[ { "id": 204275, "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-1961", "page_number": 43, "title": "RAS-1961", "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\n10\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\n39\n\nand defeated government troops again and again. They were eventually persuaded to capitulate to the government, and took part in the victorious campaign against another rebel Fang La.1 However, some modern historians believe that after they had helped the government forces, Sung Chiang and his followers were themselves liquidated in their turn. Be that as it may, the exploits of Sung Chiang and his followers soon became the subject of popular legends told orally. These grew in number and came to be written down. At first only short accounts were written, but later, towards the end of the Yuan period, about 1300, the different stories were joined together to form one long romance, possibly by Shih Nai-an, who has been identified with the dramatist Shih Hui, styled Chun-mei.2 By then, the number of heroes involved had grown from the original thirty-six to a hundred and eight. The romance continued to be enlarged and revised by various hands during the Ming period, until it became a work of 120 chapters, published about 1620. Then, at the beginning of the Ch'ing period, in 1644, the critic Chin Sheng-t'an took the first seventy chapters, added a new chapter at the end as well as commentaries, and published it as the \"Fifth Work of Genius\" in Chinese literature. This edition achieved immense popularity, and it is this truncated version which most Chinese readers have read and which has been rendered into English.\n\n21\n\nMeanwhile, some stories about knights errant found their way into the drama of the Yuan period. The plays of this period were classified by subject under twelve categories, one of which was \"long swords and clubs\". This obviously corresponded to the two categories of stories \"long swords\" and \"clubs\" mentioned earlier. In particular, some stories about Sung Chiang and his followers not included in the Shui-hu chuan were given dramatic treatment in Yuan times. For instance, there were at least a dozen Yuan plays about Li K'uei, one of the followers of Sung Chiang and one of the most colourful characters in popular literature.22 Two of these plays are still extant.23 They present with great gusto this rough-mannered, quick-tempered outlaw with a heart of gold. In plays of later periods, Li K'uei and other\n\n4a.\n\n18 Sung-shih* (SPPY), chüan 22, 3a; chüan 351, 11b; chüan 353,\n\n1 Mou Jun-sun, \"On the tombstone inscription of Chê K'ê-ts'un and Sung Chiang's end\" 牟潤孫,折可存墓誌銘考証兼論宋江之結局, Bulletin of the College of Arts, National Taiwan University, No. 2.\n\n20 Sun K'ai-ti, Chung-kuo t'ung-su hsiao-shuo shu-mu 孫楷第,中國通俗小說書目 (Peking, 1957), p. 181.\n\n+\n\n21 Chu Ch'üan, T'ai-ho cheng-yin p'u 朱權,太和正音譜 (reprinted together with the Lu kuei pu 錄鬼簿, Shanghai, 1957), p. 135.\n\n22 For the titles of these plays, see Fu Hsi-hua, Yuan-tai tsa-chü ch'üan-mu 傅惜華,元代雜劇全目 (Peking, 1957), pp. 406-7.\n\n23 There is another Yuan play in which Li K'uei appears, but only as a subsidiary character.", "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704", "rank": 0 }, { "id": 204279, "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-1961", "page_number": 47, "title": "RAS-1961", "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\n43\n\nUntil the Tibetan form of government was abolished in 1959, it was possible to trace its ancestry back through thirteen centuries and to find there the seeds of institutions that one could see in operation with one's own eyes. The script and the language have changed very little in the course of these thirteen centuries. The script, which was borrowed from India in approximately 640 A.D., can still be seen in inscriptions of about a century later. Any literate Tibetan today can read those inscriptions and can understand them pretty well except for a few archaic words.\n\nBut I suppose the greatest example of conservatism and mystery in the eyes of the outside world is the supremacy of religion, as seen in the rule of the Dalai Lama. This, however, is a fairly recent development. Buddhism reached Tibet in the seventh century; as you know, it came both from China and India, but the Indian stream eventually proved the stronger. In less than two hundred years after its introduction, Buddhist monks were holding office as chief ministers of state. The kings, it is true, were laymen, but Buddhists were already powerful officials. Then there came a setback of two centuries, after which religion resumed its rise in importance. The great monasteries acquired larger and larger estates and more and more temporal influence. Indeed, for about seventy years, at the time of the Yuan dynasty, a religious leader was made viceroy of the country. This was never fully accepted by the lay princes and very soon there was a return of supreme power to secular hands. It was not until 1640 (a thousand years after Buddhist religion reached Tibet) that, with the help of the Mongol Khan in the Kokonor, the line of Dalai Lamas emerged as the actual rulers. Although their role as reformers of the church had begun two centuries earlier, other lines of incarnate Lamas in Tibet, which exercised great influence until they were suddenly swept away in 1640, could trace their ancestry to the early years of the twelfth century. That is why I have described the Dalai Lamas as relative newcomers.\n\nThe rule of the Dalai Lamas, after a first brilliant appearance in the hands of a figure known as the Great Fifth, faded out. There was a period of seventy years when the laymen resumed sway and there was even a lay king. Though religious power was restored in 1750, for a century Tibet was ruled not by Dalai Lamas but by monastic regents acting for minor Dalai Lamas who died at an early age four times in succession. The system of supreme personal rule by the Dalai Lama, both temporal and spiritual, was only firmly restored by the thirteenth incarnation—that is, the predecessor of the present Dalai Lama.\n\nSo you see there was nothing static about the Tibetan system, nor was it a simple one. There have been a whole series of adjustments and balances. The Dalai Lamas, for example, although they are in theory autocratic, are in fact the creation", "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704", "rank": 0 }, { "id": 204280, "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-1961", "page_number": 48, "title": "RAS-1961", "content_text": "Vol. 1 (1961)\n\nISSN 1991-7295\n\nJournal of the Royal Asiatic Society Hong Kong Branch\n\nORASHKB and author\n\n44\n\nof the religious system. They have always had to walk carefully in their relations with the vested interests of the orthodox church, represented principally by the abbots of the three great monasteries, Drebung, Sera and Ganden, which housed among them 25,000 monks and were known as the Three Great Pillars of the State.\n\nThen there were rivalries between one sect and another; there were rivalries between great monasteries of the same sect; there were even rivalries between colleges within the same monastery; and there was a subtle distinction between monks and abbots in the monasteries and the monastic administrative officials of the Tibetan Government, who were a sort of monk civil service. There was a parallel lay civil service, so that if there was, say, a Chief Secretary who was a monk, he was balanced by another who was a layman. Such civil monastic officials were rather a special breed and looked on with some suspicion by the people in the monasteries. There was also an undercurrent of jealousy of the monasteries' power on the part of the displaced lay nobles, who recalled quite clearly the tradition of their past greatness. They had still a leading part in the administration and in general they were more progressively minded than the monks; in fact, I should say that the monks usually lagged a generation behind the progressive laymen.\n\nYet in spite of all these factions and divergencies of feeling, there was remarkable agreement, really remarkable agreement, of the whole people in their complete devotion to their faith and in an affectionate veneration of their ruler. Religion quite simply was all in all to every Tibetan: there were no dissenters and no critics. Every Tibetan without complaining took his place in the social set-up. This was partly due to his acceptance of the teachings of Buddhism with its doctrine of karma and partly to his conviction that by doing so he was serving his Dalai Lama. All the actions and policies of people and government were viewed in the light of the effect that they would have on religion. Church and state really were interchangeable terms.\n\nThe monasteries and the monks played an important part in the social life of the country; they were bankers, landlords, and, to some extent, school-masters. It is of course quite easy for the Westerner to adopt an attitude of intellectual superiority and say that religion was the opiate of the people. It is possible to point to idle, worldly, and comparatively worthless individuals among the monks: so indeed it was possible during the Middle Ages in Europe. On the other hand, also as in the case of the Middle Ages, one can point in Tibet to churchmen who were sincere, devout, saintly, and profoundly learned. I am convinced that there was no conscious exploitation of religion by the Tibetan church.", "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704", "rank": 0 }, { "id": 204282, "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-1961", "page_number": 50, "title": "RAS-1961", "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nORASHKB and author\n\n46\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\nthe majestic highlands, where there were no motors, indeed no vehicles of any sort. There was the simple and quiet village life and the more sophisticated leisure and gaiety of society in Lhasa. I remember years of deliberate, protracted, shrewd but friendly business negotiations with the Tibetan Government. I remember very well their frequent and elaborate ceremonies, which were not just Lord Mayor shows, but were treated with grave attention as an essential part of the well-being of the State.\n\nQuestions and Answers:\n\nQ: How large was the population of Tibet when you were there? A: The population of Tibet has never been properly counted, but some people put it down at three million, some at one million, and some at a great many more. I think that three million is about right.\n\nQ: How many of those were in Lhasa?\n\nA: In Lhasa about 25,000 laymen and 25,000 monks.\n\nQ: Do all the monks believe in reincarnation or only some of them?\n\nA: It is an absolutely essential part of their faith.\n\nQ: Does the term \"monk\" have the same meaning as the term \"lama\"?\n\nA: Lama means a superior being and it is usually used as a term of politeness for a learned man and it is the essential title of an incarnate lama.\n\nQ: Was it prohibited for ordinary women to wear the skirts worn by noblewomen?\n\nA: No. All women wear the same kind of skirt. It's part of a tunic-like garment, which has no sleeves. A blouse is worn underneath. I don't know the proper description of a dress of that sort, but the skirt anybody may wear, and the apron any married woman may wear and usually does wear. Only on very terrible occasions like the death of a Dalai Lama do they do without their apron. Women's dress basically is all the same pattern. The materials differ with regard to workmanship.\n\nQ: Was it prohibited for women to wear the double apron, one in back and one in front?\n\nA: The Tibetans only wear one in front. Possibly it is a Mongol habit to wear two.\n\nQ: How do they choose their incarnations?", "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704", "rank": 0 }, { "id": 204283, "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-1961", "page_number": 51, "title": "RAS-1961", "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nORASHKB and author\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\n47\n\nA: They look for a child who was born some time after the death of the last incarnation. The monks -- perhaps it is the administrative monks or some other lama from the monastery -- will go out and conduct a search quietly. They ask in villages whether any children have been born who have shown exceptional precocity or skill, and then they go through them carefully. If they find one they think is right, they conduct tests, during which he is supposed to pick out some property that belonged to him in his previous life. With some of the lesser lamas they are not so strict about the tests. They simply like to find somebody who is precocious. Sometimes, just as in India, they find children who say that they remember being born before in a certain place. Since they don't go about these tests until the child is 3, 3½ or 4, they can really see whether he has exceptional characteristics.\n\nQ: What is the difference between the Dalai Lama and the Panchen Lama?\n\nA: That's one of those terribly complicated affairs. Let us start with this: Tibetans believe that the superior deity, if you can put it that way, is Adibuddha, who projects himself in the form of five Dhyani-Buddhas. They are the Buddhas of Contemplation and they live on the plane of the spiritual. The Dhyani-Buddhas project themselves in the form of five Dhyani-Bodhisattvas. The Dalai Lama in theory represents one of these Bodhisattvas, Avalokita-Chenrezig. The Panchen Lama in theory represents one of the Dhyani-Buddhas, Amitabha-Hod-dpag-med. You may have heard the view that the Panchen Lama is more spiritual than the Dalai Lama. The fifth Dalai Lama had a very learned teacher, and when he died the fifth Dalai Lama said: \"My teacher must have been an incarnation, and as he was so learned, he must have been the incarnation of my spiritual, my Dhyani teacher.\" That is why some people say that the Panchen Lama is superior spiritually to the Dalai Lama. But the Tibetans have an answer to everything — which may be rather metaphysical hairsplitting — and the answer is this: that as the Panchen Lama represents the world of contemplation, he is untrue to his nature if he takes any part in temporal activities. The Dalai Lama, being an incarnation of the Dhyani-Bodhisattva, who works on the worldly plane to redeem and to teach, is allowed to do what he likes.\n\nQ: How do the Tibetans make tea?\n\nA: You know what Tibetan tea looks like in the brick — it's very coarse and full of twigs and great thick leaves. They just take a chunk off that and put it into a long tube-like funnel, pour in hot water, and break it down a bit. Then they start pounding it into a pulp. That goes on for quite a long time,", "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704", "rank": 0 }, { "id": 204285, "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-1961", "page_number": 53, "title": "RAS-1961", "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\n49\n\nA: No—it was abolished by the thirteenth Dalai Lama in 1886. The right of imposing it existed before that, but as long ago as at the time of Ippolito Desideri in the eighteenth century, he recorded that it was very rarely done. It is one of those things that you hear about and imagine to be common, but in fact it was very rare.\n\nQ: What was the maximum punishment meted to a murderer?\n\nA: He would probably be handcuffed, hand and foot, and put into some sort of dungeon, and kept there for an indefinite period and then perhaps allowed to go about still in his handcuffs. It was not very pleasant, but at least it was rare, for murder was very rare, and no very large expenditure was needed on prison administration.", "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704", "rank": 0 }, { "id": 204290, "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-1961", "page_number": 58, "title": "RAS-1961", "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch \n\nRASHKB and author \n\nVol. 1 (1961) \n\nISSN 1991-7295 \n\n54 \n\nas a free gift to form a reference library. The books had suffered a good deal in being constantly moved about, the number was now 3800, all of them dilapidated and 3000 were considered worth rebinding. This would cost about $3,000 but the Society had no money for this work. A despatch dated 29 December, 1863 from the acting Governor, W. T. Mercer to the Colonial Secretary quoted the Morrison Education Society's circular and asked for action.1 \n\nA City Hall containing a Library and a Museum was eventually built on the site now occupied by the Bank of China and the Hong Kong & Shanghai Banking Corporation in Queen's Road Central and adjoining Statue Square. It was opened by the Duke of Edinburgh on the 2 November, 1869 and during his tour of the building His Grace visited both the Library and the Museum. \n\nA printed catalogue of the Morrison Library was issued in 1873 by the City Hall Committee. It contains 1666 entries arranged in alphabetical order of authors or titles, editor, translator, etc., where the author is not known, only eight of which I have been able to identify as belonging formerly to the Royal Asiatic Society. The books are classified, single letters indicating the following groups :- \n\nA History. Peerages, &c. B Biographies and memoirs. C Geography including works on various countries. Travels, Voyages and Adventures, \n\nD Natural History: Ornithology. E Botany. \n\nF Atlas Gazetteers, Meteorology, Guidebooks, Geology, Metallurgy and Mineralogy. Topography. \n\nG Mechanics. \n\nH Encyclopaedias, \n\nI Commercial Statistics. International Law, Jurisprudence, \n\nJ Complete Works. K Astronomy. \n\nL Chemistry. Optics. \n\nM Mathematics. \n\nN Painting, Music. Science and Art, \n\nO Medicine and Surgery. \n\nP Biblical works. \n\nQ Oriental Societies. Journals. R Classics. Dictionaries. \n\nS Novels. \n\nT Drama and poetry. \n\nU Periodical works. Directories. V Divinity. Law, Treaties and Conventions. W Miscellaneous works. \n\nA stocktaking was made in 1956 and of the 1666 titles there are now 1233 remaining (2748 volumes out of 3583). Some volumes were removed during the Japanese occupation of Hong Kong and were not subsequently recovered. The condition of the books is poor. Nearly all are worm-eaten to a greater or \n\n1 C.O.129/94, Public Records Office, London. (I am indebted to Mr. G. B. Endacott of the University of Hong Kong for supplying this reference).", "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704", "rank": 0 }, { "id": 204500, "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": 132, "title": "RAS-1962", "content_text": "BRITAIN AND CHINA\n\n117\n\nnot altogether the fault of the author, who has written the book as part of a series on Britain in the world today—though it detracts slightly from its value, does not in practice make it any the less interesting.\n\nThe question of recognition of the Communist government by Britain is very ably dealt with; the whole trend of opinion at the time, both in Britain and in the rest of the world is summed up. In 1949 Britain's commerce with China still far exceeded that of any other western country, and since the division into blocs was less rigid then than now, (though Britain consulted both the U.S. and the major Commonwealth countries) recognition was still a matter for each country to decide for itself. Happily the British government waited only three months to take this step; had it delayed another six, it would never have been taken, for the Korean war broke out. At the time international comment, even from the United States, was fairly favourable. It was realised that Britain had followed her usual pragmatic policy of recognition where a government was clearly in control as opposed to the U.S. ideological path of recognising only where it approved. Commercial groups and other British residents in China were influential in bringing this about; strangely enough, looking back over the last thirteen years, this was because the Communists appeared more honest and efficient than the KMT, and it was hoped that after recognition British interests would be able to expand.\n\nMr. Luard shows how quickly this hope became vain. For with the Korean war the new China entered on to the world stage with a vengeance, and came face to face with the United States.\n\nIn this conflict the British government always seems to have been slightly more aware of possible Chinese sentiments than the U.S., and to have hesitated rather more than the U.S. at the 38th parallel; and when President Truman began to talk of extending the war to Manchuria and of using the atom bomb, Mr. Attlee at once flew to Washington to make certain that U.N. forces were not to be committed to any extension of the fray without consultation with the other powers involved. Mr. Luard relates this episode in a particularly effective deadpan style which contrasts vividly with the drama of the events.\n\nThis British intervention epitomises the new role that Britain has since played in the world; she has been a mediator between", "txt_file_path": "txt/dfo323lmgvd/RAS-1962.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9s166f47f", "rank": 0 }, { "id": 204528, "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-1963", "page_number": 9, "title": "RAS-1963", "content_text": "September 27th\n\nOctober 16th\n\nShow of three documentary films made by Mr. Hugh Gibb for B.B.C. Television:\n\n\"Rituals of Rice\" (colour) describes rice growing in Japan and old Shinto practices associated with transplanting and harvest festivals.\n\n\"Zen\" (black and white) is the first film to be made in a Zen Buddhist monastery in Japan. Permission was granted only after several months of negotiation and then the film had to be shot in one morning.\n\n\"Dance and Drama\" (colour) won the Gran Premio award for T.V. documentaries at the Bergamo Film Festival in 1961 and describes the evolution of dance and drama in Japan including the Kagura, the traditional village drama, and abridged performances of puppet plays, Noh and Kabuki theatre.\n\nThree further films made by Mr. Hugh Gibb: \"The Dyaks\" tells the story of the communal life and customs of the Sarawak \"Long Houses.\" \"Birds' Nest Soup\" was made in the Great Cave of Niah in Sarawak, where edible birds' nests are collected from the walls and ceilings to prepare one of the most expensive delicacies in the world.\n\n\"Turtle Island\" takes place on a small island off the coast of Sarawak where as many as one hundred turtles come in the course of one night to dig their nests and lay their eggs. The film tells the story of the cumbersome process and of the scientific work on these edible turtles, the collection and sale of whose eggs is a considerable industry.\n\nThe lectures in January and February by Professor S. H. Hansford on \"Some Problems of Ancient Chinese Jades and Bronzes\" and by Mr. R. D. Bromhall on \"Underwater Photography in Eastern Seas\" will be included in the Report for the coming year.", "txt_file_path": "txt/dfo323lmgvd/RAS-1963.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/4m90m091v", "rank": 0 }, { "id": 204618, "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-1963", "page_number": 99, "title": "RAS-1963", "content_text": "86\n\nJ. L. CRANMER-BYNG\n\nin the north-east quarter of the city, well away from the new diplomatic quarter.2\n\nAll accommodation for foreign embassies was to be concentrated in one area outside the east wall of the city, and about one and a half miles from a newly constructed gate, just near to the old astronomical instruments which can still be seen on top of the east wall. Eventually, after negotiations, the new British Legation was allotted two large houses and two blocks of flats in this new diplomatic quarter. The last christening was performed in the Legation chapel, the books in the small library were taken off their shelves, the flag at the gate was hauled down, and everything was packed.3 Among the more colourful of the closing scenes in the life of the old British Legation should be mentioned the two Commonwealth cricket matches played in the Autumn of 1958 between the Moonrakers, captained by Mr. Duncan Wilson, the British Chargé d'Affaires, and the Woolgatherers captained by the Indian Ambassador, Mr. G. Parthasaratly. The rules governing this diplomatic cricket were many and local but the chief rule of all was that if anyone hit a ball into the grounds of the Chinese Ministry of Public Security next door his whole side was out.\n\nFinally, in September 1959, the staff moved to their new quarters and thus after nearly one hundred years of continuous occupation the existence of the old British Legation in Peking came to an end. From an historical and sentimental point of view its loss was sad. But from a realistic point of view which\n\n20 This was built on a site which had been granted to Russia as far back as the Treaty of Nerchinsk (1689). As a result of fighting between Russian settlers on the frontier between Siberia and Manchuria about a hundred Russian prisoners were brought to Peking in the period 1683-5. They were formed into a company, given a place of residence in the northeast corner of Peking, close to the Lama Temple, and intermarried with Chinese and Manchus. They retained their Greek Orthodox faith and were allowed to have their own priests. See Michel N. Pavlovsky, Chinese-Russian Relations (New York, 1949) 145-164. It was to this place, known as the Pei-kuan (\"Northern Hostel\") that the members of the Russian ecclesiastical mission transferred in 1861.\n\n30 Unfortunately the imposing Royal Coat of Arms which dignified the gateway of the old Legation was too large to fit properly into the new Legation buildings. Mr. Michael Stewart, the Chargé d'Affaires at the time of the move, arranged with Sir Robert Black, the Governor of Hong Kong, that the Coat of Arms should be sent to Government House in Hong Kong. It is now fixed onto the wall at the far end of the long ballroom of Government House, which it dominates by the brilliance of its colours,", "txt_file_path": "txt/dfo323lmgvd/RAS-1963.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/4m90m091v", "rank": 0 }, { "id": 204708, "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": 11, "title": "RAS-1964", "content_text": "2\n\nMay 13th\n\nJune 17th\n\nAugust 19th\n\nProfessor C. P. FitzGerald\n\n\"The Succession Crises in the Manchu Dynasty after the Death of the Tung Chih Emperor\"\n\nProfessor Yao Hsin-nung\n\n\"K'un Ch'u — The Classical Chinese Drama” (Illustrated with colour slides and a demonstration by Miss Hsiao Fang-fang in full make-up and costume)\n\nMr. Ho Tickon\n\n\"Method and Technique of Chinese Painting\" (Illustrated by the artist/lecturer)\n\nSeptember 30th \"Conquest of Everest\"-film (British Council)\n\nOctober 20th\n\nExpedition to Tung Chung, Lantao island to visit the old fort.\n\nOctober 25th\n\nDr. W. Hellmich\n\n\"Tasks and Results of the Research Scheme Nepal Himalaya”\n\n(In co-operation with the Faculty of Science, University of Hong Kong)\n\nNovember 18th Mr. K. M. A. Barnett\n\n\"Hong Kong before the Chinese — the Puzzle and the Missing Pieces\"\n\nDecember 10th Documentary films on Hong Kong:-\n\n\"This is Hong Kong\"\n\n\"Sea Festivals of Hong Kong\" \"The Boat People\"\n\nthe Frame,\n\nIt is no mean tribute to the standing of the Hong Kong Branch of the Society that it has succeeded in attracting as guest speakers such eminent and world-wide authorities as Professor Hansford, Dr. Freedman, Professor Fitzgerald and last month Professor Fairbanks. It is equally a tribute to the rich local talent of the Society that six of the addresses — all of high standard and of great interest — during the year were given by local members, while the more recent address by Mr. Cranmer-Byng proved to be one of the most appreciated of all.", "txt_file_path": "txt/dfo323lmgvd/RAS-1964.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/qz20zx09r", "rank": 0 }, { "id": 205115, "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-1966", "page_number": 71, "title": "RAS-1966", "content_text": "66\n\nHERBERT FRANKE\n\nChinese artists of the tenth and twelfth centuries respectively. One does not even have to look at reproductions of his paintings to see how Chinese he is; the titles of his paintings alone show this. \"Mountains in Rain\", \"A Grove of Leafy Trees in Mist and Rain\", \"Clearing after a Spring Rain over the Mountains\" -- all these and many other titles suggest strongly that Kao stayed strictly within the Chinese tradition.21 In this connection another phenomenon must be noted. These foreigners not only seem to have lost their national background but also their religion. When we read, for example, the poems written by a Nestorian Önggüt in Chinese we do not find any Christian elements, nor is there any hint to Islamic faith in the poems of writers like Sa'd ad-Daula. Nothing could, of course, prevent these authors from, say, praising Allah in Chinese or writing a Christian hymn. And there was also nothing and nobody to prevent them from continuing to use their native language as a literary medium. The Mongol Government remained, on the whole, tolerant towards foreigners and foreign languages. But it seems as if the attraction of Chinese civilization was so strong that foreigners residing in China tried hard to be acknowledged by the Chinese intelligentsia as their equals. Or must we ascribe this phenomenon to a hostility of the Chinese who did not care to preserve literature written in foreign languages? There may have been poems written in Persian or Turkish in Yüan China, but if so, they certainly did not survive. There are certain indications that later Chinese nationalism under the Ming may have wiped out any traces of foreigners. In 1269 a new script for the Mongol language had been invented by Phags-pa Lama, a script that was meant to supersede the Uighur-Mongol script. The use of this new script, the so-called square script which was based on the Tibetan alphabet, was made obligatory by Imperial decree, and also used for printing Mongol books. But only fragments of one Mongol book printed in the Phags-pa script have survived, fragments of a Buddhist text (Subhāsitaratnanidhi) that have been found in Turfan. The Yuan dynastic history contains some data on the translations of Chinese works into Mongol. Apart from Buddhist scriptures at least seven works, some of them quite lengthy, were translated and printed, and nine more have at least reached the MS stage. But not a single one of these printed books and manuscripts has survived, with the possible exception of the bilingual Chinese-Mongol Classical Book of Filial Piety (Hsiao-", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205129, "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-1966", "page_number": 85, "title": "RAS-1966", "content_text": "80\n\nHOLMES WELCH\n\nFederation. In April 1941 the Alliance helped arrange an East Asian Buddhist conference in Nanking, and then tried to reactivate the Chinese Buddhist Association (Shanghai, 1929) — apparently without success. It also sponsored some of the Chinese who went to Japan for study.\n\nJapanese-Chinese Buddhist associations set up by the Alliance were to be found in Nanking, Shanghai, Hangchow, Wusih, Soochow, Chen-chiang, Changshu, Pengpu, Nantung, Wuhu, Hofei, and Kiukiang. They were staffed by three categories of personnel: Chinese monks, Japanese priests, and local Chinese officials. If the head was in one category, his deputies would be in the other two. Among the membership the sangha (mostly Chinese) generally outnumbered the laity. The work of these associations is variously described as relief, arranging lectures, and providing guidance for seminaries and devotees' clubs.22 The real work, of course, was mobilizing China's Buddhists in support of Japanese policy.\n\nAlthough the membership included the Panchen Lama from Tibet and the Living Buddha Chang-chia from Mongolia, only a few well-known Chinese monks appear to have been involved. Among them was Shuang-t'ing, the abbot of Chin Shan, who headed the Japanese-Chinese Buddhist Association in Chen-chiang.23 According to one of his disciples the Japanese authorities told him quite frankly that if he refused this post, there would be \"very serious consequences.\" Shuang-t'ing felt that his first duty was to protect Chin Shan, doubly vulnerable since Nationalist officers had been hidden in a cave there during the Japanese attack. Hence he accepted.\n\nOne reason for his decision was that the parent body, the Great Harmony Alliance, was committed to \"do its best when Chinese monasteries and temples applied for protection.\" According to several informants, it generally succeeded. Well-known Buddhist institutions that cooperated with the Japanese encountered few difficulties. Some of the occupation forces behaved badly (one soldier killed a monk at Chin Shan, for example, \"because of a language difficulty\"), but most of those who visited the immense shrines seem to have treated them with respect or reverence.", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205130, "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-1966", "page_number": 86, "title": "RAS-1966", "content_text": "FOREIGN RELATIONS OF BUDDHISM\n\nRelations with Tibet\n\n81\n\nJust as Buddhism was used by the Japanese to serve political ends in China, so it was used by the Chinese to serve political ends in Tibet. After the collapse of the Ch'ing Dynasty the Tibetans considered themselves to be an independent nation. Successive Republican governments therefore endeavoured to persuade them that they were one of the five races of China and that Tibet was Chinese territory. In a rather poor hand Buddhism was one of the better cards. That is, the Chinese could argue that Tibet was bound to China by a common religion. This was not altogether factitious. For example, one of the rites for the dead most commonly performed by Chinese monks, the fang yen-k'ou, was partly of Tibetan origin. Mountains like Omei and Wu-t'ai Shan had long been equally sacred to Chinese and Tibetan pilgrims, and had provided the venue for a Sino-Tibetan syncretism. A visitor to Wu-t'ai Shan in 1911 wrote: \"The most curious feature of Buddhism on the Wutaishan is the amalgamating of Chinese Buddhism and Lamaism... doctrines borrow from one another in habits and arrangements... The structure of the temple is, for the greater part Chinese, but the form of the pagodas is mostly Indo-Tibetan. The interior, too, forms a mixture of Chinese and Tibetan. Chinese and Tibetan idols stand side by side, Tibeto-Mongolian inscriptions are next to Chinese ones, Tibetan butter lamps, praying cylinders, also boards on which the monks throw themselves for prayers, all such things are seen here in Chinese temples. In their services, too, one style blends with another.\"24\n\nBoth\n\nAlthough lama temples enjoying Manchu patronage were to be found in Peking and a few other Chinese cities, the indigenous Chinese Tantric sect had been suppressed in the Ming Dynasty. During the Republican period some Buddhist devotees became interested in reviving it, or rather in reintroducing Tantrism from Tibet and Japan, where it had been preserved intact. To them, as to some Europeans of that time, Tibet was a land of precious secrets, which they resolved to learn. It is difficult to ascertain the relationship between this personal interest and government policy. Which came first? How did each stimulate the other?", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205131, "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-1966", "page_number": 87, "title": "RAS-1966", "content_text": "82\n\nHOLMES WELCH\n\nThe earliest manifestation of the Tantric revival was perhaps a school of Tibetan studies that operated in Peking 1924-1925. Founded by T'ai-hsü and headed by his disciple Ta-yung, its purpose was to prepare people for further study in Tibet. Only a single class was graduated, most members of which got no further than the Tibetan borderlands, but at least three reached Lhasa: Fa-tsun, Neng-hai, and Ch'ao-i. They returned to China in the early 1930's.25\n\nFa-tsun became the principal of the Sino-Tibetan Institute outside Chungking. This had also been established by T'ai-hsü (in 1931) and had the same goal as his school in Peking — to prepare people for study in Tibetan monasteries but unlike the earlier school it received a government subsidy. It was perhaps the only Buddhist institution to enjoy this privilege during the Republican period.\n\nThe government displayed an even more open concern when in December 1936 the Mongolian and Tibetan Affairs Commission inaugurated a program for the exchange of Chinese and Tibetan monks. Two of the former were to be selected annually by the Chinese Buddhist Association and sent to Lhasa for five years' study, while two Tibetan monks were to be chosen by \"the local government of Tibet\" for study in China. Tibetans were brought not only to study, but to teach. Early in 1937 the Nationalists invited Shirob Jaltso, an eminent Tibetan scholar who was persona non grata in Lhasa, to deliver a series of lectures at five Chinese universities. \"This was the first time a Tibetan instructor had been provided for Chinese university students.\"26 Shirob, the Panchen Lama (also persona non grata in Lhasa), and several other Tibetan monks who resided in China at this period were accorded every courtesy (and presumably ample subsidies) by the Chinese Government. Some received official posts.27\n\nLhasa did not reciprocate. Rather naturally, it gave no political role to the Chinese who had been sent to strengthen its ties with the \"motherland.\" Nonetheless they were able to pursue their religious studies and to carry on other activities agreeable to all concerned. One of my informants, for example, had become interested in Buddhism as a young man. Although he came from a poor family in Nanking, he got to know Lü Ch'eng at the Metaphysical Institute (Nei-hsü Yuan). Lü urged him to go to", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205132, "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-1966", "page_number": 88, "title": "RAS-1966", "content_text": "FOREIGN RELATIONS OF BUDDHISM\n\nL\n\n83\n\nTibet so that he could learn the language and some day return to translate Tibetan books. In 1933 he was given a scholarship at the Chinese Tibetan Language School, which moved in January 1934 to Chungking. There he became the disciple of a lama on the faculty. After completing the two-year course, he entered the Central Political University, which had been set up by the Kuomintang to train cadres. After a year and a half the government selected him to go to Tibet for further training.28 He lived for eight years at the Drebung Monastery outside Lhasa—the largest monastery in Tibet and probably in the world—and received a high ecclesiastical degree. His final years in Lhasa were spent running a school for Tibetan children and working in the Tibetan office of the Mongolian and Tibetan Affairs Commission, so that he kept his dual role of monk and political agent. This is not to imply that there was anything sinister in what he was doing. It was simply that the Chinese Government had enabled him to pursue his interest in Buddhism for their own purposes, which he naturally expected to serve.\n\nThe presence in China of an increasing number of Tibetan lamas2 and monks returned from Lhasa further stimulated interest in Tantrism among the Chinese laity. In November 1935 a group of devotees set up the Bodhi Society in Shanghai to promote the translation and study of Tantric texts. The Panchen Lama was president and the members included some high-ranking ex-officials.30 This society was one of the regular stops on the lecture tours of the lamas and Lhasa-trained monks.\n\nAmong the most active of the latter was Neng-hai (see p. 11) who had been a Nationalist general before he had taken the robe. About 1938 he became the abbot of the Chin-tz'u Ssu in Chen-tu, which until then had been a typically Chinese monastery. Neng-hai changed the daily ritual and routine to incorporate Tibetan elements. He also started a scriptural translation institute that published Tibetan books in Chinese. Since some 250 monks were usually in residence, this monastery might have exerted a wide influence towards the \"Tantrification\" of Chinese Buddhism if it had been able to carry on after 1950.\n\nRelations with Theravada Buddhists\n\nThe Japanese and Tibetans were Mahayana Buddhists with whom it would be natural for Buddhists in China, who were", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205146, "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-1966", "page_number": 102, "title": "RAS-1966", "content_text": "FOREIGN RELATIONS OF BUDDHISM\n\n97\n\n38 I have heard this from many informants. See also Reichelt, The Transformed Abbot, London, 1954, p. 156, and J. B. Pratt The Pilgrimage of Buddhism, New York, 1928, p. 311. A Buddhist monk once explained to me that although it was true that Jesus had risen after three days, no one should think he had done this \"just by becoming a Christian\". He had performed religious exercises (hsiu-hsing) and that was how he had achieved resurrection. There was no attempt on the part of this monk to deny the miracle of resurrection, only to fit it into the Buddhist scheme.\n\n39 Rev. Joseph Edkins, The Religious Condition of China, London, 1859, p. 75. In 1875 Timothy Richard, when he was baptising converts in Shantung, found that there was no building convenient to the river where they could change their clothes before and after. He explained his problem to the monk in charge of the Buddhist temple there who \"readily consented\" to lend some of its rooms for this purpose. See Richard, Forty-five Years in China, New York, 1916, p. 95. In 1879 the largest lama temple in Peking allowed a colporteur of the National Bible Society of Scotland to run a bookstore within the temple, where on several days a week Christian books were sold. See C. F. Gordon Cumming, Wanderings in China, London, 1888, pp. 4-9.\n\n40 Harry A. Franck, Roving Through Southern China, New York, 1925, pp. 575-576.\n\n41 In the early 1890's De Groot reported: \"It has often happened to the author of these lines that when he was taking his meal in one of the monasteries where he was staying, he was visited by monks who were curious to see how he ate and what he ate: but it was enough for them to smell the odour of his roast of pork or his leg of mutton and they would be forced to make a hasty exit from the room: they felt overcome by nausea. Such strict vegetarianism, it goes without saying that when non-vegetarian lay people came to stay sometimes in a monastery they are not allowed to have their food prepared in the monks' kitchen. There are small separate kitchens for them, where their own servants can stew things up for them.