the letter to the Compradore to be forwarded.\n\nSunday, 5 May 1839\n\nSome of us at last to be released but 16 foreigners are to be detained in Canton till the opium business is all settled. Under certain restrictions and surveillance any foreigner except 16 can leave Canton. This is by permission received yesterday from the Commissioner. Ships at Whampoa can be loaded and unloaded and leave Whampoa, but no ship can come in.\n\nIn the morning the Kwang Chow Foo, the Chung Hup and the Kwang Hup with attendants on horseback rode into the Square and to the Point and ordered all the military guard to withdraw from the boats, and the boats to break up the line of circumvallation with which we have been surrounded six weeks this day.\n\nThe Hong coolies also broke up their encampment on the edge of the walk and retired from below the Company's arch leaving however 70 who have stationed themselves in the middle of the Square to guard the 16 foreigners and prevent their escape. The Hong merchants have also retired from beneath the Company's verandah and things begin to look as before. No ships boats can go to or come from Whampoa yet, neither can our pleasure boats be allowed to be put into the water. But licenced passage boats are permitted to go daily as before with passengers.\n\nIn the",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1964.txt",
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    },
    {
        "id": 205765,
        "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-1969",
        "page_number": 71,
        "title": "RAS-1969",
        "content_text": "65\n\nTUNG KWU ISLAND:\n\nTHE TYPE SITE OF HONG KONG'S OLDER PRE-HISTORIC CULTURE\n\nINTRODUCTION\n\nW. SCHOFIELD*\n\nThe present paper describes the writer's investigations of the large site revealed from 1925 onwards by sand diggers on the island of Tung Kwu beyond Castle Peak,† This dumb-bell island, which is formed entirely of Hong Kong granite and the sand which links its two portions by an isthmus, has not only yielded pottery of the historic period in one area of its western beach, but a great many remains of a culture obviously earlier than that of the Bronze Age in Lamma described by Father Finn.‡\n\nDESCRIPTION OF THE ISLAND (See Plates 1 and 2)\n\nTung Kwu is a typical single dumb-bell with an isthmus joining a large northern hill ridge 76 metres high to a smaller southern one of 68 metres. These hills show all the signs of early loss of their original woods, followed by washing away of most of the thick subsoil of clay full of quartz grains which formed beneath their cover, some of which remained on the isthmus and beaches. Much of the hill surface is occupied by large masses of granite boulders formed by chemical action in the clay, and left behind when it was washed away.\n\nA noteworthy feature of the northern hill area is the 35 metres hill that rises just north of the isthmus and is surrounded by a\n\n* Mr. Schofield (1888-1968) served in Hong Kong between 1911-1938 as a Cadet Officer and Police Magistrate, He was noted for his work pre-war on the geology and archaeology of Hong Kong, in which fields he was a pioneer scholar. More recently his article \"Further Notes on the Sung Wong Toi\" appeared in the 1968 Journal. Ed.\n\n†This island has long been misnamed on local maps. The Hong Kong Government's official Gazetteer of Place Names in Hong Kong, Kowloon and the New Territories (no date, but 1960), p. 161, calls it Lung Kwu Chau (##) and describes it as \"an uninhabited island in area 0.158 sq. mile off the west of the Castle Peak Peninsula, incorrectly named TUNG KWU (Tongku) on the 1:25,000 official map. (Sheet 13, 1957 edition)\".\n\n‡\n\nThe photographs which illustrate this article may be found at Plates 1 to 9 at the rear of this volume. They are representative, and not ordinarily related to items mentioned in the text because Mr. Schofield died before we had chosen and discussed the illustrations. I am greatly indebted to Mr. James C. Y. Watt, Assistant Curator of the Hong Kong City Hall Museum and Art Gallery and Hon. Sec. of the Hong Kong Archaeological Society, for much help and advice with the sketch-map, charts and plates. Ed.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d",
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    },
    {
        "id": 205766,
        "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-1969",
        "page_number": 72,
        "title": "RAS-1969",
