[ { "id": 204241, "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": 9, "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\n6\n\nyear we had 182 of whom 20 were life members and who included several eminent scholars from overseas. But as Sir Robert Black said in his address last month, \"there must be many times 200 people in Hong Kong who are interested both in the cultural life and history of this part of the world which has great riches to offer to anybody interested in research or in studying and enquiring about the inheritance which we all enjoy who live here.\" While we can feel pride in having in our present membership a substantial nucleus not only of scholars but of members generally representative of the cosmopolitan community of the Colony who are keen and enthusiastic, we need more members and hope to appeal to a wider public. As this is a Royal Society, membership is not a matter of form only, and we do not go out into the highways and byways to recruit members, but we feel that the Society can enlarge its activities and membership if the present members will help by bringing within the fold those of their friends and acquaintances who are interested in its activities. There seems to be no reason why in time the membership should not equal that of the Shanghai Branch, which before the war was about 800.\n\nDuring the year the Society has held eight meetings at which addresses have been given, all of them by persons of outstanding eminence in their respective spheres. Most of them were very well attended. Good lecturers are a gift from heaven but so far we have been truly blessed.\n\nWe were particularly fortunate in starting the year with two outstanding meetings. For an opening meeting we had an intensely interesting talk by Prince Peter of Greece and Denmark on \"The Social and Economic Organisation of Tibet\", illustrated by a coloured film taken over a period of seven years during his exploration of Central Asia. The formal inaugural address was given by Professor F. S. Drake of the University of Hong Kong on \"The Study of Asia: a Heritage and a Task.\" It was a memorable address which gave the stamp of learning and authority on the Society's efforts and the text of which is printed in this volume.\n\nOf no less interest and merit were the addresses following:\n\nby the\n\nProfessor John K. Fairbank on \"Chinese Studies in the United States\",\n\nMr. A. C. Scott on \"The Chinese Theatre\" illustrated by Chinese actors in costumes and makeup,\n\nMr. G. B. Downer of the University of London on \"The Yao People of Laos.\"\n\nIn the summer months we followed the advice of the first President of the original Hong Kong Branch, Sir John Davis,", "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704", "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": 204601, "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": 82, "title": "RAS-1963", "content_text": "BRITISH LEGATION AT PEKING\n\n71\n\n1866 the student-interpreters put on an amateur theatrical performance, consisting of Our Wife, and To Paris and back on £5. The female parts were all taken by the students, and it was voted a great success. The faces of the Chinese servants, watching from the back of the hall, gave Mitford a lot of quiet amusement. The next summer he was staying in a temple which he calls Ta Chio Ssu or \"Temple of Great Repose\", about twenty-three miles from Peking, having moved there with all his furniture together with chickens and a cow and its calf. But even there he could not entirely escape the despatches. \"Copying despatches with the thermometer at 100° in the shade, with a basin of water and a towel at one's side for very necessary hand-wiping, and a pad of blotting-paper over the blank part of one's paper, is indeed an affreux métier.\" The climate took its toll, and Mitford mentions two of his young companions who died of fever.\n\nMitford left Peking for Japan in 1866. In the same year Major Crossman of the Royal Engineers was sent out from England by the Government to inspect the British Legation and Consular Buildings in China and Japan. From one of his reports, written at Shanghai in July 1867, we can glean some more information about the early development of the Legation at Peking. For instance he gave a hint as to the origin of the Legation Chapel when he wrote: \"There is a large house opposite to the Chinese secretaries' quarters, used partly as a theatre and partly as a lumber-room, well and solidly built, which can be converted into a good church by the addition of an external porch, removing the flooring of the upper storey so as to throw it open to the roof, and by the addition of some wood work and ornament, to give it a somewhat ecclesiastical appearance.\" He also mentioned that the number of student-interpreters was shortly to be increased to thirteen.\n\nMeanwhile Sir Frederick Bruce had been succeeded by Sir Rutherford Alcock at the end of 1865, while Sir Thomas Wade was promoted to be Minister in 1871, a post which he held for the next twelve years. In 1883 he was succeeded by another ‘old\n\n14 Parliamentary Papers, \"Reports from Major Crossman and Correspondence respecting the Legation and Consular Buildings in China and Japan\", 315 of 1868, No. 7, p. 22.\n\n!\n\n1", "txt_file_path": "txt/dfo323lmgvd/RAS-1963.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/4m90m091v", "rank": 0 }, { "id": 204604, "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": 85, "title": "RAS-1963", "content_text": "74\n\nChinese Imperial Carnage Sheds and enclosure\n\nJ. L. CRANMER-BYNG\n\nRed Temple\n\nBowling Alley\n\nStudents Kitchen Mess\n\nHan Lin Library HALL\n\nKrosk Essay Hall Kosk\n\n \n [brar]\n Servants Store Room\n \n \n Teachers\"\n QVYI Students' O'tri\n \n \n Theatre\n \n \n\nMinister's House\n\nFives Court\n\nLarge Pavilion\n\n2 Chinese Doctor's O't'es a't'rs Chupet\n\n2 Wall 7\" thick 12\" high\n\nEscort QI'm Small Pavilion\n\nConstable's Bell Tower Chapt Minister's Stables\n\nStone Trans Gateway\n\nAssistant Chinese Secretary\n\n \n £ 22 22 2\n Accountant Stables Surgery Escort Otrs Stabler, Simbler.\n \n \n G D G D OF OF\n Tennis Courts 2nd Sect Chancery Chancery Assistant\n \n\nOpen space of Mongolian Market\n\nN Servants\n\nSCALE\n\n0 100 150 200 Ft phonepa 400\n\nSecretary of Legation Cemetery\n\nPlan of British Legation at Peking in 1900.\n\nCanal Wall 2′′ x 12′′\n\n12 Adapted from a plan in \"China in Convulsion\" by A H. Smuth, published by Fleming H Revell Company, NY 1901", "txt_file_path": "txt/dfo323lmgvd/RAS-1963.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/4m90m091v", "rank": 0 }, { "id": 204608, "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": 89, "title": "RAS-1963", "content_text": "78\n\nJ. L. CRANMER-BYNG\n\nguard was reinforced by marines from the warships in the Gulf of Chihli, and arrived in Peking on May 31st. Seventy-five was the number fixed for the French, British, and Russian contingents. On June 10th, an immediate attack on the Legation area was expected, while at the same time reinforcements were awaited from Tientsin. On June 20th, the German Minister, Baron Ketteler, was murdered by Boxers on his way to the Tsungli Yamen, the Chinese department dealing with Foreign Affairs. As a result, all the women and children in the various Legations, together with the non-combatant men, gathered inside the British Legation, since this was alone regarded as capable of any serious defence. In here, there were eventually over eight hundred people, including the Ministers of eleven different nations and some Chinese Christian converts. At this time, the Legation was only half its final size, being roughly 700 yards long and 200 yards wide, but containing eight different walls, some of them very thick, which made it good for defending.\n\nMeanwhile, the German Minister's interpreter, Cordes, who had been wounded, was brought into the Legation, and a hospital was hurriedly set up, under the charge of Dr. Poole of the British Legation, with Dr. Welde of the German Legation as his assistant. The nurses consisted of one fully trained and certificated nurse (Miss Lambert of the Church of England Mission), who was made Matron, and a number of partly trained missionary women under her, together with Fuller, a naval sick-berth steward, who had been sent up with the marines. One of the partly-trained missionaries was Jessie Ransome, who kept a diary of the siege, giving the story of the hospital work. As she recorded:\n\nThe first thing to be done was to find a building which could be set apart for a hospital, and this, in the crowded state of the British Legation, was not very easy. It was decided to use the Government offices and reading-room, commonly known as the Chancery, and two rooms were hastily cleared and prepared for use, one as an operating theatre, and the other as a ward. Even then, we had not an idea of the task before us, thinking that a few days would certainly bring Admiral Seymour and his column to our relief; and so it was only by degrees, as our patients increased in number, that we cleared out more rooms and even encroached upon", "txt_file_path": "txt/dfo323lmgvd/RAS-1963.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/4m90m091v", "rank": 0 }, { "id": 205061, "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": 17, "title": "RAS-1966", "content_text": "JOHN J. NOLDE\n\nlarger prefecture of Kwangchou, whose administrative center was at Canton. Kwangchou itself was one of the fifteen prefectures which made up the province of Kwangtung, the latter being linked with the neighboring province of Kwanghsi to form the Viceroyalty of Liang-Kwang. Kwangchou prefecture was about 25,000 square miles in size and was occupied by a population of about five to ten million people.\n\nNow, when this area appears in the standard histories of nineteenth century China it is usually as the stage-setting for the activity of the foreigner and the conflict between the Western barbarians and Chinese officialdom. There are long accounts of the nature and organization of the Canton trade. H.B. Morse wrote six volumes on the East India Company. The diplomatic historian is concerned with the Amherst mission of 1816 and the Napier mission of 1834. There are detailed accounts of the effect of the dissolution of the Company on the Canton trade. And, of course, there are numerous descriptions of the Opium War and its causes and consequences.4\n\nIt would seem, somehow, that the history, if not the day to day living, of the people of the Hong Kong-Macao-Canton axis (if not all China) was inseparably linked with the foreigner, his exploits, the Canton system, and the opium traffic,\n\nBut what was really \"going on\"? What was life really like?\n\nThe most striking fact about the area during those times was not the foreigner and his trade but the deplorable state of civil administration. It was in chaos. Official authority did not extend much beyond Canton. Banditry and brigandage were the order of the day inland. Secret societies harassed government officials and private individuals at will,\n\nPiracy, especially, was a problem.\n\nIn the early years of the century a large pirate fleet under the leadership of one Cheng I had been organized. While his theatre of operations extended from Swatow to the Philippines, and perhaps as far as Borneo, most of his activity was centered in these waters. Commanding a fleet of hundreds of junks and thousands of men, Cheng I virtually terrorized the coast.", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205176, "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": 132, "title": "RAS-1966", "content_text": "OLD BRITISH KOWLOON\n\n127\n\nbelow; another was the owner of a herbal medicine shop in Yau Ma Ti, and the other two came from Ho Man Tin. One of these was the village elder, and the other was a woman who was a keen Taoist and the wife of the richest man in the village.\n\nThe temple was the focal point of village life at this time and contributed much to relieve the boredom of hard work and ordinary routine for the cultivators, stone-cutters, shop-hands and their wives who were among its devotees. The highlight of the year was the celebrations at the time of the birthday of Kwun Yam, the patron goddess of the temple. This falls on the 19th day of the third lunar month. At this time the managers arranged for a variety of ceremonies and entertainments to take place. First, there was the annual chanting of religious books, called locally ta chiu (T). This was performed by Taoist priests known as nam mo lo (亮樣羅)12 and during this time it was customary for the villagers to follow a vegetarian diet. Having done their religious duty the elders made arrangements for entertaining both gods and men. They employed a troupe of actors to perform Cantonese opera for the traditional period of four days and five nights. My informants tell me that these shows took place every year when they were small, and indeed right up to 1926.\n\nRev. E. J. Hardy, who served as a military chaplain in Hong Kong for three and a half years at the turn of the century writes, with special reference to the villages of the Hong Kong region:33\n\n\"The great event of village life is the occasional visit of strolling players. In a very short time a temporary mat-shed theatre is put up on some barren spot on the outskirts of the village: around it cook-shops, tea-shops, gambling booths and the like, all made of bamboo, palm-leaves, and matting are erected. The place is like a fair. At mat-shed theatres the audience in the pit stand; above there are seats for subscribers and local magnates\".\n\nAnother feature of the celebrations on Kwun Yam's birthday was the firing of lucky rockets. It was usual to fire three rockets, and the assembled men and youths scrambled for the fragments of the rockets, which were believed to bring luck to the successful keepers. The first rocket was the most prized. This local entertainment could take place at various festivals. It is described for", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205235, "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": 191, "title": "RAS-1966", "content_text": "185\n\nSCHWARZ, Miss Marjorie D.*\n\nSCOTT, A. C.\n\nSCOTT, J. M.\n\nSELLERS, D.\n\nSELLETT, G.*\n\nSHAW-KENNEDY, Miss Anne\n\nSHEKURY, Miss E. SHEPHARD, A. J. SHING, D.-\n\nSHU, Dr. H. T. - SHUI, Chien tung\n\nSIEGEL, H. W.\n\nSINFIELD, G. H. C.*\n\nSLEVIN, B.\n\nSMALL, Dr. D. H.\n\nSMITH, Leslie*\n\nSMITH, Miss M. H. SMITH, S. H.*\n\nSOONG, N.\n\n-\n\nJ\n\n+\n\n-\n\nc/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, USA.\n\nAsian Theatre Program, University of Wisconsin, U.S.A.\n\nHong Kong & Shanghai Banking Corp., H.K.\n\nc/o Dept. of Commerce & Industry, Fire Brigade Building, H.K.\n\n\"Pinecrest\", N.K.I.L. 3543 Tai Po Road, Kowloon.\n\nRoom 812 Hilton Hotel, H.K.\n\n14 Braga Circuit, Kowloon.\n\nAdministrative Officer, Police H.Q., H.K.\n\nFlorida Mansion, Block C, 11th Floor, Paterson Street, H.K.\n\n70 Mt. Davis Road, Ground floor, H.K.\n\nTsing Hua College, 263 Prince Edward Road, Kowloon.\n\nc/o Bayer China Co., Ltd., Room 1916 Union House, H.K.\n\nc/o Royal Bank of Canada, 20 King Street, West, Toronto, Ontario, Canada.\n\nc/o 1st floor, Police Headquarters, Arsenal Street, H.K.\n\nDental Unit, Queen Elizabeth Hospital, Kowloon.\n\nFlat 10-B, Dragon View, 39-41 MacDonnell Road, H.K.\n\n52 Mount Nicholson Gap Flat, H.K.\n\nc/o Messrs. Scott & English Ltd., P. O. Box 1555, H.K.\n\nAsia Magazine, 31 Queen's Road, Central, H.K.\n\n2. Queen's Road, Central, H.K.\n\nH.K. Tourist Assn., Caroline Mansion, H.K.\n\nSPERRY, H. M.*\n\nSTANLEY, Major H. F.\n\nSTANTON, W. T.*\n\nSTEWART, Miss Elizabeth H.\n\nSTEWART, Miss E. M.\n\nSTOKES, J.\n\nSTONEY, G. S.\n\nSTONEY, Mrs. G. S.\n\n+\n\nDina House, Duddell Street, H.K.\n\nDiocesan Girls' School, Jordan Road, Kowloon,\n\nc/o The Housing Manager, Hong Kong Housing Authority, Ma Tau Wei Estate, Kowloon.\n\nQueen's College, Causeway Bay, H.K.\n\nFlat 1, \"Ravencourt\", 24 Mount Austin Rd., H.K.\n\nAs above.\n\n* Life Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205248, "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-1967", "page_number": 10, "title": "RAS-1967", "content_text": "and in the Colonial Office in London. Mr. Endacott's History of Hong Kong (1958) has already indicated what sort of material is available to form the necessary background to new studies in urban history and sociology.\n\nWe hope, then, that this Journal will receive contributions in this neglected field and that, in particular, it will benefit from the new project in urban studies, now being initiated by Dr. Alan Birch of the History Department at the University of Hong Kong. We hope, too, that some of the material being obtained from the Urban Family Life Study commissioned by the Hong Kong Government and now in progress under the direction of Dr. Robert Mitchell from the University of California, Berkeley, may appear in its pages. As a Hong Kong publication the Journal must play its part in encouraging and making available some of this basic information.\n\nMeantime we have not made much progress with the ethnographic aspects stressed by the Hon. Editor in 1962. Unfortunately, pure ethnography is rather neglected by scholars nowadays and, probably for this reason, less progress has been made in this field, though the curator of the City Hall Museum and Art Gallery, with the help of the New Territories Administration and others, has begun collecting items of interest, with a view to forming a local collection. Members were fortunate recently in hearing a lecture from Mr. Alan L. Kagan on the Cantonese Puppet Theatre in Hong Kong. It is hoped to include this article in the 1968 Journal. Mr. Kagan's assessment has reinforced Mr. Cranmer-Byng's remark five years ago that time is indeed short. Whereas there are only two part-time puppet troupes operating in present-day Hong Kong, there were more full-time operators twenty years ago, when a smaller, poorer, less-sophisticated and less westernised population supported this type of entertainment enthusiastically and business was good, their services being in demand all over the territory. The Editorial Committee welcomes articles of this sort and would be glad to have more of them from interested persons.", "txt_file_path": "txt/dfo323lmgvd/RAS-1967.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/0c488p70g", "rank": 0 }, { "id": 205370, "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-1967", "page_number": 132, "title": "RAS-1967", "content_text": "A NOTICE OF THE SANON DISTRICT\n\n125\n\nand so drowned in all manner of wickedness, as to have lost their human nature. If I proceeded further into the interior, he told me, I should find the people more friendly, and more willing to listen to my errand.\n\nThe mandarins in the Sanon district have very little power. The people pay the taxes, but do not allow the mandarins to interfere with their own local government. Law-suits, differences, and offences are very seldom brought before the mandarins. The mandarin from whom I learnt the preceding facts had not, as far as I know, during a period of several years, more than one case brought before him for decision; in this instance he was both plaintiff and judge, — the criminal being a youth who was caught stealing fruit in his garden. Anxious to give the people an impression of his severity, he had the prisoner scourged, and continued the punishment till he was obliged to desist for fear that the prisoner might die. This excessive severity was caused by his vexation at not being able to get a groan, or a cry, or a prayer for pardon, from the culprit, as a proof of his power. This solitary act of justice of the mandarin was much laughed at by the people.\n\nThe disputes between villages and clans are settled by the gentry. If they cannot come to an agreement, all connection is broken off, and without any declaration of hostilities, the disputants commence a predatory war on each other; in these quarrels, many a bloody battle is fought, hundreds of men perish, and whole villages are destroyed. Men of neutral villages or clans are generally well distinguished, and their rights respected; but it often happens, when a league of several powerful villages or clans are in arms against their enemies, they are not so particular, and will attack and plunder any man who falls in their way, except he belongs to a clan whose strength they fear. If, for instance, the clan Tang is at war with the clan Man, any person of a different surname may safely pass through the theatre of war.\n\nMissionaries also are considered neutrals; even if they dwell in the country of one of the belligerents, they may safely pass through the villages of the hostile clan, provided only they take care that the coolies with them are also neutrals.\n\nThe following is an example of these feuds: There are two villages respectively named Sha-tsing, and Pak-tau-king which carried on a war for five years; with each of", "txt_file_path": "txt/dfo323lmgvd/RAS-1967.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/0c488p70g", "rank": 0 }, { "id": 205447, "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-1967", "page_number": 209, "title": "RAS-1967", "content_text": "202\n\nSCHWARZ, Miss Marjorie D.*\n\nSCOTT, A. C.\n\nSCOTT, J. M.\n\nSELLERS, D. M. SELLETT, G.*\n\nSERSALE, Miss S. M.\n\nSHEKURY, Miss E.\n\nSHEPHARD, A. J.\n\nSHING, D.\n\n-\n\n-\n\nSHU, Dr. H. T.\n\n-\n\nSIEGEL, H. W.\n\nSIMPSON, R. F.\n\nSINFIELD, G. H. C.*\n\nSLEVIN, B. F.\n\nSMALL, Dr. D. H. SMITH, Leslie*\n\nSMITH, Miss M. H. SMITH, S. H.*\n\nSMYTH, Miss L.\n\nSO, Dr. Chak-lam\n\nSOONG, N.\n\nSPERRY, H. M.*\n\nSTANLEY, Major H. F. -\n\nSTANTON, W. T.* STARRETT, A. V. STEWART, Miss E. M.\n\nSTOKES, J.\n\n-\n\nSTONEY, G. S..\n\n+\n\n+\n\nc/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, U.S.A.\n\nAsian Theatre Program, University of Wisconsin, U.S.A.\n\nHong Kong & Shanghai Banking Corp., H.K.\n\n70, Mt. Nicholson Gap, Stubbs Road, H.K.