\" (Le Code du Mahayana en Chine, Amsterdam, 1893, p. 103). In 1908, when Boerschmann stayed on P'u-to Shan, he grew tired of the vegetarian fare and sent his cook to smuggle in some chickens (Pu-t'o Shan, Berlin, 1911, p. 166). In these and other instances the monks are portrayed as tacitly or even gleefully cooperating in getting meat onto the foreigner's bill of fare. It seems more likely that their cooperation, when it was forthcoming (and often it was refused), was reluctant and indignant. There was a compelling practical reason for this. If Chinese pilgrims saw meat being eaten on the premises of a monastery, many of them would take their patronage elsewhere. This was understood by early Western travellers like A. J. Little (Mount Omi and Beyond, London, 1901, pp. 75, 81, and 83). Little also provides an example of the Westerner's tendency to haggle (pp. 68, 83). The meanest bit of haggling was probably perpetrated by Mrs. C. F. Gordon Cumming. In 1879 she visited the Tien-t'ung Ssu, one of the model monasteries of China. After she and her party had enjoyed an \"excellent dinner,\" they were asked to give the equivalent of English tenpence, Mrs. Cumming offered eight pence. When the offer was accepted, she tipped the waiter tuppence halfpenny, and noted that he \"grinned with delight. Can I give you a better proof that we have reached a spot where foreigners are almost unknown?\" (Wanderings in China, London, 1888, p. 291). Mrs. Cumming was quite mistaken, of course, about foreigners being unknown: probably more had stayed at T'ien-t'ung than at any other monastery.\n\nEven today Westerners with plenty of dollars in their pocket take pride in doing the poor Chinese shopkeeper out of a few cents, partly to show their savoir faire and partly out of fear of being cheated themselves. But the monastery was not a shop, and this sort of behaviour was regarded as most inappropriate there.\n\n42 W. E. Soothill, Timothy Richard of China (London, 1924), pp. 162-163.", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205185, "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-1966", "page_number": 141, "title": "RAS-1966", "content_text": "OLD BRITISH KOWLOON\n\n135\n\n24 With regard to the quantities of firewood brought on foot into Kowloon from as far afield as Sha Tin, see Sessional Papers 1903 p. 209 which list 66,521 loads of firewood, each estimated at 70 piculs (approx. 93 lbs.) as being carried over the hills in 1902. The Sham Shui Po Kaifong, through operating the Mo Tai (A†4) temple's public weighing scales, got its revenue from the vegetable and livestock market there. Much of the produce sold there crossed the harbour to Hong Kong. (See the Registrar General's Report for 1907 in Sessional Papers 1908, p. 194. Other information supplied by elders). I am also informed by Mr. WAI Tau Shue (b. 1885) that in his youth the Kowloon Lok Sin Tong levied a small weighing charge on each load of firewood sold in the Kowloon City market. In each case the proceeds were supposed to swell public funds for charitable work. For social advancement see the career of WONG Lan-shang described in this article.\n\n25 The Third or Kowloon Police Magistrate was not appointed until 1925 (Colonial Estimates 1924-1926). For an example of police assistance in an emergency see the press reports of the two big fires at Hung Hom village on 11 and 16 December 1884 (Hong Kong Daily Press).\n\n26 See Report from the Hong Kong Land Commission of 1886-87 on the History of the Sale, Tenure and Use of the Crown Land of the Colony published in Sessional Papers 1887 pp. XXVI-XXVII.\n\n27 Between 1853 and 1862 the Hong Kong government paid village elders as tepos (18) in an endeavour to enlist their services in the public interest. See G. B. Endacott, Government and People in Hong Kong 1841-1962, Hong Kong; University of Hong Kong Press, 1964, pp. 37-38. The Colonial Estimates for the period, under Registrar General's department, show that payment was not extended to the elders of the Kowloon villages acquired in 1860.\n\n28 Eitel, p. 160.\n\n29 See, for instance, pp. 8 and 9 and note 40 of my typescript article \"Some villages in the North Western Part of the Kowloon Peninsula in 1898” presented to the International Conference on Asian History held at the University of Hong Kong, August 30-September 5, 1964. See also note 37 below.\n\n30 The temple was re-erected in Shantung Street Kowloon in 1927 on a site provided by Government which also gave a grant of $6,000 towards the reconstruction. The rest of the money required for the new building was supplied by the Kwong Wah (Tung Wah group) Hospital, to whom the management of the temple was entrusted.\n\n31 Shui Yuet Kung (KA) is an alternative name for a Kwan Yin temple. See S. Wells Williams, Tonic Dictionary of the Chinese Language in the Canton Dialect, Canton; Office of the Chinese Repository, 1856, p. 650. See also E. T. C. Werner, A Dictionary of Chinese Mythology, New York; The Julian Press, 1961, pp. 225-227.\n\n32 See E. T. C. Werner, China of the Chinese, London; Sir Isaac Pitman & Sons, 1920, pp. 196-197, and S. Wells Williams, Tonic Dictionary under p. 308 and p. 581 under A.\n\n33) E. J. Hardy, John Chinaman at Home, London; T. Fisher Unwin, 1905, p. 86. See also W. Stanton, The Chinese Drama, Hong Kong; Kelly & Walsh, 1899, pp. 5-6 for a brief description of the position in \"China and in the villages of Hong Kong\".\n\n34 Robert Morrison, A View of China for Philological Purposes. Macao; Hon. E. I. C. Press, 1817, p. 105.", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205191, "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-1966", "page_number": 147, "title": "RAS-1966", "content_text": "BOOK REVIEWS\n\n141\n\nTHE GLASS CURTAIN BETWEEN ASIA AND EUROPE: A Symposium on the Historical Encounters and the Changing Attitudes of the Peoples of the East and the West. Edited by Raghavan Iyer, with a Foreword by the Dalai Lama. London: Oxford University Press, 1965. xii+356 pages. HK$42.00\n\nThis book, as its subtitle indicates, is a study of the East-vs.-West mentality of both Asians and Europeans in the modern world. The \"Glass Curtain\" refers to this mentality, as it were, \"invisible yet impenetrable.\" As something that divides peoples into opposing sides, it is more subtle, and therefore more difficult to recognize and deal with, than the Iron Curtain, the \"Bamboo Curtain,\" or what have you. The result is lack of mutual understanding and the proliferation of distorted images of other peoples as well as of one's own.\n\nSuch a result, though perhaps inevitable historically, is naturally undesirable, so it is assumed in this book. This is so especially in our day of more extensive intercultural exchanges and more intense international conflicts. Furthermore, it is time to look forward to an emerging world civilization in which Asians and Europeans and other peoples should be more or less equal partners. All those who share this global outlook and cosmopolitan concern should read this book. The book is a tract for the times, a lesson in world citizenship. Though it presents a somber picture at the beginning, the book ends with an optimistic outlook. It appeals throughout to a broader understanding and a deeper sympathy. Although its material is historical (as are most of its essays), its aim is moral. Here lies the book's peculiar character.\n\nThe main purpose of the book is to expose and, hopefully, lift one particular \"curtain of ignorance\" that separates and misleads people about others and about themselves, for the sake of better communication and in the name of a common humanity. In the words of its editor, the book aims at least \"to offer a provisional framework for a frank dialogue between Asians and Europeans on the Glass Curtain that seems to separate them\" (p.312). And he adds, \"the concern for a real dialogue on equal terms is indeed more significant than the anxiety to reach agreement or to find specific solutions\" (p.318). The point is to get the dialogue going. This book should provide a good start.", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205649, "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-1968", "page_number": 191, "title": "RAS-1968", "content_text": "186\n\nGILES, Herbert A.\n\nTHE LIBRARY\n\nChina and the Manchus. Cambridge, University Press, 1912. (Cambridge manuals of science and literature).\n\nGILES, Lionel.\n\nA gallery of Chinese immortals; selected biographies translated from Chinese sources. London, Murray, 1948.\n\nGODMAN, A., ed.\n\nThe attainment and ability of Hong Kong primary IV pupils: a first study. Hong Kong, University Press, 1964.\n\nGOODRICH, L. Carrington.\n\nA short history of the Chinese people. 2nd ed. London, Allen & Unwin, 1957 reprinted 1962.\n\nGRAHAM, Dorothy.\n\nThrough the moon door: the experiences of an American resident in Peking. New York, Sears, 1926.\n\nGRATTON, Henry Pearson, ed.\n\nAs a Chinaman saw us: passages from his letters to a friend at home. New York, Appleton, 1904 reprinted 1916.\n\nGRAY, Terence James Standus.\n\nAll else is bondage: non-volitional living [by] Wei Wu Wei [pseud.] Hong Kong, University Press, 1964.\n\nGRAY, Terence James Stannus.\n\nOpen secret [by] Wei Wu Wei [pseud.] Hong Kong, University Press, 1965.\n\nGRAY, Terence John Stannus.\n\nThe tenth man: the great joke (which made Lazarus laugh) [by] Wei Wu Wei [pseud.] Hong Kong, University Press, 1966.\n\nGRIFFIS, William Elliot.\n\nChina's story, in myth, legend, art and annals. Boston, Houghton Mifflin, 1901.\n\nGRUNWEDEL, Albert.\n\nMythologie du Buddhisme au Tibet et en Mongolie, basée sur la collection lamaïque du Prince Oukhtomsky. Traduit de l'allemand par Ivan Goldschmidt. Leipzig, Brockhaus, 1900.", "txt_file_path": "txt/dfo323lmgvd/RAS-1968.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833948d", "rank": 0 }, { "id": 205783, "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": 89, "title": "RAS-1969", "content_text": "KING MONGKUT AND THE KINGDOM OF SIAM\n\n83\n\nopened the Treaty Ports and a second British conflict with China had proved the superiority of Western arms, the Chinese court refused to reform. The Japanese were quicker to read the signs. Only Siam, unlike her weak neighbours in the tropical south, was able to adapt herself to the new world without war or its threat and without loss of sovereignty.\n\nWhy was this? Was it because Britain and France had agreed to the Thai kingdom being a buffer between their Indian and Indo-Chinese empires? Or was it that the King of Siam who received Sir John Bowring had more vision than most of his Asian contemporaries and was succeeded by an equally gifted son? Whatever the reasons, the Treaty of 1855 was a major factor in determining the future of the Thai kingdom. It provided for the opening of diplomatic relations with Britain and, as a natural consequence, with other western nations. It introduced extra-territorial rights to British subjects living in Siam and allowed them to own or rent property. In commerce the Treaty abolished the strangling system of monopolies owned by the King and 'farmed' to Chinese merchants - replacing it by a free market with low duties on imports and exports. The year after the conclusion of the British treaty the Americans and the French secured similar agreements and these in turn were hastily followed by treaties with various European nations. These treaties marked a turning-point in the modern history of Siam.\n\nIn the century and a half which followed Louis XIV's mission to Ayuthia in 1689 Siam had little or no contact with the West. In the mid-eighteenth century her main preoccupation was the constant war with the Burmese who finally sacked their ancient and splendid capital in 1767. By the time the new house of Chakri had established the capital at Bangkok in 1782 the British East India Company had consolidated its dominion over India. The tea trade with China was growing rapidly and ports of call on the eastern run were obvious advantages. Francis Light obtained Penang island for the Company from the Sultan of Kedah in 1786 for the annual payment of $6,000 and the vague understanding of British protection. Kedah was an acknowledged feudatory of Siam, but at that time King Rama I was far too busy with the building of Bangkok to concern himself with the incident and the British were not then interested in Siam. Raffles had", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205785, "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": 91, "title": "RAS-1969", "content_text": "KING MONGKUT AND THE KINGDOM OF SIAM\n\n85\n\nCrawfurd obtained neither better relations nor easier trading conditions. What is more he was received by King Rama II's officials in a most ungenerous manner. Dr. George Finlayson, the Scots medical officer and naturalist on board their ship the John Adam records this impression of the dwelling given to the mission by the Siamese: \"A habitation was provided for the British envoy, a miserable place, an out-house with four small, ill-ventilated rooms, approached through a trap-door from below...\" An official of low rank was sent to them. All he wanted was presents for the King. Finlayson goes on: \"In the urgency to obtain and the frequency of the demands of the Court for the gifts there was a degree of meanness and avidity at once disgusting and disgraceful\". The King seems to have been petty as well as rude. On one occasion the Foreign Minister called on Crawfurd to help retrieve two pairs of \"ordinary glass lamps\" on which the King had set his heart. The lamps had been promised, said the Foreign Minister, to His Majesty and sold by a member of the John Adam's crew to somebody else!\n\nFortunately the Crawfurd mission was not treated in such a mean manner throughout all its four months' stay at Bangkok. Dignity was restored by a Royal audience and there was much friendly talk. But he got no improvement in either trade or diplomacy. Crawfurd also tried to get the Siamese to accept a Consul and to obtain exemption for British merchants and crews from the harsh justice of Siam's law, but in these matters he had no success. He comments in his account of the Mission: \"If the subjects of a free and civilised Government resort to a barbarous and despotic country, there is no remedy but submission to its laws, however absurd or arbitrary\".\n\nFour years later, in 1826, the East India Company sent another mission to Bangkok. By this time the first campaign against the Burmese had been fought and won and there was a new king on the throne of Siam, Mongkut's half brother, Rama III. The mission was led by Captain Henry Burney, a nephew of Fanny Burney and military secretary to the Governor of Penang. He was much more successful than Crawfurd and came away with a treaty which somewhat improved matters. The Burney Treaty did not, however, go very far. It obtained a certain amount of goodwill regarding the frontier and the Malay States but Kedah was still accepted as Siam's vassal. Trade was to be free and", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205788, "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": 94, "title": "RAS-1969", "content_text": "88\n\nR. BRUCE\n\nany case, he argued, trade had dwindled and it was in the interests of the Siamese to accept a new treaty which would expand trade.\n\nThe White Rajah never met the King. He sailed away with nothing but indignation. He had not openly threatened the Siamese with force but had hinted as much. The old King and his Ministers were not impressed but they must have harboured fears of reprisals as there were so many precedents. In October that year Brooke, addressing himself to Lord Palmerston, evoked high principles in the fine Victorian manner in support of his call for force:\n\n\"Justice — compassion — interest — dignity — and a consistent course of policy appear to me to call for decisive measures to be taken without delay.\"\n\nAnd in a letter to a friend:\n\n\"The Siamese must be taught a lesson... our policy should be commanding and our power exerted when necessary. My policy in Sarawak has been high-handed against evil-doers and there, and in England and in Siam, there are bad to be punished as well as good to be cared for.\"\n\nMercifully for Siam, Brooke's gun-boat policy was not accepted in London but he did perceive the solution in spite of his call for force. The old King, Rama III, must soon die and there was good prospect that his half-brother Prince Mongkut would succeed him. In that event, Brooke said, the prospect of a new relation with Britain was bright.\n\nThe Sphinx and the Nemesis had scarcely left the Menam in September, 1850 when an American mission arrived. It was led by a certain Joseph Balestier, a not very successful American merchant of Singapore who came with a letter from his President. If the Brooke mission was a failure, Balestier's was even worse. Bowring comments:\n\n\"Mr. Balestier had not been fortunate in his commercial operations as a merchant at Singapore and it may be doubted whether the nomination of a commercial gentleman whose history was well known to the King and nobles at Bangkok was judicious; it was certainly not deemed complimentary to the proud Siamese authorities.\"4", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205789, "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": 95, "title": "RAS-1969", "content_text": "KING MONGKUT AND THE KINGDOM OF SIAM\n\n89\n\nBallestier did not meet the King and so never presented the President's letter. He was treated with little respect and left Bangkok in less than a month without a treaty or hope of one. Ballestier reported angrily to Washington that the only way to improve trade with Siam was by the threat or use of force. After he left, fear spread through the city that force might be used. Some teachers who had been instructing American missionaries in the Thai language thought it judicious to leave their employment, but all fear was soon to be removed. The old King died in 1851, and Prince Mongkut ascended the throne.\n\nIt was the beginning of a new era. From a long period of isolation, from suspicion and fear of Western merchants and sailors, Siam, in the fourth reign of the Chakri dynasty, turned to co-operation, free trade, and acceptance of the new civilisation. The change came quickly, almost as soon as the cremation ceremonies of Rama III were completed a year after his death. Emerging from a Buddhist monastery at the age of forty-seven, His Majesty Somdet Pra Paramenda Maha Mongkut, King Rama IV, proceeded to reform his kingdom and open new relations with the West.\n\nIn 1824, when he was twenty, Prince Mongkut had entered the order of monkhood. It was a custom, still sustained today, for all young men to enter the order for three or four months. That might have been the length of Mongkut's service as a monk, but just then, within two weeks of his entering the monastery, his father, King Rama II, died, and his half-brother was chosen for the throne. Mongkut decided to remain a Buddhist monk indefinitely. Out of disappointment? This may have been so, for his claim to the crown was stronger than that of his half-brother, Pra Nangklao. Mongkut was the eldest son of the King by a royal mother, and his half-brother, though seventeen years his senior, was the son of a lesser wife. However, in Siam, the succession is not necessarily according to strict rules of primogeniture, and in this instance, the choice by the Council of Nobles of Pra Nangklao seemed a wise one. He had had many years' experience in matters of state, often assuming duties for his father, who was more interested in poetry than politics. But if Mongkut was disappointed, monastic life suited him, and he remained a monk for the next twenty-seven years.", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205791, "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": 97, "title": "RAS-1969", "content_text": "KING MONGKUT AND THE KINGDOM OF SIAM\n\n91\n\nthe Throne and Buddhism are, today as much as in the nineteenth century, the foundation of society.\n\nIn the West we might think that life in a Buddhist monastery was poor training for kingship. Not so in Siam. Prince Mongkut came to know his people as no Palace-dwelling King could ever do. His colleagues in the monastery were peasants, artisans, sons of nobles and merchants. He walked the streets of Bangkok with his begging bowl and saw the homes of his people. Like other monks he travelled across the country from one Wat to another. His father, Rama II, only left the Palace once a year for the ceremonial presentation of robes to monks at the end of each rainy season and his brother maintained the same semi-divine remoteness.\n\nMongkut's interests were not limited to Buddhism whilst he was in the Order. His intelligence was singular. He had that rare quality in oriental princes — intellectual curiosity, an eagerness to inquire into things. Not far from Wat Bowaniwate there lived a Roman Catholic priest, no less than the able Frenchman, Bishop Pallegoix, from whom we learn a good deal about the Prince. The Bishop and the Abbot became friends and Mongkut invited Pallegoix to preach Christian sermons to his brother monks in the Wat. The sermons and discussions were impressive. Mongkut admired the Christian morals and achievements which the Bishop explained to his yellow-robed congregation, but the Abbot could make nothing of Christian doctrine. With immodest presumption he commented: \"What you teach people to do is admirable but what you teach them to believe is foolish.\"\n\nBishop Pallegoix learned Pali and a great deal about Buddhism from the royal Abbot and, in exchange, he taught Mongkut some Latin and French. This was the Prince's introduction to the thought of the Western world. He learned about Christianity and the customs of Europeans. He became interested in mathematics and science. Other Christians of a different sort had recently come to Bangkok. These were the American Presbyterian missionaries who brought with them the first printing press, a new kind of Christianity which, to Mongkut's astonishment, included married priests, for they brought their wives and, most precious of all, the English language. Their leader, the Rev. Dr. Beach Bradley, became Mongkut's English tutor. He found in the Abbot a most apt and diligent student who quite quickly acquired a good", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205792, "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": 98, "title": "RAS-1969", "content_text": "92\n\nR. BRUCE\n\nknowledge of the language. English for Mongkut was the key to the new knowledge. What he had started with the French bishop he now continued more avidly with the American missionaries. Geography, mathematics and especially astronomy fascinated him and he found no inconsistency between Buddhism and science. He placed no obstacles in the way of the American Presbyterians who, like the Catholic Bishop, were invited to discuss religion and to preach their doctrine.\n\nHere then was an unusual Abbot of a Buddhist monastery in nineteenth century Siam; not that Buddhists are ever inimical to other faiths but Mongkut excelled in liberalism. As a devout and learned monk he had brought fresh inspiration and discipline to his religion. As a monk he had come to know his people and his country better than any of his royal predecessors. And because of his intellectual stamina he had acquired a greater knowledge of Western civilisation than any of his contemporaries.\n\nWhen Mongkut became King Rama IV in 1851 he had been a monk for twenty-seven years. The kingdom which he inherited was a feudal corner of Asia, an absolute monarchy in which the people were forbidden to look upon the face of the King. Slavery was common, polygamy normal. The economy was primitive, the population small, there were no roads and no schools. Except for a few missionaries and merchants there was practically no contact with the Western world, King Mongkut determined to change all this. Nobody urged him, there was no popular discontent, no demand for reform. He was his own most radical liberal.\n\nWithin a year of his accession decrees came from the Palace \"by Royal Command, reverberating like the roar of a lion\" which began the slow process of change. The people were invited to look at the King when he moved among them, not to shut their windows and run away. Citizens could send him petitions on any matter and he would investigate each complaint. He did not abolish slavery but he insisted on good treatment for slaves. Nothing was too detailed for him: he issued edicts on the safe construction of fire-places and ovens and the improvement of window fittings. To prevent disease he ordered that dead animals should not be thrown in the canals. He reformed the currency, replacing lumps of gold and silver with flat coins.", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205946, "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": 26, "title": "RAS-1970", "content_text": "MORE ON THE YUNG-LO TA-TIEN\n\n21\n\nserved in the Legation Guard in Peking in 1900. The Chester Beatty Library (Dublin) has three volumes not otherwise accounted for (chüan 803/4, 805/6, and 10,110/1). The Wason Collection of Cornell University has chüan 13,853, and the National Central Library, Taipei, has chüan 7527, which Yang Chia-lo failed to reproduce. The number at present count then is 809 chüan out of the original total of 22,877 chüan (not counting the table of contents which has been separately published).\n\nWhat subjects are covered in the volumes that have been saved? Practically everything that concerned the Chinese around the year 1400, but in fragmentary fashion. Thought, morals, poetry of several kinds, frontier people (the Hsiung-nu and Hu, for example), geography, surnames, government, law, the spirits, biography, divination, architecture (gates, bridges, halls, storehouses, walls, offices), villages, capital cities, history, burial customs, astronomy, botany, grain, military matters, Buddhism, Taoism, travels, bronzes, food and drink, caves, dreams, scholars, drama, sacrifices, clothing, mathematics, images, carpentry, post stations, shamans, literary collections. Dr. Walter Swingle, writing on the YLTT in the Report of the Library of Congress (1922-23), asserted: \"It combined all existing Chinese books that were available to Yung-lo, excepting novels and possibly some plays.\" Fortunately, his remark was found to be in error when the Library of Congress acquired (1935) from the collection of Dr. H. A. Giles, professor of Chinese at Cambridge University, a copy of a \"short historical novel, Ch'ieh-fên-lu and a hsü-lu, purporting to describe the experiences of Sung Hui-tsung, made captive by the Chin in 1127.\" (The son of Dr. Giles, Lancelot, was in the British Legation during the siege in 1900, and doubtless picked it up then.) The first notice of the famous play P'i-pa chi (The Lute Song) also appears in a volume of the YLTT. Professor Pelliot has characterized as one of the most important volumes saved the sections from a great Yuan dynasty encyclopaedia (Ching-shih ta-tien, published 1331), including a part on courier stations (jamči), now in the Toyo Bunko. Among other interesting works saved, generally fragmentary, are geographical. Francis D. M. Dow of Australian National University has recently drawn attention to certain gazetteers preserved: one of the prefecture of Soochow, published in 1379, for example; and years ago (1929) the Metropolitan", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206173, "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": 253, "title": "RAS-1970", "content_text": "Plate 20. An early map of the region showing the forts and Portuguese ships passing between Cheung Chau and Lantau and the Lama Islands.\n\n(Plates 16-20 are reproduced here by courtesy of Mrs Halfour (now Glock) and with the kind assistance of the Curator, City Museum & Art Gallery)", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206205, "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-1971", "page_number": 22, "title": "RAS-1971", "content_text": "16\n\nSULESKI, R. S., and BAYS, D. H.\n\nEarly communist China; two studies. Ann Arbor, 1969.\n\n(Michigan Papers in Chinese Studies, no. 4)\n\nTOWNSEND, W. J.\n\nRobert Morrison, pioneer of missions to China. London, Pickering & Inglis, n.d.\n\n何炳棣\n\n黄土與中國農業的起源。香港,香港中文大學, 1969.\n\n(HO, P. T. The loess environment and the origins of Chinese agriculture)\n\n張德昌\n\n清末一個京官的生活。香港,香港中文大學,1970.\n\n(CHANG, T. C, Life of a court official in the late Ching dynasty)\n\n趙聰\n\n中國大陸的戲曲改革,1942-1967. 香港,香港中文大學,1969.\n\n(CHAO, T. Drama reform in mainland China, 1942-67)", "txt_file_path": "txt/dfo323lmgvd/RAS-1971.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/z029vt43g", "rank": 0 }, { "id": 206654, "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": 202, "title": "RAS-1972", "content_text": "NOTES AND QUERIES\n\nThe following letter appeared in the South China Morning Post, 10th April, 1972. — Ed.\n\nWHO HOISTED THE UNION JACK?\n\nIn today's (April 7) issue on page 20 you publish an article headed \"The Hongkong Club decides to go back to Victorian Era”. In the article you state \"The Club was founded in 1846, five years after the Union Jack was hoisted on Possession Point by Captain Charles Elliot\".\n\nThe statement is not correct. It is true that Sir Charles Elliot issued a formal declaration of British sovereignty over Hongkong in January 1841 after the treaty of Chuenpi, but the Union Jack was hoisted on Possession Point by Captain Belcher commanding H.M. survey ship, Sulphur, on January 26, 1841.\n\nThe account is given in Captain Belcher's book \"Voyage round the World\" published 1843, Volume II page 157. The following is an extract:\n\n\"The only important point to which we became officially partners was the cession of the island of Hongkong, situated off the peninsula of Cow Loon within the island of Lama,\n\n\"On the return of the commodore on the 24th we were directed to proceed to Hongkong and commence its survey. We landed on Monday the 26th January at fifteen minutes past eight, and being 'bona fide' first possessors, her majesty's health was drank with three cheers on Possession Mount.\n\n\"On the 26th the squadron arrived; the marines were landed, the union hoisted on our post, and formal possession taken of the island by Commodore Sir J. G. Bremer, accompanied by the other officers of the squadron, under a feu de joie from the marines, and a royal salute from ships of war”.\n\nThere may be some uncertainty about the exact date. It is probable that the landing was on Monday, January 25 and that the more serious formalities took place on Tuesday, January 26.\n\nCaptain Belcher's history is preserved in the Colony in the names Belcher's Gardens, Belcher's Fort (and formerly Belcher's Creek)", "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h", "rank": 0 }, { "id": 206663, "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": 211, "title": "RAS-1972", "content_text": "NOTES AND QUERIES\n\n205\n\nNew Territories villages. It is well known that Chinese-style restaurants have mushroomed in Britain since the 1950s. By and large, the people in this catering business are former rice peasants who have switched over to culinary activities. Rising costs of living, falling prices of rice, lack of arable land and population growth are factors which created a situation characterized by the feminization of the farm work process, and an increasing abandonment of land. In some instances, villagers have sold off their inherited land holdings to urban speculators and deposited the money in a bank. They claim that the interest gained surpasses the value of the yield of rice of their former holdings. Accompanying this decline in traditional farming is the increasing financing of households by remittances from Britain.\n\nThe other macro process is the chain of major political events in the People's Republic of China. I shall not discuss these here. For our present purpose, it is important, however, to note that one aspect of this drama is a strong immigration from China into the Crown Colony of Hong Kong. In Sha Tin, there had been an increase in population of 345% between 1931 and 1961. Today, there are about 35,000 people in the valley as compared with 4,346 persons counted in the last pre-war census.\n\nIt was in the situation I have just described that the immigrants from China appeared on the scene asking for tenancy rights. By letting land to tenants, the owner makes more money from his holdings than he can by maintaining the traditional rice farming. This simple fact underlies the predominant pattern of land tenure in Sha Tin; native villagers let land to outsiders at rents that equal or surpass the gains from two crops of rice on that land. At the same time, their own energy is directed to other tasks, varying from overseas or urban work and cottage industry to long tea house conversations or gambling. Thus, the native villager's answer to the explosive city development was, in the first place, not an adjustment in his agricultural production to meet the emerging urban demands; instead, he converted the traditional two rice crops into two crops of cash, and reoriented his own efforts towards urban or suburban occupations which provide new external incomes. The change in land use was brought about by the immigrant tenants. A great many of the newcomers to Sha Tin are people of a definite urban background. Those who are not urbanites are generally influenced by men of urban experience. The vegetable market garden is in many ways", "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h", "rank": 0 }, { "id": 206664, "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": 212, "title": "RAS-1972", "content_text": "206\n\nNOTES AND QUERIES\n\nthe businessman's enterprise disguised as a rustic farmstead. The emergence of vegetable cultivation is a spill-over from the urban areas. What we deal with is the city's adjustment to the countryside rather than the adaptation of the rural husbandry to meet urban demands.\n\nThis is not to say that rice peasants have not switched over to vegetable cultivation at all. Obviously this kind of person is not common in Sha Tin, but he occurs and there are a few native vegetable farmers in nearly every village. Still, it is a noteworthy fact that the present village gardeners did not give up their rice cultivation until they had precedent models for action in the form of immigrant garden enterprises. The example of the successful immigrant truck garden was something to be envied and reproduced, and thus a primary incentive for a new agricultural order.\n\nParadoxically, the indigenous villagers have been able to remain in their traditional rice world by giving up rice cultivation. The main sources of change lie in the urban areas, in Hong Kong and overseas. New ideas flowing into the villages will not disrupt traditional notions concerning land, although land use may have changed in that land is rented to outsiders, abandoned or converted into building lots. The few native villagers who have engaged in horticulture did not venture the shift in land use until they had access to models in the form of outsider gardeners. I feel that the general lack of response to city needs for food in the Sha Tin valley is due to the proximity of the valley to the city, a feature which involved people directly in city life. On the other hand, we have found that city people have become involved in rural production.\n\nThus, the change in land use in the New Territories is no simple process generated by the maximization of profits. Only our awareness of the social characteristics of the actors in the drama will allow us to gain some understanding of the complexity of the situation.\n\nUniversity of Gothenburg, 1972.\n\nGORAN AijMER\n\nFootnote: This is an abstract from a report intended to form a chapter in a monograph on social life in the Sha Tin valley. Field work was conducted from June 1967 to February 1968, and in Summer 1969 for three months. The field work was supported by the Humanistic Foundation of Sweden. The writing of the report was carried out at the Harvard-Yenching Institute, Cambridge, Mass., with the support of Carl-Bertel Nathhorst Foundation and Stockholm University. I gratefully acknowledge the generosity of these institutions.", "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h", "rank": 0 }, { "id": 206794, "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": 71, "title": "RAS-1973", "content_text": "PERSIANS, ARABS in T'ANG CHINA\n\n65\n\nit was the fashion to copy the foreigners. Art, music, drama, dress and personal adornment were all full of foreign elements. It must be pointed out, however, that not every Chinese was in complete accord with these innovations. Yüan Chen lamented with patriotic emotion:\n\nEver since the Western horsemen began raising dirt and dust, Fur and fleece, rank and rancid, have filled Hsien and Lo. Women make themselves Western matrons by the study of Western make-up, Entertainers present Western tunes, in their devotion to Western music,32\n\nIt was also a fashion to learn a foreign language or languages. A Turkish-Chinese dictionary was made available for serious students.33 Never before had a dynasty been so fond of 'foreign things' as the T'ang, and never again was this kind of epidemic to spread in China.\n\nIII\n\nForeigners in Tang China made tremendous contributions towards Chinese artistic, medical, literary and political activities. The following shows how these foreigners had contributed their versatile talents to T'ang China:\n\nYü-chih Po-chih-na and Yü-chih I-seng\n\nYü-chih Po-chih-na and his son Yü-chih I-seng were the most eminent painters of Buddhist icons in early T'ang period.34 Artists in early T'ang period were fond of showing the gods or goddesses of foreign lands either in painting or in sculpture. The Yü-chihs were from Khoten, a Central Asian state that had long been closely related to China. According to Li-tai ming-hua chi by Chang Yen-yüan of the late T’ang period, in chapters 8 and 9, records the background of these two painters as follows:\n\nYü-chih Po-chih-na, foreigner, excels himself in painting Buddhist icons. (He) was very popular at that time and is now known as Ta Yü-chih.\n\nYü-chih I-seng was a man from Khoten. His father Po-chih-na was mentioned in the previous chapter.... (I-seng) was a great master in painting Buddhist icons. Contemporaries call him Hsiao Yü-chih, and his father Ta Yü-chih.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206809, "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": 86, "title": "RAS-1973", "content_text": "80\n\nHELGA WERLE\n\nChing p'eng \"cleaning the matshed\" has to take place before the performance. The puppeteers take a live cock and make an incision in his throat and then carry him over the stage, dropping his blood into every corner, over the backstage and even over the musical instruments. This is done in order to protect themselves against the evil spirits or hungry ghosts, which performing puppets attract. That human actors perform at the Hungry Ghosts Festival is a development of the past 20 years for Ch'aochowese. Originally only puppets were used. The human likeness of the moving puppet fools the ghost, who takes possession of the puppet. Thus humans are protected from their assault and the whole area gets cleared of their evil influence. Puppet-shows are mainly performed as an exorcising ceremony and it therefore does not matter whether there is a public to watch the performance or not.\n\nThe actual performance starts mostly with the 'Birthday of the Eight Immortals', which is a series of good wishes. This introductory piece starts with the Peach Banquet, implying the wish for longevity. The next part is called 'To bestow Rank and Riches'; then comes the fairy who sends sons. The next short play is a ceremony to \"cleanse the matshed\" and the last is called \"the banquet at the capital\", which is to congratulate the troupe for its performance. The main play starts after this introduction.\n\nThe repertory of the two Hong Kong Ch'aochow puppet-groups comprises the following operas, which are part of the Ch'aochow Opera tradition:\n\nHu-li Luan Chou Wang 狐狸亂周王\n\nTuan-Chiao Hui\n\nLi Te-wu 李德武\n\nKuan Wang Miao 闊王廟\n\nYang Tsung-pao\n\nI Chih Mei 一枝梅\n\nThe script/stories of these operas are spoken and sung by the puppeteers. If the opera is a wen-chü or literary play, the text which is in rhymes is fixed and a script is used; but when a wu-chü or military play is performed the puppeteers use their own imagination to enrich the familiar plot.\n\nOne further point should be mentioned. Shadow-puppet theatre was very early a most important part of entertainment and when finally drama became organised, the public eye was so trained on the shadow-puppet movements that they were taken over into the", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206810, "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": 87, "title": "RAS-1973", "content_text": "SWATOW HORIZONTAL STICK PUPPETS\n\n81\n\ndrama. This is a process which reminds of Java where the drama performed by actors Wayang Orang mimics the much earlier leather-shadow-play Wayang Kulit.\n\nHsiao Nan-ying\n\na famous hua-tan of Ch'aochow opera, who came to Hong Kong a year ago, complains that the Ch'aochow opera here is still using the stiff movements which were influenced by the shadow-puppet movements. She also tells of a typical Ch'aochow opera in which the peculiarities of the shadow-puppet-theatre are used to great effect. A movement can suddenly stop and the moment can be endlessly prolonged. For example: a boy and a girl move independently in a festival-crowd and when they by chance look at each other, they instantly fall in love and remain motionless in the position in which they caught each other's eye. And the Old Man of the Moon appears, takes imaginary strings from their eyes and binds them together. They remain like statues looking at each other until somebody cuts the imaginary strings, the spell is broken and they regain their liveliness. This technique is believed to be derived from the shadow-play.\n\nThe Wang Family\n\nThe most important puppeteer-family in Hong Kong is the family Wang who have been puppeteers for at least three generations. At the end of the Imperial era the grandfather Wang Pao-yuan was active as a puppeteer and opera-actor, and his son who accompanied him became the famous Wang Chiao-tsou, also called Wang Chiao Y. The name Chiao-tsou meaning “itinerant teacher\" was given to him, because he was a well-known itinerant teacher and opera-actor and also a puppeteer. Weary of the Sino-Japanese war he took his family to Hong Kong in 1938, together with a trunk of puppets. He immediately started to teach Ch'aochow opera and founded the Hsin-shun-hsiang puppet-troupe (The title means 'to prosper anew in Hong Kong'). His own family being very large, it was easy for him to give puppet-performances. Having for long performed himself in the leading role of hua-tan (character of a high-class beauty) he was a major force in the upsurge of Ch'aochow opera in Hong Kong in the last thirty years.\n\nWhen Wang Chiao-tsou arrived here he found three established Ch'aochow puppet-groups. Hsin-t'ien-ts'ai gave up its puppets to become an opera troupe in 1962. Lao-yuan-cheng", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206874, "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": 151, "title": "RAS-1973", "content_text": "NOTES AND QUERIES\n\n145\n\nning among other matters the subjugation of the non-Chinese tribes of the interior.*\n\nAt the age of 71 he was appointed Vice-President of the Board of Civil Affairs in Nanking and later Vice-President of the Censorate. He died in great poverty in 1587 aged 74, his friends defraying the cost of his burial.