[
    {
        "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",
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    {
        "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",
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    },
    {
        "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.",
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    {
        "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",
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    },
    {
        "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",
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    },
    {
        "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",
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        "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",
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    {
        "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",
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        "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",
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    },
    {
        "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",
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        "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,",
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    {
        "id": 211822,
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        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-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:",
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        "id": 211833,
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        "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": 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
    }
]