        "content_text": "66\n\nW. SCHOFIELD\n\nsmall plateau averaging some 10 to 12 metres above sea level. This is a plane of marine denudation dating from a time when the sea level stood 12 metres higher than now, perhaps during the last great inter-glacial period (Riss-Würm), some 100,000 years ago. From this lower area much less clay could be washed than from the higher and steeper hill to the north; and the gentler wave-action on the west beach, normally on the lee of the island, made it about five times as long as that on the east of the isthmus, with very few large boulders. Somewhere on the west side of the 12 metres terrace, between about 1100 and 1500 A.D., there was at one or more times a small settlement, perhaps no more than one or two fishermen's huts; for at this point on the west beach are found pieces of Sung and even Ming pottery lying on the beach and in the cliff, which here is largely built up of coarse rainwash from the hill behind. There is, however, no modern settlement and no cultivation, and the island appears to be used only by boat-people, either for fishing or for burial of their dead; for on one visit Prof. Shellshear, who was with me, discovered a human skeleton of recent date two feet below the top of the sand cliff.\n\nMETHOD OF INVESTIGATION\n\nThe site was first discovered and investigated by Dr. Heanley and Prof. Shellshear, who worked together from about 1925 in looking for sites showing early human occupation. Much of what they found lay on the surface of the beaches, but wherever possible they noted the depth from the soil surface of objects found in the sand cliffs. Part of their material was presented later to the British Museum, and some to Mr. Eumorfopoulos and others, but the rest seems to have disappeared during the war in 1941 when the Hong Kong University was wrecked. Their code number for the site was 123, which points to a comparatively later discovery: the Tai Wan site on Lamma, for example, is numbered 83.\n\nThe technique employed by the writer at Tung Kwu was as follows. Objects not found in situ were collected and the initials of the site were painted on them in Chinese ink. If a single object was found in situ, its depth from the surface was measured in inches or centimetres; it was extracted; the depth and initials of the site were written on it or its wrapping paper, and later were recorded in Chinese ink on the specimen. In 1935, by which",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt",
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    },
    {
        "id": 206806,
        "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-1973",
        "page_number": 83,
        "title": "RAS-1973",
        "content_text": "SWATOW HORIZONTAL STICK PUPPETS\n\n77\n\nbeing 2-3 feet high but cannot remember how they were manipulated. They were probably Fukienese string-puppets, which would not be surprising, as Fukienese Min-nan opera groups were popular in Ch'aochow, so why not Fukienese puppets? In Mr. Su's home, in Ch'aochow city, the greatest pleasure children derived was to play their own leather-shadow puppets behind the paper-screen. Besides the ceremonial puppet-shows at the temple festivals there were always puppet-shows performed for public entertainment in those days. He recalls that the leather shadow-puppets were by far the most interesting to watch.\n\nApart from traditional subjects, they offered a kind of political cabaret caricaturing the confusion after the 1911 Revolution or performing an amusing burlesque. They are said to have given realistic renderings of the feats and behaviour of the warlords and bandits who roamed the country between 1911 and the 1930s. These street performances were usually given by a team of two opera-singers who were too old to perform on stage. From a bamboo pole balanced on their shoulders hung a bundle of personal belongings at the rear end, and a trunk containing puppets, stage, and musical instruments at the front end. The two would set up their bamboo-frame stage in a rich private house or a public square, adjusting their lamp behind the paper-screen. They manipulated the puppets, spoke, sang, and played musical instruments using their mouths, hands, and feet simultaneously.\n\nOne very special occasion in Ch'aochow was the lantern festival on the fifteenth day of the first moon, when puppets were of prime importance. In the evening, a crowd would throng the streets to find a place at one of the many puppet-performances. Street-vendors offered puppets, with delicate heads made of clay and complete with clothes, for sale. The puppets looked exactly like those for performances, but were immovable and had no sticks at their hands or back. If parents wished to have a son or a daughter, or a groom or bride for their children, they would buy an appropriate doll on this day and keep it at home.\n\nThe transition from shadow to round puppets is clearly stated in the Chinese literary sources.* It is there repeated that shadow-puppets came to Ch'aochow in the Sung dynasty and were always performed behind a paper-screen on a bamboo-frame called chu-chuang44* (bamboo-window); and that by the end of last century\n\n* See Liu and Sun under Bibliography to this article.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r",