\n\nIn November 1965 the editor of the Shanghai Wen Wei Pao, Yao Wen-yuan, who was also a left-inclined literary and theatre critic, published an article in which he criticised an historical drama \"The dismissal of Hai Jui\" written by the then Deputy Mayor of Peking, Wu Han. Yao's article was the opening volley in the Great Proletarian Cultural Revolution which created such turmoil in China and purged so many of the senior communist cadres including Wu Han himself. Yao rose quickly and by 1969 was sixth in the leadership of the Chinese People's Republic only to slip to a lower position at the 10th Party Congress in August 1973. Yao, still a member of the Politbureau, is reported to be the son-in-law of Chairman Mao and a close associate of the radical Madame Mao.\n\nWu Han's historical play which cost him so dearly was criticised by Yao as an analogy of Mao's treatment of his \"loyal minister” Peng Te-huai, the Minister of National Defence purged by Mao in 1959. P'eng had been very outspoken in his opposition to two of the things closest to Mao's heart, the Great Leap Forward and the establishment of the People's Communes.\n\nHai Jui is well known to many Chinese as the minister who steadfastly opposed corruption. A legend told to me in Singapore by an elderly Buddhist nun recounted how Hai Jui as a very young junior official had been posted to the Swatow region (Ch'aochow) where a group of tyrannical landowners together with the local magistrate's police runners were terrorizing the people. The legend then told of Hai Jui's fight, first against his local superiors in support of the poor, later against the Prime Minister and finally against the Emperor himself. Hai Jui was forced to commit suicide, she said, to compel the Emperor to take notice of the problems of the masses and for this he was deified by the subsequent Emperor and is now one of the patrons of the Ch'aochow people.\n\nSee, in part, Herbert A. Giles, A Chinese Biographical Dictionary (London and Shanghai, Bernard Quaritch and Kelly and Walsh, 1898) pp. 242-243. Also W. F. Mayers, The Chinese Reader's Manual (Shanghai, American Presbyterian Mission Press, and London, Trübner and Co., 1874) pp. 45-46. Ed.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206875, "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": 152, "title": "RAS-1973", "content_text": "146\n\nNOTES AND QUERIES\n\nIt is not surprising therefore to encounter an image of Hai Jui on an altar. One such image is in the nunnery on the Pasir Panjang coast road in Singapore in which most of the nuns are of Ch'aochow origin. He is prayed to for strength of purpose and for his ability to obtain support from the Spirit World without demanding a fee or putting the devotee under an obligation.\n\nIn the nunnery, which incidentally contains a mixture of Buddhist and T'aoist folk religion images, is a seated, whey-faced image of Hai Jui, holding a sceptre in his right hand. He is wearing Mandarin robes, a scholar's hat and has a long black beard. He has two anonymous assistants, one on either side of him. The one standing on his left is carrying his official seal wrapped in a red cloth, whilst the one on his right bears his sheathed sword (photograph at Plate XI). The nuns referred to the image as the Duke Hai Jui (##2). He was known to be a good spirit (††).\n\nColonel Burkhardt in his Chinese Creeds and Customs recounts how, during the Ming Dynasty, the Eastern Dragon King who in cooperation with the Northern Dragon King controlled rainfall, was dismissed for dereliction of duty. The Jade Emperor (1) the Supreme Being both of the Spirit and the Human World, appointed Hai Jui in his stead.\n\nSo here we have the story of the incorruptible minister, in a garbled version as known to the Ch'aochow nuns in Singapore; the image in their nunnery, and the modern drama which triggered off the greatest upset in China since the communists came to power; all linked by the shade of Hai Jui who without a doubt made an indelible impression upon, amongst others, the Ch'aochow peoples of eastern Kwangtung Province over the four centuries since his death.\n\nAshford, Kent, 1973.\n\nKEITH G. STEVENS\n\n* V. R. Burkhardt, Chinese Creeds and Customs, published by South China Morning Post Hong Kong, Volume 2 (1955) page 161.\n\nANOTHER VOLONTIERI MAP?\n\nThe following Note with Map are taken from the publication Les Missions Catholiques No. 239 of 20th May 1875, and were brought to my attention by Mr. H. A. Rydings.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206892, "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": 169, "title": "RAS-1973", "content_text": "NOTES AND QUERIES\n\nVISIT TO THE SUKHOTHAI SITES IN THAILAND\n\n163\n\nThe first overseas tour of the Hong Kong Branch of the Royal Asiatic Society went to Thailand from 1-6 February 1973. Twenty members took part.\n\nThe purpose of the tour was to visit the historical sites of Sukhothai, Srisachanalai and Kampengpetch in the centre of the country; these are the abandoned cities of the Sukhothai kingdom which asserted its independence from the Khmers about 1220, reached its apogée under Ramkamheng (r. ± 1275—1317), and declined after the foundation in 1350 of Ayuthia, which subjugated the northerly kingdom in 1378, when the Sukhothai king, Mahadharamaraja II, transferred the capital to Pitsanuloke to reign as a vassal of Ayuthia. The Sukhothai kingdom is famous for its export celadons which in recent years have found their merited place in world porcelain collections for their originality and texture.\n\nHowever, the tour first stayed in Bangkok and, using a converted rice barge, saw some old temple paintings in Dhonburi and Nonthaburi.\n\nWat Chalermprakiad on the Chao Phrya River is a picturesque and half-ruined temple built by King Rama III in memory of his mother. The temple is surrounded by a double wall, the inner one having square towers with circular openings showing the strong Chinese artistic and architectural influences in Siam during that king's reign (1824-1851). The building to the right of the central edifice is in a state of total ruin, but still has its original doors and windows with their lacquer and mother-of-pearl exteriors and their lotus-painted red and blue interiors. Those of the main building, which is in a far better state of preservation, are predominantly red and green. There is excellent stucco work over the doors and windows and broken porcelain is used for characteristic decoration on the roof lines. The rustic setting of the temple, with its teak kuti or monks' houses surrounded by rain trees and breadfruit trees dominated by the tapering white chedi in the centre, left a strong impression of dignified serenity.\n\nWat Po Bang O, off Klong Bangkrouay, is a small old temple also in rural surroundings which has interesting examples of original 18th century paintings with some 19th century overlay showing", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206893, "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": 170, "title": "RAS-1973", "content_text": "164\n\nNOTES AND QUERIES\n\ntraditional Buddhist scenes. Wat Suwannaram on Klong Bangkok Noi is one of the best known temples for murals. The building was constructed in the reign of Rama I and its paintings, dating from the time of Rama III, were executed by two artists, Luang Vichit Chetsada and Kru Khonpae, whose names have, unusually, come down to us. The wall inside the entrance illustrates the conquest of the Buddha over the spirit of evil, Mara, and the wall behind the altar shows the Buddha descending to the earth, the Traibhumi. At the upper levels on the long side walls are rows of orahan or followers of the Buddha, and between the windows the jataka tales, the stories of the last ten incarnations of the Buddha-to-be, are represented, the whole of the left-hand wall being given over to the very last jataka, the Vessuntarajataka, or renunciation. The paintings are remarkable for their delicacy and charm.\n\nSome more examples of traditional Siamese painting were to be seen in the collection in Krisnavara House, the home of the epigraphist and art historian Alexander B. Griswold, which was opened specially for the tour. Mr. Griswold's collection of rare Sukhothai porcelains and ancient stuccos and bronzes was much appreciated.\n\nThe Siam Society, a learned body established in 1904, has a traditional northern house, the Kamthieng museum, re-erected in one corner of its fine grounds. The Society was the setting for an introduction to traditional Siamese folk opera, likay. Especially for the tour, the Hom Huan troupe of actors performed with verve the story of Chantakorop. The prince of this name falls in love with a fickle girl Mora who has come from a magic casket and who agrees to be his wife, but she is then attracted by a bandit leader and enables him to kill Chantakorop. The prince is taken up to heaven by the god Indra, the bandit leader runs away from his new wife who is alone and hungry in the jungle. Indra, disguised as a bird, offers her food on condition she marries the bird. She agrees and is transformed into a gibbon as a reward for her fickleness.\n\nLikay is an old theatrical form, possibly of southern or Malay origin, but having by syncretism absorbed most other Thai theatrical forms including the masked dance khon. Once extremely popular, it is now dying out in the capital. It is rumbustious and bawdy, and incorporates popular songs, traditional dance and improvised dialogue. The costumes are gay, extravagant and imaginative. The small orchestra of six performed on traditional instruments.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206896, "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": 173, "title": "RAS-1973", "content_text": "NOTES AND QUERIES\n\n167\n\nBy way of comparison, the tour also visited Ayuthia and saw the gigantic Buddha at Wat Phanan Cheong, by the river, and the ruins of Wat Yai Chai Mongkon, Wat Phra Sri Samphet, and Wat Phra Ram. The magnificent Wat Na Pramane in its peaceful country setting, with its elaborate carved pediment (the only one to survive the holocaust of the Burmese attack in 1767), its fine ceiling and remarkable bronze Buddha in kingly attire of the Ayuthia period in the main bot and the no less striking stone Dvaravati Buddha seated in the European fashion with its characteristically placid Mon face left a deep impression,\n\nBefore leaving Bangkok a visit was made to three representative temples of the Ratanakosin period, Wat Suthat, with its wealth of Chinese statuary and carved and gilded doors said to be the work of Rama II (the vihara was unfortunately closed and its murals could not be seen). However at Wat Borworniwes the unusual murals depicting scenes of western eighteenth century palaces introducing alien perspective were noted; the bot also contains the revered statue Phra Buddha Chinasara, a good example of Sukhothai statuary. The peaceful temple grounds with their canals full of turtles were in considerable contrast to the roaring city outside the temple walls. The better known Wat Benjamabhopit with its copies of various statues, including that at Pitsanuloke of which the original had been seen, was also visited. Most interestingly perhaps, on the last day the group visited the gold-leaf beaters' lane where for several days layers of gold are pounded by hand to produce the wafer-thin pieces which are applied on statues by the devout.\n\nIt should not be thought that the members of the tour remained aloof to daily life of contemporary Thailand; elements of this were seen at the weekend market at the Pramane Ground, and, in the country, working elephants, the pounding of rice flour in villages and the releasing of birds to gain merit in temple courtyards left their impression.\n\nIn what was effectively four very full days, a great deal was seen and much ground was covered (it took ten hours by bus to reach Pitsanuloke from Bangkok). The pace was intense but rewarding. The tour was considered culturally illuminating, revealing the many facets of the rich artistic heritage of Thailand.\n\nHong Kong, 1973.\n\nMICHAEL SMITHIES", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 207173, "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": 244, "title": "RAS-1974", "content_text": "238\n\nBOOK REVIEWS\n\nEuropean languages. For instance, in 1964 Horst Erdmann Verley has published Chinesischer liebesgartern which serves as the first German translation of 7 stories selected from the well-known collection of 16th century Chinese novels: P'o-an ching-ch'i. In 1968 this was followed by the same author's second German translation of 17 stories selected from Ching-shih t’ung-yen, (a different collection of novels again written during the 16th century) under the title Neuer Chinesischer liebesgarten.\n\nTurning to drama, in 1965 full English translations of two dramas of the Yuan Dynasty were edited by Cyril Birch into his Anthology of Chinese Literature (Grove Press, New York). The first of the two appears as J. I. Crump's translation of \"Li K'uei Carries Thorns\" (a drama of K'eng Chin-chih fl. 1279). The second happens to be Donald Keene's translation of “Autumn in the Palace of Han” (a work of a more famous Yüan dramatist, Ma Chih-yüan fl. 1251). In 1965 again, Ch'u Chai and Winberg Chai published \"A Treasury of Chinese Literature\" (Appleton Century, New York). A considerable number of English translations for both Chinese novels and dramas were edited into this anthology. In chapters 5th, 6th and 7th of part II, there are 5 novels of the T'ang, 2 of the Sung and 3 of the Ch'ing periods1. Furthermore, in chapters 10th and 11th of part III, the authors presented their translation of two dramas selected from the Yüan period and another two from dramas written during the Ming and the Ch'ing periods. Among them the Yuan drama \"Snow in Midsummer\" (written by the important dramatist Kuan Han-ch'ing) seems to be more notable, since this drama has not only been translated from Chinese into English by Yang Hsien-i and his collaborator Gladys Yang in their Selected plays of Kuan Han-ch'ing (1958, Peking), but also has been put out by Shih Chung-wen with a third English version: Injustice to Tou O (1972, Cambridge University Press, Oxford). Clearly, to put texts of Chinese novel or drama from Chinese into English or other European Language has been a fashionable task favoured by sinologists lately.\n\n1 These 5 short stories of the T'ang period are of the so-called Chuan-ch'i and the 2 of the Sung period are usually called as Ping-hua while the last 3 of the Ch'ing period are selected from Liao-tsai, A Collection of Strange Tales, all written by P'u Sung-ling (1630-1715) of the early Ch'ing.", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207175, "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": 246, "title": "RAS-1974", "content_text": "240\n\nBOOK REVIEWS\n\nscholars, 10 articles by 5 Japanese scholars and 3 by 2 Europeans). According to this bibliography, the earliest study on Chu-kung-tiao seems to be an article by a Chinese scholar, Sun K'ai-ti written in 1932, while Japanese scholars' earliest study on the same subject is an essay written by Yoshikawa Kujiro in 1942.\n\nHowever, among Asian scholars' study on chu-kung-tiao literature, the earliest study on this subject should be credited to “Liu Ti-en shio-kyu tio kō” (A Study of the chu-kung-tiao of Liu Chih-yüan) written by Aoki Masaru. It first appeared in Shina Gaku (Journal on Chinese Studies), Vol. VI, No. 2, pp. 21–56 (Tokyo, 1932, March). Subsequently, the same article was included in the same author's Shina Bungaku Geijutsu Ko (Studies on Chinese Literature and Art), 1942, August, Kyoto (pp. 183-219). In this article, Aoki has not only analysed the written format of the chu-kung-tiao ballad but also compared the composition of Liu Chih-yüan CKT with that of pai-t'u-chi (Tale of a White Hare), a mid-14th century Chinese drama, once again written on Liu Chih-yüan's life stories. In addition, Aoki reproduced a plate to show the page face of the Liu Chih-yüan CKT.\n\nFour months after Aoki's article appeared in Shina Gaku, Ho Ch'ang-ch'ün's Chinese translation of Aoki's same article was published in the July-August issue of the Kuo-li pei-p'ing t’u-shu’kuan kuan'k'an (Bulletin of National Library of Peking) Vol. VI, No. 4, pp. 4603-4620 (1932, Peking). Undoubtedly, Aoki's study on Liu Chih-yüan CKT was regarded as both attractive and important. At this time Sun K'ai-ti's article on other chu-kung-tiao was also published in the volume VI No. 2 (pp. 4345-4350) of Bulletin of National Library of Peking.\n\nIn addition to Aoki Masaru and Ho Ch'ang-ch'ün, once again in 1932, Cheng Ch'en-to (1898-1958), one of the pioneer scholars of Chinese popular-literature also published a study on the same subject. This is the well-received article: “Sung-chin yüan chu-kung-tiao kao”, i.e., “Studies on the 'various mode' of the Sung Chin Yüan Periods\" which appeared in the first issue of the Wen-hsueh nien-pao (July, 1932, Peking). This massive study, occupying the first 78 pages of the cited journal, could in fact be treated as a monograph for this particular subject. In this essay, in addition to his study of the Structure of Liu Chih-", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207177, "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": 248, "title": "RAS-1974", "content_text": "242\n\nBOOK REVIEWS\n\nAs to the dating of this Liu Chih-yüan CKT, the authors of the book now under review also have said nothing. Yet, in Thomas F. Carter's well-known work The Invention of Printing in China and its Spread Westward (revised by L. C. Goodrich, 1955, New York), chapter X, footnote 16, this incomplete CKT is acknowledged as being printed around 1300, namely in the early years of the 14th century.\n\nThis reviewer's third minor dissatisfaction concerns the neglected relationships between chu-kung-tiao and some other folk-literatures in China. According to a statistical account contributed by Professor Cheng Ch'ien, the Hsi-hsiang-chi CKT by Tung Chih-yüan has used 15 kung-tiao and 129 ch'ü-tiao. As Cheng has pointed out, at least 66 out of 129 of these ch'ü-tiao are derived from four different sources4. Jen Erh-pei5, on the other hand, presenting different statistics, has pointed out the origin of 28 ch'ü-tiao of chu-kung-tiao and also demonstrated the continuation of these ch'ü-tiao with reference to the Northern drama of the Yuan period, the Southern drama of the Yüan and Ming periods, the Tsa-chü play of the Sung, the Yuan-pen play of the Chin and Yuan periods. Furthermore, he has even added the chia-ch'u songs of Mongolia, the T'ang music in Japan, and the Sung music in Korea into his statistics. The \"Introduction\" of the Ballad of the Hidden Dragon would be more authoritative had the above quoted statistical studies in relation to the CKT study been fully utilized. Mention could also have been made of Chien Nan-yang's analysis of the relationship between the Lin Chih-yüan CKT and the pai-t'u chi6 — a southern drama written in the Ming period.\n\n* See Cheng Ch'ien, \"Tung's 'Western Pavilion, the Literary Link between the Tzu Lyrics and the Ch' Ballads of the Southern and Northern schools”, in Bulletin of the College of Arts, National Taiwan University, vol. II (Taiwan, 1951): 113-137.\n\n5 See Jen Erh-pei: “Chiao-fang-chi chien-ting” (Annotated edition of Chiao-fang-chi) (1962, Peking) pp. 197-254: Appendix II, “Ch'i-ming-liw-pien-piao” (A Table about the History and variations of the titles of Ch'u).\n\n6 See Ch'ien Nan-yang: \"Liu Chih-yüan pai-t'u-chi, On the Tale of a White Hare about Liu Chih-yüan”, in his Yüan ming nan-hsi kuo-liao. Some Brief Remarks on the Southern Dramas of the Yuan and Ming periods (1958, Peking), pp. 28-33.", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207244, "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-1975", "page_number": 12, "title": "RAS-1975", "content_text": "and 1860s. Like Hung Shing, its image is taken out in procession on the major festivals and placed in the seat of honour at opera performances given on the island and in neighbouring Aberdeen. Members also visited a soy sauce factory, a shipyard specialising in fishing boats and a fishing store. In November, Miss Werle arranged another visit, to a ceramics factory at Yuen Long, and to the single lineage village of Sam Tung Uk in Tsuen Wan, a joint excursion with the Hong Kong Ceramics Society. In January this year, I arranged a visit to the Sikh temple, with the kind cooperation of Mr. Pritham Singh, who is an active member of the temple. Sikh religion is a revisionist movement from within Hinduism, founded formally at the close of the seventeenth century as a reaction to what the Sikhs saw as the ritual and social excesses of orthodox Hinduism. There are some 2,000 Sikhs in Hong Kong. The occasion this time, we had a previous visit last year, was the birth anniversary of Guru Gobind Singh (1666-1708), the last Guru of the Sikhs. Members of the Society attended part of the religious service at which members of the congregation came up to the altar to sing sutras, give comments or make observations relating to their religion, or play musical instruments and sing. We were then invited to the vegetarian curry luncheon prepared and served by members of the congregation for the congregation. Finally, in March, we were invited by our Council member M. Geoffroy-Dechaume, the French Consul-General, to his house in Old Peak Road. This is one of the few surviving old houses on the Island. Built in 1895 by Messrs. Leigh and Orange, still one of the large architectural firms in the Colony, on a piece of land acquired by Sir Paul Chater, it was named Victoria Lodge and has been the home of successive French Consuls since the earliest part of this century. Tea was kindly provided by Madame Dechaume.\n\nFILMS\n\nMost of our film shows were arranged by Miss Werle and shared with members of the Hong Kong Arts Centre, with which Miss Werle is professionally associated. In May, we had an evening of Japanese films, one on Noh drama, one on Kabuki and one on Japanese print-making, all in English and supplied by courtesy of the Information and Cultural office of the Consulate-General of Japan. A highlight of our film programme was a film made by Mr. Hugh Gibb, an old friend and member of the Society, whose", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207320, "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-1975", "page_number": 88, "title": "RAS-1975", "content_text": "80\n\nHELGA WERLE\n\nThe girl comes out of hiding, and the fortune-teller takes her to safety.\n\nSU LIU-NIANG (SIXTH DAUGHTER SU) *** Drama in 10 acts, lasting about 3.4 hours.\n\nDramatis personae: Su family: Uncle, the eldest of the Su clan Mr. Su and Mrs. Su, their daughter, Liu-niang (6th young lady),* her maid, T'ao-hua, 1 girl-servant and 2 man-servants\n\nAct I\n\nyoung master Yang young master Kuo\n\nand his wet-nurse cousin of Liu-niang\n\nTao-hua the maid comes to the river returning from Hsi-lu\n\nwith a parasol, gay silk trousers and jacket, her hair in two knots one over each ear garlanded with flowers, the temple hair hanging down in two long strands which are adorned with coloured silk-strings. She calls the ferryman [old man-servant type with white beard], who arrives rowing with an oar. There are no other stage props. The movement of the boat is all indicated by mime.\n\nT'ao-hua hides behind the parasol fooling the ferryman and suddenly surprises him by showing her face. Then she pretends to be afraid to jump on the ferry, so the old man tries hard to bring the boat closer. With a wicked smile she jumps on the boat with all her strength, causing it almost to turn over. They perform a beautiful dance to balance the boat and she pretends to be terribly frightened.\n\nThey then start chatting and T'ao-hua proposes to sing a couplet each, composing it as they go along. But which of them first says things that are wrong or cannot rhyme has lost. The old man starts, \"In the first month all flowers bloom...\". T'ao-hua carries on, \"In the 2nd month the cotton tree blooms\" and so on.\n\n*The names of sons and daughters of important families (those with high doors) in these operas are called, for example, Su Liu-niang, meaning the sixth daughter of the Su family. The parents Su have only one daughter, but she is still called the sixth daughter because she is the sixth girl born in this generation to all the brothers of Mr. Su. The same is the case for Wu-niang meaning 5th daughter, called such although she is the only child of her parents. Ch'en San is the third (son) of the Ch'en clan. The term 'niang' is an address for a young lady, whereas the word 'chieh' 'sister' is used for a girl of humble birth.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207473, "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-1975", "page_number": 241, "title": "RAS-1975", "content_text": "CAPTIVE SURGEON IN HONG KONG\n\n233\n\nMail for prisoners came in well by our standards in 1944, and the record was established in a Red Cross message dated January 1944 to a man from his wife in Australia which he received in May. At the other extreme one letter from a wife in Stanley Civil Internment Camp and dated 4 September 1944 addressed to her husband was delivered in Bowen Road at the end of October 1944. The husband died in our hospital on 27 October 1943 and of course his death had been reported at once to the Japanese. All in hospital were now allowed fifty words on their outgoing cards irrespective of destination once a month. In October 1944 six of our patients and staff handed in through me forty-word messages to their families on the offer that these would be broadcast by the Japanese. Replies were invited. These messages were returned to me as lacking in drama. The contents were, like all such messages devoted to personal and family affairs and could be of no possible interest to anyone except the recipient. I never heard that any messages submitted for broadcasting were received at home.\n\nSeveral times during 1944 I re-classified for Saito all our patients under certain heads; first there were those fit to return to camp; next came those with visual defects, the result of dietary deficiencies but generally physically fit; the third showed patients unfit for military service by reason of age, wounds etc. Those not included in the lists were under treatment with a reasonable prospect of restoration to fitness for camp, fitness for camp being judged in all cases as being unlikely to come to harm by such a move. The first category of patients, numbering fourteen were having no treatment and needed special accommodation only; in the second case we advised that patients could go to camp into special accommodation so long as they received eight mg thiamine by injection every second day and were seen by our ophthalmologist every two months (we had produced this list with great care some months earlier). In the third category there were 94 names including 24 Canadians, Portuguese and 1 Dutchman. A series of drafts left hospital for camps and our staff was likewise reduced by 10 R.A.M.C. and R.A.D.C. in April. Japanese policy became clear when on 19 November 1944 Saito notified me of their intention to reduce the total of patients and staff in Bowen Road to 200, and a final draft of 9 staff and 46 patients left for camp on 22 November.\n\nOur men were better adjusted to their diets, but some of those admitted from camp were showing serious signs of undernourishment.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207586, "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-1975", "page_number": 354, "title": "RAS-1975", "content_text": "BOOK REVIEWS\n\n345\n\nRebellion. This book in English is the fruit of voluminous earlier work in Chinese, and therefore represents a synthesis of all Mr. Jen's previous researches and writing on this subject. Its quality is such that it attracted the award of the John King Fairbank Prize from the American Historical Association last year (1975).\n\nFor Western readers, the first part of the book, which takes the story up to the capture of Nanking in 1853, is probably the most fascinating since it describes the origins and development of the movement. It is, in hindsight, incredible that a Christian pamphlet picked up in Canton and neglected for years in a country home should have been the instrument whereby a great empire was almost toppled and approximately 20 million persons lost their lives, in the course of 15 years of struggle affecting most of the 18 provinces of China Proper at one time or another.\n\nThe book brings out the drama of the movement as it traces the fortunes of the principal actors and their leading adversaries. The sufferings of the people are also depicted, experiencing, as they often did, the disruptions caused by the march and counter-march of opposing forces, the ravages of the Imperial Forces upon the recapture of cities and the action of other parties quick to seize advantage from the ensuing disorder and uncertainty.\n\nThis work is, in general, a continuous narrative history, packed with new information and insights into the conditions and thinking of the time. It is, as the author has told me, a history of the Taipings as they saw themselves and as it happened. For these reasons, and because so much of a scholar's life and energies have gone into its making (with the editorial assistance of Adrienne Suddard whose name appears on the title page and in the author's preface) this book is a worthy monument to a momentous period in recent Chinese history, and a classic of its kind. That Mr. Jen is an avowed partisan of the Taipings does not lessen its importance.\n\nHong Kong, 1976.\n\nJAMES HAYES", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207645, "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": 33, "title": "RAS-1976", "content_text": "18\n\nRICHARD J. SMITH\n\nWestern attire in Japan, although never complete, undoubtedly received some of its impetus from the military. Likewise, the wearing of Western-style military caps necessitated the cutting of top-knots, which quickly became a mark of \"enlightenment\" in Japanese society generally. As early as the 1870's, the emperor began wearing a military uniform in the fashion of European royalty.39 One can hardly imagine a Chinese emperor doing the same.\n\nAnother socio-cultural effect of military modernization was the boost given to music, drama, art, literature, and even the use of the Japanese vernacular by the Sino-Japanese War. Donald Keene has brilliantly summarized the impact of the war on these areas of Japanese life, emphasizing also the change in Japanese attitudes toward China, the growth of Japanese national pride, and the altered perceptions of Westerners toward Japan as a result of the war and Japan's resounding victory.40\n\nIn economic terms, the modernizing effect of the military is more difficult to judge. Ogawa's study of conscription, for example, sees the military as a mixed blessing in nearly every sphere of economic life, including labor, productivity, and consumption.41 Yet on balance, military development seems to have benefited the economy. Even the most outspoken critics of the military and its costs, such as Ono Giichi and H. T. Oshima, concede that there were at least some economic advantages to the Meiji program of military modernization—especially in the creation of military and military-related industries, which served as model plants, and in the increased demand for products through inter-industry linkages.42 Military needs, in other words, generated a demand for modern products produced by modern means, and contributed to the growth of economies of scale. The Sino-Japanese War brought Japan numerous economic benefits and a huge indemnity (231 million taels; nearly 368 million yen), which was put to effective modernizing use, although war expenditures and the indemnity did contribute to economic problems such as business fluctuations and inflation.43\n\nFor China, much of the foregoing discussion can be stated in reverse. Although the lack of a centralized military did not appreciably impair the Ch'ing government's authority as long as \"regional\" leaders remained loyal to the throne, it did prevent China from contending effectively with foreign aggression, and eventually undermined support of the dynasty. Furthermore, the fragmentation", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 207816, "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": 204, "title": "RAS-1976", "content_text": "The Ancient Mon-Pagan, Peru & Nakorn Pathom 189\n\n(Rama VI) complete with Shakespearian house and a statue to his dog whom he suspected had been poisoned by jealous courtiers.\n\nThe Pagan theme of temple paintings, though of a different period, may also be taken up again in Dhonburi, across the river from Bangkok. Dhonburi was the capital between the fall of Ayuthaya in 1757 and the establishment of Bangkok in 1782 and boasts a number of old temples, many still having their original mural paintings. The little visited Wat Wai Thepnimit is lost amid sluggish canals and has paintings in good condition dating from the late 18th century. Like many of such temples, the scene above the main door inside represents the victory of the Buddha over the temptations of Mara; the scene behind the altar shows the division of the world into paradise, earth, and hell; and at the lower levels on the sides, between the windows, are the stories from the last ten Jataka tales, while above are serried rows of alternating orahan, or devotees, and yaksa or giants. In better condition, though in not so charmingly dilapidated a building, is the temple of Wat Chaiyathit, which can only be reached by a walk by narrow canals and a railway track. The well-known paintings at the fine Wat Suwannaram on Klong Bangkok Noi need little introduction. The small dual buildings of Wat Rumarin Ratchapaksi near Wat Dusit, bombed by accident in the last war, are now at last being repaired, though not before the weather has caused considerable damage to the quality of the paintings. One of the most impressive buildings to survive the passage of time and weather is the old library at Wat Rakhang, the Ho Trai. This has three rooms and was formerly part of a dwelling of General Chakri, the founder of the present dynasty, in the 18th century. He had it converted into a library for the temple after he became king. The carved entrance doors are magnificent, and the Ayuthia period lacquered library cupboards are in very good condition. The paintings, which had been much damaged by time and smoke from a fire at the temple, are now being restored. The scenes depict barely recognisable episodes from the Thai version of the Ramayana.\n\nBangkok does not lack evening entertainment, but there is not much that can rival the setting of Krisnavara House, with its collection of antiques beside the Chao Praya River, for a performance of the now rarely presented hoon krabawk, or stick puppet theatre. The figures are clothed in 19th-century court dresses and", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 208018, "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": 57, "title": "RAS-1977", "content_text": "STANLEY INTERNMENT CAMP, HONG KONG 1942-1945\n\nNo more of the lectures on Drama\n\nOn Beavers & Badgers & Boats,\n\nOn 'Backwards through Kent on a Llama',\n\nAnd 'How to raise pedigree goats'.\n\nNo more do we carry sea water\n\nAnd rations are things of the past.\n\nFarewell to the Indian Quarter\n\nFor internment is over at last.\n\nTytam Bay\n\nTo Hong\n\nKong\n\nStanley\n\nVillage\n\n**\n\nSt. Stephen's College\n\nJetty\n\nStanley Bay\n\nDutch\n\nIndian Quarters\n\n000\n\n000\n\n-\n\nWarders Quarters\n\nJapanese\n\nHeadquarters\n\n>Hospital\n\nCemetery\n\nStanley Prison\n\nTweed Bay\n\nBathing Beach\n\nTo Stanley Fort\n\n41\n\n1945\n\n1943\n\n1942", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 208398, "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": 122, "title": "RAS-1978", "content_text": "106\n\nFREDRIKKE S. SCOLLARD\n\nnone of the human warmth characteristic of Shiwan sculpture. (Plate 18).\n\nWith familiarity, this very human art then becomes so charismatic that it is often referred to as loveable. The sentiment was well expressed by one of the potters of the Republican period who styled himself “Liang Zui Shi” (#45) (literally Liang drunken rock). Literally translated, Shiwan means \"rock bay\". As Liang's son explained, the style actually referred to the fact that his father was \"drunk\" with “Shi” wan.\n\nIn addition to its handicraft art, in the Qing period Fushan was also the pivot centre for Cantonese opera. Every year between autumn and summer, opera companies from all over the province would come to Fushan to hold auditions. This activity involved the whole community and especially the Shiwan potters who drew material from it for their iconography and figure sculpture, and who in their long rooftop friezes preserved and immortalized this evanescent drama which was so much a part of their lives. (Plate 15).\n\nAccording to Fushan archaeologist Mr. Chen Zhiliang (陈志亮), these ceramic rooftop friezes had two meanings. On the one hand the gala opera scenes such as Jiang Tai Gong deifying the gods (姜太公封神), and Guo Ze Yi celebrating his birthday (郭子仪庆寿), unfolding on the rooftops were auspicious symbols. On the other hand they disguised the anti-Manchu sentiments of \"overthrowing the Qing and restoring the Ming\" (†). In his short history of Guangdong opera, one of Mai Xiaoxia's major thrusts is to reconstruct scattered evidence in emphasizing the opera's role, and especially that of the Guangdong branch, as a disseminator of revolutionary thought. With the fall of the Ming and the advent of the Qing dynasty, heads were shaved, dress and language changed, and the civil service examination system was proclaimed open. But actors and actresses were despised as people of the lower nine grades of society and were prohibited from taking the examinations. Mai describes the opera as being the one loophole in one hundred prohibitions in which everywhere was hidden significance of national revolution. Ming costumes were preserved, except for non-Manchu enemy barbarians who were dressed in Manchu clothing; themes of Song loyalists such as the Yang Family Generals were common. One thousand pieces, Mai says, shared", "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593", "rank": 0 }, { "id": 208945, "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-1980", "page_number": 107, "title": "RAS-1980", "content_text": "SILK & SILVER: MACAU, MANILA TRADE\n\n75\n\nwealth thereby to act as bankers to the shippers. Profits were seldom less than 100 and often as much as 300 per cent. In return the galleons from Acapulco brought about 2 million silver pesos to the Philippines in an averagely good year.23\n\nIn 1580, with the death of the Cardinal King Henry of Portugal, the crowns of Spain and Portugal were united in the person of Philip II. In the Indies as well as in Europe, the Cortes of Tomar of 1581 guaranteed completely separate Portuguese and Spanish administrations and made direct trade between the Spanish and Portuguese possessions overseas illegal. Both in Manila and Mexico there were many who wished to engage in direct trade with China, but the Portuguese argued that this would ruin their commerce in the Far East and that Spain would also suffer, as all the silver from Nueva España would go to China and not to Spain or the Philippines.24 They also claimed it would mean the ruin of the Portuguese Jesuit missions in Japan, since, as a bishop in the Philippines remarked, \"all these affairs are moved by but one wheel, namely Macau.\"25\n\nDirect voyages were even made occasionally from Macau to Acapulco, though these caused great scandal in official circles. In 1589, D. João da Gama made the first crossing of the Pacific from Macau but on arrival in Acapulco was imprisoned and his goods impounded.\n\nRequests made by the leading citizens of Manila to make voyages to \"Japan, Macau and all other kingdoms and posts, whether Portuguese or pagan\" were not granted.26 The government in Madrid accepted that Japan lay within the Portuguese sphere of influence and that Macau had a monopoly of the Japan trade, while at the same time the Macaonese consistently thwarted all Manila's attempts to gain a trading base on the China coast which would have competed with theirs. The Cantonese officials did finally allow the Spanish to settle at a place they called El Pinal on the coast between Canton and Macau; its exact whereabouts are unknown. The Portuguese informed the Chinese that the Spaniards were \"robbers and insurrectionaries who raise revolts in the kingdoms they enter\" and then attempted to drive them out of El Pinal. Though this attack was staved off, El Pinal was nevertheless abandoned shortly afterwards.27\n\nBy about 1610 some direct, though intermittent, trade had developed between Nagasaki and Manila. Most of it was conducted in", "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207", "rank": 0 }, { "id": 208949, "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-1980", "page_number": 111, "title": "RAS-1980", "content_text": "SILK & SILVER: MACAU, MANILA TRADE\n\n79\n\n› See Spate, op. cit., p. 151, Tien-tse Chang, Sino-Portuguese trade from 1514-1644. Leyden, 1934, pp. 35-38 and 54-56 and Boxer, South China in the sixteenth century. Being the narratives of Galeote Pereira, Fr. Gaspar da Cruz, O.P., Fr. Martin de Rada, O.E.S.A, 1550-1575. Hakluyt Society. 2nd series. CVI, pp. xIV-XX.\n\nBailey W. Diffie and George D. Winius. Foundations of the Portuguese empire 1415-1580. University of Minnesota Press and Oxford University Press, 1977, p. 380.\n\n↑ Cartas que os Padres e Irmaos da Companhia de Jesus escreverao dos Reynos de Japao e China desde anno de 1549 até o de 1580. Evora, 1598. Quoted in Boxer. The Great Ship from Amacon. Annals of Macao and the old Japan trade 1555-1640. Lisbon, 1963, p. 22.\n\n* For accounts of the foundation and early history of Portuguese Macau see Duffie and Winius op. cit., pp. 381-392, Jose Maria Braga. The western pioneers and their discovery of Macao, Macao, 1949, pp. 102-139, A. Ljungstadt. An historical sketch of the Portuguese settlements in China. Boston, 1836, pp. 30-46, Boxer. Fidalgos in the Far East 1550-1770. Oxford University Press, 1968, pp. 12-29.\n\n\"Chang, op cit., p. 98.\n\nLjungstadt, op cit., p. 79.\n\nSee Boxer. Portuguese society in the Tropics. The Municipal councils of Goa, Macao, Bahia and Luanda 1510-1800. University of Wisconsin Press, 1965, pp. 42-71. See also Montalto de Jesus. Historic Macao. Hong Kong, 1902, pp. 37-40.\n\n12 On the Captains-major see Boxer Great Ship, pp. 8-11 and 179-241, and Idem. Christian century, p. 106.\n\nU.H. Boinford writing from Surat to the East India Company of London. 29 April 1636. Quoted in Boxer. Great Ship, p. 1.\n\n14 Boxer, Christian century, pp. 426-427 and 464-465.\n\n15 Quoted in Boxer, Christian century, p. 93. Padre Lourenço Mexia in his report for 1580 makes an almost identical comment. See Boxer, Great Ship, p. 40.\n\n16 Viceregal provisao of 18 April 1584.\n\n17 Boxer, Great Ship, p. 39.\n\nJ See John Leddy Phelan. The Hispanization of the Philippines. Spanish aims and Filipino responses. University of Wisconsin Press, 1959, pp. 11-12, 42, 101-102 and P. Chaunu. Les Philippines et le Pacifique des Ibériques. Paris, 1960, pp. 43-46.\n\n1 Spate, op cit., pp. 161-164.