\n\n\"Pinecrest\", N.K.I.L. 3543 Tai Po Road, Kowloon,\n\n11-A, Cameron House, 40 Magazine Gap Road, H.K.\n\n14 Braga Circuit, Kowloon.\n\nAdministrative Officer, Police H.Q., H.K.\n\nFlorida Mansion, Block C, 11th Floor, Paterson Street, H.K.\n\n70 Mt. Davis Road, Ground floor, H.K.\n\nc/o Bayer China Co., Ltd., Room 1916 Union House, H.K.\n\n\"Woodside\", University of H.K., Pokfulum, H.K.\n\nApt. No. 406, 1061 Don Mills Road, Don Mills, Ontario, Canada.\n\nc/o 1st floor, Police Headquarters, Arsenal Street, H.K.\n\nDental Unit, Kennedy Road, H.K.\n\nFlat 10-B, Dragon View, 39-41 MacDonnell Road, H.K.\n\n52 Mount Nicholson Gap Flat, H.K.\n\nc/o Messrs. Scott & English Ltd., P. O. Box 1555, H.K.\n\nPhysiotherapy Dept., Queen Elizabeth Hospital, Kowloon,\n\nDept. of Geography & Geology, The University, Pokfulum, H.K.\n\nAsia Magazine. 31 Queen's Road, Central. H.K.\n\nLime Rock Road, Lakeville, Connecticut, US.A.\n\nH.K. Tourist Assn., Caroline Mansion, H.K.\n\nDina House. Duddell Street, H.K.\n\n5 Douglas Apts., 22 Old Peak Road, H.K.\n\nFlat 3A, 4 Mt. Davis Road, Pokfulum, H.K.\n\nQueen's College, Causeway Bay, H.K.\n\nFlat 1, \"Ravencourt\", 24 Mount Austin Rd., H.K.\n\n* Life Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1967.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/0c488p70g", "rank": 0 }, { "id": 205469, "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": 11, "title": "RAS-1968", "content_text": "5\n\n1 June\n\n19 June\n\nMiss Barbara E. Ward\n\n“Social and Economic Changes among the Boat People of Hong Kong.”\n\nMr. Alan L. Kagan\n\n44\n\nCantonese Puppet Theatre in Hong Kong\"\n\n4 September Dr. Patricia M. Marshall\n\n2 October\n\n\"The Meaning of Conservation and its Application in Hong Kong.\n\nProfessor L. B. Thrower\n\n\"The Flora of Hong Kong in its Geographical Setting.\n\n20 November Professor G. B. Harrison\n\n\"The Dutch Embassy to Peking 1794-95.\"\n\n18 December\n\nMr. G. B. Endacott\n\n\"The Old City Hall.\n\n**", "txt_file_path": "txt/dfo323lmgvd/RAS-1968.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833948d", "rank": 0 }, { "id": 205677, "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": 219, "title": "RAS-1968", "content_text": "214\n\nRYAN, Rev. Father T. F.\n\nL\n\nRYDINGS, H. A..\n\n+\n\nWah Yan College, 281, Queen's Road, East, H.K.\n\nH.K. University Library, H.K.\n\nSAUNDERS, Hon, J. A. H. c/o H.K. & Shanghai Banking Corpn., H.K.\n\nSCHALLER, Miss K.\n\nSCHOYER, B. P. -\n\nSCHWARZ, Miss Marjorie D.*\n\nSCOTT, A. C.\n\nSCOTT, J. M.\n\nSELLERS, David M. -\n\nSELLETT, G.*\n\nSERSALE, Miss S. M.\n\nSHAW-KENNEDY, Miss Anne -\n\nSHEPHARD, A. J.\n\nSHEKURY, Miss E.\n\nSHOEMAKER, John F. -\n\nSHING, D.\n\nSHU, Dr. H. T.\n\nSIEGEL, H. W. -\n\nSINFIELD, G. H. C.* -\n\nSIMPSON, R. F.\n\nSKELSON, R. E.\n\nSLEVIN, B. F.\n\nSMALL, Dr. D. H.\n\nSMITH, Leslie*\n\n+\n\n+\n\n+\n\n+\n\nH.K. Diocesan Girls' School, Jordan Road, Kowloon,\n\n37, Northbridge Road, Greenwich, Connecticut, 06870, U.S.A.\n\nc/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, U.S.A.\n\nAsian Theatre Program, University of Wisconsin, U.S.A,\n\nHong Kong & Shanghai Banking Corp., H.K.\n\nc/o H.K. Government Office, 54 Pall Mall, London, S.W. 1, England.\n\n\"Pinecrest\", N.K.I.L. 3543 Tai Po Road, Kowloon.\n\n11-A, Cameron House, 40 Magazine Gap Road, H.K.\n\n2B Fairland Towers, 7B Bowen Road, H.K.\n\nc/o Colonial Secretariat, H.K.\n\n14 Braga Circuit, Kowloon,\n\n73 Kadoorie Avenue, Kowloon.\n\nFlorida Mansion, Block C, 11th Floor, Paterson Street, H.K.\n\n70 Mt. Davis Road, Ground floor, H.K. c/o Bayer China Co., Ltd., Room 1916 Union House, H.K.\n\nApt. No. 406, 1061 Don Mills Road, Don Mills, Ontario, Canada,\n\n\"Woodside\", University of H.K., Pokfulum, H.K.\n\n43 Magazine Heights, 17 Magazine Gap Road, H.K.\n\nc/o 1st floor, Police Headquarters, Arsenal Street, H.K.\n\nDental Headquarters, Kennedy Road, H.K.\n\nFlat 10-B, Dragon View, 39-41 MacDonnell Road, H.K.\n\n* Life Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1968.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833948d", "rank": 0 }, { "id": 205896, "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": 202, "title": "RAS-1969", "content_text": "196\n\nRIDE, Sir Lindsay*\n\nRIDE, Lady*\n\nRIGBY, Lady\n\n8A Beach Road, Stanley, H.K.\n\nAs above.\n\n50 Magazine Gap Road, H.K.\n\nROBERTSON, Prof. Jean M. Dept. of Social Studies, University of Hong Kong, H.K.\n\nROBERTSON, Dr. M. J. Institute of Pathology, Kowloon Hospital, Kowloon,\n\nROBERTSON, Mrs. W. G. Park Mansions, 4 Mile Taipo Road, 1st fl., N.T.\n\nROBINSON, Prof. K. E.* University of Hong Kong, Pokfulum, H.K.\n\nROE, Capt. J. S. c/o Caldbeck Macgregor & Co., Ltd., P.O. Box 350, H.K.\n\nROGERS, Rev. D. L. Union Church, Kennedy Road, H.K.\n\nROSEMANN, Mrs. F. I. c/o Neckermann Versand Ltd., P. O. Box K-45, H.K.\n\nROTHE, U.* Ernst-Albers-Str. 2, 2 Hamburg-Wandsbek, Germany.\n\nROY, Dr. A. Chung Chi College, C.U.H.K., Shatin, N.T.\n\nRUMJAHN, S. M. P. O. Box 448, H.K.\n\nRUST, H. A. Palmer & Turner, Prince's Building, 19th Floor, H.K.\n\nRUTTONJEE, Hon. D. 2-E Wongneichong Gap Road, Flat 7, H.K.\n\nRYAN, Rev. Father T. F. Wah Yan College, 281, Queen's Road, East, H.K.\n\nRYDINGS, H. A. The Library, University of Hong Kong, H.K.\n\nSAUNDERS, Hon. L A H HK. & Shanghai Banking Corpn. P.O. Box 64, H.K.\n\nSCHNEIDER, H. c/o Jebsen & Co., P.O. Box 97, H.K.\n\nSCHWARZ, Miss M. D.* c/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, U.S.A.\n\nSCOTT, A. C. Asian Theatre Program, University of Wisconsin, USA.\n\nSCOTT, J. M. c/o H.K. & Shanghai Banking Corpn., P.O. Box 64, H.K.\n\nSELLETT, G.* \"Pinecrest\", N.K.I.L. 3543 Tai Po Road, Kowloon.\n\nSERSALE, Miss S. M. 11-A, Cameron House, 40 Magazine Gap Road, H.K.\n\n* Life Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205936, "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": 16, "title": "RAS-1970", "content_text": "10\n\nwilling help has been of great value to me as President and to\n\nthe Council generally.\n\n13th May, 1970.\n\nLectures in 1969 comprised:-----\n\n20 January\n\nDr. M. W. M. Lau\n\n24 February\n\nJ. R. JONES\n\nThe F. A. Nixon Collection of Nestorian Crosses and the Fr. Finn Collection of Finds on Lamma Island\n\nDr. Morris I. Berkowitz\n\nThe Effects of Resettlement on the Plover Cove Villagers\n\nProf. P. G. O'Neill\n\nThe No Theatre of Japan Today\n\nMr. K. M. A. Barnett\n\nRemoving Some Barriers to Comprehension\n\nAspects of Hong Kong Marine Fauna\n\n11 March\n\n8 April\n\n15 April\n\nDr. Lamarr B. Trott\n\n28 April\n\nAnnual General Meeting.\n\n5 May\n\nMr. Holmes H. Welch\n\n24 May\n\n\"The Role of Religion in Chinese Life\n\n9 June\n\n11\n\n23 June\n\nA Tour of Old Shau Kei Wan organized by\n\nMr. J. W. Hayes.\n\nDr. Hugh D. R. Baker\n\nThe Chinese Lineage Village: A Pyramid of Kinship\n\nDr. R. K. Murton\n\nWild Life in Hong Kong\n\n29 September\n\nMr. J. C. Y. Watt\n\n23 October\n\n17 November\n\nThe Use of Jade in Old China\n\n\"Look Around\" Tour on Hong Kong Island\n\norganized by Mr. J. W. Hayes.\n\nMr. G. E. Johnson\n\nFrom Rural Committee to Spirit Medium Cult", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206137, "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": 217, "title": "RAS-1970", "content_text": "210\n\nBOOK REVIEWS\n\nby prolonged contact with the urban environment. Excellent material for comparison with the Plover Cove situation exists in the Tai Lam Chung (1956) and Shek Pik (1960) removals. Like the Plover Cove villages, they were agricultural villages which were removed to urban Tsuen Wan to allow the construction of reservoirs. They have been resettled for a number of years, however, and a brief survey of their religious practices would provide the Christian Study Centre with a most interesting supplement to its information on the Plover Cove villages.\n\nHong Kong, 1970.\n\nELIZABETH L. JOHNSON\n\nNOTES\n\n1 p. vii of the book under review.\n\n2 More information on this village removal can be found in M. I. Berkowitz, \"Plover Cove to Tai Po Market: A Study in Forced Migration.\" Journal of the Hong Kong Branch of the Royal Asiatic Society. Volume 8, 1968, pp. 96-108.\n\n3 p. 142.\n\n* V. R. Burkhardt, Chinese Creeds and Customs. 3 vols. Hong Kong: South China Morning Post, 1955, and Wolfram Eberhard, Chinese Festivals. New York: Henry Shuman, 1952.\n\n3 p. 100.\n\n6 Ibid.\n\n7 Ibid.\n\n8 Ibid.\n\n9 See, for example, pp. 14-15, 116-117.\n\nTRADITIONAL CHINESE PLAYS, translated, described and annotated by A.C. Scott, Ssu Lang visits his mother, Ssu Lang T’an Mu, The Butterfly Dream, Hu Tieh Meng, The University of Wisconsin Press, 1967, Madison, Milwaukee, and London, pp. ix, 165, 13 photos hors-texte.\n\nA. C. Scott, the best Western specialist of Chinese and Japanese theatre, here gives us a translation of two Peking operas. The first, Ssu Lang visits his mother, is a tragedy which takes place in the second half of the tenth century, under the reign of the Sung. The son of a famous general has been taken prisoner by the barbarians, but, because of his fine looks, he is married", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206138, "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": 218, "title": "RAS-1970", "content_text": "BOOK REVIEWS\n\n211\n\nto a local princess. Fifteen years later he hears that his mother and several members of his family are guarding the Chinese border very close to where he is. When the play starts, he is longing to see his own people again, and his wife, the princess, makes him admit the reason for his sadness to her and also his identity. She agrees to help him to get out of the barbarian camp on condition that he comes back the next day. The most dramatic moment of the play is the brief encounter between Ssu Lang and his mother and his first Chinese wife. However, he keeps his word and returns.\n\nThe second play is a farce. The philosopher Chuang Tzu tests his wife. He pretends to be dead and reappears under the form of a young handsome scholar. He seduces his wife and even persuades her to break open the coffin in which her husband lies to remove his heart to make a medicine for him. However, when the wife opens the coffin, the philosopher reappears and confounds her. She commits suicide from shame.\n\nBesides the translations, the book also includes a general introduction to Chinese opera, some photographs of scenes from the two plays, detailed explanations of extracts from Ssu Lang visits his mother (the latter have been recorded on tape and are available from the publisher), a glossary of Chinese theatre terms and an index.\n\nBy choosing these two plays, the author has presented nearly all the different kinds of Chinese opera characters (only the painted faces are not represented). Both plays are very well known and often played; for example here in Hong Kong, by the Chun Chau Peking Opera School in Lai Chi Kok Amusement Park. Ssu Lang visits his mother was, moreover, played two months ago in the City Hall by a group of amateurs; and famous airs from this opera are as well known to the Chinese as are the famous airs of Verdi to Italians. The background explanation is an excellent summing-up of what must be known in order to enjoy a Chinese opera; and if one wants to know more, one can read the Chinese Classical Theatre by the same author. This earlier book speaks in generalities, but here A. C. Scott gives two precise examples and shows how the principles of Chinese operas work in a given play.", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206140, "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": 220, "title": "RAS-1970", "content_text": "BOOK REVIEWS\n\n213\n\nacademic subject. Indeed, Scott has tried this with American actors: the Butterfly Dream was played at the Institute for Advanced Studies in the Theatre Arts of New York. This approach to theatre breaks a new path in research. Generally speaking, academics store culture in books as if they were canning it — but tinned food loses its flavour. Here Scott treats Chinese plays as a living part of culture, made to be played, not to be kept in libraries.\n\nBut if the author, by trying not to cut culture off from life, shows that universities need not necessarily be funeral parlours of art, his publisher is singularly backward. It is very difficult to visualise movements from written descriptions alone. It would have been much better if we could have had photos and drawings of each movement in the margin and colour photos for the costumes; and if, as well as providing the tapes, the publisher could supply a little film. Books continue to be published on the same old pattern. In this instance, a little case with a tape, a film, an album of photos and the text itself would have suited the aims of A. C. Scott far better. A documentary film might have been even better than a book; but from my own experience here in Hong Kong, where I have tried to persuade companies and so-called “cultural” organisations to make a purely explanatory film on Chinese opera, I have learnt that films are the monopoly of a mafia and the scholar is condemned to be book-bound.\n\nHong Kong, 1970.\n\nANON\n\nGOLDEN GUIDE TO HONGKONG AND MACAO. P.H.M. Jones, Hong Kong, Far Eastern Economic Review Ltd., 1969, pp. 453, with colour and black and white illustrations and maps. HK$10. (Paperback)\n\nThe preface to this work states that the Far Eastern Economic Review had long planned a companion volume to its Golden Guide to South and East Asia in the form of a detailed guide to Hongkong. This has now materialized in the present Guide ‘which is designed primarily to help tourists and travellers on their way and to sharpen their interest in the modern scene'. The compiler", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206156, "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": 236, "title": "RAS-1970", "content_text": "229\n\nROBERTSON, Dr. David G.\n\nROBERTSON, Mrs. David G.\n\nROBERTSON, Prof. Jean M.\n\nROBERTSON, Dr. M. J.\n\n-\n\n18B, Headland Road, H.K.\n\nAs above.\n\nc/o Dept. of Social Studies, University of Hong Kong, H.K.\n\nc/o Institute of Pathology, Kowloon Hospital, Kowloon,\n\nROBERTSON, Mrs. W. G.. Park Mansions, 4 Mile Taipo Road, Ist fl.,\n\nROBINSON, Prof. K. E.*\n\nROE, Capt. J. S.\n\nROGERS, Rev. D. L.\n\nROTHE. U.“\n\nROY, Dr. A. T. -\n\nRUMJAHN, S. M.\n\nRUST, H. A. ·\n\n-\n\nRUTTONJEE, Hon. D. -\n\nRYAN, Rev. Father T. F.\n\nRYDINGS, H. A,\n\nSALMON, Andrew\n\nSAUNDERS, J. A. H.\n\nSCHNEIDER, H.\n\nSCHWARZ, Miss M. D.*\n\nSCOTT, A. C.\n\nSCOTT, J. M.\n\nSELLERS, David S.\n\nSELLETT, G.*\n\n-\n\n-\n\nN.T.\n\nc/o The University of Hong Kong, Pokfulum, H.K.\n\nc/o Caldbeck Macgregor & Co., Ltd., P.O. Box 350, H.K.\n\nUnion Church, Kennedy Road, H.K.\n\nErnst-Albers-Str. 2, 2 Hamburg Wandsbek, Germany,\n\nc/o Chung Chi College, CUHK., Shatin, N.T.\n\nP. O. Box 448, H.K.\n\nc/o Palmer & Turner, Prince's Building, 19th Floor, H.K.\n\n2-E Wongneichong Gap Road, Flat 7, H.K.\n\nWah Yan College, 281, Queen's Road, East, H.K\n\nc/o The Library, University of Hong Kong. H.K.\n\nSupt's, House, H.M. Prison, Chi Ma Wan, Lantao, H.K.\n\nc/o H.K. & Shanghai Banking Corpn., P.O. Box 64, H.K.\n\nc/o Jebsen & Co., P.O. Box 97, H.K.\n\nc/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, U.S.A.\n\nc/o Asian Theatre Program, University of Wisconsin, U.S.A,\n\nc/o H.K. & Shanghai Banking Corpn., P.O. Box 64, H.K.\n\nc/o H.K. Govt. Office, 54 Pall Mall, London, S.W.1, England.\n\n\"Pinecrest\", N.K.J.L. 3543, Tai Po Road, Kowloon,\n\n1\n\nLife Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206270, "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": 87, "title": "RAS-1971", "content_text": "CHINESE ELITE IN HONG KONG\n\n81\n\nshould be seized as a traitor by the Mandarins. In the end he settled at Hong Kong, where he is said to encourage disreputable characters by the loan of money, and in various ways to reap the proceeds of profligacy and crime.5\n\nLoo Aqui also appears in the records as Lo Aking 盧亞 or Sze Mun King [Lo] (King, the Gentleman). At the time of the Sino-British war he seems to have played both sides of the game. The Chinese government lured him back to Canton by offering him an official degree of the sixth rank. He accepted but did not stay long with the Chinese, as he was soon back in Hong Kong enjoying the rewards of his services as provisioner for the British forces. He seems to have had supporters in Hong Kong Government circles for he secured the grant of a large and valuable section of land behind the Marine Lots of the Lower Bazaar. This was the area between Queen's Road and Jervois Street extending from near its junction westward to Cleverly Street. He and his family also acquired a number of Marine Lots by grant or purchase. Of the twenty-seven signers of the petition of land owners in 1848, about one-fifth of them were members of the Loo clan. Soon after the settlement of Hong Kong Loo Aqui was operating a gambling establishment and brothels. In 1845 he built a theatre. For a time he held the opium monopoly, and when the residents of the Middle Bazaar were removed to the Tai Ping Shan area in 1844, he petitioned the Government for the privilege of operating a market for the inhabitants, agreeing to build a substantial market house at a cost of $2,500 and to pay a monthly rental to Government of $200 for a period of five years. Loo Aqui and Tam Achoy were recognized as the leaders of the Chinese community, for according to a Chinese account entitled \"Information as to the period of the formations of Districts in Hongkong and the alteration of the Character Wan—a bay to Wan—a circuit”, in 1847 they built the Man-Mo Temple on Hollywood Road and here \"they judged the people in public assembly\" until 1851 when the shopkeepers of the Lower Bazaar \"repaired to Man-Mo Temple, elected a Committee, and therein decided all cases of any public interest\".\n\nAside from Aqui's income from various business ventures, he had a steady income from his properties. In 1850 he was", "txt_file_path": "txt/dfo323lmgvd/RAS-1971.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/z029vt43g", "rank": 0 }, { "id": 206615, "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": 163, "title": "RAS-1972", "content_text": "H.K.'S CENTRAL MARKET AND THE TARRANT AFFAIR\n\n157\n\npay during his suspension to the date at which his post was abolished, but he could do no more. The injustice was acknowledged but, as the Friend of China put it, it was \"but miserable redress in a pecuniary light.\"32\n\nTarrant's connection with the Central Market ceased on 28 December 1849 when he assigned his quarter share of the profits to Chow Aqui, one of Hong Kong's biggest Chinese businessmen at that time.33 Chow had extensive property interests in the Lower Bazaar area, had run Hong Kong's first theatre and had had the opium monopoly for a few years. Curiously enough, allegations had been made a few years previously that he was able to use Government police officers to protect his monopoly and Caine was inevitably linked with the allegation. The lease of the Market came to an end in 1850, the term being expired but Chow was given a renewal for two years from 10 March 1851 at the same rent and the lease was further renewed on two subsequent occasions.35\n\n16\n\nThis account illustrates two quite diverse matters. First, it shows the extent to which Chinese in Hong Kong adapted themselves to the institutional demands of a British colony. Although the whole system of law was alien to them, the transactions memorialised in the Land Office show the extent to which the possibilities of English Law were utilised to their commercial advantage, even though on some occasions it is difficult to follow at this remove the complexity of their dealings. If they did sometimes find themselves on the losing side in the Supreme Court, there were a significant number of Chinese businessmen in Hong Kong itself whose names recur over the years and who were, presumably, successful. Several have been named in this article but there were perhaps about a dozen or so in this category.* They, in addition to the Europeans, learnt to take advantage of the British system.\n\n37\n\nThis account also touches on the problem of the integrity of the colonial Government of the time. While it is true that the Chinese who came to the island may not have expected what the European would have regarded as an incorrupt government, it is also true that the circumstances of the colony in its early days gave opportunities for corruption which some were not slow to use. Though there was little at this time or later that could definitely be proved against\n\n* On this subject see Rev. Carl T. Smith's article \"The Emergence of a Chinese Elite in Hong Kong\" at pp. 74-115 of the 1971 Journal. (Ed).", "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h", "rank": 0 }, { "id": 206687, "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": 235, "title": "RAS-1972", "content_text": "BOOK REVIEWS\n\n229\n\nThis material gives us a better picture of Chinese theatre in general. The western studies of it are almost entirely based on Peking opera. But the time has now come to show, on the one hand, the originality of each province, and, on the other, within a single province, the graduation from elaborate theatre of the professional troupes, mainly in towns, to simple rural theatre, mostly amateur. In Ho-pei province for example, one has both Peking opera, which reached the highest level of artistic sophistication, and the folk theatre from Ting Hsien district. The translation of this book brings the first important material in a western language on the rural theatre. This is no mean achievement.