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    },
    {
        "id": 207165,
        "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": 236,
        "title": "RAS-1974",
        "content_text": "230\n\nNOTES AND QUERIES\n\nGovernment to the representatives of the community for a Chinese school in 1847. (See \"Notes on Chinese Temples\" in the 1973 Journal of Hong Kong Branch, Royal Asiatic Society). Thus the roots of the College goes back to the first community-organised effort of the Chinese in urban Hong Kong to provide education.\n\n(5) VISIT TO CERAMIC FACTORY AND SAM TUNG UK (NEW TERRITORIES)\n\nOn 16th November 1974, members of the Oriental Ceramics Society and of the Royal Asiatic Society visited the ceramic factory, Cerrarts, at Hung Shui Kiu in the New Territories and the village of Sam Tung Uk at Tsuen Wan.\n\nCerrarts\n\nMr. Lam, the owner, possibly one of the most experienced ceramists in Hong Kong, was a former student of St. John's University, Shanghai studying civil engineering. He was the first ceramist in Hong Kong to produce ceramics for the local and overseas market. He learnt his basic skill more than 30 years ago in China, continued making ceramics as a hobby, becoming more and more involved and eventually turned professional about 12 years ago. His interest has also influenced his son and daughter, who are now lecturers in ceramic and pottery in overseas universities.\n\n44\n\n'Any clay can be made into a fine piece of ceramic, given the correct treatment,” he said as he gently put down a freshly-painted Tang horse. He gets his clay from the hillsides around Hong Kong and adds chemicals to them e.g. refined powder cement. Through the addition of chemicals to the clay, the properties of the clay are changed. The type of chemical added also depends on the form required; e.g. for a Tang horse, dark clay and sand are used.\n\nFirstly, a mould is made. The form is shaped from clay and covered with plaster. When the plaster dries, it is removed from the form. It then gives an excellent imprint of the form and is used as the mould. An opening is produced on the mould and water-diluted clay is poured into it. The mould is then left to stand, with the opening at the lowest position. Any clay not sticking to the side of the mould is then drained through the opening. When the clay is dried, the mould is opened, and the bare body is taken out of the mould. Pieces are then pasted to the body to produce the",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077",
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    },
    {
        "id": 207166,
        "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": 237,
        "title": "RAS-1974",
        "content_text": "NOTES AND QUERIES\n\n231\n\nfinal shape of the object. e.g. the legs of the horse are pasted with clay to the body. This is then burnt in a furnace, fired with diesel oil. The time and temperature differs for different pieces of ceramic. The piece is then glazed with various colours, dried and burnt again. After the second burning the piece is ready for the market.\n\nAlthough it is hard to give an exact burning time for the object, this process is usually divided into 2 sections, slow and fast burning. The slow burning method is used on thick pieces of ceramic and has a burning time of about 27 hours. For a thin piece, a burning time of about 14 hours is employed; this is known as fast burning. Many factors are involved and the above figures are only a rough guide. The main factors involved are the humidity of the air, the water content of the clay and the thickness of the piece of ceramic. Making ceramic requires patience as the job should never be rushed. Time must be spent on every individual piece and the combination of burning time and temperature must be close enough to perfection, otherwise the work will crack and a low quality piece is produced. A scientific approach is required to understand the property of the clay and its variation, and an artistic inclination to give it that “special” finish to the ceramic.\n\nMr Lam has a total of 160 different moulds, and new pieces are added as new assignments come in. He copies the basic shape from books, magazines, and museum pieces. He specialises in Tang burial figures—Tun Huang Temple guardians, mythical animals, Kuan-Yin figures, Tang horses, vases, roof tiles and other roof decorations. In the Tang dynasty figures, only 5 colours are used: green, brown, yellow, orange and greenish-yellow (egg and spinach). Collectively these are known as the 5 colours of Tang Ceramics, and are produced from metal oxide e.g. green from copper oxide, yellow from iron oxide.\n\nThe number of craftsmen working in the factory depends on the size of the orders. They were mostly trained by Mr Lam in the past, although quite a few of his \"past pupils” have branched out to start their own business. He doesn't like to train young people because of that reason and feels, too, that it is hard to find young people who are really interested in this art.\n\nThe number of assignments has decreased recently from both Hong Kong and overseas market, due to the increase in cost of production resulting from the increasing cost of raw materials and the setback in the world economy.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077",