\n\n20 For a detailed list of Chinese goods brought to Manila see Dr. Antonio de Morga. Sucesos de las Islas Filipinas. Mexico, 1609. Trans. and ed. Hon. H. E. J. Stanley. Hakluyt Society. First series. XXXIX, 1868, pp. 337-339,\n\n21 W. L. Schurz. The Manila galleon. New York, 1939, p. 27.\n\n22 Spate, op cit., p. 162.\n\n23 Boxer, Great Ship, p. 170.", "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207", "rank": 0 }, { "id": 209583, "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": 240, "title": "RAS-1982", "content_text": "218\n\nCARL T. SMITH\n\nSim-ple Assemblies for young he's and shees, Races, Regattas, Croquet, Sunday Teas. But, hark, the Prompters warning whistle blows, And bids me bring my prologue to a close.\n\nSome of the local references are lost to us today, but then they brought smiles, if not laughter. A history of the Amateurs picks up some of the lighter side of life in Hong Kong in the past.\n\nTHE CURTAIN RISES\n\nSoon after Hong Kong was established as a British military base in China officialdom encouraged amateur theatricals as a wholesome diversion from the tedium of military life.\n\nThe first attempt to bring drama to Hong Kong was to have been a combination of professionals and amateurs, but the project came to an abrupt end before it was well under way. A flamboyant Frenchman from Singapore named Gaston Dutronquoy announced in November 1842 that he had obtained the permission of the authorities to erect a theatre \"on a grand and imposing scale\" behind his tavern, the London Hotel, which was located on Queen's Road.\n\nHe informed an interested public that though the Theatre was not yet built, the actresses had already arrived. Backed by a claim of official sanction and available talent, Mr. Dutronquoy with his own flair for the theatrical announced \"to the nobility, gentry and clergy of this flourishing and opulent Colony that their Theatre is advancing rapidly towards completion. It is on a most splendid scale, and what with the pieces that will be performed, the scenery that will be produced, and the splendid assemblage of rank, beauty and fashion which they hope to be honoured with, there is no doubt but that the blaze of splendour will dazzle the eyes of all beholders\". He assured his public that the actresses' \"beauties and talents are only to be surpassed\n\n† As I wrote this paper more for entertainment than scholarship, I have not included documentation. The notices and reviews of the plays have been found in the local press: The Friend of China, The China Mail, The Hong Kong Register, The Daily Press, The Hong Kong Telegraph and The South China Morning Post. The appended list of performances and dates has been compiled from the same sources.\n\nPage 240\n\nPage 241", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209586, "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": 243, "title": "RAS-1982", "content_text": "221\n\nThe ground had been originally purchased from the Government as a speculative venture by one of Hong Kong's early entrepreneurs, George Duddell. His name is perpetuated in Duddell Street.\n\nTHE VICTORIA THEATRE\n\nDuddell sold the southern half of the lot in March 1846 to the Trustees of the Hong Kong Theatrical Company. They were John Cairns, editor of the Hong Kong Register, Robert Strachan, a small-scale merchant, and Edward Farncomb, Hong Kong's first enrolled solicitor. Two years later, after the building was erected, the Trustees had to convey the lot back to Duddell due to financial difficulties.\n\nThe new theatre was described as \"large and well adapted to the climate, it affords good accommodations both for the dispensers of the drama and the audiences\". It was named the Victoria Theatre.\n\nThe first performance in the new building was on 1 November 1848 under the patronage of H.E. Governor Bonham. The announcement stated that \"The Proprietors of the above Theatre, having received assistance from a few young Gentlemen, lovers of the Drama, whose desire is to add to the few amusements of the Colony; the Public are respectfully invited to witness their feeble efforts at an Amateur performance\". The programme consisted of \"the popular farce, 'The Weathercock', to be succeeded by a comic song, the whole concludes with the Farce, 'The Rival Valets'\". Newspaper reviews reported that the Theatre was \"well ventilated and brilliantly lighted in short the arrangements and decorations throughout reflect the highest credit on the manager\".\n\nUnfortunately the Governor was unable to be present due to a recent injury. The reporter remarked that this was \"a circumstance to which doubtless is attributable the absence of a number of fair colonists, who would have otherwise graced the occasion. Nevertheless the house was filled with an audience of highest respectability”.\n\n\"Respectable\" audiences were necessary to make the venture", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209587, "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": 244, "title": "RAS-1982", "content_text": "222\n\nCARL T. SMITH\n\nacceptable to the better parts of the community. There were those who looked with disfavour on the theatre. The behaviour of the habitues of the pit, as well as vulgarities in some of the productions of the day, brought the stage into disrepute among the strait-laced. Attitudes were beginning to change, however; in part this was due to attendance at the theatre of that most moral Queen, Victoria.\n\nAs for the quality of the inaugural performance at the Victoria Theatre in Hong Kong, a reviewer said of the actors, \"though somewhat behind the great houses, yet they were such as to give hope of good things ere long. It must be borne in mind, that with several of the performers it was their first appearance on any stage\". On the other hand, so few were interested in appearing on the stage, it was a matter for concern as \"the corps dramatique consists of only eight members it does not auger well for the general diffusion of dramatic talent among the 'aspiring youth' of the colony\". At the next performance, the reviewer faced the dilemma of how to criticize amateurs and still not discourage them. He gently suggests that \"we may perhaps be allowed to hint, that a little more time and attention would not be ill-bestowed by the performers in studying the characters they assume as some are considerably over-acted. But our wish is not to be censorious\".\n\nAfter this initial burst, amateur dramatics limped for three seasons and then faced death. In 1852 under a heading \"The expiring drama\" amateurs were invited to attend a meeting at the City Hotel \"to plan for a series of productions for the season in order to prevent the demolition of the Victoria Theatre\". There was a revival of interest and the season opened in January. It was noted that the new group, which called itself the Victoria Amateurs, was received \"with unmingled applause by the fullest and most fashionable audience we ever witnessed in the Theatre or anywhere else in Hong Kong”.\n\nRevived interest in amateur dramatics was necessary if the Theatre was not to be converted to other uses for it was not a paying venture for its proprietor, George Duddell. The Anglican Bishop had offered to lease it from him for conversion into a Sailors Home. Duddell, however, had interests of his own in", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209588, "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": 245, "title": "RAS-1982", "content_text": "223\n\nseamen's boarding houses and did not welcome pious competition, Rather than lease it to the Bishop he preferred to turn it into a sail-loft. However, the meeting at the City Hotel to revive interest in drama raised enough money by subscription to lease the building for another season.\n\nThe building was to be used not only as a theatre, but as a venue for Balls, meetings and other public purposes, but further funds were needed for refurbishing the building which had fallen into disrepair through infrequent use and the natural effect of time. The newly formed Theatrical Committee reported that “the interior will require repainting, and considerable alteration in seats. The roof ought to be lined with wood. This would improve appearance and acoustics. The stage should be lengthened by carrying it back some twelve or fourteen feet\". The Committee also reported that they had been successful in securing a group of amateurs who agreed to perform on the condition that tickets be issued gratis, \"so as to secure attendance alone of the respectable portion of the community\". This stipulation suggests that the earlier efforts of amateurs may have failed because rowdies had taken over and driven away audiences.\n\nAlthough the season got off to a good start, there was not sufficient financial support to sustain it. No more performances are reported in the Theatre. The last notice I have found of the building is in 1859 when an auction was advertised at the “Old Theatre next to the Oriental Hotel\".\n\nPORTUGUESE AND GERMANS\n\nThrough the years notices of performances by Portuguese amateurs appear. The first mention is in 1847 for a production at the \"Theatro da Sociedade\" at which music was provided by the visiting Macao Band. In 1852 the \"Theatrino Particular\" on Wellington Street announced a performance of Portuguese amateurs. One of the pieces presented was by young boys aged between eight and fifteen. The next year the boys performed in the Victoria Theatre under the direction of the schoolmaster, Mr. J.J. da Silva e Souza. As an entre-act four young girls performed a Spanish dance, the \"Guarrache”.\n\n!\n\n:", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209591, "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": 248, "title": "RAS-1982", "content_text": "226 \n\nCARL T. SMITH \n\nsee what should be done toward erecting a permanent theatre\". \n\nThe year following, 1862, plans for a Theatre and Assembly Room were on view at the Hong Kong Club. They were estimated to cost $34,000, but a newspaper reporter was more realistic. In his opinion \"a glance shows it would cost $60,000 at least\". \n\nSomething as ambitious as this had to wait some years. It was finally realized with the opening of the City Hall in 1869. In the meantime, mat sheds, a large room in St. Andrew's School and the Club Lusitano were used. \n\nA public meeting in 1864 resolved that the Amateur Theatrical Matshed should be kept and a committee appointed to see to its preservation. One happy feature was the debt-free state of the theatre following a successful season. During the 60s there were notices of the Queen's Theatre on Queen's Road East. It was probably the adapted godown mentioned in the columns of Jarrett in his series \"Old Hongkong\" in the South China Morning Post. A Theatre Royal was on military ground, used not only for performances by the Garrison but also by visiting professional dramatic companies. In 1865 it was announced it was to be pulled down \"for much needed barrack improvements\". After its demolition, the Garrison amateurs used the Murray Barracks Canteen. \n\nThe general public expressed its appreciation to the military for permitting the theatre to occupy their ground. It had, however, been a hot, stuffy place, poorly ventilated. \n\nTYPES OF DRAMA \n\nAll the early productions of the amateurs were described variously as farce, burlesque, comic drama, facetious tragedy, vaudeville comedy or burlesque extravaganza. \n\nPerhaps the first play of a mere serious tone was given in 1875, when \"Plot and Passion\" by Thomas Taylor and J. Lang was presented. It was noted, however, that a drawback to such a play was its love scenes, as these were difficult when played by males only companies. The reviewer thought that while it \n\n! \n\n!", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209592, "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": 249, "title": "RAS-1982", "content_text": "227\n\nwas commendable that the A.D.C. had departed from farce and burlesque, its venture into something more serious was not altogether successful; but the fault may have been not in the type of drama but in the type of characters of the particular play. It was the opinion of the reviewer that \"In selecting plays they should have no out-of-the-way characters. A success at home may not be suited to Amateurs, such as these in Hong Kong. Some dramas are written for special actors\". He suggested that \"perhaps the amateurs could give a selection, perhaps one or two scenes, or an act from a standard play, for example, the scene between Wolsey and Cromwell in Henry VIII.\" This had been done by the Hon. Mr. York at the inauguration of the City Hall's Theatre Royal in 1869 during the visit of His Royal Highness, the Duke of Edinburgh.\n\nThe suggestion was not taken up, and the Company attempted another serious piece, the popular play \"The Caste\". In this, the amateurs had to compete against the standard set by performances given a short time before by two different travelling professional companies in which actresses played the female parts. The comparison was not kind to the amateurs. As usual, the reviewer was reluctant to criticize, but he did venture to say that the performance might tend to lessen subscriptions for the next season. He thought too much had been spent on the costumes, when, in fact, in his view, \"people go to see acting, not wardrobe\".\n\nThe A.D.C. returned to something lighter, and in 1876 put on a very successful burlesque, \"The Field of the Cloth of Gold,\" by William Brough. The opening scene in the London production had been the harbour of Calais; in Hong Kong, it was the Praya between City Hall and the Bath House of the Victoria Recreation Club. The field of the cloth of gold was East Point. Though it was agreed that there was not much scope for dramatic talent in the piece, it was pronounced \"an undoubted success, and far surpasses, in splendour of the get-up, number of performers, and brilliancy of the scenes, anything hitherto placed on the boards of this colony\". Unfortunately, its lavishness had to be paid for, and it took several seasons before the A.D.C. had a balance.\n\nOne of the perennial favourites was the burlesque \"Aladdin the Wonderful Scamp\". It was given in 1863, 1867, 1875", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209597, "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": 254, "title": "RAS-1982", "content_text": "232\n\nCARL T. SMITH\n\nThe opportunity to give a world premiere came about in this fashion. Early in the year Mr. Sinclair directed students at the University of Hong Kong in two Dunsany plays. They did not attract much public attention, but Sinclair sent photographs of the production along with some newspaper notices to Lord Dunsany. As a result, he wrote a play about the Gold Isles and sent the manuscript to Mr. Sinclair with the intention that it also should be performed by the students. Unfortunately, they were not able to do so, so Sinclair, as one of the popular A.D.C. directors, decided to have a Dunsany evening and include \"The Compromise of the King of the Golden Isles\". It was full of colour, filled with pomp and ceremony. It is interesting to note that the late Noel Croucher served as a bodyguard in one of the crowd scenes and that Sinclair had consulted Sir Robert Kotewall and Mr. Fung Yuk-shum to get authenticity for the Chinese costumes and other details.\n\nIn 1926 the A.D.C. performed Dunsany's most successful play \"If.\" His plays have been described as \"decorative drama\". Many of them had settings in the Near and Far East.\n\nW. Sinclair was both an innovator and a man of cosmopolitan tastes. During the years he produced plays for the A.D.C., the repertoire ranged from Shakespeare to the future and from fantasy to realism.\n\nThe Hong Kong Mummers presented \"Twelfth Night\" in 1913. It was directed by Mr. Siegler, a name assumed by Mr. Sinclair for some of his early productions in Hong Kong. He later abandoned this pseudonym. \"Twelfth Night\" was billed as the first amateur production of Shakespeare in the Far East. This claim was corrected by the Tokyo A.D.C., which had presented \"As You Like It\" in 1906, \"Midsummer Night's Dream\" in 1911, and \"The Merchant of Venice\" in 1912. The Hong Kong A.D.C. had assisted Miss Janet Waldorf and her small company of professionals in \"As You Like It\" in 1899. It was scheduled for an outdoor performance on the Parade Ground, but this was rained out and it was held in the Theatre Royal. Weather did permit a second performance on the Parade Ground. In 1922, the A.D.C. under Sinclair produced \"The Tempest\".\n\n\"The Blue Bird\" by Maeterlinck was given in 1914. It was", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209599, "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": 256, "title": "RAS-1982", "content_text": "CARL T. SMITH\n\nCoward was followed, in 1923, with a science-fiction drama, \"R.U.R.\" or \"Rossum's Universal Robots\". It was written by Karel Capek, a Czechoslovakian. The reviewer linked some political events with the theme of the play: \"Saturday night brought us definite news of the elections at Home indicating how the workers of the country, dissatisfied with their lot, turned upon the Government and rose in support of the red flag of Labour. It was a coincidence that on the same night the Hong Kong A.D.C. introduced to the Colony a race of soulless, voteless men-machines, made by man in his own image to do the work of the world while the rest of us recline leisurely in our armchairs; told us they developed discontent and turned and rent their human tyrants\".\n\nWalter Sinclair left Hong Kong in 1925. He continued his directing career in Toronto, Canada and the United States.\n\nAfter his departure, the A.D.C. largely reverted to comedy. It would be unfair, however, to suggest that all their productions fell into the category of the title of a 1925 piece of the A.D.C., \"A Little Bit of Fluff\". In the years immediately preceding the Japanese occupation of Hong Kong, plays were presented by such respectable authors as Emlyn Williams, Terrance Rattigan and Somerset Maugham.\n\nTHE LOCAL SCENE\n\nOpportunities were seized to inject local allusions in productions. As an example we give excerpts from the burlesque \"Fra Diavolo\" given by the Rifle Brigade. The author J. H. Thresher used the original by Byron only as a skeleton on which to lay topical references. His efforts were described as having a decided Gilbertian vein.\n\nAs befitting a production of the garrison some of the local allusions were military, as for instance the following references to the barracks at Kowloon. During an altercation between Lord and Lady Allcash, the Lord says to the Lady:\n\nMadam, drive me not,\n\nFor if you do, I'll show you soon what's what; I'll make things fly, just like the late typhoon", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209602, "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": 259, "title": "RAS-1982", "content_text": "237\n\nAnd then a good old China Hand you'll Be.\n\nSuch references brought drama down to the daily life of the theatre goer in Hong Kong.\n\nHOME GROWN PLAYWRIGHTS\n\nThe Hong Kong Daily Press in 1894 published a play by Henry E. Pollick entitled \"Soso: A Drama of the Day\". It does not seem to have been staged in Hong Kong.\n\n\"The Cook: an Idyll of the Peak\" was produced at the Theatre Royal in 1912. It was written by R.M. Crosse, of the Royal Artillery. The plot revolved around a search for a cook when a mess of the 445th Regiment, comfortably stationed at the Peak, had to replace their competent cook who had disappeared a few days before the expected arrival of the Brigadier General.\n\nTwo years later Mr. Crosse wrote another more ambitious piece which he characterized as \"a musical stunt in two acts\" entitled \"The Idol's Eye\". The first act was set in England at a garden party. The second act's setting was the How Kwik monastery in the Province of Kwangtung. One of the principal characters Lai On is the \"boy\" of an official in the Chinese Maritime Customs. He penetrated into the monastery to secure the Idol's jade eye by the pretext of becoming a novice. In case any should have been put off from attending by the problem of the language a Chinese character might use, they were informed that “Lai On speaks both grammatical and ‘Pidgen' English during the piece. Grammatical English is used where Lai On would naturally talk and think in Chinese. 'Pidgen' is reserved for his conversation with foreigners\". The How Kwik monastery scene enabled Mr. Crosse to introduce Chinese religious ceremonies and temple music into the play.\n\nAt the time, the public was being captivated by musicals with an Oriental setting, and Mr. Crosse, who was soon to return to England, hoped to have his work produced there. I do not know if he was successful.\n\n† Pollick may not have been a resident of Hong Kong.", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209606, "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": 263, "title": "RAS-1982", "content_text": "241\n\n# APPENDIX\n\n## THE HONG KONG AMATEUR DRAMATIC CLUB AND ITS PREDECESSORS Significant Dates and Performances.\n\n(Authors and dates of first publication or production from A. Nicoll, A History of English Drama, \"Handlist of Plays\".)\n\n(Note: only ADC productions are noted here: professional performances, and performances by Garrison groups or other amateur groups not detailed here).\n\n### 1844/45\n\n18 Dec. 1844 proposed to form a dramatic company of amateurs under patronage of H. E. Governor Davis.\n\n### 1845/46\n\n3 Jan. 1846 Tues. last performance given by \"Corps Dramatique\" at Aqui's Theatre in the Lower Bazaar.\n\n27 Jan. 1846 party of Amateur Performers presented \"The Lady and the Devil\" followed by \"Fortune's Frolic\" Aqui's Theatre.\n\n24 Mar. 1846 Amateur Performers Wed. last, \"The Midnight Hour\" and \"The Sleep Walkers\" Theatre.\n\n28 Apr. 1846 Amateur performance Mon. evening at Aqui's.\n\n27 June 1846 - Amateur Performers fifth and last performance at Aqui's Theatre.\n\n8 Jan. 1846 at length a fair prospect of a Theatre being erected in Hong Kong. Idea suggested last year. Half of funds needed already subscribed.\n\n9 Feb. 1846 Meeting of shareholders of proposed Theatre at house of Mr. Just, corner Queen's Road and Pottinger Street.\n\n### 1848/49\n\n1 Nov. 1848 first public performance by amateurs in new theatre (the Victoria) erected by Mr. Duddell. \"The Weathercock” (J. T. Allingham, 1805) followed by a comic song, concluded with farce \"Rival Valets\" (J. Ebsworth, 1805).\n\n1 Dec. 1848 - Amateurs second performance. \"Fortune's Frolic\" farce (J. T. Allingham, 1799) \"Bambastes Furioso\" burlesque tragic operetta (W. B. Rhodes, 1810) \"The Weathered\" farce\n\n### 1852/53\n\n8 Nov. 1852 meeting at City Hall of persons interested in the revival of drama in Hong Kong. To take measures for preserving the Victoria Theatre to the community for purpose it was originally erected. Committee of four to organize Theatrical Company.", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209607, "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": 264, "title": "RAS-1982", "content_text": "242\n\nCARL T. SMITH\n\n1 Dec. 1852 - first performance of amateurs under new management.\n\n12 Feb. 1853 — Victoria Amateurs.\n\n\"Twice Killed\" farce (John Oxenham, 1837) \"Slasher and Crasher\" farce (J. M. Morton, 1848)\n\n19 Mar. 1853 meeting at Victoria Theatre for purpose of forming a Corps Dramatique to arrange for another performance at an early date.\n\n20 Apr. 1853 \"Animal Magnetism\" farce (Mrs. E. Inchbald, 1758)\n\n\"A Kiss in the Dark\" farce\n\n19 May 1853 last night of season of Victoria Amateurs.\n\n\"Time Tries All\" dramatic drama (J. Courtney, 1848) \"Toothache, or The Prince and the Chimney Sweep\" farce\n\n1853/54 27 Oct. 1853\n\nMeeting at Victoria Theatre of those interested in theatricals to make arrangements for the coming season. (I found no notice of any performance for this season).\n\n1860/61 3 Jan. 1861 \"Still Waters Run Deep\" (T. Taylor, 1855)\n\n1861/62\n\n1862/1863\n\n29 Jan. 1861 new theatre, Hong Kong Amateur Theatre, performance by officers and gentlemen who have organized this establishment:\n\n\"A Bachelor of Arts\" (P. Hardwicke, 1853) \"A Nice Firm\" (T. Taylor, 1853)\n\n25 Feb. 1861 performance of Gentlemen Amateurs Mon. last.\n\n28 Mar. 1861 theatrical season drawing to close. Appreciation to the Committee. Difficult to see how the Amateur Theatrical Company could have managed without aid from the garrison.\n\nDec. 1861 - first performance of season:\n\n\"Cool as a Cucumber\" (M. W. B. Jerrold, 1851) \"The State Secret\" (A. Snodgrass, 1821, or T. E. Wilks, 1836) in same commodious erection as served so well for last year's performances,\n\n23 Jan. 1862 second public performance of Hong Kong Amateur Theatre:\n\n\"Not a Bad Judge\" comic drama (J. R. Planche, 1848) \"The Critics\" facetious tragedy (Sheridan, 1779)\n\n1862 season\n\n\"Cramond Brig\" (W. H. Murray, 1826)\n\nDec. 1862 The theatre a reproduction of last year's design. \"Uncle Zachary\" comic drama (John Oxenford, 1860) \"Fearful Tragedy in Seven Dials\" (Charles Selby, 1857)", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "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", "rank": 0 }, { "id": 209674, "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": 331, "title": "RAS-1982", "content_text": "BOOK REVIEWS\n\n309\n\nJean Gittens' medical background equips her well for the task. She takes us through the trials of the internees in equipping the camp, the gradual adaptation of the Peak dwellers to their uncomfortable surroundings, domestic arrangements and the organising of lectures and drama to the eking out of meagre rations and the gradual mental and physical deterioration of inmates despite both the sterling efforts of medical personnel and the notable courage of friends outside the camp. All described in such a matter-of-fact way that their full horror registers only slowly. For Jean, freedom when it came was to bring another blow; her husband, Billy, had not survived.\n\nAndy Leiper and his wife did not arrive in Hong Kong until mid-1939. He trained with the Volunteers, but, as one of the managers of the Chartered Bank, was required by the authorities to stay at his post to keep the bank running for as long as possible. He recounts in remarkable detail how the bank continued to deal with hordes of depositors right up to the final surrender while, at the same time, coping with refugee families and the occasional bombing raid. By day he was a banker; by night he helped out with the Volunteers, anxious all the while for his brave wife, who had refused to leave Hong Kong, preferring to work with other volunteers in the hospital.\n\nTogether with other bankers, Leiper and his wife were lodged initially in a Wanchai brothel, commandeered by the Japanese, and required to work with the occupying forces in the liquidation of the banks. This continued until June 1943 when they were finally transferred to Stanley: \"The fresh air and the sunshine were an indescribable joy and more than compensated for the shorter rations.\" Then, in January 1944, he was arrested along with several other bankers, and thrown into solitary confinement. There he was subject to constant brutality and intermittent torture at the hands of the Kempetai. Small wonder that, on return to Stanley at the end of the war, the mere sight of a hungry Japanese guard in the doorway of his room was sufficient to send him into screaming delirium.\n\nIn dealing with two very personal accounts of such harrowing experiences, comparisons can be invidious, but of the two, I much prefer Leiper's book. For all its wealth of detail, “Stanley:", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209699, "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": 356, "title": "RAS-1982", "content_text": "334\n\nBOOK REVIEWS\n\nAll in all, students should welcome this handsome book available at a reasonable price.\n\nH. Y. SHIH\n\nClassical Chinese Gardens, ed. Qian Yun. H.K.: Joint Publishing Co., & Beijing: Chinese Building Industry Press, 1982. 240 pp. (including 209 colour plates).\n\nThis is the most satisfying among a number of books on the same subject published in the past decade. Although the text is brief, intended for the general reader, it highlights the special aesthetic qualities of these combinations of architecture and constructed landscape, and offers a synoptic but well-founded history of various types of gardens - imperial, private, religious and scenic parks.\n\nSeveral surviving examples of such gardens and parks are discussed in this book, each illustrated with a plan of its design as well as photographed views. A brief written description of its history, chief monuments and experience of the visitor while walking through or standing at various points, introduces the individual complexes. The quality of this book's reproductions is exceptional. Especially pleasing is the revelation of their views in different seasons.\n\nApart from the many well-known sites in Beijing, Hangzhou and Suzhou, the book includes such relatively less tourist-ridden locations as the \"Magnificent Clear Lake\" near Xian, and a number of private (and still occupied) residences in Beijing as well as the provinces. Temple gardens in or near a number of cities are a welcome addition as they have been less well publicized for China than for Japan, yet Chinese examples served as prototypes for many in Japan. The final entry in this section of the book is the Norbu Lingka (Treasure Garden), the former summer resort of the Dalai Lama but originally designed for the Qing Dynasty's Resident in Tibet.\n\nOf course, it would demand a much more ambitious undertaking than the work described above, but this reviewer looks forward to a book on Chinese gardens that would offer basic information as to architectural design and construction and...", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209705, "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": 362, "title": "RAS-1982", "content_text": "340\n\nBOOK REVIEWS\n\nThe author sticks strictly to plan and plunges directly into the issues (and intrigues) of Brooke rule, giving the space of only twelve pages to a historical background.\n\nThis is very much a book centering upon the characters who played roles in Sarawak public life during the three eventful decades of the reign of the third white Rajah, Charles Vyner Brooke (1917-1946). The author says directly what Somerset Maugham would have (and did partially) veiled in fiction about the intrigues, pettyfogging and peccadillos of Englishmen in a remote corner of tropical Malaysia, and the dedication and opportunism in their relationships with an often fickle native elite.\n\nCharacters worthy of a Hollywood drama flit, and more often linger, across the engrossing narrative: the opportunist-adventurer (and unbalanced?) T. E. Lawrence-like G. T. M. MacBryan; the feckless and no less opportunistic camp-followers of the Brooke family; the forever feuding Brookes themselves (although in the present century they are pale shadows of the energetic giants of the last century represented by Rajah James and Rajah Charles, the first and second rulers.)\n\nThe author's style is an entertaining and revealing approach to the recent history of this always appealing little state. But it is more, for it weaves the characters and episodes into the major serious issues which have confronted Sarawak in its journey from the status of a backwater private estate into the modern \"third-world\" of Southeast Asia. Such issues as the propriety of the Brooke cession of the territory to the British crown following World War II; and the very real issue of economic modernization in balance with the protection and preservation of traditional ways and rights. The pages on the development of political awareness and activity among the various ethnic groups is most interesting.\n\nThe one major criticism of the work is that the author can't seem to make up his mind whether the Brookes were progressive or conservators of the traditional status quo as regards economic and social policies. On pages 9 and 10 Rajah Charles was \"preparing\" the way for drastic change as the state moved into the twentieth century. But in summing up two pages later the author decided that Rajah Charles was \"opposed\" to change that", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209761, "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-1983", "page_number": 20, "title": "RAS-1983", "content_text": "In addition to her work on the Kau Sai fishing people, Barbara's writings during the 1950s and 1960s touched on a number of other aspects of Chinese society, including the structure and operations of Chinese small factories in Hong Kong and the organization of Hakka guilds in Borneo. Moreover, Barbara's data on Kau Sai were incorporated into her comparative study of the role of credit and loan facilities in peasant commercial production and also informed her essay on sex roles in southeast Asia—a valuable and perhaps underestimated introductory essay to the book, which she edited, on the impact of the changing public status of women upon the private domestic lives of both sexes in the various countries of southeast Asia. Barbara's writings on \"conscious models\" explored the problems of the manner in which the actual behaviour of the Kau Sai fishing people had been influenced by the traditional pattern of the classical Chinese family, the role of ideological models in promoting \"the uniquely long continuity and wide similarity of the Chinese socio-cultural system\" and, more generally, the relevance of Levi-Strauss' notion of conscious models to the analysis of the relationship between various local sub-cultures within Chinese society and the wider Chinese socio-cultural system. 8\n\nDuring the 1970s, Barbara became increasingly concerned with the social and cultural dimensions of opera in south China. Undoubtedly, Barbara's work on conscious models was an important factor in the development of this interest, for her first essay in this new area dealt with the role of opera as a disseminator of Chinese culture among the local communities of south China, such as that of Kau Sai. Sadly, Barbara died just at the time when her thoroughly-researched and well-written articles on popular Chinese drama were beginning to appear in print. Perhaps our greatest loss as a community of China scholars is that the potential of Barbara's endeavours in this area of Chinese social life can no longer be realised. Perhaps, too, the loss will be felt just as keenly by others whose concerns lie outside the China field. When Barbara chose Chinese opera as her topic for the Jane Ellen Harrison Memorial Lecture, which she gave at Newnham College in 1978, her lively presentation and thoughtful analysis of the symbolism of traditional Chinese theatre won the interest of a large non-specialist audience. It is hoped\n\nxix", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 209762, "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-1983", "page_number": 21, "title": "RAS-1983", "content_text": "that tentative plans to publish a collection of her initial papers on popular Chinese drama will come to fruition. Barbara's earlier essays, dealing with the boat people, conscious models and so on, are to be published in the near future by the Chinese University of Hong Kong Press under the title Through Other Eyes: Essays in understanding 'conscious models' mostly in Hong Kong.\n\nBarbara was a founding member of the British Sociologists of China Research Group and her dedicated and imaginative contributions to sinological anthropology will be sorely missed by the group.\n\n(This Obituary was produced by the British Sociologists of China Research Group and printed in the Bulletin of the British Association of Chinese Studies and is reprinted here with the permission of the President of the British Association of Chinese Studies).\n\nNOTES\n\nSocial Organization of the Ewe-speaking People, M.A. Thesis, Anthropology, University of London, 1965.\nSome observations on religious cults in Ashanti, Africa, 26 (1): 47-61 (1956).\nAt the time of her death Barbara was writing the introduction to a revised version of Tien's monograph, The Chinese of Sarawak: A Study of Social Structure, (London, 1953).\n\nA Hong Kong fishing village, Journal of Oriental Studies, 1 (1): 195-214 (1954); A Hong Kong fishing village, Geographical Magazine 31 (6): 300-03 (1958); Floating villagers: Chinese fishermen in Hong Kong, Man, 59 (article 62): 44-45 (1959); The surge to the towns, Unesco Courier, 9: 5-6 (Sept., 1964); Varieties of the conscious model: The fishermen of south China, in M. Banton (ed.) The Relevance of Models for Social Anthropology, (London, 1965); Sociological self-awareness: some uses of the conscious model, Man (N.S.) 1 (2): 201-15 (1966); Chinese fishermen in Hong Kong: their post-peasant economy, in M. Freedman (ed.) Social Organization—Essays Presented To Raymond Firth, (London, 1967); Temper tantrums in Kau Sai: some speculations upon their effects, in P. Mayer (ed.) Socialization: The Approach from Social Anthropology, (London, 1970); Women and technology in developing countries, Impact of Science on Society, 20 (1): 93-101 (1970).\n\nA small factory in Hong Kong: some aspects of its internal organization, in W. E. Willmott (ed.) Economic Organization in Chinese Society, (Stanford, 1972); A Hakka Kongsi in Borneo, Journal of Oriental Studies, 1 (2): 358-70 (1954). Note also Barbara's papers: Chinese secret societies, in N. Mackenzie (ed.) Secret Societies, (New York, 1967): The\n\nXX", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 209763, "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-1983", "page_number": 22, "title": "RAS-1983", "content_text": "integration of the child into a Chinese social world: a preliminary exploration of some non-literate village concepts, Psyche: Hong Kong Psychological Society Bulletin, 4: 7-17 (1980).\n\n• Cash or credit crops? an examination of some implications of peasant commercial production with special reference to the multiplicity of traders and middlemen, Economic Development and Cultural Change, 8 (2): 148-63 (1960). Reprinted in J. Potter, M. Diaz and G. Foster (eds.) Peasant Society: A Reader (Boston, 1967).\n\n7\n\n* Men, women and change: an essay in understanding social roles in south and south-east Asia, in B. E. Ward (ed). Women in New Asia, (Paris, 1963).\n\nLF\n\nVarieties of the conscious model: The fishermen of south China, in M. Banton (ed.) The Relevance of Models for Social Anthropology, (London, 1965); Sociological self-awareness: some uses of the conscious model, Man (N.S.) 1 (2): 201-15 (1966). Note also her forthcoming essay, Folk models, decision and change, in B. E. Ward, Through Other Eyes: essays in understanding conscious models mostly in Hong Kong, (Hong Kong 1985).\n\n\"Barbara's writings on opera include: Readers and audiences: an exploration of the spread of traditional Chinese culture, in R. Jain Text and Context: The Social Anthropology of Tradition (Philadelphia, 1977); Not merely players: art and ritual in traditional China, Man (N.S.) 14 (1): 18-39 (1979); The red boats of the Canton delta: a historical chapter in the sociology of Chinese regional drama, (paper read at a conference held in Taipei, 1980); Regional operas and their audiences: evidence from Hong Kong, in (editor unknown) Popular Culture in Late Imperial China, (Berkeley and Los Angeles, forthcoming, probably 1984); see also John Law and Barbara E. Ward, Chinese Festivals (Hong Kong, 1982).\n\nxxi", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 209832, "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-1983", "page_number": 91, "title": "RAS-1983", "content_text": "69\n\nA word needs to be said about the term 'Chinese'. Within China now live a number of ethnic groups. In addition to the Han majority, there are Manchus, Mongolians, Tibetans, and so on. Linguistically, the word 'Chinese' is usually made to refer to the language of the Han group. A number of dialects are found within the Han language, the ones of most interest to us in our study being Cantonese, Mandarin, and to a lesser extent, Amoy. The great majority of the loans described in our study have entered English from these three dialects. In a small number of cases, e.g. Lama, Manchu, Cathay, we have extended the word 'Chinese' to cover non-Han languages used in China. A few loans described in our work have entered English through another language, as in the case of tycoon ultimately from ta-ta or 'great Mandarin' and soya ultimately from shi-yu which were borrowed through Japanese.\n\nWe have excluded from our list of loans those words which refer only to individual persons and specific geographical locations. Our selection is based on the meanings of the loan words in the borrowing language, and not on their originals, which may be the names of people or of places. For example, the source for Bohea Wu-i is the name of a mountain range transliterated 武夷 according to its Amoy pronunciation, and the name of a city Nanking has given rise to nankeen the name of a kind of cloth. In the case of Confucius and Mao, these combine readily with other elements to form words which refer to a philosophy, an ideology, or even a style of clothing, e.g. Confucianism, Mao jacket.\n\nWe have taken care only to choose those words which are in general use, and have excluded the 'jargon' associated with various specialized fields, e.g. wu tsai or ‘five colours' connected with the study and appreciation of Chinese porcelain, or ping, shang, qu, ru used to refer to the tones in Chinese linguistics.\n\nThe loan words chosen for discussion in our study have been selected according to the following criteria:\n\n(1) they occur in books and periodicals published in Hong Kong or abroad within the last three decades (up to 1983).", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 209843, "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-1983", "page_number": 102, "title": "RAS-1983", "content_text": "80 \n\nwords of Chinese origin are almost always anglicized in pronunciation. There may be doubt concerning how the word should be pronounced, but rarely is the Chinese pronunciation retained. For example, take the word cheongsam. The affricate /ts/ is replaced by the English /ch/ and the rounded vowel similar to that in the English \"bird\", but with lip-rounding, is replaced by a vowel identical to that in the English 'long'. Similarly in fung shui the Cantonese diphthong /oey/ (similar to that in the French 'lui') is substituted by the /u/ + /i/ sequence as in the English 'ruin'. On the graphological level, there is no question of the loans being written in Chinese characters. The letters of English alphabet may however occur in rather unfamiliar combinations, as in the case of e-o-n-g occurring in cheongsam, and u-e-y in chopsuey.