\n\nThrough this volume we see that the plots were often simple; sometimes only two actors were needed. The music and singing had the charm, but also the monotony, of folk music. There was no libretto, dialogue was transmitted only orally. Performances were mostly limited to festivals and the amateur groups rehearsed during the dead season. It involved no elaborate ballet or acrobatics. It praised the same moral virtues as the great plays we already know: faithfulness, filial piety, integrity; but the language was more vivid. It was not impaired by fear of vulgarity, and puns were one of its main assets. The plays at the end of the volume, like the White Snake, Sung Chiang kills his mistress, Drying the tomb with a fan also exist in Peking opera, and comparison of the two versions would be interesting. But many plays only exist in rural theatre, and through such a book they are brought to light.\n\nAt a time when ethnologists are more interested in displaying the brilliance of their minds through theories, it is refreshing to be given the raw material, and the reader is free to elaborate theories of his own or just to enjoy a good story.\n\n1972.\n\nANON\n\nTHE BIRDS OF KOREA, M. E. J. Gore and Won Pyong-Oh. Seoul, Korea, Royal Asiatic Society, Korea Branch, 1971. pp. 450, with many coloured plates, U.S.$15.00 (in Korea).\n\nAlthough a number of papers have been published previously, mainly in Japanese or in American journals, this is the first publica-", "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h", "rank": 0 }, { "id": 206802, "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": 79, "title": "RAS-1973", "content_text": "SWATOW (CH’AOCHOW) HORIZONTAL STICK PUPPETS\n\nHELGA WERLE*\n\n# Introduction\n\nThe so-called Swatow puppets are in fact wrongly named. This is due to a confusion which requires some explanation. In Western languages the adjective Swatow is used to attribute a dialect, culture or people etc., when the Chinese themselves speak of Ch’aochow. This is because the British gained access to the Ch’aochow area by the opening of the port of Shantou (Swatow) by the Treaty of Tientsin in 1858. Chinese know that the city of Ch’aochow heads one of the 8 prefectures of the province of Kwangtung and is situated on the Han River about 40 miles from the sea and as far from the border with Fukien. Swatow itself, a port with about 85,000 inhabitants in 1925, is in the delta of the Han River, five miles from the open sea.\n\nIn this article the term “Swatow” has been replaced by the use of the proper Chinese description of Ch’aochow.\n\nCh’aochow developed very early into a culturally independent area. Its seaboard position and flourishing port gave it the necessary economic basis and exposed it to various cultural influences. Culturally and linguistically, it is more like a prefecture of Fukien than of Kwangtung. Its dialect is distinctly different from Cantonese, so are its customs and its music, which all deserve to be studied in detail for the value of its rich ancient tradition. Among its cultural assets, the Ch’aochow puppet-theatre is truly amazing, with unique features found nowhere else in the world.†\n\nThe author has studied in the Sinology departments of the Universities of Munich, Hamburg, and Cologne. She has been a resident of Hong Kong since 1966 and has followed up her studies with field work in Taiwan, Indonesia, Cambodia, Thailand and the Philippines. She is particularly interested in folk art and theatre and is at present on the staff of the Hong Kong Arts Centre Ltd. She has published various articles on puppet theatre and folk art.\n\n† For the Introduction, see L. Richard (translated, revised and enlarged by M. Kennelly), Comprehensive Geography of the Chinese Empire and Dependencies, Shanghai, T’usewei Press 1908, pp. 206 and 210. Also J. Dyer Ball, Things Chinese or Notes connected with China (5th edition, revised by É. Chalmers Werner), Kelly & Walsh, Shanghai, Hong Kong etc., 1925, pp. 689-690. For the Min dialects of which Ch’aochow and Swatow are part, see R. A. D. Forrest, The Chinese Language, Faber & Faber, London, 1958, pp. 225-232.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206803, "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": 80, "title": "RAS-1973", "content_text": "74\n\nHELGA WERLE\n\nThe Ch'aochow Puppets in Hong Kong\n\nBeing interested in all forms of puppet-theatre, I had heard of the existence of horizontally-moved Ch'aochow stick-puppets in Hong Kong, but it took a long time to have the opportunity to actually see them performed. In the spring of 1973, the leader of the Cantonese rod-puppet troupe, Mak Shiu-tongA, invited me to watch a show near his home, at Block 9 of the Tsz Wan Shan Resettlement Estate. The Ch'aochow people of the estate celebrated the birthday of their patron saint Po-yeh-tan1 on the 27th, 28th and 29th day of the first month.* On a limited rectangular area of about 1,500 square feet there was a bamboo-shed on stilts serving as a puppet-theatre on one end (Plate I), another serving as a make-shift temple opposite to it (Plate II), with an altar on one side and an enormous paper dragon-robe on the other (Plate III).\n\nThe robe complete with boots, belt and lots of neatly folded paper money was to be burned at the end of the celebration, in order to bestow insignia of rank upon the saint in acknowledgement of his merits. The decoration of the robe varies according to the saint to whom it is dedicated. But it is noteworthy that besides the elaborate dragon in relief, pairs of phoenixes and young hornless dragons and the Eight Immortals, three pavilions with eight paper-figures are added. These figures strongly resemble the puppets which I saw later and their heads are also made of plaster. In Ch'aochow the tradition of puppetry and ceremonial figures are very closely related.\n\nThe stilts of the stage were four feet high, with a floor area of 10' x 10' (Plate I), where on the same level the musicians and the puppeteers sit and on which the puppets move (Plate IV). The puppet-stage was very small, with four chairs and a table, all with embroidered covers. The stage is created by five flaps of richly embroidered curtains called chu lien4; the middle one being short to enable the back-stage musicians to follow the performance closely. The two long side-flaps cover a puppeteer each. The decoration of the curtains complement each other to form a cosmical unity: the square middle part shows the lion with four peonies for each direction, representing the earth, the Yin. The Yang is expressed in the dragon design of the other four flaps.\n\nBehind the stage stands a small chest with three drawers—one for puppet-heads, one for headgear and one for arms or pennants\n\n* Lunar calendar.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206805, "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": 82, "title": "RAS-1973", "content_text": "76\n\nHELGA WERLE\n\nThe hands are made of wire (Plate VII) which facilitates the fastening of the sticks or arms, but their appearance is ugly.\n\nThe sticks have the length of chopsticks. Made of iron, they form a small ring at one end and have a wooden handle on the other, to prevent the sticks from slipping out of the hands. The third stick is thicker and is hooked into a hole at the puppet's back from below. The puppeteers tell that in Ch'aochow some puppets were considered so precious that they were handled with sticks made of pure gold.\n\nNeither the waist nor the stick is movable.\n\nThe Historical Background in Ch'aochow\n\nAlthough well proportioned and even beautiful, this puppet has many technical disadvantages compared to the Cantonese rod-puppet or the Fukienese string or glove-puppet. The reason for this incongruousness can be found in the dominance of Ch'aochow's ancient leather shadow-puppet tradition, which was definitely well established in the Ming dynasty in that area. One can assume that it existed earlier but any proof is lacking so far.\n\nIn Ch'aochow these shadow-puppets were cut out of cowhide (which is very rough when compared to the donkey-hide used in North China or Szechuan) which was coloured. They have two-jointed arms and legs and are handled with three sticks attached to the hands and the back of the two-dimensional puppet. The author has seen such Min-nan shadow-puppets in Taiwan, and some old Ch'aochowese confirmed that the Ch'aochow ones had exactly these features. By the end of the last century, supposedly under the strong influence of the extraordinary perfection of the string and glove puppets of Ch'uan-chou, Fukien, a new type of puppet evolved, a hybrid with the beauty of a Ch'uan-chou puppet, but handicapped in movement by the technique of a two-dimensional puppet. The name paper-shadow-theatre chih-ying-hsi was also applied to the new puppet. These two kinds of puppets existed side by side for one generation, and according to witnesses the leather shadow-puppets disappeared in the 1920s.\n\nIt is yet possible to receive first-hand accounts of the time when puppets were much used. An educated elderly Ch'aochow gentleman, Mr. Su related that in his childhood, at the beginning of the Republic, there were still 3 different kinds of puppets: shadow, horizontal stick-puppets and a third kind which he describes as...", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206808, "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": 85, "title": "RAS-1973", "content_text": "SWATOW HORIZONTAL STICK PUPPETS\n\n79\n\nthe Pear-Garden Opera School, the Ch'aochow actors and puppe-teers have backstage a tablet or image of Feng-huo-yuan T’ien-yuan-shuai. Feng, the First Heavenly Commander. His biography can be found on page 125 of E.T.C. Werner, A Dictionary of Chinese Mythology, and reads as follows: \"Tien Hung-i, his real name, was the second of three brothers, Hsun-liu and Chih-piao who, during the K'ai-yuan Period (AD 713-742) of the T'ang Dynasty became famous court musicians....\n\n\"They were such skilled players that even clouds stopped to listen to them, and the la-mei hua (very fragrant flowers which open only in the coldest part of the winter) blossomed. The Emperor having fallen ill, saw them in a dream playing the mandolin and violin, and was promptly restored to health. As a reward he bestowed on them the title of Marquis.\n\nA ravaging epidemic having broken out, the Grand Master of the Taoists sought the musicians' aid. T'ien Yuan-shuai had a large shen-chou, spirit-boat, built, and called together a million spirits, whom he instructed to beat drums placed on it, whereupon all the demons came out of the city to listen to the music, and were seized and expelled by the musician and the Taoist Grand Master. This is said to be the origin of the dragon-boats to be seen everywhere in China on the fifteenth day of the first moon,\n\nChang Ta-shih having recognised his great ability and power, memorialized the Emperor, who canonized the three brothers as Marquises, and all the members of their family and near relatives were given posthumous titles.\"\n\nThis account indicates clearly the Feng was chosen as a patron: namely for the beauty of his music and its magical power of exorcising the evil spirits. It shows a very basic approach to music and brings to mind the many opera and puppet-performances which are staged by the Ch'aochowese at all festivals and ceremonies that deal with ghosts of which the main one is the Ta-chiu in the 7th lunar month. As a contrast it is interesting to know that the Peking opera actors have chosen T'ang Ming Huang, who already in his life time was a patron of opera as a sophisticated entertainment of the court.\n\nAnother interesting characteristic of Ch'aochow puppets (though not unique to them) is the ceremonies required to cleanse the theatre stage. Besides the veneration of the patron saint the ceremony of", "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": 206812, "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": 89, "title": "RAS-1973", "content_text": "SWATOW HORIZONTAL STICK PUPPETS\n\nCh'aochow Puppets in contemporary China and overseas\n\n83\n\nLiu Fu-kuang §✯ an educated person of about 40, who is the most outstanding Ch'aochow orchestra-leader here, is closely connected with the Hsin-shun-hsiang puppet-troupe. He came to Hong Kong in 1959. According to him, puppet-troupes completely disappeared in Ch'aochow after the establishment of the People's Republic in 1949. This is probably because their performances were intimately connected with the festivals of the myriads of local deities, the worship of which was strongly discouraged by the Communists. In 1957, Liu Fu-kuang saw the last troupe, called Shant'ou Ying-hsi-t'uan 4⇓✯D (Shadow-play-troupe of Shant'ou) perform in Swatow. He believes that not even one troupe is now left in Ch'aochow, after a history of about one thousand years and a hundred active troupes fifty years ago.\n\nPeople from Ch'aochow make up a large percentage of the Overseas Chinese population of South East Asia and Ch'aochow opera flourishes there; but there is said not to be one single \"paper-shadow-play\" troupe overseas. This shows that from the great tradition of puppet-theatre, only the two troupes in Hong Kong are left. It is therefore the last chance to savour and study this tradition before its extinction which, at least at the moment, appears to be inevitable.\n\nBIBLIOGRAPHY\n\nBatchelder, Marjorie H.: Rod-puppets and the Human Theatre, Columbus, The Ohio State University Press, 1947.\n\nHuang Chun-ming: The Forbidden Puppets' in Echo of Things Chinese, Taiwan, October 1972, pp. 24-34.\n\nJacob & Jensen: Das Chinesische Schattentheater, Stuttgart, 1933.\n\nMargareta Niculescu: The Puppet Theatre in the Modern World compiled by Union Internationale des Marionettes under Margareta Niculescu, George G. Harrap & Co. Ltd., London, Toronto, Wellington, Sidney, 1967.\n\nTsim Tak-lung (compiler): Puppet-demonstration on pages 45-47 of ‘Chinese Theatre in Hong Kong', Proceedings of a Symposium, Nov. 22-23, 1968, Centre of Asian Studies, University of Hong Kong, 1968.\n\nBurger, Helga: 'The Cantonese Stick-puppets', in Kaleidoscope, Hong Kong, March/April 1973.\n\n\"The Far Eastern Puppet Theatre' in Souvenir Book of the Hong Kong Arts Festival, 1974.", "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": 206900, "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": 177, "title": "RAS-1973", "content_text": "BOOK REVIEWS\n\n171\n\nELIZABETH HALSON: PEKING OPERA, A SHORT GUIDE, Hong Kong University Press, London, New York, 1966, HK$20.\n\nI do not think that Elizabeth Halson has a background of sinological studies, but she has the advantage of having spent some time in Peking and she was obviously an avid theatre-goer. Judging from the contents of the book, she must have been there before 1963, as she describes only the traditional style of opera, which was banned in that year and has not been allowed to be performed since, whilst the book itself was published already in 1966. She must have learned Mandarin and spent a lot of time in and around the theatre, collecting material, talking to actors and anybody available who would give answers to her questions on opera. In her book she describes in a comprehensive way what she could grasp in such a short time, which might have been two years. This is naturally far too short a time for a foreigner to penetrate more than the surface of such a complex and abstract art as Peking Opera.\n\nIt seems, too, that she had not many books to rely on, neither Chinese nor European. It is obvious that she did not have the book on Peking Opera by A. C. Scott, The Classical Theatre of China, with which I shall compare it, because she does not use his material as a background, but starts again where he had to start. The difference is that Scott has been in China and Hong Kong for about 8 years, between 1947-1955 and that he has a profound knowledge of the Chinese language, the former society, the realities and the culture in general. Today he is considered an authority on Peking Opera, with many books on this subject to his credit.\n\nScott's book on Peking Opera is the most authoritative work yet to appear in any European language. When I first saw Miss Halson's book, I was not surprised to find the subject treated in the same way as in his book, because as a foreigner you are first led by your eyes, as western ears are mostly very slow to adapt to Chinese language and music.\n\nWhat distinguishes the Peking Opera from other forms is its complicated system of symbols, which are organized in rules for the appearance, movements and voices of the actors and for the sparse stage properties. Opera was the entertainment of the court, and therefore its society is reflected in it, its thinking and behaviour.\n\n* Published by Allen and Unwin, 1957.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206901, "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": 178, "title": "RAS-1973", "content_text": "172\n\nBOOK REVIEWS\n\nThere are emperors, princes, ministers, generals, scholars, officials and the corresponding female parts, their sons and their daughters. They are dressed in gorgeous costumes and they sing and speak in a very literary language, and artistic voice, which even for ordinary Chinese is difficult to understand. As a contrast there are the common people, the servants and soldiers, who are dressed mostly in a simple dark gown and often appear as clowns with a white patch painted into the middle of their face. They speak in the common Peking dialect, sometimes even making rude jokes, in order to amuse the public and give it a chance to relax between listening to the very strenuous singing parts. This can also be found in the traditional western theatre. However, Miss Halson does not mention this technique of contrasting the two groups of society in behaviour, appearance and language, and does not give any background to the social groupings and their relationships, and to the examination system of Imperial China, all of which are absolutely essential for any understanding. Scott, at least, touches on the subject in his introduction.\n\nMiss Halson divides the roles into four major forms: male, female, painted-face roles and comic characters, with their subdivisions of young and old, military or scholar, attributing to them appearance, acting and voices. The book is illustrated with ten plates, very artistic brush-drawings by a Japanese artist called Ishizuka; these show ten different characters which give the reader very good impressions of the appearance of the actors. Scott also has about 10 sketches, beautifully done by himself, but not systematically chosen or arranged.\n\nScott tries to describe a subject in a very detailed way, whereas Miss Halson only touches upon subjects, giving only a few examples. For instance: under the section of costumes Mr. Scott gives all the major forms with all their subdivisions and their Chinese names, often as many as ten. Miss Halson only introduces the major costumes, but she has the advantage of having a detailed technical drawing of each. There is, for example, the costume representing an armour, worn by generals and commanders. It has four flags or pennants sticking out at the back of the neck. The costume is very stiff and heavily embroidered, consisting of a front and back-flap, the latter cut into stripes; there is a tigerhead-design on the front, the arms are tight, as this actor has to perform acrobatics. Scott's description is already more interesting; he says that there is", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 207015, "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": 86, "title": "RAS-1974", "content_text": "80 \n\nROBIN MCLACHLAN \n\nin this horrid place. I am therefore leading a most regular life. I get up at 6 a.m. and walk for two hours before breakfast. I remain in my room all day during the heat of the sun and walk again in the evening, and go to bed early. I live on fish, fruit and curry and drink but little wine. But I smoke a great deal; in fact it is necessary in India. I cannot get on without it. The whole fleet expect to sail in a few days. They go back to India. This place, which is now a perfect bear garden, will once more be quiet. There is only one spot on the whole island that has a tree on it. It is called Happy Valley, and is certainly a pretty spot. The rest of the island is one barren rock and perfectly devoid of all vegetation, although there are springs innumerable. ... Now I have told you everything about this delightful spot. It is inferior to Sierra Leone from the fact of its being less healthy, less amusing and less near England.\n\n10 \n\nAn important social activity for the infant colony was the rounds of dinner parties held by the senior military and colonial officers. Bridgeman seems to have regarded these events as at least tolerable social functions, but was very critical of the more rowdy partying that went on in the officers' barracks. While writing to his sister, he commented on one such party going on in the next room. This was a farewell party by the Madras Artillery for one of their officers, Captain Balfour. Bridgeman considered it a very noisy party with far too much drinking and feared that it would go on far into the night. \n\nMen of this sort never sit down to a large party without drinking to such an excess that they lose their senses and are put to bed more like beasts than Christians. God forgive me, but I hate them all. Give me women's society! Without it we are beasts.\n\n11 \n\nAnother form of entertainment that attracted Bridgeman's critical comment was the amateur theatre established in Hong Kong in late 1842. The actors were largely drawn from among the soldiers and sailors stationed at Hong Kong. \n\nI regret to say it was a complete failure. The first and only performance was about a week ago. The pieces they chose were stupid and not one of them knew their parts. However, the house was filled; for in a stupid place like this everybody caught willingly at anything in the way of amusement. The house is now being...", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207145, "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": 216, "title": "RAS-1974", "content_text": "210\n\nNOTES AND QUERIES\n\nWalk along Queen's Road West to the Tak Nam Tea-house and enter the lane between it and the site of the former Ko Shing Theatre (now redeveloped with a nearly-completed multi-storey building). Enter Ko Shing Street. Note the two old buildings housing Chinese medicine wholesalers, at nos. 21 and 23, Ko Shing Street, opposite the lane exit.