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    },
    {
        "id": 207909,
        "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-1976",
        "page_number": 297,
        "title": "RAS-1976",
        "content_text": "282\n\nNOTES AND QUERIES\n\n\"It was a serious offence to be a member of a secret society and, under Hong Kong law, possession of what was called the membership cloth or any of the regalia of such a society was regarded as sufficient proof of membership. The cloth was what a member had, instead of a card, just a scrap of cotton material, seven by four inches with the name of the holder and details of the society. I remember arresting a man in Hong Kong who was on his way to China and finding he had a membership cloth that had been stamped with a large gold seal on which were printed, in English, the words 'affiliated to the Chinese Freemasons of America' round a design of the Square and Compasses in the second degree.”\n\nThe Hon. Editor recalls seeing a similar sign \"Chinese Freemasons\" on a door in China Town, Vancouver, B.C. during his recent visit there in May 1977, but unfortunately did not take down the full English and Chinese text.\n\nSANDAL WOOD MILLS AT TSUN WAN*\n\nThe following extracts from various publications relate to this now almost forgotten but long established local industry, located at Tsun Wan in the New Territories of Hong Kong. Formerly a small market centre serving the surrounding villages, Tsun Wan is now a large industrial town.\n\nFrom J.H. Stewart Lockhart's Report on the New Territory, The Hongkong Government Gazette, 8th April, 1899, p. 544.\n\n“A large establishment exists near Tsun Wan for the manufacture of joss-powder, out of which joss-sticks, used in the worship of idols, are made. The powder is made from fragrant wood, which is pounded into dust by means of water-wheels, six of which were seen at work.\n\nAlthough there is a large force of water throughout the territory available for water-power, this is the only instance in which we saw water utilised for manufacturing purposes.\"†\n\n* Usually romanized as Tsuen Wan: see A Gazetteer of Place Names in Hong Kong, Kowloon and the New Territories (Government Printer, n.d. but c 1960) p.\n\n† On his short visit, and necessarily cursory inspections, Mr. Stewart Lockhart appears to have missed the use of water wheels to crush clay at the Wun Yiu pottery kilns: see CSO1904 Ext/6929 in the PRD Hong Kong. For mention of Water Wheel Licences see Hong Kong Administrative Reports, Assistant District Officer, New Territories, Southern District, 1912 (p. I 15), 1913 (p. I 13) and 1914 (p. I 10).",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt",
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    },
    {
        "id": 208120,
        "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-1977",
        "page_number": 159,
        "title": "RAS-1977",
        "content_text": "CHEUNG CHOW LONG ISLAND\n\n143\n\npainted to the eyes, and clad in gay garments. Behind these a band of native musicians, youths dressed in gaudy clothes, provide the melody and rhythm. The dragon shakes his head and stamps his feet to the rhythm, the bearers grunt and sweat, the musicians fiddle and bang and blow, the spectators spit and chew, laugh and talk, admire and applaud. The last player disappears round a bend in the street and another procession begins to form itself with much good-natured chaff and chatter. Meantime the dragon processions which have already been sent off wander through the distant fields, and the curious rhythm of the dance rises and falls in every corner of the glens.\n\nSo much we have seen for ourselves, but our kind host, who has lived on the island for many years, tells us that on the great day of the feast, all the small processions meet at the special matshed, where are assembled also some of the local gods, as well as visiting deities who have been brought by the folk from other towns and villages. All these gods are then carried in procession to the Pak Tai Temple to make their how to the occupant. Following this they are carried about a mile to the temple of the Queen of Heaven, the Lady of the fisherfolk, through the streets densely packed with fishermen and townsfolk, and thousands of visitors. At this temple the processions stand aside, and the gods in their chairs of state are raced back to the special matshed. The first god to arrive, even if he arrives in several pieces, brings to his devoted supporters the best of luck during the year.