\n\nAnother requirement for full assimilation is related to the grammatical status of the word. Grammatically, it is assigned to a word class, or may have multiple-class membership. It behaves like other members of the class, so that if it is a countable noun it is inflected for number, and if it is a verb, it can take a past tense ending, and so on. Thus typhoon is inflected for number and kowtow for person and tense. It obeys the syntactical rules of the language in combining with other words to form grammatical sentences. For example, the headline 'Running water for lamas' occurs in The South China Morning Post, (7/82) also in the same paper, someone is described as 'mingling with the rich tai tais'. The word is not restricted in occurrence to limited contexts, but may be found to combine freely with other words to form bigger constructions, so that one can speak of Bruce Li as a 'kung fu superstar' The South China Morning Post (26/4/82), while in Noble House the writer mentions ‘a flood of amah Cantonese' (p. 1017). Cheongsam, in its past participle form, functions as an adjective in ‘cheongsamed girl', as used by Richard Hughes (p. 98) and James Clavell (N.H., p. 9). Derivational affixes may be added, as when ‘ism' or ‘ist' is added to the loans tao, lama, Mao, giving taoist, taoism, lamaism, Maoist and so on. It does not matter that Confucius originally derives from a surname plus a title; now that it has been established in the English language, one can derive Confucian and Confucianism from it. Again, it is of no significance that the model for Shanghai", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 209850, "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-1983", "page_number": 109, "title": "RAS-1983", "content_text": "Chinese \n\n87 \n\nLoan Word \n\nKumquat, \n\ncomquat \n\nCharacters \n\nKung fu \n\n功夫 \n\nKuomingtang 國民黨 \n\nKuoyu \n\n國語 \n\nKwan-yin \n\n觀音 \n\nkylin \n\n麒麟 \n\nLama \n\n喇嘛 \n\n*laisee \n\n利是 \n\nDEP \n\n** \n\n*Lap sap \n\n垃圾 \n\n*Lap sap chung \n\n垃圾蟲 \n\nLi \n\n里 \n\nWW D \n\n里/座 \n\nLoquat \n\n枇杷 \n\nLychee \n\n荔枝 \n\nMafoo \n\n馬夫 \n\nMahjong, \n\n麻將 \n\n249 2011 \n\nmah-jong (g) \n\nManchu \n\n滿洲 \n\nMao \n\n毛 \n\n*Maotai \n\n茅台 \n\nNankeen \n\n南京棉 \n\nOolong \n\n烏龍茶 \n\nMeaning \n\nThe small round orange fruit of such a tree, with a sweet rind, used in preserves and confections. \n\nA Chinese martial art combining principles of karate and judo. \n\nThe main political party of the Republic of China, founded chiefly by Sun Yat-sen in 1911 and led since 1925 by Chiang Kai-shek; the dominant party in mainland China until 1948. \n\nThe name given to the Chinese \"national tongue\", form of Mandarin adopted for official use. \n\nOne of the Chinese female Bodhisattvas, noted for her kindness. \n\nA fabulous animal of composite form, figured on Chinese and Japanese pottery. \n\nA Buddhist priest of Mongolia or Tibet. The red packets containing money meant to bring luck given on birthdays and festivals, especially at Chinese New Year. \n\nRubbish, \n\nLiterally 'rubbish worm', meaning a litter-bug. \n\nA Chinese measure of distance 27-4/5 li = 10 miles. or a Chinese weight, one-thousandth part of liang. \n\nA small evergreen tree of the rose family, native to China and Japan; the small yellow, edible plum-like fruit of this tree. \n\nThe fruit of the nephelium litchi. \n\nA Chinese stable boy or groom. \n\nAn old Chinese game, played usually by four persons with 136 or 144 \"tiles\". \n\n(One) of the native Mongolian race of Manchuria which formed the ruling class in China from 1644 to 1912. \n\nAdjective from Mao Tse-tung. \n\nStrong Chinese alcoholic drink, \n\nKind of cotton cloth originally made of naturally yellow cotton. \n\nA dark variety of cured tea.", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 209925, "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-1983", "page_number": 184, "title": "RAS-1983", "content_text": "162\n\nrisks. Otherwise the whole family would starve (he laughed). In a large company, there is wider exposure and one can learn more. Then one can be an owner.\n\nThe high premium on individual autonomy among the spinners, it appears to me, has its origin in the cultural world view of the Chinese. Various schools of Chinese philosophy since the Warring States period shared one basic premise: men are 'naturally equal', (Munro 1969: 1-22). This means that men are born with common attributes at birth. Social inequality appears because some persons can realize their potential through their own efforts, especially by means of education. This conception of man was embodied in a peculiar system of social stratification in traditional China. A strictly hierarchical structure coexisted with an ideology exhorting individual social mobility, (See Chü 1957; Ho 1962: 1-91). No status, no matter how high, was regarded as intrinsically beyond the reach of an individual. In order to maximize one's chances of upward mobility, one should not let one's ambition be suppressed. This outlook affects Chinese economic behaviour and creates problems for the Chinese owners. They must try to devise means to cope with the centrifugal tendencies among their executives. This raises the question of the effect of the role set on the performance of the entrepreneurs. Most studies of entrepreneurship simply look at the entrepreneur in isolation and try to define his essence. They tend to neglect that entrepreneurial performance is often collectively determined. To understand entrepreneurship fully, we should take into account the behaviour and orientation of the people on whom the entrepreneur has to depend, in particular his executives and assistants. In his essay on the Protestant ethic, Weber has touched on this aspect. He writes (1930: 177):\n\n'The power of religious asceticism provided him [the entrepreneur] in addition with sober, conscientious, and unusually industrious workmen, who clung to their work as to a life purpose willed by God.'\n\nThis passing comment does not seem to have captured the imagination of later sociologists. Therefore the 'organization men' who form the supporting cast in the drama of industrialization do", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 209986, "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-1983", "page_number": 245, "title": "RAS-1983", "content_text": "223\n\nor the artisan. And even The Water Margin 水滸傳, an omnibus of tales about a large band of outlaws, tells us next to nothing about the life of ordinary men and women. drama, poetry and documentary writings.\n\nSo it was, also, with\n\nEarly travellers, missionaries, traders and diplomats from other cultures were not tied in the same way to one social class in China. They do show in many cases a marked preference for chronicling the deeds and circumstances of the elite, but in their writings they roam over all aspects of Chinese life because they could take no knowledge on the part of their readers for granted. By the time that Chinese scholars and Western sociologists came to be interested in popular culture and the workings of everyday life. China was in the throes of modernisation and encroaching foreign influences, and the old accounts of China as seen through the observant and frequently bigoted eyes of early Western writers came into their own again. Here lay a mass of material on what life was like before the -isms and schisms of the twentieth century began to warp it in strange ways.\n\nnow.\n\nWhat has been happening in recent years has been a dovetailing of the study of old China with the study of China We can very well use scientific analysis to show how contemporary people behave, but we cannot necessarily use it to discover why they hold a particular set of beliefs and prejudices. Here the study of Chinese history and traditional culture can help us to achieve an understanding. On the other hand we have no good information on how the common people of imperial China behaved, but we can track back from what we know of how contemporary people behave to gain a greater understanding of what those earlier times must have been like. One China did not cease in 1911 or 1949 and another different China take its place: there is a meaningful continuity over time. Here lies the justification for the Ancestral Images approach, and I do not find it surprising that at the time of writing this a Chinese translation of the books is about to go to press why shouldn't the Chinese want to explore the cultural links with their past, even if through the dim eyes of a foreign observer?\n\nHow good, then is this list of books I have quoted from? Is it a representative sample of what is available? Are all the", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 209994, "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-1983", "page_number": 253, "title": "RAS-1983", "content_text": "p. 49. Drage, Charles, Two-gun Cohen, London, 1954, p. 135.\n\np. 53. Addison, Ancestor Worship, p. 54.\n\np. 54. Mayers, Reader's Manual, p. 157.\n\np. 55. Buss, Kato, Studies in the Chinese Drama, Boston, 1922, pp. 75-76.\n\np. 57. Ibid, p. 62.\n\np. 57. Couling, Encyclopaedia, p. 148.\n\np. 60. Smith, D. Howard, Religions, p. 163.\n\np. 60. Teichman, Eric, Travels of a Consular Officer in North-West China, Cambridge, 1921, p. 148.\n\np. 62. Milne, Rev. William C., Life in China, London, 1857, p. 97.\n\np. 64. Cockrill, W. Ross, The Buffaloes of China, Rome, 1976, p. 32.\n\np. 65. Ball, Things, p. 125.\n\np. 65. Arlington, L. C., Through The Dragon's Eyes, London, 1931, p. 132.\n\np. 67. Johnston, Lion and Dragon, pp. 181-182.\n\np. 70. Teng Ssu-yu and Fairbank, John K., China's Response to the West, Harvard, 1954, pp. 24-25.\n\np. 72. Endacott, G. B., A History of Hong Kong, London, 1958, p. 109.\n\np. 75. Krone, Rev. Mr., 'A Notice of the Sanon District', Journal of the Hong Kong Branch of the Royal Asiatic Society, Vol VII, 1967, pp. 124-125.\n\np. 75. Wesley-Smith, Peter, Unequal Treaty, 1898-1997, Hong Kong, 1980, p. 191.\n\np. 78. Doolittle, Social Life, Vol II, p. 169.\n\np. 78. Lin Yutang, My Country, p. 98.\n\np. 82. Mayers, Reader's Manual, pp. 359-360.\n\np. 86. Doolittle, Social Life, Vol I, pp. 207-208.\n\np. 90. Bredon and Mitrophanow, Moon Year, p. 395.\n\np. 90. Williams, C. A. S., Outlines, p. 254.\n\np. 92. Broomhall, Martyred Missionaries, p. xii.\n\np. 98. Couling, Encyclopaedia, p. 328.\n\np. 98. Arlington, Dragon's Eyes, p. 125.\n\np. 100. Ibid, p. 100.\n\np. 101. De Groot, Religious System, Vol I, p. 14.\n\np. 106. Hong Kong Weekly Press and China Overland Trade Report, Hong Kong, June 1903.", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 210079, "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-1984", "page_number": 50, "title": "RAS-1984", "content_text": "29\n\n2. Historical precedents: many of the sets of temple oracles, and certainly the major ones (B-1, B-2), contain somewhere near the edge of the printed slips short sentences which are rather titles than complete sentences. W. Eberhard has done a preliminary examination of these and states that they refer to historical or legendary events from China's past often known to the general public through popular dramas. Although traditionally the majority of the rural people in China were illiterate, they would naturally know the stories referred to in the oracle slips from their own experience of stage performances in the village. Drama, and in modern times puppet theatre, have been effective ways to educate the people in the countryside, especially since these stories usually contain a moral lesson, and extol such national virtues as filial piety, righteousness, integrity, loyalty, patriotism, etc. By attaching a reference to a famous event of the past to the oracle, the ordinary uneducated worshipper would understand the basic meaning of the oracle: what happened long ago to hero so-and-so, also applies today to the problem at hand. Eberhard quotes eleven examples from set B-2 (the Kuan Ti oracles), from which I pick the following one:\n\n“No. 10: Meng Chiao passes the examination at fifty”, thus very late in life. Meng was a friend of the scholar Han Yu (768-835)... The oracle indicates that success will not occur until very late...\"22\n\nThe application from the story to the particular request made by the worshipper seems to be very clear: Whatever was asked for will not be immediately granted but the petitioner will succeed in the end. The worshipper is encouraged not to give up but to remain patient.\n\nIn a table at the end of his article, Eberhard lists for B-1 and B-2 the number of plays or stories that he has been able to identify, i.e., to find the corresponding drama and/or story in literature. Very likely some titles refer to local dramas and are thus not easy to identify. In B-1 (the 100 Kuan Ti oracles) 83 are identified, whereas for 10 oracles the titles are missing (I presume in the set available to him). What is interesting is that the titles of the two sets under study (B-1 and B-2) are not the same, and they are probably", "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572", "rank": 0 }, { "id": 210080, "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-1984", "page_number": 51, "title": "RAS-1984", "content_text": "30\n\nJULIAN PAS\n\nalso different in other sets. This point, however, needs further detailed study. One example may serve as a warning to prevent rash conclusions: in set B-11 (or 12), there is reference to a play or story which is at first view similar to the one quoted above (no.10 of the B-2 set):\n\n\"No. 47: Lady Kao Ta becomes famous at fifty.\"23\n\nAlthough the story referred to is different, still the moral drawn from it may be similar. Therefore a detailed analysis of all the story/play types should be undertaken.\n\nFrom all this it is obvious that Chinese history is here used as a rich source for moral examples, or for predictions concerning one's future. Human life in its endless chain of apparently personal events, still can be reduced to a number of prototypes; although the exact details vary ad infinitum, the models resemble each other in their basic orientation. What happened 2,000 years ago to so and so, may happen again to me right now, if my action follows the same pattern, and is inspired by the same intention. Chinese history has been well known to all levels of society through drama performances at the community stage or in the temple precincts, and through story telling or reading. Good and bad examples abound in the rich heritage and are used in divination as promises or warnings in our present situation.\n\nReligious literatures of other traditions offer parallel examples, where past events are used as models for action or even for divining purposes. St. Augustine describes his own experience in his Confessions (Book 8): during his 32nd year he passed through a painful crisis of doubt: The Christian way of life attracted him strongly but his old habits of worldly attachments kept him back. In this intense struggle a special event shook him up: he divined the Scriptures and the answer he received helped him to overcome all further obstacles.\n\nSo was I speaking and weeping in the most bitter contrition of my heart, when, lo! I heard from a neighbouring house a voice, as of boy or girl, I know not, chanting, and oft repeating, \"Take up and read; Take up and read.\" Instantly, my counte-", "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572", "rank": 0 }, { "id": 210085, "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-1984", "page_number": 56, "title": "RAS-1984", "content_text": "35\n\nSample No. 3 (B-6)\n\nA sample from the Kuan Yin oracles occasionally but by no means exclusively found in Buddhist temples.\n\nThis set of only 24 oracles also carries short references to drama or stories; its areas of concern are extended to 36. (See bibliography Kuan Yun ling-ch'ien chu-chieh).\n\n年\n症保歲\n\n功名\n註香\n糕\n\n前崚易元\n你\n雙不宜\n備\n\n觀音籤第一\n\n善才泰 寶馬盈門吉慶多 官司有理勸調和\n上吉\n\n萬般得利稱全福 一箭紅心定中科\n\n解\n遷移\n彼\n妄作作食則後四 主如謝恭正道則事多順境若 此籤謀望事緒皆吉们各有所\n\n被此同心\n求師學到\n不如\n宝\n進開拆\n失物\n進人", "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572", "rank": 0 }, { "id": 210169, "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-1984", "page_number": 140, "title": "RAS-1984", "content_text": "119\n\nIn the years before 1841 many fishing vessels from other places made use of the local harbours, especially Stanley and Aberdeen. An official report from the 1840s refers to the situation:\n\n\"I have not inserted under the head of \"Fisheries\" anything with respect to the large quantities of fish caught off the south side of the Island as the fishing ground being off the Lama Island cannot strictly be claimed on behalf of the Colony. Some of the boats employed in the traffic belong to Stanley and Aberdeen, but the greater number and all those of the largest class (called To-Ku) carrying from 30 to 50 tons belong to various places in the districts of Heangshan and Sinan and merely use these Harbours during the fishing season to take in provisions and water. The fish caught is generally sold to smaller vessels who carry it to different places for sale. About 500 tons are annually dried at Stanley.\"45\n\nThe main fishing in the waters off the South China coast was seasonal, with the main fishing fleets moving up and down the coast with the migrating shoals of fish. The larger vessels would travel up and down the coast, landing their catch at the ports next to the areas being fished and then moving on to the next fishing ground and the next port. The smaller vessels fished the water off their home port all year around, but were particularly busy during the migration season. Thus Stanley and Aberdeen would have been extremely busy and crowded with boats during the two short northward and southward migration periods, when huge quantities of fish would have been landed, to be dried, batched, and exported at leisure during the less hectic normal periods, when only the smaller local boats would be in port.\n\nThough the descriptions of the granite and fish trade here quoted all come from a period shortly after the establishment of British Hong Kong, by which time the salt fish trade had become, as Gutzlaff said, \"the most flourishing of all the branches\", I believe they are equally applicable to the period before 1841.\n\nIt is in connection with this seasonal migration of the fishing fleet up and down the coast that the presence of Chiu Chow, or Hoklo, groups in the little ports makes sense: they were essentially", "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572", "rank": 0 }, { "id": 210540, "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-1985", "page_number": 147, "title": "RAS-1985", "content_text": "128\n\n'JOHN KARL EVANS\n\ndescends to the underworld, where a series of terrible punishments depicted on the scrolls that Taoist priests bring to funerals awaits the person adjudged guilty of such serious crimes as murder, theft, and unfilial behavior; a second takes up permanent residence in the ancestral tablet, and a third at the grave.35 In her recent field work in the Taiwanese village of Ch'i-nan, Emily Ahern discovered much the same thing, which reminds us that, at least in Taiwan and the New Territories, the ancient beliefs persist even in the face of rapid industrialization and contact with the outside world.\"\n\nUnlike the Romans, the Chinese rarely deify the spirits of their deceased; nevertheless, the latter demand and receive the same attention as their Roman counterparts. The details of the funerary ceremony vary, of course, from one locality to the next, but what occurs in Ch'i-nan may be taken as representative, particularly with regard to the vision of the afterlife that supports the entire ritual. Here, as elsewhere, the living initially intercede for the dead on the evening of the funeral itself, at an elaborate Taoist ceremony called the kung-te. In the course of this ritual, the earth god t'u-ti-kung is bribed to assist the deceased across the treacherous bridge leading to the underworld, and the drama closes with the burning of a great pile of mock paper money, which the soul needs to purchase food and protection. Seven days later, a prolonged transition period begins with the first in a series of seven offerings, spaced at weekly intervals. These consist in part of food, but also include paper replicas of an imposing array of luxuries and necessities, ranging from a house, car, and servants to televisions, an electric rice pot, and lawn furniture. Somewhere during these 49 days, at the moment which a professional geomancer deems most propitious, the new spirit is formally installed in this otherworldly domain. The transition period comes to a formal conclusion when the paper house and the other amenities are finally consigned to the flames and thereby transferred to the underworld.38\n\nThe sole purpose of this elaborate ceremonial is to ensure the comfort and well-being of the deceased, and it is obvious that this takes a purely materialistic form. It naturally follows, therefore, that additional offerings of paper money and food will", "txt_file_path": "txt/dfo323lmgvd/RAS-1985.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gt54s866x", "rank": 0 }, { "id": 211166, "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-1987", "page_number": 227, "title": "RAS-1987", "content_text": "202\n\nmony. Class and racial distinctions were sharply drawn.\n\nSelf-interest and a desire for public recognition caused many to push themselves forward as self-appointed community leaders. These unpleasant features of life in Hongkong became evident as the plans for the jubilee were discussed.\n\nThe press suggested what it considered appropriate official events for the celebration: a special session of the Legislative Council to adopt a congratulatory address with all the pomp and ceremony local conditions would permit, a reception at Government House to give an opportunity to pay respects to Her Majesty's representative, a general parade of troops with ships in the harbour dressed, and a royal salute both afloat and ashore.\n\nSuggestions for the festivities of the community included a general illumination for one night, a fete and fireworks at the Botanical Gardens on another, and for a third festive evening the British community might invite their friends of other nationalities to an entertainment at the City Hall with the Amateur Dramatic Club performing or the Musical Club might present an evening's entertainment of vocal and instrumental music.\n\nThe Sketching Club could also contribute by holding an exhibition of its members' works. Drama, music and art could thus each make its contribution.\n\nAs an alternative, a banquet was suggested. This, however, because of limitation of space, would have meant making decisions about who should receive invitations and who would have to be excluded. Obviously a situation to be avoided if at all possible.\n\nAnother objection to a banquet was that it would automatically exclude the women, as in that day they did not attend public banquets.\n\nAs it turned out, there was not much difficulty in deciding on a satisfactory programme to celebrate the event. The difficulty came over deciding on a permanent memorial.", "txt_file_path": "txt/dfo323lmgvd/RAS-1987.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/rx919b522", "rank": 0 }, { "id": 211266, "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-1987", "page_number": 327, "title": "RAS-1987", "content_text": "302\n\nMind Landscapes enables C. C. Wang to describe the challenges he faced to see paintings in a land without public museums; \"There were no good museums in China at that time and you couldn't see the work of a contemporary painter in a museum or gallery. But since they had to be mounted or remounted, they could be seen in a mounter's shop. Suzhou was famous for its mounters. They would paste the paintings to be mounted on the walls of their shops, and if you walked around every few days, you could always see new paintings.” (p. 15).\n\nMr. Wang also talks about his teachers and how he was able to view various private collections: \"For me, as well as for painter-scholars of the past, friendships with other painters and collectors were extremely significant. Each new meeting meant a new collection to see. In those days private collectors were never publicly displayed. To see a particular painting you had to know the owner.” (p. 17).\n\nWhen the great Chinese Imperial Collection was being prepared for the London Exhibition at Burlington House in 1936, C. C. Wang was a consultant and had a chance to study all those great paintings another significant step in his development into a connoisseur-collector-painter.\n\nCollecting as well as creating paintings soon became young Mr. Wang's principal preoccupation. However, he supported his collecting and his family by some real estate ventures because he was not able to make enough money through the sale of his paintings.\n\nThe story of C. C. Wang's journey to the West (New York) and attending classes at the Art Students League, his explorations of modern Western art and his artistic evolution is marvelously told through well written prose of Jerome Silbergeld, Professor of Art History at the University of Washington in Seattle.\n\nProfessor Silbergeld comes to his subject with a deep knowledge and background in classical Chinese painting and provides a sinological, art historical perspective of C. C. Wang's work. But the author does not avoid his role as contemporary critic, analyzing the relationship of the artist and modern art. When C. C. Wang's breakthrough to his mature style comes in 1971-2, the author allows the events to unfold like high drama. Moreover, throughout the text, the artist is permitted to state his own views on the elements of his art such as line, color, composition, dots, texture,", "txt_file_path": "txt/dfo323lmgvd/RAS-1987.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/rx919b522", "rank": 0 }, { "id": 211621, "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": 36, "title": "RAS-1989", "content_text": "1} \n\nAmerican missionary, the Reverend Elijah Bridgman,1 merely noted the formal possession of the island in its journal of occurrences; it gave no precise date nor any details.24 Another reference in the same journal in a historical review of events in China was only marginally fuller.25 The Canton Press, published at this point from Macao, expressed itself slightly puzzled by the lack of information about the event: 'On Tuesday last, the 26th January, the Island of Hongkong, the new settlement ceded by the Chinese to the English, was taken possession of in the name of Her Majesty, Queen Victoria. The English colours were hoisted, and saluted from the ships; we have not yet heard any further particulars of the ceremony.' Two weeks later the incident was mentioned again, but no further details were forthcoming.26 The Canton Register made no mention of the possession of Hong Kong except in the context of Elliot's treaty with Ch'i-shan; it seemed unimpressed by the terms and referred to 'the paltry island of Hong Kong'.\n\n› 28\n\nThe two groups with the most immediate interest in the acquisition of Hong Kong for the British were the merchants and missionaries. Unlike the troops, for whom the possession of the island was just one part of a long and arduous expedition in a foreign and unhealthy part of the world, the merchants and missionaries were already operating from the area and found Chinese restrictions on their movements irksome. And unlike the British government and its officials, the traders and propagators of salvation were most cognizant of the advantages that a piece of British territory in South China would afford them. They were not politically or ideologically committed to punishing China for the 'disrespect' it had shown to Britain. It is not known whether any missionaries attended the ceremony on 26 January, but some merchants who were late to have their fortunes inextricably bound up with the colony turned up to witness its official birth. According to a study of the Indian community of Hong Kong, at least four Indian merchants were present in Hong Kong at the flag-hoisting: Cawasjee Pallanjee, the representative of Cursetjee Bomanjee and Co. of Bombay; F. M. Talati; Albert Sassoon;29 and Rustomjee Dhunjee Shaw of P. F. Cama and Co. of Bombay. James Matheson of Jardine Matheson and Co.30 went from Macao to Hong Kong precisely in order to witness the hoisting of the British flag, and afterwards, as he wrote to William Jardine in a postscript to a letter of 30 January, he circumnavigated the island.32 Thus the future character of the colony can be gauged from the type of person with most to gain from its possession by the British.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211772, "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": 187, "title": "RAS-1989", "content_text": "162\n\n* 12\n\nactors On the occasion of a performance of Buckingham's Take that Girl Away and Selby's A Fearful Tragedy in the Seven Dials, on February 15 1860 it was observed that \"the weak point of our Amateurs has been the selection of their pieces\".1 From time to time this argument crops up; but, as with all opinions about the theatre, it was a matter of taste. A regular writer for the Herald, \"The Man on the Bund\", had the audacity to react adversely to the choice of Tom Taylor's Still Waters Run Deep, performed on April 23 1857, which he thought \"one of those incongruous mixtures of French novel morality and English domestic life as offensive and preposterous as ludicrous\". In a letter to the Editor \"Another Man on the Bund\" (!) was furious about this attitude: \"Are we to take the opinion of this would be critic, this damp 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. (...) My own and the general opinion is that the 'Man on the Bund' at the time of writing was (...) labouring under a severe attack of bile (...) (see also Calendar, 23.4.1857).\n\n14\n\nIn quite a different vein, writing about Colman's Heir at Law (1797) and Townley's High Life below Stairs (1759) the chronicler “would recommend our Amateurs to expunge from their plays all profane oaths and ambiguous phrases. In the time they were written too many of them were in keeping with the language and manners of the day, but nowadays no Gentleman would sully his breath with such irreverent epithets; they neither add wit or point to the dialogue and grate harshly on all refined ears especially in the presence of ladies\".2 Of course no examples were given.\n\nWhen it came to the professional, travelling, companies a generally favourable attitude was maintained. \"Standards of excellence\" were kept up by Lewis' Australian Drama Company;3 and, discussing the 1865 performances, another critic thought that \"where so much talent is shown it is almost invidious to single out any one actor or actress in preference to the rest\".\n\n18\n\nIn the musical field the efforts of the amateurs, although they were less numerous than in dramatics, were also duly appreciated. About a concert in aid of the Lancashire Relief Fund, given on April 17 1863, the Herald thought \"it was pleasing to see the gentlemen (...) entertain con amore their less gifted fellow residents with a charming chamber", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211774, "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": 189, "title": "RAS-1989", "content_text": "164\n\non the stage. At last Shanghai could boast a drama society that was footed on a regular basis, could give its fiftieth performance on April 18, 1876 (T.W. Robertson's School), its hundredth on March 22, 1893 (a local version of Lloyd Clarence's A Tale of Tell under the title The Tale of Tell Retold). The 150th performance went off in 1908 with James Matthew Barrie's The Admirable Crichton, and altogether the A.D.C. existed well into the 1930s.25\n\n27\n\n24\n\nIn the years preceding the A.D.C., theatrical seasons, and with it the companies, were organised annually, depending, it seems, on the interest shown by society and the availability of actors and managers. The very first amateur performances took place during the season 1849-1850,26 but no record has been left of them. In the following years more than once reference was made to a \"New Corps\" formed for the season, or that it had been \"but a few weeks since the present company had been embodied\".28 Under these circumstances it was by no means certain that the Shanghai public would be treated each winter to an evening of uncomplicated amusement. In its issue of November 27, 1852, the Herald stated that “if 'common report' be true we fear that the 'Dramatic Corps' (...) will be unable to continue their performance\" due to the \"absence from Shanghai of the 'Head and Front' of the original body, together with the retirement of some of its members\". This brought forward an outcry by a foreign lady (?) who donned herself with the name \"Phoebe Silverveil\": \"No theatricals? Dear Me! Mr. Editor, what are the ladies to do without them? The performances were so good (...) and we all enjoyed them so much!''; and then, quoting liberally the pieces of the past season (see Calendar), she ended: \"I have just put dear baby down for a minute to write these few lines as a gentle hint to the Corps; hoping that if the members are not quite Used Up, they will give us another merry Rendezvous at the Theatre and there is surely not such a Dragon amongst them as to say NO!\"29 As if this appeal were not enough, the editor added as an afterthought that this letter \"can hardly fail to have the effect of rousing the dormant energies of the heroes of the 'sock and buskin' to renewed exertions, to deserve the applause of their fair admirers. We doubt not they will take the hint\". In this way aspiring amateurs were cajoled into the formation of a new company which started its operations in January 1853 with Beckett's The Turned Head and Boucicault's Used Up. Some five years later, in January 1858, the Herald regretted that the Amateur Theatrical performances, so successful last year, have not as yet been reorganised during the present season and we think we speak with the", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211778, "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": 193, "title": "RAS-1989", "content_text": "168\n\nso called Christy's Minstrels --- a famous group in the United States, yet it may be doubted severely whether it was the same one that visited Shanghai.\n\nEight years later, the first company to come down to Shanghai from Hong Kong, where they had also been playing, was the one led by a Mr. C.R. Faylor. On February 10 1864 Lytton's The Lady of Lyons was on the bill as the opening piece, but the Herald thought it a failure in consequence of \"that portion of the company which had been collected in Shanghai and pressed into service\". How this is to be understood is not quite clear. Did Faylor's company consist of only a few actors, who were to be supplemented by local worthies? But then, who else could they be but amateurs, the darlings of the foreign community? However this may be, on May 9 at an evening in which also the \"Royal Shanghai Ballet d'Action\" [so far for fancy names!] participated, the \"celebrated comedy Nature and Philosophy or Eighteen Years Labour Lost” was given. As members of the company were mentioned Mr. and Mrs. C.R. Faylor, Mr. and Mrs. E. Yeamans and Major Pegus. Amateurs almost always adopted stage names in order to hide their real identity, but with professional actors it may be assumed these names were real.\n\n45\n\nA more substantial contribution to the amusement of the Shanghai public was made by Lewis' Dramatic Company. It was of Australian origin and the \"musical director and manager\" was Charles Edouin. Other members of the group were Tilly Earl, Mrs. Gill, Lizzie Naylor, Jenny Nye, T. Andrews, Henry Birch, J.B. Creswick, W.B. Gill and nearly the whole Edouin (or, rather, Bryer) family: Julia, Rose, John and Willie. Rose (1844-1925) married G.B. Lewis and became later an actress at, among others, the Maidan Theatre in Calcutta. Her brother Willie (1846-1908; his real name was John Edward Bryer) first appeared in public when he was six; after the tour to Australia, India, China and Japan he played in Melbourne, California, New York and London.46 In 1862 the \"Lewis' Equestrian Australian Troupe\" had visited the port with \"six of the best horses ever landed in China**,** but in 1864 the company had turned to drama and from October 6 until their departure in December an eight week season provided an unprecedented shower of farces, burlesques and even some quality pieces like Sheridan's The Rivals and the prison scene from Shakespeare's King John (Act IV, sc. 1), in which the role of prince Arthur was played by an actress, Julia Edouin, who took \"the house by storm\".48 The success of the company was apparently so great that they returned in March of the following\n\n47", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211791, "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": 206, "title": "RAS-1989", "content_text": "181\n\nof the Olympic Theatre or Royal Olympic Theatre which was located at the back of the Shanghai Club, in the southern part of the Settlement. It had a dress circle and there is even mention of a \"second circle\".\n\nI.\n\nFinally we come to the last of the godown theatres, the Lyceum Theatre which was stated to be situated at Peking Road (ex Consulate Road), 104 The proprietors were the big firm of Jardine, Matheson & Co which had a hong on the corner of the Bund and Peking Road, 105 This was the scene of the 1864-1865 and 1865-1866 seasons.\n\nJ.\n\nEvidently the existing situation was highly unsatisfactory. This was realised as early as 1852 when, at a Public Meeting on September 25, a Committee was formed at the instigation of the Shanghai Library that was looking for more appropriate accommodations. This Committee was to study the possibilities of “erecting a Building for an exchange and reading room\". 106 In December a prospectus was issued by the Committee in which it was suggested that in the so called \"Public Institution”, “a large room might be fitted for the Theatre, already under comparatively disadvantageous circumstances one of the most popular amusements we have\", All these plans came to nothing, however, so in 1864 an epilogue to a theatrical evening gave vent to feelings of discontent:\n\n* 107\n\nLadies and gentlemen, our course is run 'T is yours to gild our quickly setting sun For if upon your frowns that sun should set This theatre must be advertised \"To Let'. Shorn of its glory, prestige and renown Like our poor selves 't will be a mere godown. Not that the Drama in this wealthy port\n\nTo such an humble bounty pray be led And build a lasting structure in its stead\". 108\n\nApart from the inconvenience of securing a suitable godown every year, there was a great deal of capital loss involved. Each time a warehouse had to be fitted up at considerable cost (about 2,000 Taels in 1865; a Tael was worth approx. 6/7 in this period; in addition to the rent of Tls", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211801, "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": 216, "title": "RAS-1989", "content_text": "A CALENDAR OF PERFORMANCES \n\n1850 - 1865 \n\n191 \n\nIntroduction \n\nInstead of giving a rather dull summing up of dates and plays, I have added to almost each performance excerpts from the reviews which appeared in the local paper(s), with explanatory note if necessary. The material is not equally abundant on all occasions. Sometimes only a few lines were published, sometimes more than a column: actors were not always mentioned and there are hardly any details about the staging of the plays. With respect to the actors and musicians, cast lists have been given only when real names were available. In the excerpts numerous instances will be found of stage names as adopted by Thespian residents. It is unfortunate that their true identity cannot be ascertained; nevertheless, I had to include them, especially those who made a \"career\" of sorts in the Shanghai theatre. Perhaps one day it will, through e.g., private correspondence in some archives, become possible gradually to lift the veil. It should be reminded that female characters with the amateurs were always played by men. Only in the professional companies is a Miss really a Miss. \n\nAll reports about the wonderful acting qualities of the amateurs should of course be seen in their proper perspective. It has been said in the Survey that we cannot be sure how good or bad the performances were, but it must be assumed (and the 1852 Epilogue hints as much) that things were liable to go wrong and that the acting was rather crude, certainly not as polished and natural as we are used to today. That was often not even the case with professional players in that time, let alone amateur ones. \n\nIn the papers, playwrights were almost never mentioned, so other sources had to be used in order to establish authorship. Invaluable in this regard are: Allardyce Nicoll: A Dictionary of the Drama, of which unfortunately only Volume I (A-G) was published; The Player's Library; and, to a lesser extent, T.A. Brown: A History of the New York Stage. \n\nComposers of musical pieces performed at concerts were similarly not always mentioned. Where possible, I have tried to supply the missing information. \n\nIn Appendix I will be found an author list of plays with full titles and in Appendix II an alphabetical list of plays staged in Shanghai; both with dates of performances. \n\nAs far as feasible, the pieces in the Calendar have been entered in the order they were represented on a particular night. \n\nAbbreviations: \n\nT. Type of play \n\nC.: Company \n\nF.: Features \n\nBGM: Boletim do Governo de Macao \n\nCM: China Mail \n\nNCH: North China Herald \n\nSCR: Shanghai Commercial Record \n\nTh. Theatre \n\nN.: Note \n\nR.: Review \n\nN.N.: Not Named \n\n1849-1850: First theatrical season, but no titles of plays have been recorded.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211802, "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": 217, "title": "RAS-1989", "content_text": "192\n\n12.12.1850 (Thur)\n\nG.A.A. BECKETT: \"Roofscrambler\" (1835)\n\nT: Burlesque\n\nW.H. MURRAY: \"Diamond cut Diamond\" (1843)\n\nT: Farcical interlude (1 act)\n\nC: Amateurs\n\nTh: Theatre Royal (A)\n\nR: NCH 14.12.1850. From the file I have been using the pages on which the review appeared were missing, so no further information can be given.\n\n28.1.1851 (Tue)\n\nJ. KENNEDY: \"Love, Law and Physic\" (1812)\n\nT: Farce\n\nW.B. RHODES: \"Bombastes Furioso\" (1810)\n\nT: Burlesque tragic opera (1 act)\n\nC: Amateurs\n\nTh: Theatre Royal (A)\n\nR: In only a short impression the Herald wrote that \"the performances went off with much spirit amidst repeated plaudits and continual bursts of merriment. The present company seems likely to become highly popular and the public are much indebted to them for according such seasonable diversion at this dull period of the year\" (NCH 1.2.1851).\n\n21.4.1851 (Mon)\n\nG. COLMAN Jr: \"Heir at Law\" (1797)\n\nT: Comedy (5 acts)\n\nJ. TOWNLEY: \"High Life below Stairs” (1759)\n\nT: Farce (2 acts)\n\nC: Amateurs\n\nTh: Theatre Royal (A)\n\nN: Final performance of the season.\n\nR: About the actors the critic thought it \"uncourteous to select where all did their best and there was much to praise; we will, therefore, only say in allusion to Heir at Law that STEADFAST maintained the character of the fine old English bachelor with spirit”. In the same issue appeared a letter from \"A Stranger\": \"The character of Dr. Pangloss (in Heir at Law) was performed with much quiet humour and the pedantic stolidity of an L.L.D. and A.A.S. (sic!) were exceedingly well portrayed, though at intervals much too low to enable the back part of the audience to catch the full force of the quotations\". The Herald added that the part of Dr. Pangloss is, perhaps, the most difficult in the play, for an Amateur to sustain; the curt witticisms and various learned quotations require an experienced actor to give with effect\".