\n\nEnter Sutherland Street and into the In Ku Lane with its old godowns, five of them occupied by wholesale dealers in Chinese medicine, one with rice in addition.\n\nEnter Li Shing Street and so into Queen's Road West.\n\nProceed to Chi Mei Lane and so into Des Voeux Road (no. 150).\n\nProceed west into Sai Woo Lane. There is a good view of the old shop houses in the lane from the steps at the Queen's Road West end.\n\nThe various lanes contain many box-makers, rattan goods dealers, gummy sack makers etc. The buildings are of various dates, but some of them are very old, particularly those 2-3 storeys high with granite block counters at the shop fronts.\n\nWalk along Queen's Road West observing the high, old retaining wall on the opposite side of the road with the old Sai Ying Pun Hospital buildings above.\n\nPass Eastern Street and enter Miu Fong Street. Note the unusual brick pavement. We shall stop at the premises of the Wo Sang Ho, a dry fish dealer.\n\n(The wrapping round the head of the dry fish is to prevent the sea salt, placed inside, from coming out).\n\nWalk back along Des Voeux Road West to its junction with Ko Shing Street. (Look across the road to the structure on the rooftops of the old houses to the left of the City College of Commerce Grace Lutheran Church—for drying salt fish, & similar to that at Wo Sang Ho in Miu Fong Street which we cannot visit because of its small size, narrow staircases and our large numbers.\n\nWalk along Ko Shing Street to its junction with Queen's Street.\n\nProceed from Queen's Street to Queen's Road West and enter Bonham Strand, and so to the Ching Wah Kok Tea-house where arrangements have been made for us to have Chinese tea and bakeries.", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207147, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1974", "page_number": 218, "title": "RAS-1974", "content_text": "212\n\nNOTES AND QUERIES\n\nsurvey. Sir E. Belcher, accordingly, landed on Monday, January 25, 1841, at the foot of Taipingshan, and on the hill, now occupied by the Chinese Recreation ground, Captain Belcher and his officers, considering themselves the bona fide first British possessors, drank Her Majesty's health with three cheers, the spot being thenceforth known as Possession Point. The Point remained an open space and came under the management of the Chinese Recreation Ground Committee created in 1890.\n\nIn 1887 there was a rearrangement of streets to the south of the Recreation Ground. With the change there was a renaming. The western terminus of Hollywood Road was shifted from the present Possession Street to what was known as Gap Street, so that Hollywood Road emptied into Queen's Road on the south side of the Recreation Ground rather than on its east side.\n\nOn the south side of old Gap Street across from the Chinese Recreation Ground the original St. Stephen's Anglican Church opened in 1866. Here also the Baxter Memorial School was built in 1872 in memory of Miss Sophia Harriet Baxter. She had come to Hong Kong in 1860 and until her death five years later established schools for Chinese, Eurasians and orphans. St. Matthew's Anglican Church now occupies a part of the original site granted to the Church in 1864.\n\nThe neighbourhood could have been regarded as a good missionary area for it was dominated by establishments devoted to pleasure. Nearby was a theatre, and the present Possession Street was lined with brothels in the nineteenth century. It was also, however, near a more sobering district.\n\nThe hillside between Possession Point and West Point was used as a Chinese burial ground. The I-tsz Temple, built to house commemorative tablets for Chinese residents who died without a family to remember them, and, temporarily, for those whose families were in their home villages in China, was behind Possession Point on Tai Ping Shan Street. It adjoined the burial ground and thus, in accordance with Chinese practice, was in a convenient location to be used as a depository for those who were about to die. Publicity regarding conditions at the temple started a movement to provide better medical services for the Chinese community. This resulted in the formation of Tung Wah Hospital. It was opened officially in 1872 across the street from the I-tsz Temple, occupying land that was a part of the old burial ground.", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207149, "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": 220, "title": "RAS-1974", "content_text": "214\n\nNOTES AND QUERIES\n\ngood size bed rooms, with dressing and bath room to each; two servant's rooms; a front and back verandah, closed with venetians, each 100 feet long and 12 feet wide, flat roof convenient for exercise and affording a fine view of the harbour and its entrances. Commodious outbuildings for servants, store room and offices; a large compound, garden, etc., whole surrounded by a good fence. Situated on the ridge at West Point and now in occupation of Jamieson, How and Co.\n\nThere was not a ready sale. A business depression prevailed and the location was too remote from the European section of Victoria.\n\nBelow the bungalow Jamieson, How and Co. built a large godown on Marine Lot 57 in 1842. Ten years later this property was sold at auction. The premises on the Marine Lot were described as consisting of \"a costly and recently improved residence, granite godown, pier, outhouses, shrubbery\". The West Point Bungalow was described as beautifully situated immediately opposite on the hill. Both properties were bought by Yorick Jones Murrow.\n\nIn 1854 the West Point Bungalow was used as a military barracks. This left it the worse for wear. Because of its dilapidated condition the Rhenish Missionary Society was able to purchase the property at a reasonable price in 1857. They needed a centre in Hong Kong as they had been forced from their stations on the mainland by the outbreak of hostilities between Britain and China. In 1859 the Government repossessed the property as a site for a new Civil Hospital.\n\nThe area north of Queen's Road extending to Ko Shing Street was the original beach. The land between Queen Street on the east and Wilmer Street on the west can be divided into six main sections. The first (Marine Lot 68) is a rectangular lot three houses wide and bounded on the east by Queen Street. The second section (Marine Lots 68A, 69, 69A, and 70) is intersected by Tsung Sau Lanes East and West. The third section (Marine Lot 58) is the former Ko Shing Theatre property with Wo Fung and Kom Yu Streets. The fourth section (Marine Lot 57) is bounded on the west by Sutherland Street and contains In Ku Lane. The fifth section (Marine Lots 71, 71A, 72, 72A) lies east of Sutherland Street and is intersected by Li Sing Street. The sixth piece (Marine Lot 200) is a triangular lot with its narrow point on Queen's Road and its west boundary Wilmer Street.", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207152, "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": 223, "title": "RAS-1974", "content_text": "NOTES AND QUERIES \n\n217 \n\nwas redeveloped and in 1868 shops and godowns were built along Queen Street. \n\nNext to Robert's shipyard, Kwok Acheong had a compound in which he erected coal sheds, carpenter shops and a smithy. The latter was operated by Augustine Heard and Company. The present entrance to Tsung Sau Lane East on Queen's Road was the site of the original entry gate into the compound. By 1872 most of the buildings in \"Acheong's Yard\" had been removed, but in 1877 after the property had been sold to the Li family firm of Lai Hing, buildings were started along Tsung Sau Lane East. In the following year work was begun to redevelop Marine Lot 70, where Tsung Sau Lane West was opened in 1879. Previously the lot had been occupied by an engineering establishment. It was occupied successively by James Logan, William Swan, a boiler-maker, and William Dunphy, proprietor of the Novelty Iron Works. \n\nA large shipyard was built in 1856 on Marine Lot 58 where the Pybus godown had been built in 1842. The owners were two Scotsmen, George Harper and David Gow. In 1862 they sold out to James Logan, a plumber by trade, who took on as his partner John Riach, an experienced shipwright from Singapore. They operated as the Hong Kong Engine Works. The works of the new firm were destroyed by fire in 1866 and they sold the property to Li Sing. He redeveloped it by building a complex of shops, merchant hongs, family houses, and a theatre named Ko Shing. \n\nThree years before Harper and Gow built their shipyard, the P. & O. Co. had begun building extensive godowns and coal sheds on property immediately to the west. Some of this land they leased, others they purchased. Thus for a decade or so in the middle of the nineteenth century the entire area was dominated by establishments connected with the shipping industry. \n\nAs the land on which the ship yards, smithies and coal sheds had been built was redeveloped, the area took on its present land use. On Queen's Road there were the shops; on the Praya (now the south side of Ko Shing Street) the business hongs; and in the lanes and alleys between, godowns and businesses auxiliary to the hongs, such as paper, lumber, bags, mats and firewood (from broken down boxes) — all used in packing and shipping. \n\nThe lanes opened at various times, depending on when the lots were redeveloped. Those on Marine Lot 58 were the first. They", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207153, "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": 224, "title": "RAS-1974", "content_text": "218 \n\nNOTES AND QUERIES \n\ncame about at the time of the building of the Ko Shing Theatre in 1870. The theatre gave its name to the old Praya when the sea was reclaimed near the turn of the century. Today a new building is being built on the site of the theatre. Two lanes were left on either side. The western one was called Kom Yu and the eastern Wo Fung. A short lane, Pan Kwai, ran off Wo Fung. It contained five family houses on each side. It no longer exists, as the Ko Shing Telephone Exchange has been built over it. Tsung Sau Lanes East and West were developed between 1877 and 1879, as was also In Ku Lane and Sutherland Street with its godowns. Li Sing Street was opened later.\n\nAs an illustration of the diversity of shops conducted on Queen's Road, the 1885 Rate and Valuation Table lists the following between Queen's Street and Wilmer Street: four each of chandlers, druggists and barbers; three each of tin smiths, merchants and tea dealers; two each of coopers, shoes, scales, lamps, lumber and tobacco; and one each of iron, cotton, silk, joss paper, pickles, rice, pawnshop, mason, carpenter, eating house, marine store, copper smith and gun smith.\n\nCurrently much redevelopment is taking place, but some of the old alleys, particularly In Ku, still retain buildings erected when they were first opened a hundred years ago. Queen's Road still has the same variety of shops and Ko Shing Street is still lined with Nam-pak business hongs.\n\n(b) Chinese Tea Houses\n\n(1) A Chinese friend has supplied the following Note:\n\nCha Kui (**茶居**) is the old, local name for a Chinese Tea House. It is a special type of Chinese restaurant catering exclusively for tea-lovers. Tea drinking or Yum Cha (**飲茶**) has been a long-standing pastime with the people of the Kwangtung Province to which Hong Kong once belonged. It is popular with poor and rich alike. A tea house is sometimes looked upon as a gathering place for meeting people, talking with friends or for taking leisure in a friendly atmosphere. Most tea-house goers used to go to the same tea house everyday and also at almost the same time of the day and it is also customary that they ask for the same kind of tea each time they go. In a sense, a tea house for Cantonese people is much like and comparable to a 'pub' for English people.", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207163, "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": 234, "title": "RAS-1974", "content_text": "228 \n\nNOTES AND QUERIES \n\nThe few houses on the southern side of Boundary Street, just completed for the Credit Foncier d'Extreme-Orient, were the only buildings around; further at the junction of this street with Prince Edward Road was 'Mignon', a small bungalow occupied by Miss Santos; the rest was either carved out of Chinese gardens or totally undeveloped. Across what was later on to become La Salle Road was a garden lot of some three acres which Brother Aimar had acquired lately from Mrs. Chan Kwing Min, the wife of the former Waichow war-lord [the present site of La Salle Primary School]; there was a small Chinese house on the grounds, in which the Canadian Sisters of Our Lady of the Angels, newly arrived in the Colony, resided temporarily. There was not a single house standing on the southern side of Prince Edward Road. \n\nThe locality was admirably situated, equally distant from Kowloon City and Kowloon Tong: two abundant reservoirs for a Chinese school population; and Homantin, where a large number of Portuguese families then resided. \n\nThe Hong Kong architectural firm of Messrs. Little, Adams and Wood was engaged to draw up plans. This was the same firm that had designed not long before the nearby Diocesan Boys' School. In their plans for the new College they incorporated features of ecclesiastical architecture that we do not find in the D.B.S. building, such as columned porticos and a domed chapel. The dome is one of the most interesting architectural features to be found in Kowloon. The Great Hall was said to be modelled after the Theatre Royal of Naples, and the mushroom columns in the open area under the Great Hall reminds one of the pillars under the demonstration building of the Medical Faculty in Paris. The buildings were designed to accommodate 700 pupils, 350 of these being Portuguese boys living in Kowloon, and as Brother Aimar remarked at the Foundation Stone Laying, “We thought it only right to provision, as in St. Joseph's, for an equal number of boys of Chinese parentage and for a boarding department.\" (South China Morning Post, Nov. 5, 1930.) \n\nThough the land was bought in 1924, the plans for the building were not approved until 1929. The following year Governor Sir William Peel laid the foundation stone. The building was first occupied for classes in December, 1931, and the following month", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207311, "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": 79, "title": "RAS-1975", "content_text": "NOTES ON CHIUCHOW OPERA (MA)\n\nHELGA WERLE\n\nMs. Helga Werle, whose article on Chiuchow (in Mandarin Chao-chou) puppets appeared in the 1973 Journal, describes two typical plays of the Chiuchow opera, and gives background information about this particular regional theatre of China. Ed.\n\nIn urbanized Hong Kong today one can see a performance of Chiuchow Opera at City Hall or Lee theatre two or three times a year, but the traditional purpose of this opera is the shen-kung hsi—a performance to celebrate the birthday of a deity. Many areas of Hong Kong have their organized Chiuchow communities centred upon the temple of a certain deity.\n\nThe Chiuchows have innumerable deities, often completely different from the Cantonese. Some of those worshipped in Hong Kong with temples erected in their names are:\n\nLi-shan lao-mu\nT'ai-i chen-ren\nLi lao-ch'un 李老君\nCh'i t'in ta-sheng\nSan-shan kuo-wang\nSan t'ai-tze lao-yeh\nMu-ch'a Chin-ch'a and No-ch'a called the three princes \"san t'ai-tze\", the three sons of Li Ching 李靖\nHan Chung-kung\n\nTo ensure the prosperity of each temple community the birthday of its deity must be properly celebrated. The most outstanding members of the community are chosen to form the prestigious festival committee, which has the duty to collect the necessary amount of money (between 50 and 100,000 HK$) to organize a worthy celebration. And what could rejoice a god's heart more than the luxury of a series of opera performances? After the dates are decided with the consent of the deity involved a large space is booked with a Government office (usually a public playground),\n\nPlates 5-12 at rear of the volume illustrate this article.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207334, "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": 102, "title": "RAS-1975", "content_text": "94 \n\nH. J. LETHBRIDGE \n\nemployment; but few stayed with the department. Most took to their gypsy life again, once they had accumulated a few dollars, and left for either Shanghai or Singapore, or simply went to earth in Tai Ping Shan or Wan Chai until disinterred by the police, always on the look out for European destitutes. \n\nThere were always some troops on garrison duty in the colony or manning the various fortifications designed to repel a seaborne invasion. The garrison normally was small and numbered usually less than 1,500 men. But numbers fluctuated markedly at times. In March 1860, for example, over 14,000 troops (10,000 British and 4,000 French) were being drilled in a vast tented camp on two square miles of the Kowloon peninsula, leased from the Viceroy of Kwangtung and Kwangsi, and awaiting transportation to the theatre of operations in the north. A witness of these events wrote that 'the streets of Victoria were thronged by soldiers and sailors; commissaries and staff officers were to be seen everywhere; all as busy as mortals could be'.7 \n\nIt was a policy of the government and the military to keep troops if possible out of European Victoria—the central commercial district—and to confine their debaucheries to special areas of the colony. Thus five brothels were specially opened at Wan Chai in the 1850s when soldiers at that time were prohibited by their officers from entering the central districts of the city. For soldiers on outpost duties access to Victoria was difficult in any case: \n\nGarrison life at these outposts is usually melancholy; society is impossible, as the fortifications are eight miles by water from the city, and communication over the mountains is arduous. It is not a question of which is the better of the two, but which the worse, to be of the British Garrison Artillery or the Chinese Lighthouse Service.& \n\nThere were usually more sailors than soldiers ashore in Hong Kong, or afloat in the harbour, at certain times of the year. During the three winter months, the British China squadron was stationed in Hong Kong; in summer most naval vessels left Hong Kong for the north and other stations. The large number of sailors, who at times outnumbered the civilian European population, was supplemented by merchant seamen of many nationalities; for by the 1890s Hong Kong had become, after London, Liverpool, and Port Said, the fourth largest port in the world in terms of seagoing tonnage", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207405, "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": 173, "title": "RAS-1975", "content_text": "CAPTIVE SURGEON IN HONG KONG\n\n165\n\nexpeditions were always anxious occasions, for the roads were patrolled by Japanese troops, communication between our people and them was impossible, Red Cross brassards were of no protective value and stoppages and incidents were common. Fortunately Campbell and his men suffered no more than slappings and some minor indignities but they did a first-rate job in replenishing our stores. Our messing situation was however precarious in these early months.\n\nThe Chinese staff of the hospital, except for a couple or so who had known no other life than Bowen Road for years, had long departed and anything we wanted done had to be done by ourselves.\n\nWe had a hospital full of seriously ill men, most of them severely wounded, and we set to work to complete the surgical treatment of the war casualties. In the underground theatres we operated in the morning and evenings, leaving an hour or two in the afternoons to get a blow of fresh air. We could no longer dry-sterilise our operating towels etc., and so we boiled them. The method was effective though, because our clean surgical wounds remained uninfected and grafts including pedicle grafts were accepted cleanly. Surgical procedures were followed by as smooth progress as we could have wished for. Our coal stocks were soon exhausted but theatre sisters and staff were very successful in their improvisations. The supply of electricity from the mains was cut off for a while but the deficiency was remedied by our generators.\n\nWe were anxious about the surgical situation. We did not know if our staff would be left to care for our own wounded, but a rumour which spread round the hospital one night soon after our surrender that all doctors were to be moved next day proved to be unfounded, though I always thought that such a specific rumour as this had some kind of basis. It was perhaps at this time that a clear decision was taken by the Japanese as to our future. We were anxious particularly about the effects of wound infection upon the health of patients already undernourished, for we knew that this would certainly hasten the development of deficiency diseases. And so our days were filled.\n\nWe were alive to the dangers of undernourishment on a poorly balanced diet especially as the change came about suddenly from the diet to which our troops were accustomed. On 16 April 1942, as surgical specialist, I joined with my specialist physician colleague, Major Gerald Harrison, in drawing attention to the problem in a", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207481, "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": 249, "title": "RAS-1975", "content_text": "CAPTIVE SURGEON IN HONG KONG\n\n241\n\nin the operating theatre had about 15 hours in hand and all instruments except those in constant use were vaselined and stored in airy places. Typically, after all the fuss, mains electricity was restored on 10 September for two hours in the morning and one hour in the evening and we were again allowed to use our remaining generator. By 19 October our allowance of current for lighting was subjected to a further 40% cut and our power to an 80% cut. We now used the theatre on one day a week using our own generator, but the need for individual diets and surgical procedures had dropped very substantially. By 25 October all mains electricity was cut off and thence forward we used our small generator for short periods on Tuesdays and arranged our work to coincide with these periods.