\n\nIn the afternoon the cones are overturned and there is a scramble for the cakes, which are then eaten with the happiest consequences for all concerned. It would be interesting to hear more exactly what these benefits are, for the whole feast looks like an ancient fertility cult.\n\nWe are much indebted in this account to notes jotted down by Mr. A. C. Franklin, and kindly put at our disposal. The opportunity to witness the Moon-cake festival was also due to his kindness. If we have not reproduced all the interesting and suggestive comments which those notes contain, it is because we hope that he will find time to throw them into literary form and publish them. Meantime we would welcome corrections, and an elucidation of the meaning of the feast from our students, some of whom might well take time to visit Cheung Chow for that purpose.",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n",
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    },
    {
        "id": 208153,
        "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-1977",
        "page_number": 192,
        "title": "RAS-1977",
        "content_text": "176 \n\nNOTES AND QUERIES \n\n(usually brought in by boat at extra cost) to some lofty spot to which the only access was by hill path and sometimes not even that. 23. Other visitors to the hills at the grave worshipping festivals include persons from outside the Colony who, on account of old and important ancestral graves located by geomancers in time past, have long been accustomed to make the annual pilgrimage. This tradition has been eroded by the establishment of the People Republic in 1949, though some persons have continued the visits intermittently. In one case known to me at Lo Wai, Tsuen Wan, where the grave was repaired in the Hsien Feng reign (1851-1861), and the people came from beyond Sham Chun Market in Po On county adjoining the New Territories, the family have not come for many years now. The geomantic name of the site is \n\nPre-Chinese Occupation \n\nNE \n\n24. Another aspect of the mountain is its pre-Chinese connections. These are now very difficult to ascertain and one would need to comb the hillside for evidence of pre-Chinese occupation such as field systems and irrigation works, and look closely into the place names of localities, fields and villages, to see which of them contain signs of pre-Chinese words, together with the nature and location of the earth shrines of the area. Mr. K.M.A. Barnett has done a lot of work generally on this subject and has prepared a name list for 150 words which he thinks descend from and relate to pre-Chinese languages in the Hong Kong area (see JHKBRAS 14 (1974), \n\nResources \n\n25. Resources of the mountain included mineral deposits — the largest prewar wolfram workings were at Shing Mun (Davis: 116) \n\nand kaolin clay used in the pottery kilns long established at Wun Yiu near Tai Po (JHKBRAS 15 (1975) 291-2). Other clay was specially used for mud bricks, notably at the village now known as Ta Chuen Ping near Upper Kwai Chung. Another resource, long since exhausted, was the forest trees used for charcoal burning, once a flourishing local industry all over the New Territories. The memory of both trees and of this old occupation remains at one of the place names at Shing Mun, known as Tan Chong (炭廠) or 'charcoal factory', in which there were some houses already abandoned from the early years of this century.",
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    {
        "id": 209596,
        "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": 253,
        "title": "RAS-1982",
        "content_text": "231\n\nmusic, a dazzling transformation scene, and a rollicking harlequinade.\" It enlisted a great many people for the leads, chorus and orchestra.\n\nNot everyone in Hong Kong was happy about pantomimes. In 1891 in the \"Beauty and the Beast\" \"the indiscreet censure lately passed by the Bishop upon the Pantomime was noticed in a verse or so--and a comical but somewhat misplaced representative of his Lordship appeared in the Harlequinade\".\n\nThe A.D.C. tried its hand at light opera in 1894 with the performance of Gilbert and Clay's \"Princess Toto\". It was described, however, as \"vapid and unattractive\". The Choral Society had for some years been presenting light operas and had already given \"Iolanthe\" and \"The Gondoliers\". In subsequent years the A.D.C. did \"Trial by Jury\", \"Yeomen of the Guard\", \"His Excellency\", and \"The Gondoliers\".