\n\nHigh Life below Stairs \"flagged somewhat from the previous exertions of the actors, but we must not omit to notice the excellent acting in the representative of the Lord Duke's servant'\n\nDespite this and in spite of the editor not being very much satisfied with some of the language in the plays he thanked “our young friends for their kindly endeavours to promote amusement amongst the community, they were spared neither trouble, time nor expense to cater for the intellectual appetite of Shanghai in the classical drama” (NCH 26.4.1851).\n\n26.1.1852 (Mon)\n\nD. BOUCICAULT & C. MATHEWS: \"Used Up\" (1846)\n\nT: Comedietta (2 acts)\n\nH. CAREY (music: J.F. LAMPE): \"The Dragon of Wantley\" (1837)\n\nT: Burlesque opera (3 acts)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211814, "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": 229, "title": "RAS-1989", "content_text": "204\n\nPique delighted to honour, Marvellous is the ingenuity of Jack. Difficulties which would appal the ghost of Richardson* — that prince of theatrical improvisers, he makes nothing of it. Whether it be to prepare a great banquet hall or to erect a theatre, it is all the same to him and comes to his hands as readily as the marlin-spike. Huge guns disappear and hatchways vanish from the sight and are replaced by draperies and benches with all the quickness of enchantment. We sat looking around us at the proscenium, the footlights and the drop scene, representing a view on the late of Como, and fell difficult to remain in the belief that we were on board of one of H.M. 'ships of war' and not seated in a neat little theatre\". Thus far the impression of the surroundings.\n\nAbout the acting qualities the reviewer was equally in high spirits: in the Birthday, Captain Bertram R.N. proved to be “a gouty, choleric old gentleman, a very positive, perverse individual to boot and more than becomingly addicted to the occasional use of strong language\". All these little eccentricities were him forgiven, however, when \"we saw him yield to the impulses of nature and even felt a degree of alarm when he well nigh became smothered in the affectionate embrace of his loving and pretty — but somewhat bulky niece. (...) The songs of Dibdin appear to be no longer the prime favorites afloat they were half a century ago; and although we cannot but regret this, we were glad to find, from the specimens we listened to, that they have been superseded by not unworthy successors.\n\nThe trill of \n\nI've heard of foreign countries.\n\nThat are very fair to see\n\nBut England! dear old England!\n\nIs quite fair enough for me\n\nwas ringing in our ear, when it was joined in by notes of a different kind — the cheering notes, to wit, of the Dustman's Bell. We are quite converts to the doctrine that believes, for the moment, in the mimic scene which is enacting before us. How could we do otherwise at the sight of such a Dustman and such a Sally! It did one's heart good to look upon such a fresh, comely and good-looking face as Miss Sally's, and to hear the praise of it sung with such evident gusto by her honest lover in the lines:\n\nOf all the girls that dress so smart\n\nThere's none like pretty Sally\n\nShe is the darling of my heart\n\nAnd she lives in our Alley.\"\n\nRaising the Wind the reporter found not \"so brilliantly successful but not without its merit\".\n\nSumming up, his **still aching sides\" testified sufficiently to the \"care and trouble which the performers had taken to entertain their numerous audience'' (NCH 13.2.1858)\n\n10.2.1858 (Wedn)\n\nPELHAM HARDWICKE (= C. MATHEWS): \"A Bachelor of Arts\" (1853) T: Comic drama (2 acts)\n\nJ.M. MORTON: \"Done on Both Sides\" (1847)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by \"Messrs Phu & Mor\"\n\nTh: Theatre Royal (C)\n\n+\n\n* An allusion to John Richardson (1767?-1837), nicknamed \"the penny showman\"; in his performance of J.S. Knowles' (?) \"Virginius\" the ghost was the great effect (Dict. of Nat. Biogr., Vol. 48, p. 230-231).", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211816, "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": 231, "title": "RAS-1989", "content_text": "206\n\n(...) Our first favourite was Captain Copp. This is a glorious character and was performed faultlessly [by Benjamin BLUSTER-JH]. From the first moment we made his acquaintance until we took a reluctant leave of him, our heart was kept in a continuous glow by his honest face, his blunt, sea-faring manner; his rugged but kindly touches of feeling, harmonically blended together as they were by his ceremonial bursts of good humoured jollity. Every time he broke out with his favourite stave\n\n'In the time of the Dump\n\nWhen Old Admiral Trump'\n\nwe felt a strong inclination to hear more of it and were scarcely pleased with Mary for stopping it so abruptly. (...) Mary's taste in the choice of a lover was unexceptionable - a compliment which cannot be said with truth, of pretty girls generally. The page who was the favoured suitor deserved his good fortune: he played well and sung sweetly. It is some time indeed since we heard on the stage or elsewhere a song given with so much taste and expression (...). No wonder the pretty Mary melted under the influence of the mellow tones of such a music master\". And Mary? She was played of course by Mrs NESBIT who \"as usual placed before us a lively picture of the piquant and coquettish, but withal modest and pretty niece of the host of the 'Grand Admiral'; and she looked so enticing as to make some of those who were present and near us wish that they too were actors provided there was plenty of kissing in the play and such a delightful subject as herself to practice upon”. (NCH 20.3.1858). Again it should be stressed that all female characters were portrayed by men, which, paradoxically, probably allowed the critic to write in such a vein!\n\n5.5.1858 (Wedn)\n\nJ. COURTNEY: \"Time Tries All\" (1848)\n\nT: Drama (2 acts)\n\nJ.S. COYNE: “Urgent Private Affairs\" (1856) T: Farce (1 act)\n\nW.B. RHODES: \"Bombastes Furioso\" (1810) T: Burlesque tragic opera (1 act)\n\nC: Amateurs\n\nF: Music by the band of H.M.S. Highflyer\n\nTh: Theatre Royal (C)\n\nN: Third and final performance of the season\n\nR: For a house that was \"crowded to the doors\" the curtain rose on a new drop scene **of a light and pretty character\". Once more Mrs. NESBIT could be admired, in Time Tries All, as Laura Leeson and \"too much credit could not be extended on her for the manner in which she brought before us the wilful, pettish but withal warm-hearted woman\". As her husband, Mr. Leeson, \"Mr. ROLLER was most successful; he has made for himself a 'spécialité' in this line of characters which it would be difficult to surpass or to replace. Mr. PICKWICK played the role of Matthew Bates and by **his judicious, quiet acting gained considerable and well-merited applause\". Mr. TINTINNABULUM (who also sung a \"pretty Irish ballad\") as the Hon Mr. Yawn \"was capital and exercised the propensity with which his cognomen so plainly gifts him with such arts as to make many of the audience strenuously follow his example\"; whereas Miss Fact and Mr. Tact found fit representatives in Miss WALTERS and Mr. BRUSWOOD. Some of the actors again appeared in the closing piece; Bombastes Furioso when Mr. Beverley NEWCOME impersonated General Bombastes, “a creditable performance, but the role was evidently not so well suited to the powers of that gentleman as other parts in which we have seen him\". King Artaxominous was taken by Mr. PICKWICK, Furbos by Mr. TINTINNABULUM and Destafina by Mrs. NESBIT. Concluding, the reviewer was \"especially pleased with the scenery of this and other", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211819, "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": 234, "title": "RAS-1989", "content_text": "209\n\n1.3.1859 (Mon)\n\nConcert by Prof. Shonbrun, piano, and some local amateurs (i.a. the Germania Singing Club) Programme:\n\nNo piano works were mentioned, with the exception of \"Monastery Bells\".\n\nVocal works: Sir Henry BISHOP: \"The Pilgrim of Love\", Wilhelm SPEYER (1790-1878) a bass aria, G. DONIZETTI: \"The great tenor aria from 'Lucia di Lammermoor\" (presumably \"Tombe degli avi miei – Fra poco a me ricovero\" from act III). Th: (New) Theatre Royal (E)\n\nR Were Shanghailanders music lovers or not? One wonders for again \"we were sorry to find so small an audience assembled on the occasion\", but the wretchedly wet state of the weather had no doubt much to do with this\". As it turned out the efforts of Mr. SHONBRUN were disappointing (at least in the ears of one critic — and how they may differ in opinion everyone knows). In this case the skill and artistic feeling which would be highly respectable in an amateur reflect no especial credit on a professional player and though Mr. SHONBRUN performed several pieces pleasingly we missed that precision, that brilliant crisp fingering and particularly that general careful finish which should characterize the true master of his instrument\". The amateurs were more appreciated and the tenor singer even had to repeat his Lucia aria. For the first time the “Germania Singing Club\" is mentioned, although there must have been earlier performances as the Herald says \"the number of the singers on Tuesday was much smaller than on former occasions\". Obviously it was in a somewhat precarious state for even a conductor was missing and the reviewer was \"constrained to say, without wishing to be too critical on the performers of amateur music, that the Association has not kept up to the standard which it established for itself by former deeds\" (NCH 12.3.1859).\n\n2.6.1859 (Thur)\n\nM. BARNETT: \"The Serious Family\" (1849)\n\nT: Comedy (3 acts)\n\nJ.M. MORTON: \"Grimshaw, Bagshaw and Bradshaw (1851)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nTh: (New) Theatre Royal (E)\n\nR: Very late in the season the last amateur night went off. And although the review was by no means scathing, the editor of the Herald thought it wise to add that \"the heat at the theatre was extremely oppressive and this may have much to do with the lukewarm manner in which our critic speaks of the performances\". The Serious Family was described as \"an admirable satire upon that morbid and mistaken feeling of piety which regards a smile as wantonness, condemns gaiety as sin and backsliding”, nevertheless **as a scenic representation it smacks too much of dullness\". The leading parts were put on the stage by Miss Minnie O'NETTE, who acted Lady Sowerly Creamly \"to the life\"; and Mr. TINTINNABULUM upon whom \"the action of the Comedy seemed chiefly to rest. His stage bearing is admirable and his intonation excellent, but we may perhaps be permitted to take exception to his brogue which, however good as an assumption, scarcely denoted one to the manner born\". Mr. PICKWICK exerted \"to the utmost his undoubted talents for light comedy as Charles Torrens; on the other hand darling Mrs. NESBIT \"scarcely found opportunity in the part of Mrs. Torrens for the display of that vivacity which forms her chief merit\". Mr. BRUSHWOOD (00 lacked something in the role of Aminadab Sleck, viz \"that racy appreciation of his part which usually characterizes him and the hat and garb of the puritan did not sit easily upon that comical little figure which has on previous occasions so often convulsed us with merriment\". In contrast Miss WALTERS “looked and acted extremely well, causing us much regret that a drama more adapted to the exigencies of the Corps did not form the chief attraction of the evening. About the second piece, Grimshaw,", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211821, "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": 236, "title": "RAS-1989", "content_text": "211\n\non any stage with ease and aptitude. And the part of the soubrette was acted \"in a manner for which we had not given the young lady who sustained it credit\" (NCH 17.3.1860).\n\n10.5.1860 (Thur)\n\nJ. COURTNEY: “Time Tries All\" (1848)\n\nT: Drama (2 acts)\n\nJ.M. MORTON: “To Paris and back for £5\" (1853)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by the Germania Singing Club and the band of the 101st regiment\n\nTh: N.N. (1)\n\nN: Third and last performance of the season\n\nR: Time Tries All was a revival from 1858 and in it some of the old familiar faces could be admired again. This time Mr. TINTINNBULUM personified Matthew Bates and he \"threw an amount of grace and feeling into his acting that make us well regret his absence in the two former representations“. Mrs NESRIT gave a repeat of her Laura Leeson. One of the newcomers, Mr. ADOLPHE, “has assumed the character of negative instead of the positive villain of the last representation and almost succeeded in making us gape, so natural was his representation of that peculiar because catching disease\". Phunago BRUSHWOOD reappeared in To Paris and back for £5 and this farce offered **full scope to his laughter moving capabilities, both as to acting and costume\". There was music too, by the Germania Singverein – which reminded the critic “of their own charming Soirées Musicales\" (not recorded). However, the construction of the theatre was \"such as to mar to a considerable extent the effect of their well chosen and well executed pieces“ (NCH 12.5.1860).\n\n17.3.1861 (Sunday)\n\nConcert by the band of the French 101st regiment, conducted by Mr. Dumas. Programme:\n\nG. DONIZETTI: \"La Favorita\", D.F.E. AUBER: \"La Part du Diable\", overture, **Haydée” (an opéra-comique), fantaisie, George BOUSQUET (1818-1854); “Hélène” (waltz), DENEAUX: Mazurka.\n\nLocation: Headquarters of General De Montauban at Messrs. Rémi, Schmidt & Co French Concession. (NCH 16.3.1861).\n\n24.3.1861 (Sunday)\n\nConcert by the band of the French 101st regiment, conducted by Mr. Dumas. Programme:\n\nGURTNER: Pas redoublé, DUMAS: Ronde tyrolienne. D.F.E. AUBER: \"La Muette de Portici\", overture, G. ROSSINI: **[Il Barbiere di Siviglia” fantasia, D.F.E. AUBER: **Les Diamants de la Couronne\", overture, “La Brise”.\n\nLocation: as on 17.3.1861 (NCH 23.3.1861).\n\n31.3.1861 (Sunday)\n\nConcert by the band of the French 101st regiment, conducted by Mr. Dumas.\n\nProgramme:\n\nBOSCH: Pas redoublé. C.W. VON GLUCK: \"Armide\", F.M.V. MASSE: \"La Chanteuse Voilée\", overture, G. ROSSINI: \"Mosè in Egitto”, chorus **Valse allemande“. GURTNER: \"France\" (polka).\n\nLocation: as on 17.3.1861 (NCH 30.3.1861)\n\nNovember 1861\n\nConcert by Signor Robbio.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211822, "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": 237, "title": "RAS-1989", "content_text": "212\n\n26.12.1861 (Thur)\n\nConcert by Signor Robbio, violin, and some local amateurs, Programme:\n\n4\n\nL. VAN BEETHOVEN; Trio for strings in E-flat opus 3, V. BELLINI: “Norma”, the aria 'Casta Diva' arranged for violin, C.A. DE BERIOT: Tremolo\", C. GOUNOD: **Meditation upon J.S. Bach's first prelude\", i.e., the famous Ave Maria, C.M. von WEBER: \"Der Freischütz”, cavatine (presumably \"Und ob die Wolke sie verhülle”, act III), arranged for cello and piano. Sir Henry BISHOP: \"Home sweet home\" (from the opera \"Clari, the maid of Milan'), Sr ROBBIO: \"Grande Valse Diabolique“, In addition: some quartet and solo singing by amateurs.\n\nTh: N.N.\n\nR: Today the second concert by the violinist Signor ROBBIO came off \"for a very large audience\". In November he had made his debut in Shanghai but because of a gap of three November issues in the file of the Herald I have been using no details can be given. Once more, however, the paper seems to have been discontented with the selection of the pieces. Not so tonight, with the exception of one composition by Sr Robbio himself, **a work of the Paganini school” of which the critic was evidently not a lover. About the interpretations by the violinist, though, there was but praise; e.g. \"he greatly charmed his audience by the power and feeling with which he executed the beautiful air from Norma, 'Casta Diva'\". So all was enjoyable, the more so as \"for the moribund piano used at the last concert a fine 'Broadwood' was substituted, which displayed to great advantage the admirable playing of the gentleman to whom St Robbio was so much indebted for his accompaniment\". One letter writer went even so far as to exclaim that such delights in Shanghai are indeed 'like angels' visits few and far between' \"' (NCH 28.12.1861).\n\nFebruary and March 1861\n\nPerformances by \"Lewis' Australian Hippodrome” Loc: Commercial House in Hongkew\n\n-\n\n―\n\nוי\n\nN: During the months of February and March \"Lewis' Equestrian Australian Troupe\" gave a large number of performances, of which the first one was announced for February 15 and the last for March 17. The public was entertained with horses and artists, among whom Mr. and Mrs. COUSINS, Mr. BARLOW, Senior RAPHAEL, Jessi GARDONI, **Austin Shanghai**, and “Little Ella\". For all, benefits were held in March. It was not the first time that the troupe had operated on the China Coast. In December 1859 they had visited Hong Kong (CM 15.12.1859, 22.12.1859).\n\n13.2.1863 (Fri)\n\nJ.M. MORTON: \"Our Wife, or the Rose of Amiens\" (1856)\n\nT: Comic drama (1 act)\n\nH\n\nA. MAYHEW & H. SUTHERLAND EDWARDS: The Goose with the Golden Eggs T: Farce (1 act)\n\nC: Amateurs (Local and British officers)\n\n13.2.1863 (Fri)\n\nJ.M. MORTON: \"Our Wife, or the Rose of Amiens\" (1856)\n\nT: Comic drama (1 act)\n\nA. MAYHEW & H. SUTHERLAND EDWARDS: \"The Goose with the Golden Eggs' T: Farce (1 act)\n\nC: Amateurs (Local and British officers)\n\nF: Music by the band of the 67th regiment\n\nTh: Theatre Royal (G)\n\nN: First performance of the season\n\nR: Casts:", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211823, "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": 238, "title": "RAS-1989", "content_text": "213 \n\nOur Wife: \n\nCount de Brissac: Major Taylor \n\nRosine: Mr. W. Hyslop (of Gibb, Livington & Co) Pomaret, father of Rosine: D.A.C.G. Cooksley \n\nMarquis de Ligny: Mr. Stuart \n\nMariette: Lt Maynard of the 31st regiment \n\nThe Goose with the Golden Eggs: \n\nMr. Turby: D.A.C.G. Cooksley \n\nHis wife: D.A.C.G. Hayter \n\nClara, their daughter: Mr. A. Broom (of Jardine, Matheson & Co) \n\nBonsor, clerk: Dr. Sexton of the 5th Bombay N.L.I. (native lancers and infantry) Flickster: Li Yonge, 2nd Beloochi regiment \n\nAfter a lapse of almost three years the amateur theatricals took a new lease of life in a tastefully fitted up godown-theatre (for a description see Survey). It was a subscription-night with about 250 spectators, of whom 30 were female. For the first time some real names of actors were given and it became clear that the cooperation of the military had been sought for the occasion. Because the names are no longer phoney, it is finally useful to present a cast list. Among those mentioned was D.A.C.G. (i.e. Deputy Assistant Commissary General) Cooksley who died in July during one of the campaigns against the Taipings, at Quinsan. Fine playing, if one did not mind the pieces. That, however, had become a standard complaint by now. \"There was nothing striking or witty in either of the plays so that an occasional local pun or remark interpolated by the actors elicited the greatest applause\"; rather sourly the critic continued “this should not be as it interferes with the harmony of the play”. In Our Wife \"the gentle blushing Rosine was capitally got up by Mr. HYSLOP who created quite ‘a sensation' when he made his curtsey to the audience\". In contrast Mr. STUART \"was graceful in his part but lacked energy where it was requisite to give effect to the plot\". That female dress was not always easy to wear for the men was underlined when \"Lt MAYNARD acted the strong-minded cousin Mariette very fairly, despite the difficulties of crinoline”. In The Goose with the Golden Eggs the Mrs. Turby of D.A.C.G. HAYTER was \"the best piece of masculo-feminine performance we have seen\". It had to be admitted though that not all men were equally up to female characters: \"Clara, as represented by Mr. BROOM, although admirably got up in the coiffure, was rather outré in the dress, especially about the sleeves; while the manner and voice resembled more the roughness of the father than the gentleness of the mother\". (NCH 14.2.1863). \n\nL \n\n17.2.1863 (Tue) \n\nRepeat of 13.2.1863. \n\n2.3.1863 \n\nS. LOVER: \"The White Horse of the Peppers\" (1838) \n\nT: Comic drama (2 acts) \n\nR.B. BROUGH: \"Crinoline*\" (1856) \n\nT: Farce (1 act) \n\nC: Amateurs of the British 31st regiment \n\nTH: N.N. \n\nR: Cast: \n\nThe White Horse of the Peppers: \n\nMajor Hans Mansfeldt: W. Parrott Gerald Pepper: A. Keeble Magdalene: H. MacGuire Crinoline: \n\nMrs. Coobiddy: S. Gale Mr. Coobiddy: W. Phillips \n\nAgutha: S. Gule \n\nDillon: J.S. Galbreath \n\nCapt. LeBrown: J.S. Galbreath Miss Tite: P. Conron", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211824, "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": 239, "title": "RAS-1989", "content_text": "214\n\nJacob Grimes: F. Shannons\n\nThese performances drew the largest audiences of the season\", which statement causes some surprise seeing that it had only just started. But the house was filled in every part and a good number of ladies in the dress circle graced the occasion, while the parterre was so crowded that many of the spectators had to stand\". Noteworthy were the scenery, painted by Captain Hamilton; and, in Crinoline Mr. PHILLIPS as the jealous husband “which would be considered excellent on the boards of the Adelphi” (NCH 14.3.1863).\n\n16.3.1863 (Mon)\n\nRepeat of the former.\n\n26.3.1863 (Thur)\n\nJ.M. MORTON: \"Fitzsmythe of Fitzsmythe Hall\" (1860)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"Where There's a Will There's a Way” (1849) T: Comic drama (1 act)\n\nC: Amateurs (Local and British officers)\n\nTh: N.N. (G?)\n\nR: Casts:\n\nWhere There's a Will:\n\nDona Francesca: Mr. W. Hyslop (of Gibb, Livington & Co)\n\nDon Manuel: D.A.C.G. Ewing\n\nDon Lopes Avila: Mr. Raymur\n\nDona Blanche de Tavora: Mr. A. Broom (of Jardine, Matheson & Co)\n\nDon Scipio de Pompolino: D.A.C.G. Cooksley\n\nFitzsmythe:\n\nFitzsmythe: D.A.C.G. Cooksley\n\nHis wife: D.A.C.G. Hayter\n\nPenelope, their daughter: Mr. A. Broom\n\nFrank Tottenham: Mr. Raymur\n\nGregory, servant: D.A.C.G. Ewing\n\nIt was remarked about Mr. Raymur that \"this gentleman was of a backward turn in his orthography\". So a pseudonym after all; the hint though does not make it clearer. There is no Raymur, nor a \"Rumyar\" (which would be a very strange name indeed) in the \"Shanghai Almanac for 1862” — the last one available. Could it be Mr. E.I. Remier? Although the review of the 13th February had not been negative, tonight's performances were, in the eyes of the Herald. \"upon the whole an improvement on those of the first subscription night, and the audience expressed their approbation in a more decided manner, so that everybody seemed pleased with the evening's entertainment\", Where There's a Will There's a Way, an elegant drawing room play situated in 18th century Portuguese royal circles, \"was placed on the stage in a very creditable manner, considering the slender means and appliances as being tasteful, rich and, we presume, correct for the period, while the ladies looked quite charming in their elegant dresses; the whole apparently got up 'regardless of expenses as the London playbills have it\". In Fitzsmythe the best piece of acting was that of Mr. HAYTER as the old lady who, like Mr. Jourdain, was \"ambitious of having \"quality\" friends and finery, while in her domestic occupations she revelled in jam and soapuds The \"languishing Penelope\" of Mr. BROOM was also quite fascinating”. (NCH 28.3.1863).\n\n17.4.1863 (Fri)\n\nConcert by amateurs in aid of the Lancashire Relief Fund.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211826, "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": 241, "title": "RAS-1989", "content_text": "216\n\nR: Nearly five years after his last recital in Shanghai, Martin SIMONSEN returned to the port, this time as a member of \"Mr. Smythe's troupe\". There was also the novelty of a lady singer, Miss Amelia BAILEY, who \"could not fail to render the entertainment attractive even had her voice been less excellent than it is\". This was the last night of a series for which public interest had not been particularly large; only on July 31st had there been an \"excellent house\" and in a reproaching comment, the Herald trusted that the company would \"meet with more uniform support at Hong Kong, the residents of which are reputed more willing to put up with a little heat for the sake of an evening's amusement\". (NCH 1,8,1863).\n\nOctober 1863\n\nOn October 24, the North China Herald informed its readers that \"the Circus Company announced more than a year ago as upon its way to Shanghai has at length arrived and promises to be a valuable means of dispelling the ennui inseparable from winter in China\".\n\n17.10.-23.10.1863\n\nA series of promenade concerts by Miss Amelia Bailey (singing) and Marquis Chisholm (piano), as well as the Rhenish Band.\n\nTH: N.N. (H)\n\n7.11.-13.11.1863\n\nA continuation of the concerts mentioned above.\n\nR: In spite of the meagre support met in Shanghai, the Smythe troupe ventured to return in October after a visit to Nagasaki. This time the concerts were more rewarding - financially, for in November it was noticed that “Miss BAILEY has continued to draw crowded houses\" and that she has no reason to complain of the reception she has met in Shanghai\". (NCH 17.10, 24.10, 14.11.1863).\n\n10.2.1864 (Wedn)\n\nE.B. LYTTON: \"The Lady of Lyons\" (1838)\n\nT: Romantic comedy (5 acts)\n\nC: C.R. Faylor's travelling company\n\nTh: Olympic Theatre (H)\n\nR: The port was honoured by a visit of Mr. FAYLOR's theatrical company in February and May. This was after it had toured Macao (in December 1863; see BGM 14.12.1863) and Hong Kong. There it was highly successful, but the first performance in the Yangtze city was unfortunately a failure in consequence of the ludicrous incompetence of that portion of the company which had been collected in Shanghai and pressed into service. The audience, moreover, was riotous in the extreme and displayed the worst possible taste in exciting themselves to increase the confusion on the stage\" (see also Survey, p. 22). (N.C.H. 13.2.1864).\n\n13.2.1864 (Sat)\n\nC. DANCE: \"Delicate Ground\" (1849)\n\nT: Comic drama (1 act)\n\nC. SELBY: \"A Lady and a Gentleman in a Peculiarly Perplexing Predicament\" (1841)\n\nT: Burletta (1 act)\n\nC: C.R. Faylor's travelling company\n\nTh: Olympic Theatre (H)\n\nR: It is not quite clear how many nights were given by the FAYLOR company. The Herald of February 27 states that **it still continues its performances\", but, in view of what had happened earlier, \"naturally enough has not been patronised by any of the ladies resident in the Settlement\". In May, it turns up again in the pages of the paper. (NCH 27.2.1864).", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211828, "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": 243, "title": "RAS-1989", "content_text": "218\n\n1.4.1864 (Fri)\n\nR.B. BROUGH: \"Crinoline\" (1856)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"A Most Unwarrantable Intrusion\" (1849) T: Farce (1 act)\n\nN.N.: \"The Debut\"\n\nC: Messrs Shannon and Phillips with an amateur company\n\nTh: N.N. (H)\n\nR: Not too enthusiastically the Herald wrote that \"had Messrs PHILLIPS and SHANNON been better supported the performance would probably have proved a more decided success\". Must it be supposed that the amateurs were locals, who were otherwise so much lauded? (NCH 2.4.1864).\n\n4.4.1864 (Mon)\n\nRepeat of 30.3.1864,\n\n18.4.1864 (Mon)\n\nFirst performance by a Portuguese Amateur Dramatic Corps. TH: N.N.\n\nR: This first performance by a local Portuguese company was considered favourably: \"the arrangement of the costumes and acting were all good and amply rewarded a visit even by those who may not understand the Portuguese language\". (NCH 23.4.1864)\n\n25.4.1864 (Mon)\n\nJ. OXENFORD: \"Retained for the Defence\"\n\nT: Farce (1 act)\n\nC.S. CHELTNAM: \"A Lucky Escape\" (1861)\n\nT: Comic drama (1 act)\n\nT.J. WILLIAMS: \"On and Off\" (1861)\n\nT: Farce (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nTH: N.N. (H)\n\nN: Second performance of the season\n\nR: This second Volunteer Corps night drew a crowded house and the reporter was pleased to see that \"a majority of the lady residents were among the audience\", the more so as they \"by their presence contributed to inspire the performers with the desire to excel which led to such complete success\". No names were given in the review, but in A Lucky Escape “it would have required very sharp eyes to detect that the actress [who personated Louise] was, in fact, an actor\". Here the truth is finally revealed! In On and Off he/she took the part of Letitia equally well. (NCH 30.4.1864)\n\n9.5.1864 (Mon)\n\nN.N.: \"Nature and Philosophy or Eighteen Years' Labour Lost\"\n\n(The only piece with this title in HED is one that had its first night on 18.4.1876. However, Brown, \"A History of the New York Stage\", Vol. I, p. 235 mentions a performance of this play on June 1 1833).\n\nG. COLMAN Jr: \"Love Laughs at Locksmiths\" (1803)\n\nC: C.R. Faylor's travelling company\n\nF: Comic songs, dance, music\n\nTh: Olympic Theatre (H)\n\nR: Casts:\n\nNature and Philosophy:\n\nBrother Philip: Major Pegus\n\nRenaldo: C.R. Faylor\n\nEliza: Mrs. E. Yeamans\n\nGertrude: Mr. E. Yeamans", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211829, "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": 244, "title": "RAS-1989", "content_text": "219\n\nColins: Mrs. C.R. Faylor Love Laughs at Locksmiths Robin: Mes. C.R. Faylor\n\nJuliac: Mrs. E. Yeanians\n\nDame Durden: Mr. E. Yeamans.\n\nPaddy Druden: C.R. Faylor\n\nOnly an advertisement for this performance was published in the Herald of May 7. The stage often has its own laws as to the gender of the participants. In amateur theatricals, men dressed up as women à l'outrance, whereas in a professional company like the present one male characters were personified by ladies and vice versa!\n\n14.5.1864 (Sat)\n\nPerformance by the amateurs of the Royal Artillery.\n\nNo titles of plays recorded.\n\nTh: N.N. (H)\n\nR: NCH 21.5.1864\n\n17.5.1864 (Tue)\n\nRepeat of 14.5.1864.\n\n26.5.1864 (Thur)\n\nJ.M. MORTON: “Whitebait at Greenwich\" (1835)\n\nT: Farce (1 act)\n\nC. MATHEWS: \"Little Toddlekins” (1852)\n\nT: Comic drama (1 act)\n\nJ.M. MORTON: “Poor Pillicoddy” (1848)\n\nT: Farce (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nF: Epilogue spoken by R.C. Antrobus, commander of the S.V.C.\n\nTh: N.N. (H)\n\nN: Final performance of the season\n\nR: For the occasion Edward LAWRENCE, who was a \"practitioner at Law and Notary Public” according to the “Shanghai Almanac for 1862”, had written an epilogue which was read by the commander of the S.V.C., Robert Crawford ANTROBUS (member of the Municipal Council 1864-1865). And, as if to give more weight to its reception, the Herald added that “many of the ladies joined in the applause” (NCH 28.5.1864).\n\n28.5.1864 (Sat)\n\n**An Evening at Home**: \"Songs interspersed with anecdotes and conversation of the most lively description”.\n\nC: Mr. J.R. Black\n\nTh: Olympic Theatre (H)\n\n31.5.1864 (Tue)\n\nAs on 28.5.1864.\n\n3.6.1864 (Fri) As on 28.5.1864.\n\n13.6.1864 (Mon)\n\n\"An Evening at Home - Great Jacobite Night\" by Messrs. J.R. Black and Marquis Chisholm. Performance of the play The Advantages of Bonnie Prince Charlie or the Rising of 1745 (No piece with this title appears in HED), as well as ballads and songs (including 'Vi ravviso from Bellini's \"La Sonnambula\", act 1).\n\nTh: Olympic Theater (H)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211831, "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": 246, "title": "RAS-1989", "content_text": "221\n\nPark Lanc?). The names of the actors mentioned in the advertisement must have been assumed ones.\n\nJune and July 1864\n\nConcerts by the Rhenish Band and the Band of the 67th Regiment.\n\nLoc.: The Bund\n\nR: NCH 28.5.1864, 2.7.1864\n\n2-9.1864\n\nH.J. BYRON: “Aladdin or the Wonderful Scamp\"\n\nT: Burlesque extravaganza (1 act)\n\nC: Shanghai Amateur Burlesque Company\n\nTh: N.N. (l)\n\nR: That the hope expressed in the Herald of 2.7. was not forlorn was proved by the full house for Aladdin in which \"numerous local hits and puns are introduced which took admirably, especially a parody pidgin English on the 'lost child' (see Survey). The dresses were excellent and the scenery well arranged\" (NCH 1.10.1864).\n\n24.9.-30.9.1864\n\nDuring the week a concert was given by Mr. Desvachez (violin) and two amateurs, TH NM.\n\nR: Another adventurous musician had come to enliven the Settlement's cultural scene. Mr. DESVACHEZ. His concert was \"fairly successful, but people here hardly care to sit for two hours to listen to a performance on the violin, however well the instrument may be handled. Some variety is required and although Mr. DESVACHEZ was assisted by an amateur on the violincello and a pianist this desideratum was hardly attained\". (NCH 1.10.1864).\n\n6.10.1864\n\nOpening night of Lewis Australian Drama Company.\n\nNo titles of plays recorded.\n\nTh: NẠN. (I\n\nR: The first night of an eight-week season by Lewis' Australian Drama Co. (see also Survey). In the Herald, no detailed reviews appeared, only short summaries. The opening pieces have not even been recorded (NCH 8.10.1864).\n\n8.10.-14.10.1864\n\nH.J. BYRON: \"The Maid and the Magpie\" (1858)\n\nT: Burlesque burletta (1 act)\n\nA.G. HARRIS: \"The Rose of Castille\" (1857)\n\nT: Opera (music by M.W. BALFE)\n\nJ.R. PLANCHE: \"Paint Heart Never Won Fair Lady\" (1839)\n\nT: Comedy (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (l)\n\nR: It was reported that the company attracted \"olerably full houses\". Of the plays, Byron's The Maid and the Magpie was \"infinitely preferred; in it every actor is well up to his part and personates the character he represents with ludicrous fidelity\". (NCH 15.10.1864).\n\n£5, 10, 1864 (Sat)\n\nPerformance by the Portuguese Amateur Dramatic Corps.\n\nNo titles of plays mentioned.\n\nR: In their own theatre, the Portuguese actors were as usual well up in their parts and", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211833, "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": 248, "title": "RAS-1989", "content_text": "223\n\nharmonium by D.H. ENGEL\n\n17. \"Eupeidee\" (German student song and chorus) Th: Olympic Theatre (H)\n\nR: An advertisement only was published in the Herald of 29.10.1864. From it we learn that tickets could be obtained at the premises of Hiram Fogg & Co (ship chandlers, general store and auctioneers; one of the oldest foreign firms in Shanghai, located at the southern end of the Bund); Hall & Holtz (see 29.6.1864); A.A. Hayes Jr (Olyphant & Co, Nanking Road, ex Park Lane); and Herbert Cope (Geo Barnet & Co, Kiangsi Road (ex Church Street) and Hankow Road (ex Custom House Road)). It also becomes clear that there were at that moment at least two theatres in the Settlement: the Lyceum and the Olympic. The programme is interesting for the number of composers which have now been forgotten (Silcher, Kücken, Becker, Werner, etc.) and the piano arrangements of well-known opera arias.\n\n12.11-18.11.1864\n\nW. BROUGH: “Conrad and Medora” (1856)\n\nT: Burlesque pantomime (1 act)\n\nJ.B. BUCKSTONE: “Married Life\" (1834)\n\nT: Comedy (3 acts)\n\nJ.W. MARSTON: \"A Hard Struggle\" (1858)\n\nT: Domestic drama (1 act)\n\nW. SHAKESPEARE: “King John”, prison scene (Act IV, scene III)\n\nFurthermore:\n\n“Cinderella”, possibly by H.J. BYRON (1860) or T. TAYLOR (1845).\n\n\"Wonder\"; no contemporary pieces are listed in HED; only: Mrs. S. CENTLIVRE: “The Wonder. A woman keeps a secret” (1714) and H. CAREY: \"A Wonder or an honest Yorkshireman\" (1735).\n\nC: Lewis A.D.C.\n\nTh: N.N. (E)\n\nR: The Lewis company continued to draw large houses and ventured even to put a Shakespeare scene on the programme, from King John. It proved to be \"the hit of the week\". In it starred Miss Julia EDouin and Mr. Henry BIRCH: \"The acting was perfect. Miss Julia EDouin doing the fullest justice to the character of Prince Arthur and indeed taking the house by storm!\" (NCH 19.11.1864).\n\n19.11.1864 Sat\n\nH.J. BYRON: “Aladdin or the Wonderful Scamp” (1861)\n\nT: Burlesque extravaganza (1 act)\n\nC: Lewis A.D.C.\n\nTH: N.N. (U)\n\nN: Benefit of Miss Tilly Earl who played the role of Aladdin\n\nR: NCH 26.11.1864\n\n23.11.1864 (Wedn)\n\nR.B. SHERIDAN: \"The Rivals\" (1775)\n\nT: Comedy (5 acts)\n\nC: Lewis A.D.C.\n\nTH: N.N. (P)\n\nN: Benefit of Mrs. Gill who played the role of Mrs. Malaprop.\n\nR: NCH 26.11.1864\n\n26.11.1864 (Sat)\n\nH.J. BYRON: \"Aladdin or the Wonderful Scamp” (1861)\n\nT: Burlesque extravaganza (1 act)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211834, "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": 249, "title": "RAS-1989", "content_text": "224\n\nF. TALFOURD: \"A Household Fairy\" (1859)\n\nT: Domestic sketch (1 act)\n\n\"Aurora Floyd\".\n\nHED lists the following authors: C.S. CHELTNAM (1863), C.H. HAZLEWOOD (1836), J.B. JOHNSTONE (1836), B. WEBSTER (1863). In addition, Adams' \"Dictionary of the Drama\" mentions W.E. SUTER.\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Benefit of J.B. Creswick\n\nR: NCH 26.11.1864, advertisement only\n\n3.12.1864 (Sat)\n\nL.B. BUCKINGHAM: \"Take That Girl Away\" (1855)\n\nT: Comic drama (2 acts)\n\nJ.M. MORTON: \"A Capital Match\" (1852)\n\nT: Farce (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Benefit of Miss Lizzie Naylor\n\nR: NCH 3.12.1864, advertisement.\n\n9.12.1864 (Fri)\n\nBenefit of Mr. Henry Birch of the Lewis Company.\n\nNo titles of plays were mentioned. (NCH 10.12.1864)\n\n10.12.1864 (Sat)\n\nFarewell performance, also the benefit of Mr. Lewis, of Lewis Australian Drama Company. No titles of plays were mentioned (NCH 10.12.1864).\n\nR: No detailed reviews of the Lewis season were published in the North China Herald, only short announcements. It is quite well possible that more nights than the above ones were given, but they have not been recorded. In general, the company had attracted rather full houses, but for the 9th \"home sweet home\" was preferred; \"the unfavourable state of the weather prevented many ticketholders from putting in an appearance\" (NCH 10.12.1864)\n\nNovember and December 1864\n\nPerformances by the \"Christy Minstrels\".\n\nTh. N.N.\n\nR: Another travelling company that visited the port in these months were the \"Christy Minstrels\" (see also Survey). They too managed reasonably to fill the theatre (it was not stated where the performances took place, but as the Lyceum Theatre was occupied by Lewis, it must have been another location - perhaps the Olympic Theatre). \"No boredom here for by a pleasing variety they prevent that weariness which even the finest display of musical talent must, through frequent repetition, occasion\" (NCH 26.11.1864). In September they had visited Macao (BGM 5.9.1864) and before December 10 they departed for Hong Kong (NCH 10.12.1864).\n\n22.12.1864 (Thur)\n\nPerformance by the Portuguese Amateur Dramatic Corps.\n\nR: It was \"as usual largely attended\" (NCH 24.12.1864).\n\n28.12.1864 (Wedn)\n\nR.B. BROUGH: \"Medea\" (1856)\n\nT: Burlesque (1 act)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211835, "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": 250, "title": "RAS-1989", "content_text": "225\n\n\"Lady Audley's Secret\", for which HED lists the following authors: C.H. HAZLEWOOD (1863), G. ROBERTS (1863) and W.E. SUTER (1863).\n\nC: Shanghai Amateur Burlesque Company\n\nTh: N.N. (I)\n\nR: For the first time we have at our disposal another source than the \"North China Herald\" for reviews of the Shanghai theatre, viz. the \"Shanghai Commercial Record\". In general, though, the reports were in the same vein as those in the Herald had been, but sometimes more information was given and different accents set. Hardly so for tonight's pieces: they \"reflected great credit on the talent of the performers and their endeavour to provide for the amusement of their fellow exiles has we are sure been highly appreciated\" (SCR 7.1.1865). The Herald only published an announcement (NCH 24.12.1864).\n\n11.1.1865 (Wedn)\n\nD. BOUCICAULT: \"The Octaroon\" (1859)\n\nT: Drama (4 acts)\n\nC: Thorne (travelling) Company\n\nTh: Lyceum Theatre (1)\n\nR: Sometimes the availability of two sources does not make it easier to make a judgement about the truth of things. What to think e.g., of the following reports on the Thorne Company: The Herald was short in its weekly summary of 14.1.1865: \"The Thorne Company have given a successful representation of the Octoroon at the Lyceum Theatre and announce a second performance for this evening\" (i.e., Saturday). In contrast, the Shanghai Commercial Record reported in its issue of January 25: \"We have had another theatrical troupe here, calling themselves the Thorne Troupe. But whether it is that Shanghai has had too much of this class of entertainment lately, or that the pressure of the times is so great that people do not care to attend the Theatre, we cannot say. Both these causes combined probably to render the patronage bestowed on the Thorne Troupe extremely small. Indeed, when they opened on Wednesday evening last [this should read January 11 - JH] it was literally to an empty house for we hear there was actually no one present to view the performance. The company, as well they might be, were so disgusted that they left next day for San Francisco where we sincerely trust they will be more successful\" Cf. however, Survey, note $2.\n\n14.1.1865 (Sat)?\n\nAs above?\n\n4.2.-10.2.1865\n\nConcert by Mr. Desvachez and Signor Enrico Grossi. Th: Town Hall of the French Concession\n\nR: The violinist DESVACHEZ returned to Shanghai, this time accompanied by the bass singer Enrico GROSSI who had earlier, in December 1863, performed with the Faylor Company in Macao (see BGM 14.12.1863). The concert had called for favourable comment at the hands of our music critic” — indicating that a more detailed review had appeared in the North China Daily News (NCH 11.2.1865).\n\n15.2.1865 (Wedn)\n\nAnnual Volunteer Concert by the Volunteer Band and the \"Shanghai Amateur Quartet Club**.\n\nTh: Shanghai Club\n\nR: The Commercial Record of 22.2.1865 gave the following impression of this concert: \"The Volunteer Band was assisted by the Shanghai Amateur Quartette Club and several gentleman amateurs. The large room in the Club House was lent for the occasion and we were glad to see it well filled. The gay uniforms of the Shanghai Mounted Rangers, mingled with the more sober dress of the Volunteers gave the room a very gay", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211836, "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": 251, "title": "RAS-1989", "content_text": "226\n\nappearance. The music selected afforded great satisfaction to the audience and was really very well performed. The violin solos by a gentleman Amateur of the place were most deservedly encored. Indeed we fancy few home concerts could show anything of the same sort much better. Amateur concerts we are sure rarely could\".