\n\nDuring 1943 we heard regularly the sounds of American bombers passing overhead but Hong Kong itself was rarely attacked. In February 1944 came the raid after which we had to crop our hair short, and by August raids and alerts were frequent and I noted eleven in my diary for that month. In the hospital our air raid precautions worked well enough and no accidents occurred as a result of patients being hustled downstairs by guards in the pitch dark. As I could not influence the guards myself I tried to get our administrators to send someone down during air raids to help to calm the guards. No one ever came, though eventually we got a telephone line between the hospital and the Japanese administrative quarters which I could use when I wanted, though it proved to be of little practical value. During September and October raids and alerts by day and by night were frequent and there was a particularly heavy raid on 16 October. In November and December the alerts and raids continued and on Christmas Eve we had three raids between noon and seven o'clock, four on Christmas Day and three on Boxing Day and the spate of alerts continued till the end of the year. One raid occurred, as I have noted earlier during a Red Cross inspection on 22 December and there had been raids also on each of the preceding three days.\n\nAt 31 December 1944 our total ration strength in the hospital was 200 and my sketch of the events of the year illustrates the increasing pressures being brought to bear on the Japanese by the allies, mainly of course the Americans. In the hospital the general feeling by the end of the year was one of buoyancy since the evidence of an approaching end to the war was clear. I shared", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207487, "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": 255, "title": "RAS-1975", "content_text": "CAPTIVE SURGEON IN HONG KONG\n\n247\n\nrun by as entirely separate institution. After the Canadians moved from North Point we drew our patients only from Kowloon and I suppose that the prestige of adhering to the Geneva Convention outweighed in Japanese minds the administrative drawbacks of our site in Bowen Road.\n\nAs time went on the need to supply and guard a unit widely separated from the main body of prisoners must have become more onerous. Increasing shortages and difficulty in supplying electricity and water to Bowen Road were probably instrumental in finally bringing about our transfer to Kowloon.\n\n24 MARCH -- 9 SEPTEMBER 1945\n\nWe now moved into the last few months of our captivity. At first, staff and patients were accommodated in Sham Shui Po camp and from there working parties of our staff went out daily to prepare the hospital. It was on that day that I got my only view of the Heep Yunn School and I did not like what I saw, but the same day I learned that we were to have the Central British School for use. This looked and proved to be a suitable building and we began to move our gear there. A little later Saito told me that the staff would be reduced to 40 all ranks though previously he had said that there would be 40 other ranks. On 9 April 6 officers and 34 other ranks moved in to the Central British School. Besides myself there were Major G.F. Harrison, Major J.W. Anderson, Captain A. Coombs, Lieutenant (Q.M.) F.J. Campbell and the Rev. James Squires our padre. There were five Royal Engineers, M.S.M. Sims, Q.M.S. Tyas, and sappers Samways, Carvell and Climo, and there were 29 other ranks R.A.M.C. and R.A.D.C. headed by Sergeant-majors Muxlow and Bartley. On 10 April 62 patients of whom 58 had been in Bowen Road and four were newly arrived in the hospital. There were at first no non-medical workers though these had been promised. On 12 April a further 62 patients arrived, 31 of these being crippled but in fair general condition and a further 31 being what we then called old men (i.e., unfit for service by reason of age). Two army officers and some American and British merchant navy officers were included, but we had no special accommodation for officers. The Japanese ordered that all patients were to have white beds, another example of window dressing. The hospital provided for 34 beds for patients on the ground floor and 81 on the first floor which also housed the operating theatre, X-ray room and laboratory.\n\nPage 255\n\nPage 256", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207490, "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": 258, "title": "RAS-1975", "content_text": "250\n\nDONALD C. BOWIE\n\ned out of bounds. One Volunteer died at 11.15 a.m. on 27 April and having no acceptable mortuary we conducted the funeral at once to a site near Argyle Street, a short distance from the hospital.\n\nThe Japanese celebrated 29 April as a holiday in honour of the Emperor's birthday, and we received two issues of cigarettes for staff from the Japanese. Early in May we got plants including tomato and pakchoi, from a Chinese garden and had already planted onions. On 2 May Saito told me to try the main switch and true enough on the following day the mains electricity supply was restored. More mail came in and on 4 May parcels arrived from our visitor friends, two being for the Hong Kong Volunteer who had died on 27 April.\n\nOn 5 May Saito put on the lights on the platform of the Assembly Hall and there was a concert which my diary shows to have included items in Japanese and English, though my memory does not recall details. On 7 May we ran a lottery for a consignment of Red Cross pullovers, blankets, underpants, vests, gloves, wool hats, green hats, mosquito nets, towels, jackets, and cardigans. There were two towels and eighteen jackets, but in all other cases the numbers were between thirty and thirty-five. By 10 May engineers were wiring up the room used as the operating theatre and X-ray room and were arranging to run our generator two days later to allow examination of our tuberculous patients and to allow a couple of minor operations to be performed. By now we had an additional supper meal including at times sweet meatless rissoles, cake, buns, and soup. For a time we had no ration beans and the vegetables were poor. The absence of beans was serious for us since we had been issuing 28 grammes daily after fish ceased to be provided. About this time pay for staff and officers came in and I asked that those who were attending the blind might also be paid. We had another concert on 12 May and by the middle of the month I estimated that we had 42 patients who on their expected recovery would be eligible for turn-over with patients from Sham Shui Po. Some of these were already being employed by us on the one-month temporary basis. On 19 May we had a concert for the third Saturday running though I record that the turns were of mixed interest but that the standard was poor.\n\nSmall quantities of mail continued to come every week or two and I received a card dated July 1944. We were carrying out anti-mosquito measures both inside and outside our wire and we received", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207545, "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": 313, "title": "RAS-1975", "content_text": "NOTES AND QUERIES \n\n305 \n\nand Fire of the Ninth Heaven' (AARAX). The character for fire () was written upside down and though he was unable to explain why, a senior actor claimed that in this title it was always written in this way. \n\nIt is possible to group the images of Marshal T'ien into two types, the civil and military, the former without a sword or swords. In the latter he is unconnected with the theatre and is a potent God of epidemics and a demon dispeller, and as a soldier he frequently carries a bell and wears armour. We have only the Bangkok Chinese actor's unsubstantiated claim that this epidemic deity is the middle brother of the three, although in Singapore and in Taiwan the sword carrying, armour-wearing version also bore the same title as the actor's patron. \n\nAs a general rule Marshal T'ien has eight attendants: two boxers, two jugglers or dancers, two wrestlers and two musicians (one male and one female normally surnamed Cheng). His main festival is celebrated on the sixteenth of the sixth lunar month, although his birthday is also celebrated in one or two places on the twenty-third of the eighth lunar month. \n\nChief Marshal T'ien's titles \n\nHe is known by many titles, the following being the most common: \n\na) T'ien To Yuan Shuai (田都元帥)\n\nb) San T'ien To Yuan Shuai (三田都元帥)\n\nc) San T'ien To Ch'ien Sui (三田都千歲)\n\nT'ien, the Chief Marshal\n\nThe Chief Marshal, Tien the third (brother)\n\nThe Imperial Prince, Tien the third (brother)\n\nd) To Yuan Shuai (*) The Chief Marshal\n\ne) T'ien Kung Yuan Shuai (田公元帥) Duke T'ien, the Marshal\n\nf) T'ien Hsiang Kung (田相公) T'ien the Minister\n\ng) Chen Hua San T'ien To Yuan Shuai (探花三田都元帥) The Graduate T’ien*\n\n* Chen Hua (T'an Hua) - the third level of Imperial graduate in the chin shih or doctoral examination at the Capital.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207548, "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": 316, "title": "RAS-1975", "content_text": "308\n\nNOTES AND QUERIES\n\nfind that for a joke, which he would be unable to explain to his friends, she had painted a crab in indelible ink around his mouth. The prince got away with it the first time by telling his friends that he had painted it himself for amateur theatricals. However, when next she painted one on his forehead, he was at a loss as to how to explain it away and never again demanded the company of the businessman's wife.\n\nHaving examined Chief Marshal T'ien in some detail, let us move on to a Swatow articulated figure with which it is closely connected. At the back of a bamboo temporary stage of a travelling Ch'aochow opera company in Singapore there was a small shrine (Plate 23) on one of the crates used for transporting the actor's robes. This shrine contained Marshal Tien seated well back, under a plaque bearing the title Han Lin Yuan (✯✯E) (The Han Lin Academy*). Before it, between a doll's size wicker chair and a bamboo pot of incense sticks, was a seated articulated puppet (Plate 24) dressed in a short-sleeved jacket and knee-length trousers. He was known as Chi Hsiang Ko (**) (Lucky Brother) and, as one of the actors explained, he is a three-year-old child, another form of Marshal T'ien, who when seen outside the bounds of the theatre is an extremely potent fertility deity and who, when on a permanent altar in a temple, is also prayed to for luck. This articulated image of a child deity can be seen in several temples, (one especially attractive one—rather surprisingly nude—being in a cave temple near Tanjong Rambutan in Perak), all worshipped by the childless of the Ch'aochow communities for sons and daughters. One temple keeper, possibly with tongue in cheek, said that Chi Hsiang is the brother of Kuan Yin, who in one of her forms is the 'Giver of Sons'***.\n\nThe Three Jesters\n\nIn his articles on three prominent puppets Schipper explains that the 'Jesters' who stand out amongst the total of 72 puppet heads and 36 bodies of the Fukienese puppet theatres, are the three gods of marionettes. He continued that puppet plays are connected\n\n* The Chinese nation's highest academic institution during Imperial times.\n\nSK. M. Schipper: 'The Divine Jester', Academica Sinica 21:1961, pp. 81-94.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207549, "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": 317, "title": "RAS-1975", "content_text": "NOTES AND QUERIES \n\n309 \n\nwith Taoist exorcisms and are performed at wedding ceremonies to obtain from Heaven the happy union, using the ritual of a local Taoist folk religion heterodox cult of the Three Ladies' (三娘). The 'Three Jesters' are called by the puppeteers the \"Three Brothers' (三兄弟) or, individually, the Great, Second and Third Wang Yeh.* \n\nSchipper then explained that he and his informants had made many conjectures in order to identify the Three Jesters. He believed tradition links the Three Brothers (Three Jesters) with the Three Tien Brothers and thus with Tien To Yuan Shuai, and this seemed to him to be better founded than other conjectures. He continued that the identity of T'ien is extremely confused, and claimed that T'ien is reputed to be the master of T'ang Emperor Ming Huang (唐明皇) and to have taught the actresses of the Peach Garden (梨园), popularly believed to be the first academy of the theatre. Iconography, he said, represents T'ien the puppet as the 'laughing lad', similar to T’ien To Yuan Shuai. \n\nSchipper observed that when the plays are of the northern Fukienese type, the Three Jesters are identified with T'ang Ming Huang, the patron of the theatre of North China. When the play is Southern Fukienese or Ch'aochow, T'ien To Yuan Shuai (Chief Marshal T'ien) is the patron, and the Three Jesters are identified with him. The T'ang Emperor is also often referred to in Taiwan and South East Asia, where he is also accepted as the God of Actors bearing the title of the Imperial Prince or King of the Western Ch'in (Hsi Ch'in Wang Yeh, 西秦王爷) or Hsi Ch'in Lao Wang Yeh (西秦老王爷), or, on Taipei and Keelung altars just as Hsi Ch'in Wang (西秦王). (He is called the King of the Western Ch'in because of his exile in Szechuan, in Western China). His image is more colloquially referred to as The Young Gentleman (小哥) and less respectfully as The Old Boy (老郎). Schipper agreed all this might seem highly incongruous, but, he continued, the tradition which links the 'Three Brothers' (The Jesters) with Tien To Yuan Shuai (Chief Marshal T'ien) seems, as we said earlier, better founded than others. \n\nWang Yeh \n\nSchipper has linked the Three Jesters with the Fukienese epidemic gods by the title of Wang Yeh. He also noted the legend \n\n* More often than not Wang Yeh (Imperial Princes) in Fukienese communities are epidemic deities.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207763, "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": 151, "title": "RAS-1976", "content_text": "136\n\nW. A. REYNOLDS\n\nport for the work came from American United China Relief (UCR) funds through the American Friends Service Council (AFSC); there were members from Canada, U.S.A., New Zealand, as well as China itself; and the self-sufficiency required was much greater than that of other FAU groups.\n\nThe original plan, worked out in late 1940 and early 1941, was for a group of forty men, equipped with 20 trucks, a mobile operating theatre and mobile workshop, to undertake two tasks. The first was the transport of medical supplies into China from Burma and the second provision of medical teams to work with civilian and military hospitals. The proposals had the support of the British Fund for the Relief of Distress in China under Dr. H. Gordon Thompson, the Foreign Office, the U.C.R. and the AFSC. The trucks and equipment were purchased in the US and shipped to Rangoon where they were assembled and driven up to China. Dr. R. B. McClure, a Canadian medical missionary born in China, was appointed to lead the Unit.\n\nIt will be remembered that in 1941 Japan occupied all the coast of China, transport up the railway to Kunming from Hanoi had ceased and the only land routes into the western provinces still held by the Government of the Republic of China under Marshal Chiang Kai Shek were the Burma Road and the road from the USSR via Sinkiang. When the Sino-Japanese war widened into the Pacific War on December 8, 1941, about half of the FAU group had arrived in Burma and China, the first trucks were being assembled in Rangoon and the rest of the party and equipment were on the high seas. All arrived safely and the Unit undertook a number of interesting tasks during the Burma fighting of 1942.1\n\nMedical Services and Supplies in China\n\nDespite the diversion of manpower and loss of trucks and fuel in Burma the work of transporting medical supplies in China got underway in 1942. In 1941 there were four organizations concerned with military and civilian medical services:—\n\n1) the Army Medical Administration (AMA)\n\n2) the Chinese Red Cross (CRC)\n\n3) National Health Administration (NHA) Weishengshu (衛 生 署) with its civilian hospitals and clinics.\n\n4) Over 100 mission hospitals, responsible to their own Mission Boards.", "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": 208027, "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": 66, "title": "RAS-1977", "content_text": "50\n\nW. A. REYNOLDS\n\nLiu-Chi. The group we met were lively and interesting, many having been expelled from universities under Kuomintang control. Another evening we were invited to see a film at the American Army Observer Section which was established there under Colonel David Barrett in July 1944. There was also an invitation to mid-day meal with Marshal Chu Te. My memory is that there was not much conversation as Yu Chin-lung found him taciturn, my Chinese was inadequate, and the others were tongue-tied in the presence of the famous soldier. On leaving Yenan we were each presented with a warm woollen blanket of local manufacture (I still have mine) and I was given a painting, which I had uncautiously admired, by the Bureau chief of the Medical Service. I was also presented with a made-to-measure Army uniform complete with cap and badge.\n\nMedical Work in the Border Region\n\nThe day after unloading we were taken to see the hospital named after Doctor Norman Bethune. Plate no. 17 shows the operating theatre. One of the famous 'three constantly read articles' of Chairman Mao Tse-tung is a eulogy of Bethune, delivered on December 21st 1939 soon after his death.\n\nAt the Bethune Memorial Hospital we were shown how supply difficulties had been overcome, including steel dental picks forged from railway line. We asked about medical supplies from the USSR since 1941 and were told that there had been some, perhaps five, plane loads (say 15 to 20 tons). The supplies we had brought included a portable X-ray with a petrol-driven generator.\n\nThe problems of civilian and military medical work in the Border Region are fully described by Margaret Stanley in a current series of articles in Eastern Horizon*. She was a member of the Friends Service Unit (the successor organization in China to the Friends Ambulance Unit) Medical Team 19 which went to work in the area in 1947. She revisited Yenan in 1972 and writes not only of her memories of the medical work but also the contrast between then and now.\n\n* Vol. XVI No. 3, March 1977 & No. 4 April 1977 onwards. There is also a good picture of what life in the Shensi countryside was like to be gained from the accounts given in Gunnar Myrdal's book Report from a Chinese Village. Penguin.", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 208117, "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": 156, "title": "RAS-1977", "content_text": "140 \n\nW. J. HINTON \n\nnot so very different in their essence from those of greater cities. \"Aes alienis\" is much the same all the world over. \n\nFarther west a rope walk stretches back across several streets on the landward side, where they are twisting a mighty bamboo cable for the big junk being built in the Yard at the end of the bay. On the seaward side one of the long dark houses frames a picture of the bay and the ships seen through a verandah three rooms distant; within is the rich glow of lacquer chest. It is a picture for a Dutch master. For the most part the well-built doorways are closed by lacquered or painted doors or screens. We are in the West End; the crowd is thinner, but the dogs, pigs, fowls, and cats, if anything, more densely strew the scene. Through little lanes and alleys, we can see the Hoklo boats drawn up on the beach or riding a little from the land. Their owners are busy about them or putting out to fish with net and line in neighbouring bays. \n\nA dry nullah, and we are on a flight of steps leading to the terrace of the Pak Tai Temple. This terrace is a spacious place at times covered with a huge matshed theatre, which will house all the population that can leave home or junk for the show. Just now, it is occupied by children and by two parties of fishermen making fishing lines of some tough fibre on a primitive bamboo contrivance doubling and redoubling the thread. Under the groves, we see the eaves of another and smaller temple, and the tall wooden dyeing vats in which the nets are dyed blue and so made invisible to fishy eyes in the blue water. \n\nThe Pak Tai Temple must await another visit, for dusk has fallen, and bright lights are burning on the junks. There is no moon, but the stars are reflected in the still water. On the stern of every junk, the little cooking stoves glow, and family groups crouch round the rice bowl, half-illuminated by the glow, or brightly lit by a fishing flare where such extravagance can be afforded. Our yacht lies far out, and we hire a sampan, sitting side by side in the middle while the woman plies the \"ulch\" like a Venetian gondolier, crooning meantime to the baby on her back. Now we are among the junks, and the water lanes are full of small craft loaded with miscellaneous wares. A pedlar dips his paddle and cries his wares set out in a tray on his tiny dug-out. Sampans carry happy parties going ashore, or quiet ones coming off to their floating homes. There are no noisy parties of drunken sailors, but plenty of jollity and even a little horseplay here and there. Our boat moves", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 208119, "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": 158, "title": "RAS-1977", "content_text": "142 \n\nW. J. HINTON \n\nsails have been lowered and stowed, white awnings cover the decks, there is a gilded bamboo \"whip\" at the foremast of each junk and the bay is alive with small boats. Once past the police searchers, the crowd disperses into the town to buy food at the stalls which line the thoroughfares. Evidently this is fair day. All the shops are doing a roaring trade, and the streets are full of visitors from Hongkong, and even from Canton, and places a hundred miles away.