\n\nDuring this same period, along with the works of Gilbert and Sullivan, other currently popular musical plays were staged.\n\nTHE GENIUS OF MR. SINCLAIR\n\nWith more frequent visits of professional companies, the A.D.C. increasingly found it difficult to sustain interest and attendance. This resulted in financial losses and threatened the future of the Amateurs. A new era arrived when Mr. Walter Sinclair assumed direction of A.D.C. productions in 1912.\n\nSinclair was imaginative and venturesome and mounted productions that were different from those presented by the travelling companies. The A.D.C. took on new life.\n\nAmong Sinclair's innovations was his introduction to Hong Kong of the playwright Lord Dunsany. In 1921 he presented an evening's programme of four Dunsany plays. One of these was \"The Compromise of the King of the Golden Isle\". It was the play's world premiere. The setting was Chinese. During the interval preceding it, to set the mood, a group of Chinese amateur musicians played Chinese music. It was particularly noted that the music \"was not unpleasing, for people who have heard only the cymbals and tom-toms may find music in the sweetness of some of the native banjos and fiddles\".",
        "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",
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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",
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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": 211810,
        "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": 225,
        "title": "RAS-1989",
        "content_text": "200\n\nrash decision to marry the first that came\". Another actor who was to become a local Roscius. Mr. Phunago BRUSHWOOD, \"gave the somewhat unusual stage character of a double-faced farmer (Wurzel) all the selfish cunning and irritable tone which it needed\". Other parts were taken by Miss Polly DEXTER, Mr. HEAVISWELL, Mr. Jehoshaphat SNAKES and Mr. PLEADWELL (as the lawyer!).\n\nIn Box and Cox Messrs PROTEUS, BRUSHWOOD and Mrs. CLAY \"kept the audience in a roar\" (NCH 22.2.1857).\n\n3.3.1857 (Tue)\n\nDramatic readings from Charles Dickens by Mr. Benjamin SEARE. Th: C\n\n―\n\nR: In the Herald of February 28 it was announced that \"we are apprized by 'Circular' that an entertainment of a novel character in Shanghai, but one which has greatly attracted the fashionable and literary world elsewhere, will be given by Mr. Scare in the Hall of the Shanghai Theatre on Tuesday Evening next the 3rd prox. The subject - The Early Writings of Charles Dickens is a theme affording scope for great versatility of talent. (...) The Community are much indebted to Mr. Scare for his gratuitous offer of an evening's intellectual amusement to diversify and enliven the monotony of Shanghai life. The Circular notifies that the divertissement will commence at half past 8 & precisely, that no personal invitations will be issued and that a syllabus of the Lecture will be placed in each seat for the use and acceptance of its occupant”. Then, in the issue of March 7, a report was published: \"A large and select circle of residents had met in the New Theatre\". It became a kind of one man show by Mr. Seare, as the \"requirements of versatility and mimic power were most successfully supplied. (...) The lecturer was perfectly at home in each and all of the various characters as they turned up, passed from one to another with an ease that was admirable and portrayed each with a force of comic power which elicited much applause, and, to select the most appropriate compliment we can bestow, did justice to the author. All in all the audience was \"kept in a roar”. Mr. Seare concluded with some general remarks on the necessity of some recreation of this kind in a community so distant from home and so isolated and comprising at the same time so much intelligence and ability\" (NCH 7.3.1857). One wonders how Mr. Seare was able to give these lectures free of charge; had he been a touring artist that would of course have been impossible. But as it turns out he was a mercantile assistant in the employment of Gilman & Co (this according to the Shanghai Almanac for 1858). In May 1865 he gave another performance (see 27.5.1865). No further details are available about the programme, but no doubt the characters from The Pickwick Papers figured largely in it. Who, after all, can resist Mr. Pickwick, Mr. Jingle and Sam Weller? Dickens himself began readings from his own works one year later, in April 1858, in Britain and the United States.\n\n26.3.1857 (Thur)\n\nJ.B. BUCKSTONE: \"A Kiss in the Dark\" (1840)\n\nT: Farce (1 act)\n\nM.B.W. JERROLD: \"Cool as a Cucumber\" (1851)\n\nT: Farce (1 act)\n\nH. DANVERS: \"A Conjugal Lesson\" (1856)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nTh: N.N. (CH\n\nR: In a witty mind \"The Man on the Bund\" informed us that \"by way of introduction there was a kiss — and in the dark too! — perhaps the sweetest kiss of all, administered with enviable gusto by Mr. SNAKES as Fathom. Mrs. Pettibone submitted to it with less indignation than the fact of her being so much respected led us to suppose. But then, it was to punish the odiously jealous Mr. Pettibone who would insist on making\n\nPage 225\n\nPage 226",