\n\n23.2.1865 (Thur)\n\nConcert by Signor Enrico Grossi, assisted by Messrs Desvachez and Terry, and the Rhenish Band.\n\nTh: Astor House Hotel\n\nR: All professional artists performed without any government subsidies so they had every reason to look forward to as large an audience as possible. Signor GROSSI evidently was a freemason for the Commercial Record reported that \"his masonic relations produced for him a full house\" (SCR 8.3.1865). Freemasonry, which had been introduced in Shanghai in 1849, was rather widespread among the (male) foreign residents and the brethren who had turned up rewarded Sr GROSSI's \"efforts to please by frequent bursts of applause\" (NCH 25.2.1865). No details of the programme were given.\n\n14.3.1865 (Tue)\n\nConcert in aid of the Shanghai Volunteer Club fund.\n\nTh: Shanghai Club\n\nR: RCH 18.3.1865\n\n21.3.1865 (Tue)\n\nJ. COURTNEY: \"Time Tries All\" (1848)\n\nT: Drama (2 acts)\n\nJ.M. MORTON: \"To Paris and back for $5\" (1853)\n\nT: Farce (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nTh: Lyceum Theatre (1)\n\nN: First performance of the season\n\nR: Not unexpectedly the Herald thought it \"needless to descant here upon the merits and talents of the Company\" (NCH 25.3.1865). The same pieces had been given on May 15, 1860.\n\n23.3.1865 (Thur)\n\nM. BARNETT: \"The Serious Family\" (1849)\n\nT: Comedy (3 acts)\n\nJ.R. PLANCHE: \"The Invisible Prince\" (1846)\n\nT: Extravaganza (1 act)\n\nC: Lewis' Australian Drama Company\n\nTh: Lyceum Theatre\n\nR: Lewis' Australian Drama Company had come back to Shanghai in early March (NCH 11.3.1865) for a second season of farce and comedy, but owing to difficulties in reaching an agreement with the Lyceum Theatre about the rent that was to be paid, the first night took place only on March 23 (NCH 18.3.1865). For the members of the Company see Survey; most of them appeared on the first night in The Serious Family. According to the Commercial Record (25.3.1865) \"the acting was very equal throughout and the admirable manner in which the different actors and actresses assisted one another contributed largely to their success\" - which seems to be a rather meaningless comment. The Invisible Prince, too, was put on the stage effectively and the mise en scene was very good.\n\n27.3.1865 (Mon)\n\nW.B. GILL: \"Which is Which?\"\n\nT: Farce\n\nL...", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211837, "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": 252, "title": "RAS-1989", "content_text": "227\n\nA. DUMAS: \"Camille\"\n\nT: Drama\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nR: The drama Camille, an English adaptation of Alexandre Dumas' \"La Dame aux Camélias\" was, in the eyes of the Commercial Record (5.5.1865) \"singularly unfitted for the powers of the performers. Miss Rose EDOUIN acted with her usual ability but as the heroine is a character almost impossible to render we must not object where we cannot praise”. Miss Jenny NYE starred in the farce Which is Which? written by a member of the company, Mr. GILL, who himself was a “capital low comedy actor”.\n\n28.3.-5.4.1865\n\nJ.B. BUCKSTONE: \"The Flowers of the Forest\" (1847)\n\nT: Musical drama (3 acts)\n\nJ.B. BUCKSTONE: “Isabella or Woman's Life\" (1834)\n\nT: Drama (3 acts)\n\nD.W. JERROLD: \"Black-eyed Susan\" (1829)\n\nT: Musical drama (3 acts)\n\nT.J. WILLIAMS: \"Nursery Chickweed\" (1859)\n\nT: Farce (1 act)\n\n\"Kenilworth\", possibly by A. HALLIDAY and F. LAWRANCE (1858)\n\nT: Burlesque\n\n\"Mr. and Mrs. Peter White\", anon. (1854)\n\nT: Farce (1 act)\n\n\"Rob Roy”, Numerous pieces with this title are listed in HED. i.a. by W.H. MURRAY (1818) and C.H. HAZLEWOOD (1864).\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nR: More than the Herald, the Record went into a rather detailed description of the Lewis season. Thus about Flowers of the Forest it wrote that there was \"an energy of revenge predominating all through the play while the occasional glimpse of pathos, combined with the jovial jocularity of the gipsys, tone down the otherwise tragic situations. Miss Rose EDOUIN, Miss NAYLOR and Mr. CRESWICK acted with power and well restrained manner“, Mr. CRESWICK “possesses great dramatic force and expresses himself well. His manner is somewhat stiff, but appearances before larger and more requiring audiences will obviate this habit\", \"His voice is good but somewhat monotonous of lone\" (SCR 5.5.1865).\n\n8.4.1865 (Sat)\n\nW. BROUGH: \"Perdita\" (1856)\n\nT: Burlesque (1 act)\n\nJ.B. BUCKSTONE: \"A Lesson for the Ladies” (1838)\n\nT: Comedy (3 acts)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Rose Edouin's benefit\n\nR: NCH 22.4.1865: no review,\n\n11.4.1865 (Tue)\n\nJ.B. BUCKSTONE: \"A Dead Shot\" (1827)\n\nT: Farce (1 act)\n\nJ. KENNEDY: \"Sweethearts and Wives” (1856)\n\nT: Burlesque (3 acts)\n\nC: Lewis A.D.C.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211839, "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": 254, "title": "RAS-1989", "content_text": "229\n\n19.4.1865 (Wedn)\n\nW.B. GILL: \"Aurora Floyd burlesqued\" J. TOBIN: \"The Honeymoon\" (1805)\n\nT: Comedy (5 acts)\n\nN.N.:\n\nA Rourer*\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Mr. W.B. Gill's benefit\n\nR: SCR 22.4.1865; no review\n\n21.4.1865 (Fri)\n\nW. EDQUIN: A Christmas Pantomime\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Mr. Willie Edouin's benefit\n\nR: At a rather odd time of the year there was a Christmas Pantomime written by Willie Edouin, a member of the company (of Survey). Again the Shanghai Commercial Record was enthusiastic: \"This bold venture was completely successful. The local hits were clever and met with great applause. The usual jokes, fun and frolic were duly given and some of the jumping very dexterously gone through. The get up and accessories of the said pantomime deserve all praise and the dresses and costumes were remarkably tasteful. JULIA EDOUIN danced with her usual grace and elegance. Miss NYE was particularly pretty and helped in a great way to make the performance lively and amusing”. All in all it “would be long remembered by those who saw it as a decided hit in the theatrical annals of Shanghai\". About Jenny NYE the Record wrote further: \"The lightness and airiness of her motion and unaffected style did much to relieve some very heavy and stilted acting. Her manner is composed and, never attempting to do too much, always ends in doing well. Simplicity of manner is not a fault and a graceful quietness in acting has often more effect than the lofty dignity of a Tragedy Queen\" (SCR 5.5.1865).\n\n25.4.1865 (Tue)\n\nD. BOUCICAULT: \"The Colleen Bawn\" (1860)\n\nT: Drama (3 acts)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nR: Tonight Dion Boucicault's most famous Irish play, The Colleen Bawn, was given. The Record (5.5.1865) thought it a \"bold step for any company to attempt in Shanghai\". But the result was a success: \"the actors entered into their parts with a determined earnestness to succeed and on the whole it may be classed as a creditable performance\". Earlier, however, it had stated that the play \"depends much more on scenery than on acting\", a judgement that was hardly likely to please the author as it was not his intention to write a purely melodramatic piece, that indeed often heavily relied on spectacular Stage effects.\n\n26.4.1865 (Wedn)\n\nW. SHAKESPEARE: \"Richard III”, act V\n\nT: Tragedy\n\nN.N.: The Frantic Husband**\n\nand probably:\n\nA. MAYHEW & H.S. EDWARDS: \"The Goose with the Golden Eggs\" (1859) T: Farce (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211841, "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": 256, "title": "RAS-1989", "content_text": "231\n\nattitude to such interpolations, 13.2.1863). The qualities of most players have already been touched upon; others were JOHN EDOUIN, “a capital dancer\"; his sister ROSE EDOUIN who, in burlesques, was \"not to be overlooked; there is a style about her which commands and her gesture is sufficiently theatrical to impose upon her audience where a little less or a little more demonstration might have failed.\" Mr. W.B. GILL whose acting was not \"thoroughly under command\", nevertheless had \"his place marked out for him and we hope some day to see him take up a leading position as a low comedian\". On the other hand Mr. ANDREWS was a useful actor who is careful in his parts does not do more than he needs to do\". The Company had had tolerably good houses and their departure was regretted for it was felt that Shanghailanders had seen \"perhaps the best company East of the Cape\". It went on to Foochow, Amoy and other southern ports. (SCR 5.5.1865).\n\n6.5.-12.5.1865\n\nTwo concerts by Mr. and Mme Simonsen (violin and singing resp.)\n\nTH N.N.\n\nR: For the first time since August 1863 Martin SIMONSEN came to the port, with his wife who was a singer, after recitals in Hong Kong. Rather disappointingly the first two concerts “did not draw very large houses\", but \"they were warmly applauded by all who listened to the spirit-stirring sounds of Mr. SIMONSEN's violin and the melting tones of Mme SIMONSEN's voice\", (NCH 13.5.1865).\n\n8.5, 1865 (Mon)\n\nPELHAM HARDWICKE: (= C. MATHEWS) \"A Bachelor of Arts\" (1853) T: Comic drama (2 acts)\n\nJ.M. MORTON: \"The Two Bonny Castles\" (1851)\n\nT: Farce (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nTh: Lyceum Theatre (1)\n\nR: According to both the Herald and the Record the pieces went off successfully (NCH 13.5.1865; SCR 22.5.1865).\n\n17.5.1865 (Wedn)\n\nConcert by Mr. and Mme Simonsen\n\nTh: Lyceum Theatre (1)\n\nR: In order to draw more people the admission charge at the Lyceum Theatre had been reduced to $3 with the result that a \"full audience was present” (NCH 20.5.1865). No programmes of these concerts were published.\n\n20.5.1865 (Sat)\n\nConcert by Mr. and Mme Simonsen, with the Band of the 67th Regiment.\n\nProgramme:\n\n\"Kathleen Mavourneen\" (song), **No not I** (song), C.A. de BERIOT: “Air varié”, N. PAGANINI: \"Carnival of Venice\", C.M. von WEBER: \"Aufforderung zum Tanz”, \n\n'Monastery Bells\", \"Valse de concert\" (song).\n\nTh: Lyceum Theatre (1)\n\nR: This was the last concert given by the SIMONSENS in Shanghai. According to the Shanghai Commercial Record it was a great success. Mme SIMONSEN sung the song \"Kathleen Mavourneen\" which \"literally “brought down the house\" (this must have been an exaggeration), after which she gave with great effect a very charming little skittish song “No not I'\". Her husband repeated some of the pieces he had performed seven years earlier (October 1858); Paganini's \"Carnival of Venice\" (with which the critic was \"not so much pleased\") and the variations by De Bériot. In addition \"he introduced one or two movements [into the Carnival of Venice? – JH] which we have", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211842, "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": 257, "title": "RAS-1989", "content_text": "232\n\nnot heard before and of which the best that can be said is that they are decidedly original. They seemed an imitation of the noise of braying of donkeys, but still they elicited great applause from the gallery [which was generally not regarded as very complimentary JH] perhaps from a certain feeling of sympathy. An amateur played Weber's \"Aufforderung zum Tanz\" with a \"perfect feeling\". To conclude the evening Mme SIMONSEN sung the \"Valse de concert\" (composer unmentioned) in which \"she displayed her powers more than in any other piece she has sung\" (SCR 22.5.1865).\n\n24.5.1865 (Wedn)\n\nH. MAYHEW: \"The Wandering Minstrel“ (1834)\n\nT: Farce (1 act)\n\nJ.P. PLANCHE: \"The Knights of the Round Table” (1854)\n\nT: Drama (5 acts)\n\nC: Amateurs of the Shanghai Mounted Rangers\n\nF: Music by the Band of the 67th Regiment; prologue read by Capt. Markham\n\nTh: Lyceum Theatre (1)\n\n―\n\nR: In lieu of the old time favourites, Messrs Brushwood, Pickwick, Newcome and Mrs. Nesbit had come new faces. Most foreigners had not yet made Shanghai their permanent place of residence, so turnover in the theatre too was rather high. Tonight could be admired Mr. SMALLWEED who, in the Knights of the Round Table, as \"the blameless king shewed a keen appreciation of his part and while he delivered the burlesque passages with much humour, proved by the taste with which he pronounced the prophetic eulogium on the Queen of England that he need not necessarily confine himself to broad burlesque in order to gain well-merited applause\"; Mr. Edmund (also a member of the Amateur Burlesque Company) won golden opinions as Launcelot, whereas Mr. PEEKT as Merlin \"displayed much cleverness in personating feeble old men\". In The Wandering Minstrel \"Mr. R.T. Larff, better known to the theatrical world as Mr. Wynnge (did this mean that he had two stage names? JH) sustained the reputation he has already gained as a low comedian and makes us the less deplore the absence of the well known and inimitable Brushwood” (last recorded performance 10.5.1860). Of course the female roles were taken by men, which led, as it always does, to some ridiculous scenes: \"The company possesses great strength in the important particular of lady performers. The only drawback which, however, is immaterial in burlesque, lies in the great height and muscular development of the fair ones\". Yet Miss Mary MIDDLESEX \"bore away the palm for natural feminine get-up\" and \"nothing could excel the dash which Kate COVENTRY threw into the part of the vivandière\", (NCH 27.5.1865). That not all patrons were equally pleased became evident from the Shanghai Commercial Record (5.6.1865) when it wrote: \"an allusion which was considered too personal led to a corresponding in our columns\" (i.e. the \"Shanghai Recorder\" which to the great regret of all historians treating the history of foreign Shanghai can no longer be found). At the end of the evening a number of toasts were proposed, among others to \"Alabaster, to whose exertions much of the success of the company was due\". This was a reference to Chaloner Alabaster (1831-1890), the British vice-consul who was also active in the North China Branch of the Royal Asiatic Society. In conclusion the Herald reported that \"the arrangements were excellent and notwithstanding the warmth of the evening and the crowded state of the theatre, the air within the walls did not become oppressively hot. Punkahs were slung over the front seats and during the temporary pauses kept up a current of air\",\n\n27.5.1865 (Sat)\n\nPerformance by Mr. Benjamin Seare. Programme unknown (reading, etc)\n\nTh: Lyceum Theatre (1)\n\nR: Both the Herald and the Record agreed that Mr. SEARE \"is possessed of great talent\"", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211845, "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": 260, "title": "RAS-1989", "content_text": "235\n\nthat in more congenial parts Mr. FUNNYDOG will help to compensate us for the loss of that most genial of humourists, our incomplete BRUSHWOOD\". The critic ended with the following advice: \"For the future it would be better to rehearse three pieces and play two of them the first night; then in the event of a second performance the piece which was received on the first occasion with the heartiest plaudits might be repeated, preceded or followed by the new Drama held ready and in reserve. We are inclined to offer this suggestion owing to the various complaints which we have heard of the lateness of the hour at which Thursday's entertainment concluded, and also from a selfish wish perhaps to have two dramatic treats instead of one” (NCH 16.12.1865).\n\n## APPENDIX I\n## Authorlist of plays staged in Shanghai 1850-1865\n\nIn this list full titles of the plays staged in Shanghai will be found as well as first nights in London (these generally according to Nicoll. History of English Drama).\n\nP: Performance in Shanghai\n\n?: The play is listed under more than one author\n\n| Author | Play Title | First Night in London | P: Performance in Shanghai |\n| --- | --- | --- | --- |\n| AYTON, Richard (1786-1823) | \"The Rendez-Vous\" | 21.9.1818 | 24.3.1852 |\n| BARNETT, Morris (1800-1856) | **The Serious Family** | 30.10.1849 | 8.10.1859; 23.3.1865; 28.4.1865 |\n| A BECKETT, Gilbert Abbott (1811-1856) | \"The Roofscrambler” | 15.6.1835 | 12.12.1850 |\n| | **Siamese Twins** | [14.4.1834] | 5.5.1853 |\n| | **The Turned Head** | 3.11.1834 | 27.1.1865 |\n| BERNARD, William Bayle (1807-1875) | \"A Practical Man\" | 20.10.1849 | 8.3.1854 |\n| BOUCICAULT, Dion (1822-1890) | **The Colleen Bawn or the Brides of Garryowen** | 29.3.1860 | 25.4.1865 |\n| | \"The Octoroon or Life in Louisiana\" | 6.12.1859 | 7.1.1865; 13.1.1865; 14.1.1865 |\n| | \"Used Up\" (with C. Mathews) | 1.6.1846 | 26.1.1853; 8.2.1857 |\n| BRIDGEMAN, John Vipon (1819-1889) | **I've Been Eaten My Friend!** | 8.9.1851 | 22.3.1854 |\n| BROOKS, Charles William Shirley (1816-1874) | \"Anything for a Change\" | 7.6.1848 | 14.5.1854 |\n| BROUGH, Robert Barnabas (1828-1860) | \"Crinoline\" | 18.12.1856 | March 1863; 16.3.1863; 1.4.1863 |\n| | **Medea or The Best of Mothers with a Brute of a Husband** | 14.7.1856 | 28.12.1864 |\n| BROUGH, William (1826-1870) | 'Apartments: Visitors to the Exhibition may be accommodated. A piece of extravaganza to suit the times' | 14.5.1851 | 23.3.1853 |\n| | \"The Area Belle\" (with A. Halliday) | 7.3.1864 | 30.9.1865 |\n| | \"Conrad and Medora or Harlequin Little Fairy at the Bottom of the Sea\" | 26.12.1856 | |\n\n138", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211855, "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": 270, "title": "RAS-1989", "content_text": "# BIBLIOGRAPHY\n\n245\n\n1. Archives:\n\n\"London Missionary Society\": Incoming Letters, Central China.\n\n2. Newspapers and Periodicals:\n\n**Boletim do Governo de Macao**, Macao, 1855-1865.\n\n\"China Mail\", Hong Kong, 1845-1860.\n\n\"North China Herald\", Shanghai, 1850-1867.\n\n\"Puck, or the Shanghai Charivari\", Shanghai, 1871-1873.\n\n*Shanghai Commercial Record*, Shanghai, 1865.\n\n3. Books and Articles:\n\nAdams, W. Davenport: \"A Dictionary of the Drama. A Guide to the Plays, Playwrights, Players and Playhouses of the United Kingdom and America from the earliest times to the present\", Vol. I (A-G) (no more published). Philadelphia, 1904.\n\nAppleton, William W.: \"Madame Vestris and the London Stage\", New York - London, 1974.\n\nBarr, Pat: \"The Deer Cry Pavillion. A Story of Westerners in Japan 1868-1905\", London, 1968.\n\nBlack, J.R.: \"Young Japan. Yokohama and Yedo. A Narrative of the Settlement and the city from the signing of the treaties in 1858 to the close of the year 1879\", Tokyo-London, 1968 (reprint of 1880-1881 edition).\n\nBoase, Frederic: \"Modern English Biography\", London, 1965 (reprint of the 1891-1921 edition).\n\nBooth, Michael (Ed): \"English Plays of the 19th century\", Volumes I and IV, Oxford, 1969-1973.\n\nBritish Museum General Catalogue of Books.\n\nBrown, T. Allston: \"A History of the New York Stage from the first performance in 1732 to 1901, 3 vols.; New York 1964 (reprint of 1903 ed.).\n\nBuckley, C.B.: \"An Anecdotal History of Old Times in Singapore 1819-1867, Singapore, 1902.\n\nCarse, A.: \"The Life of Jullien\", Cambridge, 1951.\n\nChesterfield, Lord: \"Advice to his son on Men & Manners in which the principles of politeness and the art of acquiring a knowledge of the world are laid down in an easy and familiar manner\", Chiswick, 1826.\n\nConolly, L.W. and J.P. Wearing: \"English Drama and Theatre 1800-1900. A Guide to information sources\", Detroit, 1978.\n\nCordier, Henri: \"Bibliotheca Sinica\", second edition; 5 vols.; Paris 1904ff.\n\nDavis, Jim (Ed.): \"Plays of H.J. Byron\", Cambridge, 1984.\n\n'Dictionary of National Biography\".\n\nDyce, C.M.: \"Personal Reminiscences of Thirty Years' Residence in the Model Settlement. Shanghai 1870-1900\", London, 1906.\n\nEngle, Gary D.: \"This Grotesque Essence. Plays from the American Minstrel Stage\". Baton Rouge, 1978.\n\nFétis, F.J.: \"Biographic Universelle de Musiciens\", Paris, 1864; Supplement by Arthur Pougin, 1880.\n\nFitzgerald, Percy: \"Principles of Comedy and Dramatic Effect\", London, 1870.\n\n\"The New Grove Dictionary of Music and Musicians\", London, 1980.\n\nHaan, J.H.: \"Origin and Development of the Political System in the Shanghai International Settlement\" in: \"Journal of the Hong Kong Branch of Royal Asiatic Society\", Vol. 22 (1982), p. 31-64.\n\nHaan, J.H.: \"The Shanghai Library: A history of the first foreign library in Shanghai\" in: \"Journal of the Hong Kong Library Association\", 1987.\n\nHartnoll, Phyllis: \"The Concise Oxford Companion to the Theatre\", London, 1972.\n\nHoward, Diana: \"London Theatres and Music Halls, 1850-1950\", London, 1970.\n\nPage 270\n\nPage 271", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211856, "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": 271, "title": "RAS-1989", "content_text": "246\n\nKing, F.H.H. and P. Clarke: “A Research Guide to China Coast Newspapers 1822-1911”, Cambridge (Mass), 1965.\n\nKosch, Wilhelm: \"Deutsches Theater Lexikon\", Klagenfurt, 1960.\n\nKounin, I.I.: \"The Diamond Jubilee of the International Settlement of Shanghai\", Shanghai, n.d. (c. 1939).\n\nKunitz, Stanley (Ed.): \"British Authors of the 19th Century\", N.Y., 1936.\n\nLang, H.: “Shanghai considered socially\", Shanghai, 1875.\n\nLanning, G. and S. Couling: \"The History of Shanghai\", Vol. I.; Shanghai, 1921. MacGuire, Paul: \"The Australian Theatre\", Melbourne, 1948.\n\nMacLellan, J.W.: \"The Story of Shanghai from the opening of the port to foreign trade\". Shanghai, 1889.\n\nMakepeace, Walter, Gilbert E. Brooke and R. St. J. Bradwell (Ed): 'One Hundred Years of Singapore\", 2 vols.; London, 1921.\n\nMaybon, Charles B. & J. Fredet: \"Histoire de la Concession Francaise de Changhai'', Paris, 1929.\n\nMaude, Cyril: \"The Haymarket Theatre, Some Records and Reminiscences\" London, 1903. Mullin Donald (Ed.): \"Victorian Actors and Actresses in Review\", Westport, 1983 National Union Catalogue.\n\n1\n\nNicoll, Allardyce: \"A History of English Drama 1660-1900\", 6 vols,; Cambridge 1952ff. Pal, John: \"Shanghai Saga\", London, 1963.\n\nPearsall, Ronald: \"Victorian Popular Music\", Newton Abbot, 1973.\n\n\"The Player's Library. A Catalogue of the Library of the British Drama League”, London, 1950.\n\nPope, W.J. Macqueen: \"Haymarket, Theatre of Perfection\", London, 1948. Reynolds, Ernest: \"Early Victorian Drama (1830-1870), New York, 1965 (reprint of 1936 edition).\n\nRiemann, Hugo: \"Musik Lexikon\", Berlin, 1916 (8th edition).\n\nRowell, George (Ed.): \"Nineteenth Century Plays”, Oxford, 1972.\n\n“Shanghai Alamanac” 1855, 1856, 1858, 1862; Shanghai, 1854ff years.\n\n**Shanghai t'ung yen-chiu tzu-liao (Shanghai Research Materials), Hong Kong 1972 (reprint of 1936 edition).\n\nSmith, C.; \"The Hong Kong Amateur Dramatic Club and its predecessors\" in: \"Journal of the Hong Kong Branch of the R.A.S.\", Vol. 22 (1982), p. 217-251. Thomson, Peter: \"Plays by Dion Boucicault\", Cambridge, 1984.\n\nToll, Robert C.: 'Blacking Up. The Minstrel Show in 19th century America”, New York, 1974.\n\nTroubridge, St. Vincent: \"The Benefit System in the British Theatre”, London, 1967. Wearing, J.P.: \"American and British Theatrical Biography\", London, 1979. White, Walter: \"China Station 1859-1864\", London, 1972.\n\nWilliams, Harold S.: \"Tales of the Foreign Settlements in Japan\", Tokyo, 1972. Wright, Arnold and H.A. Cartwright: \"Twentieth Century Impressions of Hong Kong. Shanghai and other Treaty Ports of China\", London, 1908.\n\nAbbreviations:\n\nNOTES\n\nBGM: Boletim do Governo de Macao.\n\nNCH: North China Herald.\n\nSCR: Shanghai Commercial Record.\n\n1\n\nPerformance 6.5.1852. NCH 8.5.1852.\n\nOnly passing attention has been paid to the early theatre in Shanghai: Lanning & Couling. p. 429-430: MacLennan: p. 85-86.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212022, "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": 437, "title": "RAS-1989", "content_text": "412\n\nsignificant step in his development into a connoisseur—collector-painter.\n\nCollecting as well as creating paintings soon became young Mr. Wang's principal preoccupation. However, he supported his collecting and his family by some real estate ventures because he was not able to make enough money through the sale of his paintings.\n\nThe story of C.C. Wang's journey to the West (New York) and attending classes at the Art Students League, his explorations of modern Western art and his artistic evolution is marvelously told through the well-written prose of Jerome Silbergeld, Professor of Art History at the University of Washington in Seattle.\n\nProfessor Silbergeld comes to his subject with a deep knowledge and background in classical Chinese painting and provides a sinological, art historical perspective of C.C. Wang's work. But the author does not avoid his role as contemporary critic, analyzing the relationship of the artist and modern art. When C.C. Wang's breakthrough to his mature style comes in 1971-2, the author allows the events to unfold like high drama. Moreover, throughout the text, the artist is permitted to state his own views on the elements of his art such as line, colour, composition, dots, texture, cultivation of controlled accidents, synthesis of East and West: \"Chinese brushwork is really individual, like Western color. Good brushwork is so beautiful. It can make you look at it many times... It's just like with voice when I hear one song, if the voice is good I want to hear another song. It's the same voice, but each time it's a little bit different: that attracts me so much. . .', (p. 42).\n\nOther notable scholars and critics who have written about artist-collector-connoisseur Wang have also been allowed to speak with their own voices, which gives the story a clarity and authenticity rarely achieved in a scholarly book. Moreover, the book is lavishly illustrated with not only Mr. Wang's works of all periods but also with the paintings that were most influential in building his style.\n\nIn addition, Professor Silbergeld recounts the long history of C.C. Wang as collector, and how he has been a central figure in influencing the growth of major collections of Chinese art in the West, notably that of the Metropolitan Museum of Art, through the sale of his own collections.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212034, "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": 449, "title": "RAS-1989", "content_text": "424\n\nthe collection of the Victoria and Albert Museum, and written text by Craig Clunas, this work is an attractive volume for general readers interested in Chinese furniture.\n\nRobert Ford, Captured in Tibet, Hong Kong, Oxford, New York: Oxford University Press, 1990, reprint of 1957 edition. 266 pp. Index, Photographs. This is a reprint of a highly readable account of the Chinese take-over of Tibet in 1950, with an additional introduction by the Dalai Lama. The author, seconded by the British Army as a radio communications officer to the Tibetan Army, spent a year as a prisoner of the Red Army.\n\nChristmas Humphreys, A Popular Dictionary of Buddhism, London: Curzon Press, 1984. Paperback reprint, 1987. 224 pp. Little more than a dictionary, this book will be of help to English-readers who need a quick reference to Buddhist terms in Sanscrit, Chinese, or Japanese.\n\nRobin Hutcheon, First Sea Lord — The Life and Work of Sir Y.K. Pao, Hong Kong: Chinese University Press, 1990. 170 pp. Index, Photographs. A short commissioned biography written by the former editor of the South China Morning Post, this book is attractively presented with a number of photographs. A definitive study of the shipping and property giant, Sir Y.K. Pao and his phenomenal accomplishments, both in Hong Kong and worldwide, is still required.\n\nNigel Cameron, The Chinese File, Hong Kong: Oxford University Press, 1990. paperback, 246 pp. Illustrations. First published in 1958 by Hutchison and Co. in London for an English readership, this book has been reprinted by Oxford University Press in Hong Kong. By now, the author is a well-known prolific writer in the territory. Cameron's observations as a serious traveller in China before he became a specialist, on such various topics as the Great Wall, the Minorities, the Deep South, and Sian, are interesting and enlightening.\n\nValery M. Garrett, Mandarin Squares, Oxford Images of Asia Series, Hong Kong: Oxford University Press, 1990. 66 pp. Bibliography, Glossary, Index, Illustrations. In addition to delightful descriptions of the embroidered squares from court robes of the Qing officials, popularly known by Western collectors as Mandarin Squares, Garrett has presented in this most attractive volume in very simple terms how the Manchus came to the Chinese throne and how young men were trained to become officials.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212080, "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-1990", "page_number": 22, "title": "RAS-1990", "content_text": "EDITOR'S NOTE\n\nThe Author of the article \"Thalia and Terpsichore on the Yangtze. A Survey of Foreign Theatre and Music in Shanghai 1850-1865” (Vol. 29, pages 158-251), Dr. J.H. Haan, has drawn to the Hon. Editor's attention a number of typographic and other errors in the Article as noted below.\n\nPage 174 line 9 176, 30\n\n181, 28-29\n\n182. footnote\n\n191, 22-23\n\n192, 34\n\n192, 44\n\n192, 50\n\n198, 37\n\n198, 41\n\n199, 5\n\n205, 28\n\n208, 7-9\n\n212, 26\n\n212, 36-41\n\n214, 38\n\nto read \"(see: Calendar. 13.2.1963, 73.1863, 26.3.1863)**\n\ndelete brackets\n\n\"To such a humble mansion should resort\n\nSo by your usual bounty pray be led\n\nAnd build a lasting structure in its stead.\"\n\nonit\n\n“Allardyce Nicoll: A History of English Drama. I also found useful: W.G. Adams A Dictionary of the Drama\n\n**L.L.D. and A.S.S.\n\n\"they have spared neither trouble\n\n**(1737)**\n\nFrench since 1817)**\n\n**1814-1894**\n\n\"composed expressly\n\n**H. Lille\" \n\n16.2.1859 (Wedn)\n\nT. MORTON: \"Sink or Swim\n\nT. Comedy (2 Acts).... \n\n**TR62**\n\namit\n\n\"considering the slender means and appliances at command. We specially observed the costumes of the male characters as being tasteful, rich.............\n\n216, 37\n\nomit \"*p.22\"\n\n221. 25\n\nadd **(Thurs)**\n\n222, 28\n\nomit brackets\n\n227, 46-228, 3\n\nomit\n\n228, 7\n\n**J. Kenney**\n\n233, 46\n\n235, 19\n\n235, 27\n\n235, 29\n\n235,40\n\n236, 45\n\n239, 31\n\n239, 36\n\n**10.1.1865**\n\n\"^2.6.1859. 8.10.1859, 23.3.1865\n\n**28.3.1860**\"\n\n**26.1.1852. 27.1.1852. 18.2.1857**\n\nfootnote to read 139.\n\n*^5.5.1858. 10.5.60\"\n\n27.5.1824\"\n\n**14.12.1865**\n\nxxi", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212083, "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-1990", "page_number": 25, "title": "RAS-1990", "content_text": "\"Every Chinese peasant is three thousand years of China in miniature. He may not peruse the books of history, but he has heard the story-teller night after night relate in detail, and with delightful embellishments, stories of the history of China from the time of the early rulers to the present day. He and his wife and children have attended the theatricals where the stories of romance, of adventure, of loyalty, and of virtue have been realistically visualised in the open-air theatre that adorns the square of every self-respecting market town. Their culture thought-patterns are not chosen from present day movie stars but from great men of old. The common people have absorbed, not read, from the master spirits of forty centuries.\"\n\n\"Most Chinese peasants are anything but stupid. Their knowledge of their own folklore and folk history is extensive, although it is far from being historically accurate. Usually the history the country person knows has been learned at the opera, and he is frequently unable to say whether a certain character is a real person who lived at a definite time, or merely the creation of a dramatist. This confusion is the more frequent because so many of the characters of Chinese drama are patterned after actual people of history.\"\n\nI do not wish to suggest for a moment that time has ever stood still. Rather, I am using the impressions gained by Joliffe, Winfield and others to emphasise the immense weight and influence of Chinese traditional education and upbringing upon the people until recent times. With reference to Hong Kong, I would say that their powerful, lingering vestiges here lasted until perhaps two decades ago: until the rapid modernisation and the improvements to the educational and socio-economic structure which began in the 1970s soon shifted the whole basis of society onto a more material level, and together with other changes greatly reduced the influence of the past upon behaviour and outlook.\n\nMy own realisation of the continuing strength of traditional values and practice and their lingering influence upon the people was obtained before these changes had taken hold, and was mainly acquired at first hand in the course of observing and experiencing the responses of the", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212105, "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-1990", "page_number": 47, "title": "RAS-1990", "content_text": "24\n\n30\n\nSir George Thomas Staunton, a member of the 1793-94 Macartney Embassy, whose translation of Ch'ing Law was the first published in Britain, had been at pains to emphasize this: Ta Tsing Leu Lee, Being the Fundamental Laws... of the Penal Code of China (London, Cadell and Davies, 1801), p. 185. For its application in practice see the cases translated with commentary in Derk Bodde and Clarence Morris, Law in Imperial China, Exemplified by 190 Ch'ing Dynasty Cases (Philadelphia, University of Pennsylvania Press, 1967).21 Cited in Corinne K. Hoexter, From Canton to California, The Epic of Chinese Immigration (New York, Four Winds Press, 1976), p. 136.\n\n11 Dr. William Lockhart of the London Missionary Society, writing in 1861, cites the case of the old scholar who so greatly assisted Dr. W.H. Medhurst with his translations and researches. See his The Medical Missionary in China (London, Hurst and Blackett. 2nd edition, 1861), pp. 21-22. \"He was a living concordance of the entire range of Chinese literature. He could find any passage without hesitation, repeat page after page of most of the works, and could easily take up any citation which had been begun in his hearing, and finish it without hesitation. This is not an uncommon thing amongst the educated Chinese, but this man possessed the faculty in a remarkable degree\".\n\n23 Arthur Evans Moule, The Chinese People, A Handbook on China (London, Society for Promoting Christian Knowledge, 1941), p. 262. See also his New China and Old, Personal Recollections and Observations of Thirty Years (London, Seeley and Co., 1891), p. 271.24 Some of the literary material to be found in villages of the Hong Kong region is described in Dr. Patrick Hase's most useful paper. \"Research Materials for Village Studies\", Chapter 4 of Alan Birch, Y.C. Jao and Elizabeth Sinn (eds.) Research Materials for Hong Kong Studies (Hong Kong. Centre of Asian Studies. University of Hong Kong, 1984), pp. 31-46, especially between pp. 32-37.\n\n25\n\n—\n\nBy great good fortune, some of their libraries have survived and are in safe keeping. One of them came from Hoi Pa Village, Tsuen Wan, and had belonged to the builder of the traditional village house there which is now a listed monument. He lived between 1865 and 1937, and after his return from Jamaica engaged in educational pursuits in a literary club and at the Luen Fong School in Hoi Pa Kwan Mun Hau. When what had survived of his library was presented to the Urban Services Department in 1982, it consisted of some 200 books of various kinds, as well as manuscript essays and poems, including some of the famed \"eight-legged essays\" written in preparation for the imperial examination; all providing valuable documentation for the educational, social and intellectual activities of their period. South China Morning Post, 26 May 1982. See also the Chinese press of that date.\n\n16 What Francis C.M. Wei calls the operation of the principle of retributive justice\" featured prominently in Chinese stories. See his The Spirit of Chinese Culture (Charles Scribner's Sons, 1947), p. 151. See also Yao Chin-nung, \"The Theme and Structure of the Yuan Drama\", in Tien Hsia Monthly, Vol. 1, No. 4 (November 1935), p. 392.27 The Tsuen Wan experience is echoed in the fine description of what it meant to be a village boy in late 19th century Kwangtung, contained in the memoirs of a successful Hawaiian Chinese, born in a village near Macau in 1865. In them, he describes what one might call the \"extra-curricular\" part of education. This included the telling of traditional stories by the family elders and by itinerant minstrels and story-tellers, and through the plays performed by visiting opera troupes, as well as in literary pastimes: Chung Kun Ai, My Seventy Nine Years in Hawaii (1879-1958) (Hong Kong, Cosmorama Pictorial Publisher, 1960), pp. 6, 26-29.\n\n28 Francis C.M. Wei, The Spirit of Chinese Culture (New York, Charles Scribner's Sons, 1947) p. 149.\n\n24\n\nFor the former, see the chapter \"Symbol and Tradition\" between pp. 50-75 of Ronald", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212251, "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-1990", "page_number": 193, "title": "RAS-1990", "content_text": "170\n\nburning of the temporary theatre, and the sudden deaths of the troupe or community members, were believed to be the outcome of either a violation of the taboo, or a bad performance of the ritual. Besides such disasters, harm of a moderate degree can also occur. This might include the sickness of troupe employees, the loss of an actor's voice, the forgetting of one's part and the commitment of some impossible mistakes during a performance. It has also been a custom that local people should stay away from the performance hall or hide themselves at home before the completion of the White Tiger ritual.\n\nWithin the Cantonese operatic troupes which perform in modern Hong Kong, the taboo of shutting one's mouth and keeping quiet is still strictly observed by the two actors, three percussionists and two to three backstage workers who happen to be assigned by the troupe owner to participate in the preparation and performance of the ritual. Such troupe members often avoid laughing and talking from the moment they arrive at the theatre until the ritual is held, even in areas other than the stage. The two actors always stay away from their friends and colleagues and do not talk to each other. Other employees of the troupe try to hide themselves in the dressing compartments of the backstage, or leave the stage area.\n\nAnother tradition connected with the White Tiger ritual concerns the entrance and exit space located between the backdrop and the back wing curtain on both sides of the frontstage. These two areas are called fu dou mun (the tiger's gate of passage) and are referred to as the Tiger Gates in the present paper. It is uncertain whether the White Tiger ritual is related to the Tiger Gates but another taboo requires the employees to enter the frontstage area through the gate at stage left and leave through the one on the other side before the completion of the White Tiger ritual.\n\nAs pointed out by Barbara E. Ward in her paper \"Not Merely Players: Drama, Art and Ritual in Traditional China\", to avoid the breaking of the taboo by outsiders who do not know it, troupe members do not welcome any visits onstage before the ritual is held. However, the present writer has observed that some backstage workers of a younger age often fail to follow the taboos. Some of them said that they did not believe in these taboos and dismissed them as old-fashioned superstitions.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212260, "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-1990", "page_number": 202, "title": "RAS-1990", "content_text": "179\n\nthe profession as a means to solve problems related to the management of the troupe and the theatre. Eventually such management rules were overwhelmed by the profession's religious sentiments and transformed to become an essential part of the employees' religious beliefs.\n\nHsu Francis L.K. 1983\n\nREFERENCES CITED\n\nExorcising the Trouble Makers. Magic, Science and Culture, Westport: Greenwood Press.\n\nChiao, Chien\n\n1986\n\n\"Beating the Petty Person: A Ritual of Hong Kong Chinese\" (in Chinese), in New Asia Academic Bulletin (Volume VI): Special Issue on Anthropological Studies of China, Hong Kong: New Asia College, The Chinese University of Hong Kong.\n\nWard, Barbara E. 1979\n\n\"Not Merely Players: Drama, Art and Ritual in Traditional China,\" in Man, March 1979.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212397, "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-1990", "page_number": 339, "title": "RAS-1990", "content_text": "316 \n\nand traditions that make men (and women) take to the profession of piracy. As it is the book is a \"good read\" in the sensational nineteen-twenties style of journalism, padded out with cuttings from the newspaper library. And the piracy which forms the main theme of the book is less the battle-boarding-bang-bang scenario of excitement and tension favoured by generations of schoolboys, than a roughly institutionalised form of \"protection\". You entered into \"discussions\" with fishing-junks to protect them from real pirates, in the same way as today's Hong Kong Triads contact a new shop or restaurant to \"protect\" them against burglars.\n\nNot that the nineteen-twenties lacked their share of genuine piratical drama. This was the decade of the inside operation, with villains booking passages on coastal and ocean-going ships and, once out of sight of land, storming the bridge and forcing the crews to steer to Bias Bay, where the cargo would be looted, and the passengers sometimes held to ransom.\n\nOf all the piracies that of the SS Sunning in November, 1926, was the most spectacular and interesting, because the officers not only fought against overwhelming odds, but actually recaptured the ship, although with heavy losses in dead and injured. All this against a background of well-defined Hong Kong colonial policy. The drill was simple. Any pirates caught in Hong Kong waters, if found guilty, were hanged. If the crimes were committed in Chinese waters it was up to the Mainland Chinese authorities to deal with them, and in the nineteen-twenties China was too occupied with war-lord politics and other problems to bother much with coastal piracy, which had anyway been a nuisance for centuries.\n\nIn order to make contacts with the sea-going underworld the author paid many visits to Macau and was extraordinarily lucky in making contact with useful intermediaries. He lacks literary style but he is the kind of determined reporter every editor would like to have on hand for investigative purposes. In an effort (unsuccessful) to pursue useful contacts he even committed a minor crime and got himself locked up among the convicts in Hong Kong's Victoria Prison. Not surprisingly the pirates there had been found guilty not of piracy but lesser offences; had their real identity been revealed and proved they would have been doomed men. The gallows was a few yards outside author Lilius' cell.