\n\nPresently we notice that the crowd is drifting in one direction; going with it, we find ourselves off the main street. Passing the gates we enter a field covered with booths and resounding with the clash of cymbals and the shrill note of the pipe. Here is all the fun of the fair.\n\nA matshed has been erected, part theatre and part temple. At the far end a theatrical performance is now being given. The clang of cymbals marks the warlike gyrations of the actors, but now and then gives way to the shrill tones of the two-stringed violin in moments of pathos. And all the time the priests on either side of the open end of the theatre chant their services at two altars. A Chinese who is near me either cannot or will not tell me what gods are served at these altars. To me they seem to present an aspect of amicable rivalry.\n\nOn either side of the entrance, but without, stand two large conical frameworks of bamboo, stuck all over with small white rice cakes, and looking each like an ear of Indian corn. These are about twenty feet high. There are small replicas on portable platforms.\n\nWe leave the grounds and walk to the Pak Tai Temple where a procession is forming. It is one of several, for each village street provides a procession, and there is great emulation between the teams. The procession starts. At its head is a Dragon, at least it is a dragon for all practical ceremonial purposes though to the carnal eye it seems a large mask completely covering the head of a boy. He prances and sidles along, mopping and mowing most realistically, the formidable but apparently benevolent monster rolling his head and his eyes, and shaking his sinuous body; for which purpose a second lad under a red streamer of thin cloth goes through all the motions that can reasonably be expected of a Dragon's hind legs.\n\nThe beast is followed by bearers, carrying a platform covered with a canopy, and on the platform two small girls, powdered and", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 208247, "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": 286, "title": "RAS-1977", "content_text": "Plate No. 17. Operating theatre, Bethune Memorial Hospital, Yenan (C2/2).\n\nPlate No. 18. Return journey passengers in back of my truck (C3/3).", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 208547, "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-1979", "page_number": 4, "title": "RAS-1979", "content_text": "THE U.S. AND THE QUESTION OF HONG KONG 1941-45\n\n15\n\nurgent consent of the United States Chiefs of Staff to detach a British naval force from the British Pacific Fleet to accept Japan's surrender and assume full powers of military administration in the colony.63 The Japanese accepted defeat on 14 August. However, the British Pacific Fleet assigned for service at Hong Kong, under the command of Rear-Admiral Sir Cecil Harcourt, did not arrive until 30 August. During this interval of a fortnight, the question of Hong Kong sorely tried the British government and placed the United States government in an uncomfortable position.\n\nHong Kong again became a serious point of contention between Britain and China. This time the argument was not whose sovereignty was to be set up but who was to receive Japan's surrender there. Despite the assurances given by Chiang Kai-shek on 16 August, and repeated on 24 August, that China had \"no territorial ambitions\" in Hong Kong and regarded it \"as a matter which would require eventual settlement through diplomatic channel\", the British Foreign and Colonial Offices insisted that Sir Cecil Harcourt receive Japan's surrender on behalf of Britain by virtue of her sovereignty over Hong Kong.64\n\nThe prime minister, now C.R. Attlee, appealed to the American president for assistance. Fortunately for Britain, Truman, who had assumed the presidency on Roosevelt's death in April, was in favour of a cautious policy. While being conscious of his predecessor's views regarding the future status of Hong Kong, he, however, decided to adhere to the \"recognition of the established rights\", although he told both Britain and China that such recognition \"did not in any way represent U.S. views regarding the future status of Hong Kong.\" General Douglas MacArthur was therefore instructed to arrange for the surrender of Hong Kong to the British commander.65 Again fortunately for Britain, MacArthur was known for \"his support for the cause of the British Empire in the Far East.\" In fact in October 1944 he had specifically expressed that he \"fully appreciated the need for British forces to recapture Hong Kong.\"66\n\nChiang Kai-shek, on the other hand, insisted on his right to accept Japan's surrender at Hong Kong as commander-in-chief of the China theatre. He was therefore most distressed by Truman's agreement with the British. To avoid embarrassing Truman, Chiang now suggested that the Japanese forces in Hong Kong should surrender to his representative in a ceremony in which both", "txt_file_path": "txt/dfo323lmgvd/RAS-1979.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2801w5938", "rank": 0 }, { "id": 208573, "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-1979", "page_number": 30, "title": "RAS-1979", "content_text": "THE U.S. AND THE QUESTION OF HONG KONG 1941-45\n\nFar Eastern Affairs in the Department of State in 1944, terms “the most difficult supply operation of the entire war\" over the towering hump of the Himalayas. The second difficulty was connected with the priority given to the European theatre. The result was that much of the promised materials to China was often diverted, much to the distress of Hornbeck and others, from its original destination for the European fronts.? Speaking in more specific terms, by late September 1942, US$3.1 billion worth of lend-lease materials were sent to the British Empire, $750 million to Russia, and only $112 million to China. The disparity became even more remarkable by early June: $7,030,000,000 to the British Empire, $1,899,000,000 to Russia, and only $133,000,000 to China.8\n\nUnder the circumstances, it is understandable that the United States should entertain grave anxiety regarding China, especially over a possible collapse of Chinese resistance against Japan. This concern, which the Chinese did everything to keep alive, was universally shared by senior men in the Washington government, including the president himself, H. L. Stimson, then secretary of war, Henry Morgenthau, secretary of the Treasury, Leahy, and many involved in Far Eastern affairs in the Department of State, principally Hornbeck.9 While some doubt was expressed as to how much China could and was willing to contribute to the war effort in the east, the consensus was that her collapse would be a fatal blow to the United Nations, especially the United States, in the Pacific theatre. This event, therefore, must be prevented at all cost.\n\nIt was only natural that the United States, torn by anxiety, should be obsessed with the desire to compensate China as best she could. Consequently, the American government announced at the beginning of 1942 a loan of 500 million dollars to China, with next to no strings attached.10 Meanwhile, the move to push for the allies' recognition of China as one of the great powers, of which Hornbeck claimed himself to be the originator, became increasingly prominent in the American government.11 The outcome was the American insistence that China be included as a signatory, together with Britain, the U.S.S.R., and the United States, of the Declaration of Four Nations on General Security, signed in Moscow on 30 December 1943, and that Chiang Kai-shek, together with Roosevelt and Churchill, be a party to the Cairo Declaration, issued on 1 December 1943.12 The American eagerness to compensate naturally did not allow Madame Chiang Kai-shek's visit to the United States,\n\nPage 30\nPage 31", "txt_file_path": "txt/dfo323lmgvd/RAS-1979.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2801w5938", "rank": 0 }, { "id": 208586, "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-1979", "page_number": 43, "title": "RAS-1979", "content_text": "16\n\nCHAN KIT-CHENG\n\nAmerican and British representatives would be invited to participate. After the surrender he would authorize the British to land troops for the reoccupation of Hong Kong.37 In a private letter in reply to Chiang, Truman reiterated that his decision was in no way related to the question of British sovereignty in Hong Kong.68\n\nChiang Kai-shek remained reluctant to concede the main point. However, he realized that he needed American aid in getting his forces to Hong Kong. Consequently, he communicated a further compromise to Truman on 23 August: he had notified the British that, as supreme commander of the China theatre, he agreed to delegate his authority to a British commander to accept the surrender of Japanese forces in Hong Kong.69 Although Truman regarded Chiang's concession as \"quite reasonable\" and hoped that it would settle the matter,70 it was not acceptable to Britain. While he deplored the Sino-British friction, Truman clearly did not contemplate taking further action.71 It was therefore a relief both to Britain and the United States that Chiang eventually accepted Britain's revised offer that Harcourt accept Japan's surrender on behalf of both Britain and Chiang as supreme commander of the China theatre.72\n\nHong Kong was thus reverted to British rule, much as the Americans, both in official and unofficial circles, had clamoured against during the Pacific War. Such clamouring, especially during the first half of the war, no doubt troubled the British and encouraged the Chinese. But, in the main, American wartime policy, if one can at all speak of a conscious and consistent policy, regarding the postwar status of Hong Kong had been characterized by much talk and little action. \"Hopes\", \"wishes\", \"opinions\", \"views\" were abundantly expressed to Britain, but little can be said of direct and persistent American pressure on the subject.\n\nNOTES\n\n1 Author's article, \"The Question of Hong Kong during the Pacific War, (1941-45)”, The Journal of Imperial and Commonwealth History, II, no. 1 (October 1973), pp. 56-78.\n\n2 C. Thorne, Allies of a Kind (London, 1978), p. 156.\n\n3 Thorne, ibid., pp. 172-3, referring to opinions cited in the New York Times, the Chicago Daily News, and the Christian Science Monitor.", "txt_file_path": "txt/dfo323lmgvd/RAS-1979.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2801w5938", "rank": 0 }, { "id": 209154, "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-1981", "page_number": 57, "title": "RAS-1981", "content_text": "RELIGIOUS RESPONSE TO MODERNIZATION IN TAIWAN: THE CASE OF I-KUAN TAO†\n\nHUBERT SEIWERT*\n\nIntroduction: Modernization and religious change in Taiwan\n\nSince the middle of the last century China has been a theatre of far-reaching political, economic, social and cultural changes. The most obvious manifestation of these changes has been the revolution of 1911, sealing the end of a monarchy which had endured for more than two thousand years. But the defeat of the Manchu dynasty marked the closing of an epoch not only politically: the revolution of 1911 was also a decisive turning point in the cultural development of China. The traditional culture which so long was the pride of every Chinese scholar underwent an almost complete reevaluation. To the revolutionary intellectuals of the first decades of the twentieth century this traditional culture was the ideological expression of the overthrown feudal system. The construction of a new society should, therefore, not be a mere change of political institutions but had to comprise the formation of a new intellectual culture as well.\n\nThe central target of this cultural-revolutionary movement was Confucianism, which was regarded as the ideological foundation of the old social system. At the same time this movement also had distinct anti-religious tendencies aimed not only at the religious components of Confucianism but at all kinds of religion, traditional Chinese as well as foreign. Religion and superstition were inconsistent with the scientific worldview which had been imported to China from Europe and America.\n\nThe critical attitude of the Chinese intellectuals towards religion was certainly one of the factors which contributed to the decline of traditional Chinese religion in the twentieth century. But there were other reasons, too. On the popular level, the arguments of the intellectuals were probably of no great significance for the religious behaviour of the common people. More important were the changes\n\n*Universität Hannover\n\n† Parts of this article were read at the XIVth Congress of the International Association for the History of Religions, August 1980 at Winnipeg, Manitoba.", "txt_file_path": "txt/dfo323lmgvd/RAS-1981.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ff36bt18m", "rank": 0 }, { "id": 209207, "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-1981", "page_number": 110, "title": "RAS-1981", "content_text": "96\n\nThere is no slavery carried on.\"\n\nCARL T SMITH\n\nIn commenting on the questions raised in Parliament the editor of the South China Morning Post said there could not be much harm in the traditional Chinese custom when throughout the eighty years of the Colony's history no steps had been taken to abolish it. The children in domestic service had the full protection of the law and there was no evidence that they were frequently ill-treated. What few cases are brought before the courts are sharply dealt with. He did admit that some reform might be needed, \"to guarantee the child's rights and those of its parents\", but any changes should only be introduced gradually and with the co-operation of the leading Chinese, \"whose services have never been withheld in any case having for its aim the uplifting and enlightenment of the people\".3\n\nReaction in Hong Kong -- Mass Meeting at Tai Ping Theatre – July 1921\n\nThe Chinese elite \"establishment\" in Hong Kong was disturbed by the discussion in Britain of one of their long established customs. They and the Hong Kong Government were also annoyed by a letter published in the correspondence column of all four English newspapers written by Mrs. Haselwood, the wife of a Commander in the Naval Dockyard. Her husband was officially warned that unless he stopped his wife from airing the question, he would be superseded and sent home. He refused to submit and was shortly sent home where he retired on half-pay. The Haselwoods, however, continued their campaign in Britain. When the Hong Kong Government was asked to explain Commander Haselwood's early termination of service in Hong Kong, it replied that the activities of his wife were \"causing annoyance to the Chinese community\".\n\nThe leadership of the Chinese community was sufficiently aroused by the statements being made in the English press concerning the practice that it called a mass meeting to be held at the Tai Ping Theatre in July, 1921. The meeting was convened by the two Chinese representatives on the Legislative Council, the Hon. Ho Fook, brother of Sir Robert Ho Tung and one-time compradore of Jardine, Matheson and Co., and the Hon. Mr. Lau Chu-pak, compradore of Messrs. A. S. Watson and Co. Also particularly mentioned were S. W. Tso, a solicitor, Chow Shou-son, a Hong Kong-born former official of the Chinese Government who had extensive business interests in Hong Kong, and Chau Siu-ki, shipping and insurance magnate.\n\nThe theatre was crowded with about three hundred including a", "txt_file_path": "txt/dfo323lmgvd/RAS-1981.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ff36bt18m", "rank": 0 }, { "id": 209353, "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": 10, "title": "RAS-1982", "content_text": "demand by other cultural societies like ourselves. St. John's Cathedral Hall was used occasionally but is not very satisfactory for our purposes for acoustic and other reasons. Towards the end of our year we were most fortunate in obtaining permission from the Government Information Services to use their excellent and very comfortable theatre. I express our great appreciation of this facility: long may we continue to enjoy it.\n\nPublications\n\nDuring the year papers from our 1980 symposium at Robert Black College entitled \"The New Territories and its Future\" were published by the Society. Dr. Alan Birch, who organised the symposium, was also the editor. Mr. Rydings, our Hon. Librarian, produced a second edition of the library catalogue and I take this opportunity to thank them both for their efforts on behalf of the Society. Mr. Rydings has tabled his separate library report but I would like also to thank those who have donated books during the year: Dr. James Hayes, who has given us many books in the past as well as those during this year, and also purchased several volumes to add to the library; and Lady Maclehose, who presented a rare 1933 tourist guide to Kashmir and seven old and also very rare maps of India and Kashmir.\n\nIn October, our 1981 Journal, edited by Dr. David Faure (currently on sabbatical leave in Cambridge), was published and distributed to members. Publication of the 1980 Journal was still beset with problems, this time on the printing side and because of changes at our printers, Ye Olde Printerie. This volume, the last to be edited by Dr. James Hayes, is now in the process of being printed, I am happy to say, and should be distributed shortly. I said last year that the 1980 Journal would probably be the last to be printed under the personal supervision of Mr. Y. F. Lam of Ye Olde Printerie, and indeed this is to be the case, and I repeat our thanks to him for his devoted interest over the past twenty years his firm has undertaken our printing.\n\nPhotographic Survey\n\nWork on the photographic survey has been in abeyance for most of this year as Tony Rydings and Ian Diamond, who have \n\nX", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "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": 209584, "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": 241, "title": "RAS-1982", "content_text": "219\n\nby their spotless virtues\". A claim that must have raised a few eyebrows.\n\nWhile the actresses were available, there seemed some doubt about the actors. Lord Saltoun, Commander of the Forces, noted on the 25 November 1842 that the Theatre was to open on Wednesday, \"But who are to be the actors, I have no idea. I believe some amateurs from the navy”.\n\nOnce opened, the life of the Theatre was short. Mr. Dutronquoy departed from Hong Kong quite suddenly on the 17th of December. It was alleged that he had to close his Hotel and Theatre under orders from the authorities and pay a fine of $500. This was denied by his agent who stated that the reason for the closure was because Mr. Dutronquoy had “received personal violence added to insult and abuse the preceding evening\". One wonders if the \"spotless virtues\" of the actresses may have been the cause of his troubles.\n\nThe next notice of dramatics is in December 1844 when a proposal to form a company of amateurs under the patronage of the Governor was announced. It was expressly stated that the authorities regarded the project as a \"protection against vice”. Little action took place, however, until the winter of 1845-46 when a group had been organized, a venue secured, and five bills put on between December and June at Aqui's Theatre in the Lower Bazaar.\n\nThis theatre had been erected some few months previous to the amateurs' first performance there. It was intended for Chinese entertainment, but, being available, it was used by the Hong Kong Amateurs even though it was in the heart of the Chinese section of the city, an area which was usually avoided by the European population of the day.