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    },
    {
        "id": 211811,
        "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": 226,
        "title": "RAS-1989",
        "content_text": "201\n\n+\n\nhimself uncomfortable, with one of the nicest looking creatures for a wife imaginable. (...) Mr. BRUSHWOOD did the 'green eyed monster' admirably and the character suited him well—we mean of course artistically. By a skilful arrangement the warmth of a kiss was made to be followed by Cool as a Cucumber. Did the manager intend this to impart a deeper meaning than is conveyed on the face of the \"play-bill\"? We have an esteem for him and hope not: for although a kiss is, sometimes, but the prelude of a coolness that surpasses even that of a cucumber, we would not have Mr PROTEUS openly hint as much\". This piece called forth all the powers of the manager himself, and so perfectly was the coolness of Mr. Plumper exhibited, whether as regards the criticism of Mr. Barkins' face or his sherry, that, had he stepped from the neighbouring ice-house directly upon the stage, he could not have looked cooler (this was a reference to the Commercial Hotel; see note 94) What a desirable companion he would make, we thought, for the hot weather, but Mr. Proteus must be so, indeed, in any weather. The playing was well sustained throughout and Mr. BRUSHWOOD did his best — and that was not a little — to fret and fume as ‘Old Barkins' — but we can scarcely say that he looked a heavy father\" (the heavy father was one of the specialist roles in a stock company). A Conjugal Lesson was \"decidedly the crowning piece of the evening and was performed with an amount of case and artistic ability which elicited loud and well merited applause\". And as the critic had evidently taken a fancy to \"Mrs. NESBIT” he continued that she “looked more fascinating and piquant than ever and quite won the hearts of the bachelor portion of the audience who were altogether at a loss to understand the bad taste of Mr. Lullaby who could stay away from such an attraction till three in the morning!” (NCH 28.3.1857).\n\n23.4.1857 (Thur)\n\nT. TAYLOR: \"Still Waters Run Deep\" (1856)\n\nT: Comedy (3 acts)\n\nJ.M. MORTON: “A Capital Match” (1852)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nTh: N.N. (C\n\n—\n\nR: That other favourite of the reviewer, Peter PROTEUS, had resigned and so the evening had to do without him. In the introduction to his report, the \"Man on the Bund\" referred to the playbill which informed him \"in capitals of vermillion that Still Waters Run Deep and of other matters besides in the like flaming manner”. About the piece he was not at all content: \"Muddy waters, however, as well as still, they turned out to be. This piece is one of those incongruous mixtures of French novel morality and English domestic life, which is as offensive and preposterous, as it is ludicrous. London milliners may persist in imitating the extravagances of French crinoline and superabundant circumference: they dress up our wives and sisters until they have destroyed every graceful curve they may have and make them look like balloons endowed with feminine heads and shoulders; and with a growl we may submit to this perversion of taste and whim of fashion. But when our playwrights, in their dearth of invention, ransack the repertories of the minor Parisian theatres for something new, which they themselves cannot originate, and stumbling upon the old and stale subject of Parisian conjugal infidelity, try to fit it into English social life, especially that of the middle class, the attempt excites at once our scorn and laughter, and ought, like monstrous bandorgans and other nuisances, to be put a stop to\". Small wonder then that in it \"there was much good acting thrown away. Mr. CLAY performed, throughout, the part he had undertaken, admirably. His conception of his character was good and was given with fidelity and ability. It was just how a blunt, honest Englishman might have been expected to act when, by some extraordinary chance, his domestic privacy is invaded by such a frenchified monstrosity as Captain Hawkesley. Mr. ROLLER too did the lean and slippered Pantaloon most successfully. His ease of manner on the stage and finished...",
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