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 213226, "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-1994", "page_number": 48, "title": "RAS-1994", "content_text": "27\n\nthe style of Oxford and Co., entered a suit in the Supreme Court of Hong Kong against H.B. Cama and Co for a debt of $12,294.21 (GG 10 June 1865). Alexander C. Levysohn and Jacob Arnhold were admitted partners in Oxford and Co. | January 1863 (CM 30 Apr 1863)\n\nJacob Arnhold, one of the original partners of Arnhold, Karberg and Co. died in July 1903 (DP 18 Nov. 1903). He made his will on 5 September 1902. In it he gave his address as 5 East India Street, London, and named his brother Philip Arnhold and Sir Ewen Cameron, London Manager of the Hong Kong and Shanghai Bank as his executors. All his estate was left to his wife Anne (PRO Will File 201 of 1903/1642).\n\nPhilip Arnhold died on 29 March 1910 at Altona, Germany aged a little over sixty years. He was then the senior partner. His obituary states he came from Europe to China as a young man in his twenties. In 1868 he joined Messrs. Oxford and Co. of Canton. A few years later he followed his brother Jacob Arnhold to Hong Kong where the firm of Arnhold, Karberg and Co. was formed. Philip joined the new firm. The careful reader will note that the chronology of the obituary differs from the notices in contemporary newspapers noted above. After a few years a branch was established at Shanghai and Philip went there, where he remained until 1902. The obituary observes that he lived a plain business man's life, devoid of ostentation. He was a director of the Soy Chee Spinning Co. at Shanghai and various other local companies. In 1902 he returned to London to join his brother Jacob in the management of the headquarters office. Upon Jacob's death in 1903, Philip became senior partner, and upon the latter's death E. Goetz assumed that position (HKT 1 Apr 1910).\n\nMr. Arnhold made a will dated 13 May 1900. It mentions the children of his first marriage but does not name them. His second wife was Thekla Emma Elizabeth Vogler, formerly the widow of Dr. Gustav Carl Ludwig Zedelius. He left bequests to his sisters and sister-in-law Theresa Wagner, nee Arnhold, Hanna Delbanco, nee Arnhold, and Adele Hoppe, nee Vogler. The place of his death is given as Klein Flottbek, Holstein, Germany (PRO Will File No. 43 of 1911/2366).\n\nPeter Karberg, one of the founders of Arnhold, Karberg and Co., appears in the Hong Kong jury lists from 1867 to 1876. Four children were born in Hong Kong to him and his wife Helene Dorothea between September 1871 and April 1876. A Christian, Peter Karberg was an assistant in the firm at Hong Kong from 1882 to 1898. After leaving Hong Kong Peter Karberg lived in Copenhagen, Denmark.", "txt_file_path": "txt/dfo323lmgvd/RAS-1994.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zk522640g", "rank": 0 }, { "id": 213393, "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-1994", "page_number": 215, "title": "RAS-1994", "content_text": "Hatt. Virgie Chittenden, Western China, a Journey to Mount Omei, Boston Ticknor and Co, 1888\n\nHedin, Sven Anders, The Silk Road, English translation, New York Dutton, 1938\n\n— My Life As An Explorer, London Cassell, 1926\n\nHillard, Mrs Barnet(Low), My Mother's Journal Hope 1829-1834, Boston Ginn & Libs. 1900\n\nManila, Macao and Cape of Good\n\nHolden, Reuben Andrus, Yale in China, the Mainland, 1901-1957, New Haven The Yale in China Association, 1964\n\nHolm, Puts, My Nestorian Adventure in China, a Popular Account of the Holm-Nestorian Expedition to Sian-fu and as Result, New York and Chicago. Revell, 1923\n\nHomer, Jay, Dawn Watch in China, Boston Houghton Mifflin, 1941\n\nHopkirk, Peter, Foreign Devils on the Silk Road. The Search for the Lost Cities and Treasures of Chinese Central Asia, London John Murray, 1980 (Hong Kong Reprint Oxford University Press)\n\nHosie, A. Three Years in Western China, London Philip, 1897 (Taipei Reprint Cheng-wen Publishing)\n\n—, On the Trail of the Opium Poppy, London, 1934\n\n1\n\nHoy Ching-ming, Foreign Investment and Economic Development in China. 1840-1937 Cambridge (Mass). Harvard University Press, 1965\n\nHsu, Immanuel C.Y., The Rise of Modern China, New York: Oxford University Press. 1970\n\nHuang, Ray, The Lung-ch'ing and Wan-li Reigns 1567-1620, Cambridge History of China, vol 7, 511-84\n\nHue, Ivan, Recollections of a Journey Through Tartary During The Years 1844 1845 and 1846, a condensed translation by Mrs Percy Simmett, London Longman, 1852\n\n- A Journey Through the Chinese Empire, New York, 1855\n\n1\n\nHughes, Mrs Thomas Francis, Among the Sons of Han Notes of Six Years Residence in Various Parts of China and Formosa, London. Innes & Brothers 1887\n\nHume Lotta Carswell, Drama at the Doctor's Gate the Study of Dr. Edward Hume of Yale-in-China, New Haven Yale Association, 1961\n\nHummel, Arthur W, ed., Eminent Chinese of the Ching Period. Washington DC Government Printing Office, 1944 (Taipei Reprint. Cheng-wen Publishing)", "txt_file_path": "txt/dfo323lmgvd/RAS-1994.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zk522640g", "rank": 0 }, { "id": 213487, "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-1995", "page_number": 83, "title": "RAS-1995", "content_text": "51\n\nthrough the elaborate story that preceded the battle scene felt that they were cheated or short-changed!\n\nI cannot agree more. The audience would expect that both the story that precedes the battle, and the battle itself would be well proportioned and balanced. No wonder it was an anticlimax.\n\n(4) One way to prolong the fighting scene is to introduce some acrobatic performances onto the set. You must remember that, in earlier days, the theatre-goers were allowed to drink tea and eat melon seeds while watching the drama. What a wonderful idea, to be able to go to an Opera and, at the same time, enjoy life while watching the actors doing acrobatics on the stage!\n\nHow to Read the Result of the Battle.\n\nHaving said so much about the fighting techniques of the Chinese Opera, it would be useful to know how to read the score of a Chinese Opera fighting scene.\n\nFirst, place yourself in one of the front stall seats facing the stage. The Chinese Opera stage usually has two doors at the back end of the stage, one on your left-hand side, and one on your right-hand side. In the old days, there was a plaque on top of the left-hand side door with two distinguished Chinese characters \"\" (Chu Jiang), which literally means “the door through which the general enters\". We simply call this door the “Entrance Door\". Similarly, over the right-hand side door, there is a plaque also with two Chinese characters \"\" (Ru Xiang), meaning \"the door through which the Prime Minister departs\". We shall simply call this door the “Exit Door\".\n\nNow, when both armies are fighting, if suddenly both parties retire to the back of the stage, each through a different door, you will then know that the battle is a draw. On the other hand, if you see one army suddenly withdraw through the Exit door, with the opposing army hot in pursuit, you will know that the army that withdrew through the Exit door first is losing. This will allow the winning side general a few more minutes to display his army's superiority over the enemy and, in most cases, he may over-react and go through the door last!", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 213978, "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-1997", "page_number": 47, "title": "RAS-1997", "content_text": "12\n\nHealth were listed provision & operation of maternity homes, ante- & post-natal clinics and health visiting. Under Education came provision & operation of primary & secondary schools, adult education & evening institutes. Under Welfare were recreational facilities, youth clubs, community centres, sports facilities, public swimming pools, homes for the aged, infants' crêches, refuges for street sleepers, distribution of relief, entertainment (band concerts, Chinese drama & opera), pleasure grounds, playgrounds and bathing beaches. The Miscellaneous category added declaration of one-way streets, parking zones, closing of streets as playgrounds (after consultation with Police), traffic warden services, provision & management of car parks, amenity provision (eg public fountains & tree planting), museums & art galleries, and undertaking of functions (such as collection of water rates & various fees) as agents of the central government.\n\nThis list went much farther in involvement of representative bodies in the affairs which closely and legitimately concerned the ordinary man and woman in the street, as well as extending what was already delegated to the Urban Council into most of the colony's growth areas. Apart from suggesting that the list might be added to in the light of experience, the bold proposition was made that in future no central department should be permitted to establish new local machinery without proving that the activity could not be carried out by a Local Authority. The report stated that it was not envisaged that the new councils should be independent Education Authorities; but it was clearly hoped that in the fullness of time the Education Department would regard local authority schools as a main component of the grant-aided system, and indeed relinquish its own primary schools to the councils. Finally, as a carrot for those in the NT who might be willing to contemplate change, it was pointed out that rural district councils should take over agricultural extension schemes, forestry lots, fish-ponds, local public works (footpaths, bridges, piers etc), local ferries, village layouts & housing schemes, and local water supplies & irrigation.\n\nThis would all have to be paid for. Local authorities should have financial responsibility, including revenue-raising powers. Local accountability to tax-payers and freedom from stifling dependency on central grants (with their inevitable consequential frictions) were essential to success. New structures would increase the administrative costs of the colony overall, and it might well be that some areas would", "txt_file_path": "txt/dfo323lmgvd/RAS-1997.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/wp98g7579", "rank": 0 }, { "id": 214197, "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-1998", "page_number": 55, "title": "RAS-1998", "content_text": "18\n\npeople believe, and there appears to be truth in this (with greater use being made of the Chinese language since the Handover), that Hong Kong as a city-state is becoming more Chinese. Although this can affect the development of Hong Kong humour it is expected to be more than offset by globalisation and the world-wide effects of radio, television, the Internet and information technology.\n\nThe late Lin Yutang postulated that a Chinese believes, while getting in a few puffs while standing in front of a no-smoking sign, that the world is a stage where drama and high comedy abound. Life is a huge farce and one must not take matters too seriously, whether they be government reforms or funerals (Lin, 1936:65). The latter have a certain amount of 'gaiety' about them. Sending a person on his or her last journey to confront the final mystery of life should, it is believed, be expensive. The Chinese consider only Europeans (Lin insists) take funerals seriously and try to make them solemn affairs. What is wrong at a funeral in getting a few words across to a pal, about horse racing or morning walks, when you have not seen him for a long time? The man who takes life too seriously and obeys all the rules (according to Lin), and keeps off the grass when nobody is looking, appears ridiculous. In addition Chinese humour often takes a tolerant view of vice and evil. Instead of condemning them outright why not make fun of them? Lin Yutang believed humour could transcend cynicism and be used for other and better purposes than reconciling oneself to one's down-trodden position.\n\nAccording to Lin Yutang (1936:64), first-class humour is to be found in the Confucian Analects. \"After all, Confucius is quoted as having said, because Tsai Yu napped during the day:\n\nRotten wood cannot be carved nor a wall of dried dung trowelled. How would I rebuke him?\n\nA saying like that is always good for a chuckle.\n\nMuch humour is to be found in Ming dynasty novels, in Hong Kong's New Territories' folk songs (largely forgotten except among the elderly), and in the poetry of the drunkard, Li Po (alias Li T'ai-po), who lived in the eighth century. He made much of the solace and lib-", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214236, "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-1998", "page_number": 94, "title": "RAS-1998", "content_text": "57\n\nis the conservation or preservation of the divine order in the world. Despite being a major deity and having many incarnations, of which Rama is but one, he is not included within the 28 Deva seen in the Ta Pei Ssu. However, his wife Laksmi is included. Another Vedic deity not included in the groups of Devas in the Western Hills is Krishna probably because he is the eighth avatar of Vishnu.\n\nPopular Buddhist figures which, at first thought, we might have expected to see listed among the Deva would, however, not be eligible because they were purely Buddhist without a Brahmanist or Vedic origin, and were Indians who lived and died during the lifetime of the Buddha himself. These include, amongst others, Kasyapa, Ananda and Lochana.\n\nAlthough Ming iconography portrayed Indra and Brahma on many altars as Chinese figures; the question remains why are they, and in particular in these two temples in the Western Hills why are so many Vedic deities, portrayed as Chinese?\n\nTales of the Ta Pei Ssu\n\nAn off-beat description of the Ta Pei Ssu in 1884 describes its picturesque location and whilst not referring to the deities, least of all the Deva, it does provide two colourful vignettes. The first gave the reason for the main entrance to the temple being blocked. It was a punishment for the priests who had permitted a suicide to take place within the temple confines. One of the monks so the story went had greatly insulted a coolie and he, instead of attacking his persecutor, had “with the perverseness of your true Chinaman” had taken vengeance on him by committing suicide. The second told of the usual practice of the era when foreigners rented temples in the cool of the hills for the summer. Having read various bits of graffiti the 'Student-Interpreter' claimed that the temple must have been a favourite resort of members of the Russian Mission between 1828 and 1840.\n\nA Third Temple containing a Group of Deities with Sinicised Sanskrit Names\n\nYet another group of deities with sinicised Sanskrit names can be", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214247, "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-1998", "page_number": 105, "title": "RAS-1998", "content_text": "68\n\nSarasvati is the sister of Yama and wife of Brahma and Manjusri [depending on the legend], and sometimes assumes the form of a swan or peacock. Chinese texts however, describe her as male. She is portrayed in India as having two arms and a lute or with four or eight arms.\n\n9] Laksmi known in Chinese as Chi-hsiang T'ien-nü or 落吃澀弭. She is the Hindu goddess of beauty, pleasure and wealth, that is, fortune, and of good auspices. She was the wife of Vishnu in several of his incarnations, including that of Vishnu's incarnation as Rama when she was known as Sita. In some cults she is also one of the personifications of Sri Devi, as is Prthivi [see 10 below]. She is usually depicted with two arms though in some places she has four.\n\nThe active power of creative energy portrayed by female deities has been personified as the goddess Sri Devi. She has manifested herself in many different forms including male and non-human. She has a number of names one of which is Laksmi.\n\nAn image of Laksmi is present in both the Pi-yun Ssu and the Ta Pei Ssu. In both temples she is standing dressed in highly colourful, decorated robes and crown, with no unique characteristics.\n\n10] Prthivi known in Chinese as Chien-lao-ti-shen or 提毗. He is the Earth-devi, the god of the soil, ground, etc. and also one of the four with thunderbolts in the Vajradhati group. In some cults in India Prthivi is known as Bhu Devi, one of the personifications of Sri Devi.\n\nImages of Prthivi are present in both the Ta Pei Ssu and the Pi-yun Ssu. In the Ta Pei Ssu his image portrays him as a typical northern Chinese image of a youthful minister. He is remarkably feminine in his facial features, and is dressed in a colourful highly decorated robe and crown without any unique characteristics. He is much the same in the Pi-yun Ssu though here he is carrying a small symbolic club between\n\nPage 105\nPage 106", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214249, "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-1998", "page_number": 107, "title": "RAS-1998", "content_text": "70\n\nthe primary one in China being as the Lord of the Underworld known as Yen-lo Wang. In later Brahmanist mythology he is one of the eight Lokapalas, the guardian of the south and judge of the dead. He was the son of the sun, with a twin sister Yamuna - regarded by some Hindus as the first human pair. An image of Yama is present in both the Pi-yun Ssu and the Ta Pei Ssu.\n\nIn northern China images of Yen-lo Wang have been noted in several old temples where he is portrayed as a benign elderly human, dressed in court robes and cap of dynastic China. In the Kuan Yin Hall of the Ta Pei Ssu in Peking his image depicts him thus, with his hands held palms together before his chest. He has no unique characteristics and is known simply as Yen Mo Lo. He is referred to by the temple staff as Yama and appears to have no other title and is looked upon by the monks as the Lord of the Underworld. In the Pi-yun Ssu he is a general wearing armour under his colourful robes and has an axe clutched in his right hand. His left hand is held across his body pointing with two of his fingers. He has dark skin, round eyes, a short black beard and moustache and a scarf swirling behind his head hanging down in front of his body.\n\nThere is also Yen-mo Hu-fa, a Lama Buddhist [Tantric] deity, whose image stands in the Lama Temple in Peking. It is typical Tibeto-Mongol iconography, swathed in silken robes obscuring the body leaving only the fierce head and the raised right arm visible. The head, which looks somewhat like a blue pig with gold eyebrows and red mouth, has a row of skulls across the top of the head mounted on a coronet, with a fiery nimbus behind that. He is holding in the air in his right hand a short rod [a heavenly cane] with a miniature white skull mounted on the top. Without the silken robe the deity is revealed standing on a blue horse or mule which, in turn, is prostrate on a naked human. The deity has another small blue-skinned demonic figure standing before him, facing him and holding its hands up towards the deity in supplication.\n\n14] Sagara known in Chinese as P'o-chie Lung-wang and P'o-chie-lo\n\nSagara is the Naga King of the Ocean Palace north of Mount Meru,", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214276, "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-1998", "page_number": 134, "title": "RAS-1998", "content_text": "97\n\nNOTES\n\nMacGowan J : Men and Manners of Modern China: T Fisher Unwin: London 1912\n\n2 Werner in his Dictionary of Chinese Mythology gives the Eight Classes of Dragon Kings as follows:\n\n3 Deva naga, Yaksha, Gandharva, Asuras, Garudas, Vinnaras, Mahonagas and Rakshas Soothill in his Dictionary of Chinese Buddhist Terms lists the Eight Classes of Supernatural Beings as follows: Deva, Naga, Yaksha, Gandharva, Asura, Garuda, Kinnara and Mahoraga.\n\nMajor well known Brahmanist deities not included in the groups of Deva in the Western Hills of Peking include Hanuman, Parbati and Ganesh.\n\n* A Student Interpreter: Where Chineses Drive : English Student Life in Peking Wm Allen & Co : London: 1885\n\n6 As with a number of titles the romanised spelling varies depending upon the form used and, as examples, we have Siva and Shiva, Pancika and Panchika. He is the esoteric cult Deva, a masculine form of the wife of Siva. He is the tutelary god of Mongolian Lama Buddhism, and is also said to be an incarnation of Vairocana for the purpose of destroying demons.\n\n7 Werner, ETC: A Dictionary of Chinese Mythology:\n\n8\n\n9 x stands for an illegible character. Although images iconographically look like the standard Buddhist image of the Temple Guardian, Wei T'o, they have been identified as being one of three Vedic deities. Lessing in his Yung-Ho-Kung [Stockholm 1942] and the Taiwanese guide to The Guan Yin Hall of the Ta Pei Ssu both identify Wei T'o's origin as Skanda whilst Soothill claims that he is Viharapala.\n\n10 Occasionally Yüeh T'ian-wang, that is the 12th century hero Yüeh Fei, takes the place of Li Yüan-shuai.\n\n\"Chin-se are the Five Primary Colours permutated in various ways to represent various ideas; also, a five coloured emblematic cord, a Brahman sign worn on", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214973, "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-2000", "page_number": 69, "title": "RAS-2000", "content_text": "25\n\n“As you wish, madame.” He gave us a second-class cabin, looked at our son doubtfully. \"Tall for his age, isn't he? Only four and something, did you say?\"\n\nAnd another, equally persuasive fragment:\n\nIn Singapore we were refused a room at the English hotel, and the Chinese ones were very hot and uncomfortable; there was opium-smoking, prostitution and gambling all round us. Marguerite had prickly heat, and our son cried all night long. Our clothes were all too heavy for the damp, hot weather\n\nHaving returned home as a former engineering student from Belgium, Han Suyin's father was then employed by the Belgian company developing a railway network throughout the Chinese interior. There are many fragments in the pages of her books, referring to this period in her and her family's lives. A happy one is given already in Chapter One of The Crippled Tree:\n\nRailways meant a lot to my father, and they were also part of the climate of my growth since my childhood was spent in small or large railway stations. Even now, whenever I hear the siren hoot of an engine, my childhood comes cantering back to me.\n\nInequality between Western high school diplomas granted to the Chinese and to the whites was indisputable, self-evident and absolutely “natural,” and was thus quite impossible to argue against. The Chou family was confronted with this inequality right from their re-settlement to China. In Chapter Nineteen of The Crippled Tree, Han Suyin mentions:\n\nIt was in the yellow plains of Honan; not far from it, the Yellow River had burst its dykes and gone flooding once again, and there were many displaced peasants and also bandits and soldiers, the latter more than the former and more to be feared. The little station was safe, however. There the Big Engineer, whose name was spoken of with indrawn breath and a small pause of respect because he was a Belgian and had a large salary, stayed in a new brick house constructed specially for him on a small hill. Mama and Papa lived in a small Chinese house of earth walls on the other side of the railway, about two miles away", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 214974, "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-2000", "page_number": 70, "title": "RAS-2000", "content_text": "26\n\nfrom the hill, in the town.\n\nIn that particular place on the Chinese provincial railroad construction, Han Suyin's baby elder brother, Gabriel (Sea Orchid), died simply because he was Eurasian. The French doctor working for the Belgian railroad-building company was engaged basically to look after the European employees' and their families' health, and these patients could see him at any time in his house on the hilltop. For Chinese and Eurasians he was available exclusively in his morning clinic, not meant for Europeans. Sea Orchid was most unlucky to get suddenly and seriously ill at a wrong time of the day, late in the evening, and his Belgian mother - obviously scared of the worst - took him immediately, although against the company's regulations, to the hilltop doctor's house. She was not even let in by the doctor's French wife and this shattering episode is described in detail in Chapter Nineteen of The Crippled Tree. The most dramatic part of the dialogue between the sick baby's mother and the doctor's French wife is cited below:\n\n“But my child is dying, he has convulsions. Madame, for the love of God, let me see the doctor.”\n\n“Certainly not, Madame. Don't shout like that, it is ridiculous. There is nothing wrong with your child, only teething. The doctor cannot see you.”\n\n“My baby is dying, my baby is dying,” screamed Mama, striking the door more violently, hurling her weight against it.\n\n“Get out, you and your filthy halfcast brat, get out of my house,” shouted the French woman upstairs. Then Mama heard a man's voice, and again the woman's: “I forbid you to go. Do you hear, Pierre? I forbid it. I will not have you kill yourself for the sake of a halfcast throwndown.” The next morning Sea Orchid was dead.\n\nHan Suyin was born to Roman Catholicism, owing to her deeply religious Belgian mother. Surprisingly enough, even Catholicism seemed split on racial grounds in that surrealistic land of Old China. In Chapter Twenty-Seven of The Crippled Tree, Han Suyin recollects her early memories of attending a Chinese Catholic school, attached to the Peking's Chinese Catholic Church (also known as East Church, or", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215107, "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-2000", "page_number": 203, "title": "RAS-2000", "content_text": "160\n\nThe Emperor\n\nTang Ming Huang was the third son of the fifth emperor of the Tang. His personal name was Li Longji [AD 685-761], though popularly known as the Third Son, San Lang. He is now the patron of actors and professional musicians, worshipped backstage by Fukienese devotees in Taiwan and several places in South-east Asia. Prior to 1949 he was also revered throughout northern China as the patron of actors, actresses and musicians, with incense burnt before his altar prior to every performance [Photograph 1].\n\nHe succeeded his father who abdicated in his favour in 713, and ruled the country fairly. The first part of his reign approximated that of his great-grandfather, Tai Zong, in prosperity and glory. He began by economising and by 740 the country was reasonably prosperous. Being a man of the arts he surrounded himself by a brilliant court, welcoming such men as the poet Li Bo. It quickly became the most glorious period of Tang culture. He loved song and dance and he had built within his palace an area known as the Pear Orchard, Liyuan, to bring together the best actors and actresses, dancers and singers in all China. The title, Liyuan, later became a common designation for anyone who sang, acted or danced professionally.\n\nMany myths are particularly centred on Tang Ming Huang - and stories about him abound describing him as a very sociable man, fond of music and drama, with men and maidservants being trained as actors and musicians for whom he composed tunes. He also founded a school of dramatic art.\n\nThere are at least six temples in Taiwan dedicated to this deity, in Taipei, Taichung, Changhua and Kaohsiung where his festival is celebrated on or about the 24th of the sixth lunar month.\n\nAs a deity he is known by a number of titles, including Ming Huang Dadi 明皇大帝; Lao Lang Ming Huang 老郎明皇; Lao Lang 老郎; and in Beijing Xi Shen, the God of Happiness. In Sichuan, however, his images were simply referred to as the Bodhisattva Prince, Taizi Pusa and, as elsewhere, were worshipped backstage, principally to prevent actors and actresses from bursting out into uncontrolled laughter or forgetting their lines. He is the patron in", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215413, "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-2001", "page_number": 190, "title": "RAS-2001", "content_text": "139\n\nhere. I do agree with some of Dr. Fraser's affirmations. Given the fact that arches of triumph also appeared in Portuguese India they are partly relevant to my research and, historical and cultural differences aside, it would be difficult to gloss over certain implications present in her arguments. While keeping these in mind, it is equally important not to lose sight of more purely art-historical questions.\n\nDuring the sixteenth century the Portuguese introduced the Arch of Triumph as a decorative element in the façades of both their civic and religious buildings in India. Since this is a subsidiary contention to my main argument, I cannot but treat it summarily by means of a number of examples.\n\nIndian Urban Examples and Damão's Episcopal Church\n\nTwo of the finest examples showing the employment of arches of triumph in urban architecture in India, the Arch of the Viceroys, Goa, and that of the ruins of Baçaim Fort, will suffice to illustrate my point.\n\nThe first of these, constructed in 1599 under the orders of Dom Francisco da Gama, grandson of Vasco da Gama, formed part of the main city gate leading to the Governor's Palace. It is the work of Julio Simão, a locally born architect of French descent.\n\nSimão employed a subdued rusticated idiom for the articulation of the main structures of his design with an almost inconspicuous use of the classical orders. The decoration of the structure as a whole is sparse, consisting mainly of carved metopes, of pyramids with spheres at the corners of the first storey and the royal coat of arms at the top.\n\nIn the original design a niche above the main entrance arch displayed a statue of Vasco da Gama with an image of St. Catherine in a small attic above. The latter intruded into the pediment below in typical Mannerist fashion.\n\nThe use of rustication was popular amongst certain cinquecento Italian Mannerist architects such as Giulio Romano. In this instance rustication combined with an arch of triumph was evidently intended to convey the victory and strength of the Portuguese crown, although it is obvious that considerations of a purely aesthetic nature must equally", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 }, { "id": 215431, "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-2001", "page_number": 208, "title": "RAS-2001", "content_text": "157\n\nOther Images\n\nA salutation in St. Alfonso's Office praises the palma patientiae and the cedrus castitatis. This allusion to both cedar and palm trees derives from Ecclesiasticus, 24, 17-18. When it comes to the date palms of the second storey, it is very much a part of the stock-in-trade immaculist symbols, particularly dear to southern Spanish poets and painters and also known from early prints, all praising Mary's Immaculate Conception. But these may equally refer to the triumph of the Society of Jesus, with the canonisation of its main protagonists, Sts. Ignatius of Loyola and Francis Xavier in 1622 and the recent beatification of Francis Borgia and Luis Gonzaga.\n\nIn the fourth storey or attic The Child Jesus raises his right hand and holds an empty left hand forward. The latter undoubtedly held the lost orb mentioned in the 1644 Annua. It is a pose and attribute typical of the kind of devotional religious image known as an infant Salvator Mundi, that is, Infant Jesus Saviour of the World. The type of \"Menino Jesus\" as Salvator Mundi was well disseminated in Portuguese colonies in the East during the seventeenth-century, as a large number of Indo-Portuguese and Chinese ivory statuettes, usually nude, tend to confirm. Here the Child Jesus is framed by reliefs of angels displaying the Arma Christi, or symbols of Christ's suffering on the Cross. According to Christian theology, the ironically named arma are the “weapons” Christ used in his earthly battle against evil in order to redeem humankind. They were profoundly mystical symbols popularised in devotional literature and images since Medieval times in Europe.\n\nThe pediment is decorated with the large bronze of the Holy Spirit, originally gilded and emerging from rays, with four stars framing it. Next to it are square slabs of the sun and moon, with which the iconography of the main image of the Assumption is finally brought to full completion.\n\nThe dove of the Holy Spirit hovers over both Mother and Child with wings far outspread in an image that seems uncannily like a visual illustration of the Holy Spirit in the opening lines of John Milton's Paradise Lost. As bronze sculpture it is impressive enough today; with its original gilding it must have appeared awe-inspiring to the citizens of Macao and to seventeenth-century and later visitors before the fire.", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 }, { "id": 215490, "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-2001", "page_number": 267, "title": "RAS-2001", "content_text": "216\n\nwas commemorating, it was certainly doing so with great Excitement and Atmosphere.\n\nAcross another courtyard, up a dark flight of wooden steps to a square viewing balcony with space for perhaps 40 people to stand next to the railing, looking down into\n\nTemporarily speechless\n\none of the most amazing and moving sights I have ever seen. So much so I had to leave after a few minutes, and go and look at the sunlight and distant mountains before venturing back in, still in a state of some shock. Seated one floor below us, lit only by smoking candles, cross-legged on the wooden floor, were four rows of monks dressed in their dark blood-red habits, two rows facing the other two rows, 48 monks in all. Each had a drum of about two feet in diameter, which was held vertically with the aid of a three-foot pole. They were beating these drums and chanting in the deep-throated growly tones that one only hears in Buddhist temples, all to a set but irregular rhythm without the apparent aid of written music or any other form of instruction. Wandering along the ranks of seated chanters was a sergeant-major or choirmaster with a large and solid-looking stick in his hand. He used this to apply a none-too-gentle rap on the shoulder to any monk whose drum was not held perfectly upright. I regret that my less than classical education made me think of Indiana Jones when he was deep inside the Temple of Doom amongst the thuggees. I apologise if I am upsetting any reader's sensitivities with this comparison, and I freely admit that there could hardly be less similarity than between a gentle Bhutanese monk and a murderous Indian thuggee.\n\nSeated behind these monks, beneath our viewing platform, were countless other monks - some with instruments, some without. Some of these, it seemed to be the young novices, for no apparent reason received three lashes each on the back from a gentle monk carrying a cat-o'-nine-tails. (Parent: 'Did you have a nice day at the temple today dear?' Young Novice: 'Yes thank you mama.' P: 'Did you get thrashed?' YN: 'Yes mama - thrice.' P: 'That's my boy! Your father and I are so proud of you.')\n\nBack to centre stage, where the performers were considerably more", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 }, { "id": 215554, "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-2001", "page_number": 331, "title": "RAS-2001", "content_text": "281\n\nHONG KONG'S LIGHTHOUSES\n\nAND\n\nTHE MEN WHO MANNED THEM\n\nLOUIS HA and DAN WATERS\n\n[Complementary HKBRAS lectures were delivered by Fr. Louis Ha (Part One) and Dr. Dan Waters (Part Two) on 3rd May 2002. The following day, courtesy the Director, Government Marine Department, 93 HKBRAS members and guests visited Waglan Lighthouse. The above two lectures were based on the following text. All photographs accompanying these complementary papers were taken on the visit by long-time RAS member Charles Slater.]\n\nPART ONE\n\nLighthouses on the coast, \"sentinels of the sea\", are without doubt romantic and interesting to the ordinary person. Their loneliness and isolation, the mental picture of waves dashing vainly at their feet while the light shines overhead, far and wide over darkness and angry waters, the drama of shipwreck and rescue, and of successful passage through storm and stress, combine to give them a special appeal to the hearts and minds of all men.'\n\nThis is one of the beautiful descriptions of lighthouses written by the Deputy Commissioner of Customs of China, T. Roger Banister, in 1932.1\n\nPractical aids\n\nIn reality, lighthouses exist for much more practical purposes; as aids to navigation in avoiding shipwrecks or grounding of ships. Traditional navigation aids include Light Vessels, Light Buoys, Beacons and Fog Signals such as bells, gongs, reed horns and explosives. These aids have been developed out of necessity over the ages.\n\nPharos\n\nOne of the oldest lighthouses was the Pharos at Alexandria, in", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 }, { "id": 215940, "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-2002", "page_number": 239, "title": "RAS-2002", "content_text": "173\n\nHong Kong had symbolic meaning: he could not be seen to desert until the last minute. The drama of his escape with such a show of force and British aid was a clear and explicit political statement. The KMT had their own escape network but this particular escape was a means of showing that the British, too, had a credible system for dealing with the exigencies of occupation.\n\n+ XY\n\nMany reasons were circulated at the time to explain the escape. A smokescreen had to be concocted to disguise whatever the true purpose of the mission might have been. Much has been made of the story of a plot by the triads to massacre thousands of Europeans in Hong Kong during the Battle. The source of this story was GS Shaftain, head of Criminal Intelligence in the Police Force. He said an informant told him of the plot on 11th December to activate two days later. He then claimed that he assembled hundreds of triads leaders in a hotel, where, through the intervention of a senior Shanghai triads leader, they were persuaded to desist, in the nick of time, on payment of a large bribe. This story passed unquestioned and lauded by the kind of European whose racial stereotypes assumed that Chinese were basically untrustworthy criminals, motivated only for money. (Shaftain claimed the triads leaders stole the silverware from the hotel). However, it is, as even Shaftain himself was to admit 'an implausible and fantastic story'. As a police officer, he would have known that the idea of hundreds of triads leaders meekly turning up for a mass meeting in the middle of an invasion was bizarre. The triads were originally political secret societies as well as criminal, and many had strong links and loyalties to the KMT. Indeed, the Nationalists had long been working with the triads sympathetic to themselves against the Wang Ching Wei faction and the triads who supported them. A pragmatic police officer would also have understood the sheer logistics of preparing and indeed calling off such a huge plot in the midst of battle. Certainly there were fifth columnists, but violence towards foreigners was minimal, particularly considering the intensity of anti-foreign feeling and riots during the 1920's and 30's. In any case, the triads rank and file were gainfully employed looting and extorting in the wake of the Japanese advance. The idea seems to have developed because some of the Japanese propaganda leaflets advocated killing white people, but there does not seem to be any evidence that this was taken seriously, except perhaps by the Europeans, aware of being defeated by an enemy who believed in Asia for the Asiatics. Shaftain must have been delighted at the ease with", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 216207, "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-2002", "page_number": 506, "title": "RAS-2002", "content_text": "440\n\n- who were very friendly and didn't mind us snapping away.\n\nAll too soon, it was time to head back for the 2.30pm ferry (and the dreaded customs hall that was rumoured to be tough-going, but in fact gave us no problems). In all, a relaxing and different weekend which was fun and gave us a sense of achievement.\n\nDetails of St Francis Xavier's life and links to St John's Island (as gleaned from a search on the Web and other sources)\n\nSt. Francis spent 10 years in Asia and became known as the Apostle of the East. He was the third son of a high official and was born in April 1506 in the Castle of Xavier in Navarre in Northern Spain. Francis was influenced by Ignatius of Loyola and his “Spiritual Exercises” while they lived in Paris. Later, while in India, Francis became a member of the Society of Jesus, the Jesuits, which Ignatius had been instrumental in founding. Francis left Lisbon in 1541 and travelled via Mozambique to Goa in 1542. Many were converted, inspired by his life, writings and teaching. He travelled to Malacca in 1545, translated prayers into Malay, and again won many converts. He travelled to the Moluccas, to Cochin (1548), to Kagoshima (1549) and to Kyoto (1550).\n\nIn 1551 he resolved to return to Goa and his ship called in to St John's Island in December 1551. St John's Island was a common port of call for Portuguese ships in those times. While Francis was there, a Portuguese prisoner in Guangdong, probably a smuggler who had been caught by the Chinese authorities, managed to get a letter to a friend of Francis's. The letter suggested the sending of an ambassador to China to seek help for such prisoners. Francis saw opportunities in this and set out from Goa again in April 1552. He intended to bring the news of Christ to China and, with others on board the \"Santa Cruz,\" intended to pursue the release of Portuguese prisoners. However, when they called in at Malacca, they found the Captain of Malacca, a son of Vasco da Gama, resented the appointment of an ambassador other than himself. He allowed the Santa Cruz to leave Malacca, but only without the ambassador.\n\nFrancis realised his mission was in peril but arrived at St John's Island in August 1552. The Chinese authorities forbade him to enter", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 216286, "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-2003", "page_number": 45, "title": "RAS-2003", "content_text": "Smimoff, George\n\nSafe harbour: commemorative centennial exhibition of Porto Seguro. Macau: Museu de Arte de Macau, 2003,\n\nSwalek, Catherine Crutchfield\n\nPeony Pavilion onstage: four centuries in the career of a Chinese drama. Ann Arbor: Centre for Chinese Studies, University of Michigan, 2002.\n\nShakir, M.H.\n\nThe Holy Qur'an. Qom I.R. Iran: Foundation of Islamic Cultural Propagation in the World, [n.d.].\n\nTse Liu, Frances\n\nHo Kom-tong: A Man For All Seasons, with contributions by Terese Tse Bartholomew... [et al.]; edited by Frances McDonald. Hong Kong: Compradore House Ltd., c2003.\n\nTung Wan Tsai: a bronze age and Han Period coastal site. [Hong Kong: Antiquities and Monuments Office, c1995].\n\nNEW JOURNALS\n\nThe Siam Society\n\nJournal of the Siam Society\n\nNational History Bulletin\n\nxlv\n\nPage 45\n\nPage 46", "txt_file_path": "txt/dfo323lmgvd/RAS-2003.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2v242g390", "rank": 0 } ]