\n\nLoo Aqui, the owner of the Theatre, was a leader of the Chinese community. It was alleged that he was allied with pirates but during the recent British-Chinese hostilities he had been very useful in securing provisions for the British forces. As a reward for these services he had been permitted to take up a number of lots in the Lower Bazaar, the area which was allotted to Chinese who had aided the British. On his property, Loo Aqui", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209585, "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": 242, "title": "RAS-1982", "content_text": "220 \n\nCARL T. SMITH \n\nestablished brothels, a gambling hall, opium divans, a temple, his family house and the Theatre. \n\nAs the location and arrangements of Acqui's Theatre were not very satisfactory, there was a movement to build something more suitable. Immediately after the first performance of the Amateurs, it was announced that plans for a new theatre were under consideration. The China Mail, 8 January 1846, gave its full support: \n\nWe are glad to learn there is at length a fair prospect of a Theatre being erected in Hong Kong. The project was suggested last year, and as it not only met with general approbation from the public, but received the sanction of His Excellency and the support of the civil and military servants of the Government, it is rather inexplicable how it was suffered to drop. We are indebted, we believe, to the same parties who lately favoured the public with an amateur performance in the Lower Bazaar, for taking the matter up again, and they seem now to have begun very properly by first testing the feelings of the middle classes upon the very important point of subscriptions. We are assured that the amount already subscribed for is more than half what will be required to erect a spacious building, adapted alike for the purposes of a Theatre and a Ballroom, or a hall for public meetings. With some proofs of support from the community at large, we trust the Governor's patronage will be continued, and the merchants and official gentlemen will take the matter up in good earnest, and complete what has already been auspiciously begun. When the plans are sufficiently matured we would suggest the propriety of bringing them before the public in a well-defined shape, by circular, or advertisement in the public papers. For this purpose our columns will be at the service of the committee gratuitously. \n\nA meeting to enlist shareholders was held at the house of Leonard Just, a watchmaker, in February 1846. The eventual outcome of the meeting was the erection of the Victoria Theatre on the hill behind the Hong Kong Club. The lot was up Wyndham Street somewhat to the south of Wellington Street.", "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": 209589, "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": 246, "title": "RAS-1982", "content_text": "224\n\nCARL T. SMITH\n\nWith children performing there was no question of respectability. It was announced some weeks after the first performance that \"several ladies having expressed regret at not witnessing the late performance of the Portuguese children, Mr. Souza, with the consent of the parents, and at the request of the Committee, has consented to repeat the performance at an early date\".\n\nIn 1866 the Portuguese community built a club house at Shelley and Elgin Streets. Attached to it was a small theatre. It was used not only by Portuguese amateurs but, before the opening of the Theatre Royal in the City Hall in 1869, it was the venue for the productions of the Amateur Dramatic Club. The Theatre portion of Club Lusitano was demolished in 1873,\n\nThe Germans built a club house on Wyndham Street in 1872. It contained a small auditorium. German amateur groups used it for plays and operettas. More appreciated by the non-German speaking community were the concerts and the appearance of Liedertafel singing groups.\n\nTHE A.D.C—BORN IN A MATSHED\n\nAn Amateur Theatrical Society was formed in 1860. Its membership was made up of both civilians and military officers.\n\nFor the 1860-61 season they erected a new matshed. It was said that in its internal arrangements there was \"no lack of comfort, indeed elegance has received its share of attention\". It included a continental innovation the prompter's box was placed in the centre in front of the curtain \"according to the French custom”.\n\nThe Committee of the Society came under attack for alleged misuse of funds. At the second performance of the 1861 season it was deemed necessary to make a public statement refuting accusations which had appeared in the local press. The Committee had been charged \"with spending the profits in cold fowl and sherry behind the scenes.\" Two professional ladies of the stage also figured in the accusations. The newspaper account of the public explanation concluded with the sentiment that \"Hong Kong thanks the Amateurs and has fullest confidence in the", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209590, "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": 247, "title": "RAS-1982", "content_text": "225\n\nmanagement. We hope they may not be out of pocket as the Garrison Company was last year.\n\nAfter the initial ballyhoo about the Committee, described as a \"scolding given in true washer-woman style\", which only amused the town, the season was a great success. A slightly sour note was injected into the 1862-63 season because only four performances were given, while it had been announced when advertising for subscriptions that there would be six. Complaints compounded in 1863-64 when prices were advanced to a sum which was thought to be \"just beyond the limit to which a class were prepared to pay for entertainment\". Consequently, the theatre for the first performance was only half filled.\n\nThe 1865-66 season also began inauspiciously. At a meeting in November to arrange for the coming season, there was such poor attendance that it was feared the Amateurs might have to give up.\n\nWhen the Amateur Dramatic Corps looked back on its history, it gave its founding date as 1860, however, in the announcements of the group in the 1860s it is called the Hong Kong Amateur Theatrical Society.\n\nTHE THEATRE ROYAL\n\nAmateur dramatics took on a new vigour with the organisation or reorganisation of the theatrical group in 1860. Revived interest emphasised the need of a suitable theatre. Until the opening of the Theatre Royal in the City Hall in 1869, various makeshift arrangements had to be made after the Victoria Theatre was closed in the 1850s.\n\nIn 1861, the China Mail looked toward the future:\n\nWe hope the time is not distant when a neat permanent building constructed on the best known principles of acoustics will take the place of the temporary mat sheds, which need so much exertion on the performers' part, and indulgence on that of the audience. The acoustics are bad. Now that the capability of having these entertainments annually is beginning to be procured, it would be well to take measures soon, to", "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": 209598, "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": 255, "title": "RAS-1982", "content_text": "233\n\ndescribed as a \"fairy play\". It was an ambitious effort with 100 performers, 50 children, 50 trained birds and a special corps de ballet of 25 and an orchestra of 25. It was a great success. In keeping with the title the theatre was decorated in blue. As the performance was in aid of the Prince of Wales Fund, massive oil paintings of the King and Queen and Prince of Wales painted by Yee Cheong of Wyndham Street,* were prominently displayed.\n\nA similar production, not quite so lavish, was put on the next year. It was a fairy ballet entitled \"Snow White and the Frog Prince\". It was in aid of the Belgium Relief Fund.\n\nAnother very elaborate production was \"Kismet”, an oriental extravaganza, in 1916. It was in aid of the Star and Garter Fund. All the productions during the war period were in aid of some war related fund. Original music for \"Kismet\" was written by Mr. Norman Peterkin of the Robinson Piano Company.\n\n\"Pinkie and the Fairies\", yet another extravaganza, was staged in 1919. It had over sixty performers. The late Sophie Weill Odell appeared as one of the fairies a proper introduction to a long association with the stage through her impresario husband Harry Odell. The programme for \"Pinkie and the Fairies\" listed all the productions of the A.D.C. since 1870.\n\nNot all Sinclair's plays were along the exotic line. In 1916, there was \"The Angel in the House\" the success of this play depended on subtle satiric portrayal of character. It put a great demand on an amateur group. Even more demanding was the 1925 production of Shaw's \"St. Joan\". It was hailed as the greatest triumph of the A.D.C.'s existence. \"A great play, magnificently acted\" \"Memory fades and achievements diminish; time weaves a dusty web over the past and the glamour of a praise-worthy act wears off. History never dies, nor will this epoch-making performance of the A.D.C. be forgotten when the social history of Hong Kong is compiled\".\n\nSinclair also appreciated the sophisticated humour of Noel Coward. \"I'll Leave It to You\" was staged by him in 1922, It had been Coward's first play produced in London, some two years previous to its Hong Kong appearance.\n\n* Hong Kong Daily Press, 1 Apr. 1884, Advertisement: Yee Cheong, portrait painter, studio corner of Wyndham and Wellington Streets.\n\nPage 255\n\nPage 256", "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": 209603, "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": 260, "title": "RAS-1982", "content_text": "238 \n\nCARL T. SMITH \n\nThe Regiment Amateur Dramatic Society put on in 1876 at the Garrison Theatre two short pieces, \"Maud's Peril\" and \"John Brown John's Holiday\". Both were written by an anonymous local resident. \n\nCapt. Bunbury wrote a burlesque entitled \"Butter Cup Bower\" for presentation at an open air fete to raise funds for the Alice Memorial Hospital in 1886. It was repeated several months later as the dramatic portion of “A Musical and Dramatic Entertainment\" to raise funds for an annual treat to the children of non-commissioned officers and men of the Garrison. \n\nGARRISON AMATEUR GROUPS \n\nWe have noted that the first amateur dramatics were encouraged as diversion and entertainment for the military. Through the years various army and navy amateur groups have been organized in Hong Kong. \n\nThey performed under different names. These often included the name of the ship, regiment or unit of the performers. In the 1860s a group called the Garrison Amateur Theatrical Society was active. It was composed of officers. In 1897 there is notice of The Garrison Dramatic Society. The Military Mummers flourished from 1889 to 1892. In the 90s other groups called themselves \"The Sons of Neptune\" and \"The Beetles\". \n\nDuring the 90s it was popular to put on productions called \"Grand Assault at Arms\" accompanied by \"Military Spectacular Exhibitions\". An 1893 production of this type concluded with \"a grand representation of an attack on the Fortress of Ali Musjid\", and at another in 1898 by a naval group from H.M.S. Powerful, the finale was three \"real life Tableaux\": Ready for Action, Battle Scene, and the Death of Nelson. At this particular performance Prince Henry and Princess Irene of the Prussian royal house were present. A patter song was introduced expressing these hopeful sentiments: \n\nOne word before I end my song \n\nTo welcome in far Hongkong \n\nThe grandson of our Gracious Queen† \n\nPrince Henry's mother was Victoria, the Princess Royal, daughter of Queen Victoria, and wife of Frederick III, of Germany.", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209604, "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": 261, "title": "RAS-1982", "content_text": "239\n\nThe Sailor Prince, of course, I mean; To welcome him, may he always be\n\nFound playing on the side of the Royal Navy.\n\nThe military groups were at times strengthened by the addition of actresses. Until the time when Hong Kong resident ladies appeared on the stage, the actresses were from visiting professional companies.\n\nActresses not only provided beauty but at times a necessary gentle touch. The 20th Regiment was performing the farce \"Turn Him Out\" in 1867, all was progressing well when suddenly one of the players became temperamental and refused to proceed. To soothe the anger of the audience, which was becoming boisterous, the guest actress, Miss Annie Hill, was prevailed upon to announce the suspension of the performance. While a male would have been greeted with hoots and catcalls, the gallantry of the audience gave Miss Hill hearty applause. Some felt, however, that the incident might be a serious threat to the reputation of all garrison performances.\n\nIn spite of such fears, the Band Company disregarded adverse publicity and presented themselves to the public. According to a report, there was in attendance \"a gay concourse of people, with many ladies and their friends\". At times rowdy behavior discouraged respectable patronage. At a performance at the Garrison Theatre in 1867 it was said that \"some behaved in a style savoring more of a 'penny show' than a respectable theatre, where ladies form a portion of the audience\". Performances put on and patronized by the military were more subject to the plague of rowdyism than those produced by the A.D.C. in the dignified setting of the Theatre Royal at City Hall.\n\nAnother hindrance to military performances was the ruling by the military authorities that no placards could be posted announcing productions. In retaliation, some pranksters put up posters over town announcing a forthcoming play by an officer's dramatic group, though no such production was ever intended.\n\nDespite such difficulties, Hong Kong has had a long history of performances by the Garrison.", "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": 209608, "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": 265, "title": "RAS-1982", "content_text": "243\n\n12 Feb. 1863\n\nweek.\n\n30 Apr. 1863\n\nsecond amateur performance of season last\n\namateurs gave fourth performance on Wed.\n\nsubscription: 1863/64\n\n―\n\n17 Dec. 1863\n\n1864/65\n\n―\n\n1865/66\n\n―\n\nfirst performance\n\n\"Follies of a Night\" vaudeville comedy (J. R. Planche, 1842)\n\n\"A Kiss in the Dark\" given also in 1853.\n\n6 Feb. 1864 on 4th third subscription performance and on 6th third public appearance.\n\n31 Mar. 1864- fourth and last performance of season:\n\n\"Tailor of Tamworth\" (also known as \"State Secrets\", T. Wilks, 1836) given also in 1861. \"Alladin, the Wonderful Scamp\" burlesque (T. C. Bryon, 1861)\n\n16 June 1864\n\n___\n\npublic meeting resolved the Amateur Theatrical matshed should be kept up.\n\n13 Oct. 1864\n\nmeeting of those interested in Amateur Theatricals agreed to continue them in next season in usual way.\n\n2 Jan. 1865 a visiting professional group, the Lewis Company, gave first subscription night to the subscribers of the Amateurs\n\n9 Nov. 1865 check given to movement for organizing a new Amateur Theatrical Corp by non-attendance at public meeting. To be hoped they shall not collapse in consequence.\n\n1866/67\n\n3 Jan. 1867\n\nfirst\n\nat new Club Lusitano Theatre performance of season of Amateur Dramatic Society: \"Sent to the Tower\" farce (J. M. Morton, 1850) \"Alladin, or The Wonderful Scamp\" burlesque extravaganza (T. C. Bryon, 1860) also given in 1864.\n\n―\n\n4 Feb. 1867 second subscription night of Hong Kong Amateur Theatricals:\n\n\"The Area Belle\" farce (Brough and Halliday, 1864) \"Shylock, or the Merchant of Venice Preserved\" burlesque (F. Talfourd, 1853)\n\n1866/67\n\n7 Mar. 1867\n\n1867/68\n\nHong Kong Amateur Theatricals third subscription night:\n\n\"Slasher and Crasher\" (J. M. Morton, 1848) given also in 1853.\n\n\"Raising the Wind\" (J. Kennedy, 1803)\n\n23 Mar. 1867\n\nHong Kong Amateur Theatricals fourth subscription performance.\n\n—\n\n28 Sept. 1867 Hong Kong Amateur Theatrical Society propose giving five subscription performances this season.", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209609, "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": 266, "title": "RAS-1982", "content_text": "244\n\n1870/71\n\nP\n\n1871/72\n\n1872/73\n\n1873/74\n\n—\n\n1874/75\n\n—\n\nCARL T. SMITH\n\n25 Nov. 1867 first performance of season at Club Lusitano Theatre:\n\n\"All that Glitters is not Gold\" comedy (J. M. Morton, 1851)\n\n\"Cox and Box, married and settled\" farce (F. C. Burnard and J. M. Morton, 1867)\n\n19 Dec. 1867 Hong Kong Amateur Theatrical Society second performance:\n\n\"Romeo and Juliet\" burlesque\n\n\"Little Toddlekins\" farce (J. Mathews, 1852)\n\n4 Nov. 1870 Amateur Dramatic Club first performance of season at Theatre Royal, City Hall.\n\n\"Diamond Cut Diamond\" farce (W. H. Murray, 1838) \"Orpheus and Eurydice\" burlesque (H. J. Bryon, 1863)\n\n20 Apr. 1871 \"I've Written to Brown\" farce (T. J. Williams, 1859) burlesque by Francis Talfourd.\n\n28 Apr. 1871 \"Ici, en Parlais Francais\" (T. J. Williams, 1859)\n\n\"Shylock, or the Merchant of Venice Preserved\" burlesque (F. Talfourd, 1853) also given in 1867.\n\n-\n\n26 Jan. 1872 - \"The Two Bonnycastles\" farce (J. M. Morton, 1851)\n\n\"Masanielle\" burlesque (R. B. Brough, 1857)\n\n21 Feb. 1872 - \"The Rifle and how to use it\" farce (J. V. Bridgeman, 1859)\n\n11 Apr. 1872 \"Castles in the Air\" comedy (T. W. Robertson, 1854)\n\nInstead of \"Castles\", the production may have been \"Caste\" by T. W. Robertson (1867)\n\n3 Jan. 1873 - \"Locked In\" farce (J. P. Wooler, 1870)\n\n\"The Cricket on the Hearth\"\n\n13 Feb. 1873 \"Kenilworth, or Ye Queen, Ye Earl and Ye Maiden\", burlesque\n\n13 Apr. 1873 \"The Blighted Being\" farce (T. Taylor, 1854)\n\n\"Checkmate\" comedy (Andrew Halliday, 1869)\n\n30 Oct. 1873\n\n1853)\n\n\"Plot and Passion\" (T. Taylor and J. Lang, 1853)\n\n15 Nov. 1873 \"The Spitalfield Hospital\" farcical comedy\n\n\"Not such a Fool as she Looks\" (H. J. Bryon, 1868)\n\n2 Mar. 1874 —— \"A Romantic Idea\" (J. R. Planche, 1849)\n\n\"The Steeple Chase\" (J. M. Morton, 1865)\n\n5 Apr. 1875 - \"Ticket of Leave Man\" (T. Taylor, 1863)", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209611, "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": 268, "title": "RAS-1982", "content_text": "246\n\n1884/85\n\n1885/86\n\nCARL T. SMITH\n\n16 Dec. 1884 \"Still Waters Run Deep\" comedy (T. Taylor, 1855) given in 1862, 1878.\n\n17 Dec. 1885 \"Chiselling\" farce (J. J. Dilley and J. Albery, 1870) \"Nine Points of the Law\" (T. Taylor, 1859) in 1878.\n\n18 Feb. 1886 — \"The Overland Route\" (T. Taylor, 1860) second performance of season.\n\n1886/87\n\n9 Mar. 1886 \"Weak Woman\" (H. J. Byron, 1875) benefit with Canton Amateurs for burned Canton Theatre.\n\n7 Apr. 1886 — \"Heads or Tails\" (J. Palgrave Simpson, 1854) \"Chiselling\" farce (Dilley and Albery, 1870) given in 1885,\n\n18 Nov. 1886\n\n\"A Widow's Hunt, or Everybody's Friend\" comedy (J. Sterling Coyne, 1859)\n\n30 Dec. 1886 — \"Cups and Saucers\" musical sketch (G. Grossmith 1878) \"Our Wife\" comedietta (J. M. Morton, 1850)\n\n13 Apr. 1887 — \"A Comical Countess\" (Wm. Brough, 1854) \"Our Soldiers\" comedy (H. J. Byron, 1873)\n\n1887/88 8 Nov. 1887 \"Withered Leaves\" comedietta (J. W. Broughton, 1875) \"The First Night\" comedy (J. M. Maddox, 1853) \"The Rivals\" (Sheridan, 1775)\n\n17 Jan. 1888\n\n1888/89\n\n1889/90\n\n1890/91 apparently no production this season.\n\n26 Dec. 1889 last performance Mar. 1890 - 1 Christmas Pantomime: \"Ali Baba and the Forty Thieves\"\n\nGrand\n\n26 Dec. 1890 --- \"Ali Baba and the Forty Thieves\" pantomime 30 Mar. 1891\n\n- \"The Two Roses\" (J. Albery, 1870)\n\n1891/92\n\n24 July 1891\n\n1864) \"David Garrick\" comedy (T. Robertson,\n\n26 Dec. 1891, 23 Jan., 20 Feb. 1892- Christmas Pantomime: \"Beauty and the Beast\"\n\n27 Feb., 1 Mar, 1892\n\n21, 30 Apr. 1892\n\n+ \"Betsy\" (F. C. Burnand, 1879) \"Turned Up\" (or \"Too Much Married\") comedy, (M. Melford, 1886)\n\nPage 268", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209615, "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": 272, "title": "RAS-1982", "content_text": "250\n\nCARL T. SMITH\n\n1921/22\n\n-\n\nno production.\n\n1922/23\n\n1923/24\n\n12, 13, 18, 21 Oct. 1922 - \"I'll Leave it to You\" (N. Coward, 1920)\n\n26, 27, 28, 30 Dec. 1922, 1, 2 Jan. 1923 - \"The Tempest\" (Shakespeare)\n\n8, 10, 12, 15 Dec. 1923 \"R.U.R.\" (Rossum's Universal Robots) (Karel Capek, transl. by P. P. Silver, adapted by N. Playfair, 1922)\n\n1924/25\n\n25, 26, 27, 28 Feb. 1925 - \"French Leave\" (Reginald Berkely) farcial comedy\n\n13, 14, 15, 16, 17, 21, 22 Jan. 1925 - \"St. Joan\" (G. B. Shaw, 1923)\n\n1925/26\n\n2, 3, 4, 5 Dec. 1925 - \"A Little Bit of Fluff\" farce\n\n2, 3, 4, 5, 6 Mar. 1926 — “If” (Lord Dunsany, 1921)\n\n1926/27\n\n13, 15, 17, 18, 19 Nov. 1926 Dramatic Medley \"A Matter of Time\" (Ronald Jeans)\n\n\"The First and the Last\" (John Galsworthy, 1921)\n\n\"The Burglar and the Girl\" (Mathew Boulton, 1913)\n\n\"The Man in the Bowler Hat” (A. A. Milne, 1925)\n\n19, 22 Mar. 1927 \"The Last of Mrs. Cheyney\" - Frederick Lonsdale, 1925)\n\n1927/28\n\n19, 21, 22, 23 Nov. 1927 - \"Bulldog Drummond\" (H. C. McNeile and Gerald du Maurier, 1921)\n\n1928/29\n\n16, 20, 24 Nov. 1928 \"The Sport of Kings\" (Ian Hay, 1924) performed at Star Theatre, Kowloon.\n\n19, 21, 22, 23, 26 Feb. 1929 - \"On Approval\" (Frederick Lonsdale, 1926)\n\n1929/30\n\n22, 25, 26, 27, 28, 29 Mar. 1930 - \"And So to Bed\"\n\n1930/31\n\n12 Nov. 1930 — performance at Helena May Institute \"Snobs\"\n\n\"Half an Hour\"\n\n15, 17, 18, 19, 20, 21, 22 Nov. 1930 \"The Middle Watch\" a romance of the Royal Navy (Stephen King-Hall and Ian Hay, 1929)\n\n7, 10, 11, 13, 14 Mar. 1931 - \"Art and Mrs. Bottle\" (Benn W. Levy, 1929)\n\n\"Dear Brutus\" (James Barrie, 1917) last A.D.C. performance at the Theatre Royal, City Hall.\n\n14, 17, 18, 19, 20, 21 Nov. 1931\n\n1931/32\n\n―", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209616, "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": 273, "title": "RAS-1982", "content_text": "251\n\n1932/33\n\n1933/34\n\n21 Feb. 1933 \"Nine to Six\" all female cast (Aimee and Philip Stuart, 1930) performance at Kings Theatre.\n\n—\n\n11, 12, 13, 14 Apr. 1934 \"The First Mrs. Fraser\" (St. John Ervine, 1929) performance at China Fleet Club to 1941.\n\n17, 20, 21, 23, 24 Feb. 1934 Armstrong)\n\n1934/35\n\nJ\n\n5, 6, 7, 8 Dec. 1934\n\n1935/36\n\nvenue\n\n\"Ten Minute Alibi” (Antony Mackenzie)\n\n\"Fresh Fields\" (Ivor Novello)\n\n18, 19, 20, 21 Dec. 1935\n\n1936/37\n\n4, 5, 6, 7 Nov, 1936\n\n—\n\n1937/38\n\n7\n\n\"Musical Chairs\" (Ronald Rattigan)\n\n\"Night Must Fall\" (Emlyn Williams)\n\n7, 8, 9, 10, 11 Dec. 1937 - \"Outward Bound\" (Sutton Vane)\n\n23, 25, 26, 27 Feb. 1938\n\n—\n\n\"French Without Tears\" (Terrence)\n\n1938/39\n\n8, 9, 10 Mar. 1939 \"The Shining Hour\" (Keith Winter)\n\n1939/40\n\nT\n\n22, 23, 24 Feb. 1940 \"The Circle\" (Somerset Maugham)\n\n(Note: all notices are taken from the English newspapers in Hong Kong, in most cases from editions of the dates given).", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209701, "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": 358, "title": "RAS-1982", "content_text": "336\n\nBOOK REVIEWS\n\n(No. 92) are equally successful in giving new perspectives on the human life of Hong Kong.\n\nAll in all, this volume is recommended to anyone wishing to own a superbly produced volume of intelligently conceived and masterfully produced photographs of Hong Kong.\n\nP. H. HASE\n\nChukoku Saiki Yengeki Kenkyu (Ritual Theatres in China). By Issei Tanaka, Institute of Oriental Culture, The University of Tokyo, 1981, xvi + 926 pp, Index.\n\nThis impressive book contains the results of the author's researches during the period of ten years since he joined the Institute of Oriental Culture, University of Tokyo, in 1972. Trained as a sinologist, Prof. Tanaka started his study on ritual theatre in China from a historical viewpoint. Later his research focus shifted to field studies, particularly in Hong Kong. Between 1978 to 1981 he visited Hong Kong eight times and stayed here in total for eleven months. Most of the data presented in this volume are his field reports collected during his time in Hong Kong, and these form a mine of fascinating material which will prove to be of great value to many scholars.\n\nIn addition to presenting the field reports, however, the book analyses three aspects of ritual theatre in China. One of these is the origin of ritual theatre. Based on historical data, the author traces the process of transformation of ritual theatre from ancient times to the present. Through these studies, he points out that the original form of ritual theatre was aimed at exorcising or controlling evil forces or at celebrating beneficial forces and seeking their assistance. Theatre of this kind can still be found in Hong Kong. The ritual theatre of Hoklo and Ch'ao-chou people in Hong Kong are mostly performed for exorcising, i.e., these theatrical performances are mainly aimed at freeing orphan souls and wandering spirits. Cantonese ritual theatre, on the other hand, is of the latter type, celebrating the deities' birthdays and beseeching their blessing.\n\nThe second aspect is concerned with the social organization of ritual theatre. The author classifies Chinese local theatre,", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209702, "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": 359, "title": "RAS-1982", "content_text": "BOOK REVIEWS\n\n337\n\naccording to the social groups supporting them, into the following types:\n\n(I) Theatre organized by territorial groups\n\n(IA) The theatre of market based village unions\n\n(IB) The theatre of agriculturally based village unions\n\n(IC) Village community theatre\n\n(II) Theatre conducted by kin groups\n\n(IIA) Theatre jointly organized by clan communities\n\n(IIB) Theatre separately organized by 'branch groups' of clans\n\n(IIC) Theatre organized by family groups'\n\n(III) New theatre developed in the emerging towns\n\n(IIIA) Theatre conducted by merchants (Expansion of 1A)\n\n(IIIB) New theatre conducted by small and medium landowners instead of big landlords (Expansion of IB and IC)\n\n(IIIC) New family theatre conducted by the small and medium landowner classes in town (Expansion of IIC)\n\nLooking at ritual theatre in Hong Kong, the author suggests that the early ritual settlers, whether Hakka, Cantonese or Hoklo, appear to develop theatre of the community type (IC + IIA), while the Cantonese living in the city develop the town type (IIIA + IIIB). As to the theatre developed by the Ch'au-chou people in Hong Kong, this, generally speaking, is similar to the clan type (IIB + IIC).\n\nThe third aspect of the book is a discussion of the problem of the diffusion of ritual theatre. The author condenses the diffusion routes of ritual theatre under (1) diffusion through the clan or bureaucratic network, (2) diffusion through the commercial marketing network, and (3) diffusion through peasants' migration.", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 209756, "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": 15, "title": "RAS-1983", "content_text": "Hon. Treasurer's Report\n\nAs usual, Mr. Gilkes will provide a separate account.\n\nConclusion\n\nFinally, I wish to thank all members of the Council for their support and hard work. We are all busy people, and yet nothing can be achieved for the Society without effort. We are fortunate in having a good Council and an efficient, helpful Assistant Secretary. I wish also to thank others who have helped us during the year, including Government Information Services for the use of their theatre for our lectures, our honorary auditors and our printers, our Assistant Secretary, and Mr. Philip Bruce whose work has been noted above. Thank you.\n\n30 March 1984.\n\nxiv\n\nJAMES HAYES\n\nPage 15\n\nPage 16", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "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": 209992, "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": 251, "title": "RAS-1983", "content_text": "229\n\np. 60. Day, Peasant Cults, pp. 107-108.\n\np. 60. Burgess, J. S., The Guilds of Peking, New York, 1928, p. 179.\n\np. 69. A Gazetteer of Place Names in Hong Kong, Kowloon and the New Territories, Hong Kong, 1960, p. 138.\n\np. 69, Maugham, W. Somerset, On a Chinese Screen, London, 1922, p. 138.\n\np. 70. Broomhall, Marshall (ed.), Martyred Missionaries of the China Inland Mission, with a Record of the Perils and Sufferings of Some Who Escaped, London, 1901, p. 8.\n\np. 74. Burkhardt, V. R., Chinese Creeds and Customs, Hong Kong, 1953-58, Vol I, p. 106.\n\np. 81. Ball, Things, p. 75.\n\np. 86. Ibid. p. 668.\n\np. 90. Williams, S. Wells, Middle Kingdom, Vol I, p. 340.\n\np. 92. Ibid.\n\np. 93. Doré, Researches, Vol V, p. 533.\n\np. 94. Ibid, p. 535.\n\np. 97. Ball, Things, pp. 499-500.\n\np. 101. Barnett, K. M. A., The Peoples of the New Territories' in Braga, J. M. (ed.) The Hong Kong Business Symposium, Hong Kong, 1957, p. 265.\n\np. 102. Hashimoto, Mantaro J., The Hakka Dialect, London, 1973, pp. 1-2, p. 109. Obraztsov, Sergei, (translated by MacDermott, J. T.) The Chinese Puppet Theatre, London, 1961, pp. 27-28,\n\np. 110. Dolby, William, 'The Origins of Chinese Puppetry'. Bulletin of the School of Oriental and African Studies, 1978. Vol XLI. Part 1, pp. 109-110.\n\np. 112. Spencer, Cornelia, Made in China: the Story of China's Expression, London, 1947, p. 122.\n\np. 114. Burkhardt, Creeds and Customs, Vol I, p. 13.\n\np. 114. Clemens, John, Discovering Macau: a Visitor's Guide, Hong Kong, 1972, p. 121.\n\np. 114. Werner, Dictionary, p. 503.\n\np. 117. Lo Hsiang-lin, Hong Kong and its External Communications before 1842: the History of Hong Kong Prior to British Arrival, Hong Kong, 1963, p. 83.\n\np. 118. Peplow and Barker, Around and About, pp. 4-5.\n\np. 122. Ride, Lindsay, \"The Old Protestant Cemetery in Macao', Journal of the Hong Kong Branch of the Royal Asiatic Society, Hong Kong, Vol III, 1963, p. 14.", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 210042, "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": 13, "title": "RAS-1984", "content_text": "photographs with accompanying text will follow Hong Kong Going and Gone, published in 1980.\n\nSome Problems\n\nA number of problems have beset us during the year. First, the important matter of where we can hold our talks. After the GIS theatre was closed to all outside groups, we used the American Library premises in United Centre for a time. Well provided, and conveniently located for the subway, bus and taxi services, it was a disappointment to learn that the Library's own activities precluded its further use. We then turned to the Museum of History in Kowloon Park, whose excellent facilities partly outweigh the inconvenience for members accustomed to our long-standing practice of using the Hong Kong side of the harbour. We are very grateful to the Curator and his staff for their assistance.\n\nSecond, we had to decide what to do with our Library after the Hong Kong Arts Centre advised constituent members (of which we are, or were, one) that it would be revising the basis of their participation in the organization. Thereby, it was clear that we would have to withdraw, and so lose the library accommodation. Our library, despite its size and content, has been little used over the years, and in the circumstances the Council authorized an enquiry via the Hong Kong Library Association for an appropriate home. In the event, the most suitable expression of interest came from the Urban Council Library Services. The Chief Librarian has now been authorized by the Urban Council to accept our library on long loan, under certain conditions, which include retaining its identity and making it available for reference and research in what will be Hong Kong's largest public library, the new Kowloon Central Library due to open in July 1985.\n\nThird, we have been faced with a falling membership and a diminished return from sale of publications. The phenomena are directly connected, as I shall show below. Fourth, in the longer term we have to consider very carefully the future of the Society in today's changing Hong Kong. I shall deal with both these considerations in the concluding sections of this address.\n\nxii", "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572", "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": 210745, "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-1986", "page_number": 96, "title": "RAS-1986", "content_text": "79\n\nII. The settlements\n\nThe puppet theatre and most of the Taoist rites took place at a site in Shek O village during the festival. The participating villages included Shek O as well as Tai Long Wan and Hok Tsui. Hok Tsui is more than three miles from Shek O and used to hold its own celebration. A formerly separate settlement, Seung Wai, was midway between Shek O and Tai Long Wan about 2 miles away. Its residents had moved to Shek O in the 1920s or 1930s. Taking Seung Wai into account and assuming that it had joined the festival before the removal, the festival had been celebrated by three neighbouring villages.\n\nHaving one of the most scenic beaches in Hong Kong, Shek O is a popular holiday spot for the urban residents of Hong Kong. Double-deck buses run between Shaukiwan and Shek O at half-hour or shorter intervals from early in the morning to 11:30 p.m. Near where the road divides for Shek O and Tai Long Wan a golf club which caters mainly for Westerners occupies a large area of land. Near the bus stop at Shek O are several shops, food stalls, restaurants and bicycle rental shops catering for the needs of the holiday visitors. Some of the shops have tables where one can sit for a drink. When there are few visitors in the winter season there are local people playing mahjongg or chatting over glasses of beer in some of those shops.\n\nThe casual tourist will notice a dense settlement of cottages and huts, and in the areas with better views, Western-styled \"villas\". Few of the houses are in the style of indigenous village houses found in the New Territories. Near the bus stop is an area of vegetable gardens run by Hoklo residents whose presence in the settlement was conspicuously represented during the jiu celebration by several flags set up near the bus stop. Superficially, everything suggests that Shek O is a rather recent settlement.\n\nBut Shek O has existed as a village for more than 150 years, if, as the villagers claim, the last decennial jiu was the sixteenth.' Originally, the villages were inhabited by Punti and Hakka people. A 73-year-old woman who married in from Hok Tsui told me that her husband's family had been there for four generations. They", "txt_file_path": "txt/dfo323lmgvd/RAS-1986.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/jq08c7063", "rank": 0 }, { "id": 210754, "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-1986", "page_number": 105, "title": "RAS-1986", "content_text": "88 \n\nCHAN WING HOI \n\nidiosyncrasies of the festival. But no, it was because the priest had become familiar with the local leaders. Chan himself later explained to me why he was given the job. The village representative had attended a jiu festival in 1965(?) and was impressed with the small banners put on display at the Taoist altar. Those were presented to Chan by various communities for his performances at their festivals. The Shek O leaders asked the puppeteer Leung Nung about him. Leung had worked with Chan when Chan worked as a puppeteer and spoke favourably of him. The Shek O leaders subsequently contacted Chan to negotiate for his service at the Shek O jiu festival. Before Chan was hired, the contract for the priestly service went to Lau Sing Jai, a priest who lived in Tai O.\n\nA Cantonese puppeteer group was hired to perform for all three days of the festival. For the principal day of the celebration two other kinds of entertainers were also hired. These included piu-sik, children in stage costume representing well-known historical or fictional characters. They were hired from Cheung Chau, for they performed at the annual jiu festival there (which was also dominated by Hoklo, Wai Chau and Chiu Chau people). The other team was a Chiu Chau ceremonial music group hired through their fellow townsmen in the committee.\n\nTwo lion dance groups participated in the procession on the main day of celebration. One was styled \"lion dance group of Shek O residents\" and the other \"Leung Yi Hoi\", a kungfu master. The members of the latter dance group were probably also local residents.\n\nIV. The ritual site\n\nAs in the other places, for their festival Shek O residents built temporary structures in which altars for gods were set up. In these structures, the Taoist rites and theatrical performances took place.\n\nTwo long temporary structures had been built facing one another, each divided into several partitions. One of the structures housed the priests' altar, a room for them to rest in, the puppet theatre, and a room for the puppeteers. Facing the altar and the theatre was the other structure, with partitions for paper images of\n\n! \n\nPage 105\n\nPage 106", "txt_file_path": "txt/dfo323lmgvd/RAS-1986.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/jq08c7063", "rank": 0 }, { "id": 210755, "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-1986", "page_number": 106, "title": "RAS-1986", "content_text": "Puppet theatre \n\nor \n\nVillagers preparing for the arrival of Tin Hau with the procession on the main day.\n\n89", "txt_file_path": "txt/dfo323lmgvd/RAS-1986.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/jq08c7063", "rank": 0 }, { "id": 211153, "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": 214, "title": "RAS-1987", "content_text": "189\n\nspeedily attracted a considerable boat population and the profits accruing from the supply of provisions and necessaries at once raised many from poverty and infamy to considerable wealth. The shelter and protection afforded by the presence of the fleet soon made our shores the resort of outlaws, opium smugglers, and indeed of all persons, who having rendered themselves obnoxious to the Chinese laws, had the means of escaping hither.\n\nIt was not to be expected that Hongkong would attract at that time the best elements of the Chinese people. Hongkong was occupied by the British at a time it was at war with China.\n\nThe Chinese, who flocked to Hongkong to take advantage of opportunities to trade, sell produce, construct roads, level sites, erect buildings or find employment in foreign residences and business firms, were regarded as collaborators and traitors by Chinese with a national pride.\n\nThe majority were people who had no established place within the approved Chinese social system. Many were boat people who were traditionally regarded as an inferior class.\n\nOthers were those who could find no employment in their native place. Still others were renegades escaping from Chinese justice.\n\nThere were, of course, also the honest shopkeeper, tradesman and labourer, but the community was dominated by the less respectable class.\n\nThe chief personage in the Chinese community during the years immediately after the British occupation of the island was a man known familiarly as A-king, or more formally as Loo King. He came into possession of a substantial section of the Chinese part of town known as the Lower Bazaar (Sheung Wan).\n\nAlong with other business interests, he operated a gambling establishment, a theatre and brothels. Beside the wharf adjoining his main business premises he had erected a small temple.", "txt_file_path": "txt/dfo323lmgvd/RAS-1987.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/rx919b522", "rank": 0 }, { "id": 211254, "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": 315, "title": "RAS-1987", "content_text": "290\n\nwhilst the shrine was at Elgin Street, largely because no Hoklo troupes were available in Hong Kong or could visit from the mainland. The position improved when members of troupes reassembled here.\n\nIt is usual in these traditional festivals for an image of the patron god to be installed in a special altar at the theatre matshed or nearby. At Peel Street this is not necessary, because the shrine faces down this sloping street directly onto the opera stage. The god could see all without moving his position. When I asked whether any other images were brought from neighbouring shrines, there was a unanimous and swift denial!\n\nThe group of devotees, at any rate in and up to 1974, were mainly persons from To Tong Market, and all Hoklo speakers. The personnel of the Hoklo opera group hired in the previous few years were all Hoklos from Hoi Luk Fung, but only one of them was a native of To Tong Hui.\n\nI did not ask about management in 1974, though I gathered that they described their managers as ta-lei yan and not as chik-lei, which is more common among the Hong Kong shrine and temple groups.\n\nBesides the annual celebration, there is also religious activity at the shrine on the first and fifteenth days of each month.\n\nIt is curious that, although the Peel Street shrine is dedicated to an earth god, there are no celebrations on either the first or second months of the lunar calendar, when so many of the local shrines in town and country carry out major activities. The Sheung Fung Lane shrine's big day is in the first moon, as with the Tai Ping Shan and Kennedy Town shrines also mentioned in the article (pp. 124-127). The Nam On Fong shrine at Shau Kei Wan (pp. 128-130) originally celebrated in the second lunar month. However, the Sai Wan Ho earth god shrine at the other end of Shau Kei Wan had always celebrated the Yue Lan or \"Hungry Ghost\" festival as its principal event, for as far back as memory and local tradition served (pp. 130-132). There is variety in all things, old and new, mercifully.\n\nPage 315\n\nPage 316", "txt_file_path": "txt/dfo323lmgvd/RAS-1987.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/rx919b522", "rank": 0 }, { "id": 211472, "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-1988", "page_number": 188, "title": "RAS-1988", "content_text": "164\n\nfor being arrogant, did not accept Ruth, probably due to her discrimination against Mrs. Chang's programme. However, she accepted me, perhaps because I was considered uncontaminated and because Father was employed in a bank owned by \"white\" people. She made a poor choice because Ruth was by far the better student. Ruth then was accepted by Mrs. Creighton of Kauluwela School where she was placed directly in the third grade with Mrs. Bowman. Ruth stood out scholastically and was the pride of her teachers. She continued to do well in McKinley High School and won first prize and a gold medal upon graduation. Granted a Barbour scholarship at the University of Michigan, after a premedical programme at the University of Hawaii, she completed her academic medical studies and received a medical degree in 1929.\n\nAt Michigan Ruth met and became engaged to Herbert Kai Gee Wong of Hong Kong before he left to finish his medical studies at the University of Edinburgh. Unfortunately, Ruth sprained an ankle on a tour of a theatre during her last year of school and, even after surgery, was not able to walk normally or to accept an internship in a Philadelphia hospital. On her way back to Honolulu to recuperate, she spent a few days with me in Lincoln and some weeks with Dr. George S. Chan, a distant cousin, in Los Angeles. Being a herbalist, he tried unsuccessfully to heal the ankle with Chinese herbs. Once home she came under the care of Dr. Joseph Lam, family friend and schoolmate of Ruth's at Michigan. An injection of some new medication from Germany, administered by Dr. Mils Larsen, resulted in her death from septicemia on 6 June, 1932. Her three years of illness were a great strain on her and on the family. It was a great tragedy that such a brilliant woman was struck down just at the beginning of a promising career.\n\n―\n\nHelen was a very appealing child bright, sweet and smiling. During the Easter, Children's Day and Christmas services at the Kauluwela Mission, she was always asked to sing or perform. She attended Central Grammar School as I did and was a favourite of her teacher, Miss Padgett, and of the principal, Mrs. Sophie Overend, who had replaced Mrs. Carter. From there Helen went to McKinley High School, where, during her senior year, she was elected ROTC Sponsor for Company L. At the University of Hawaii, from which she graduated in three and a half years with a B.A. degree in Education, she was selected runner-up by movie star John Gilbert in a beauty contest among a group of", "txt_file_path": "txt/dfo323lmgvd/RAS-1988.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ft84gb83q", "rank": 0 }, { "id": 211488, "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-1988", "page_number": 204, "title": "RAS-1988", "content_text": "180\n\nsafer for them to spend the night with us, as we were farther away from the seacoast.\n\nWhen I went to work the next day, I found that our office had been converted into a kitchen to feed the many volunteers (reportedly many ladies of the night) who had come to help. Our morgue was filled with bodies of civilian victims. The wounded were treated in several hospitals. The enemy planes had strafed some on land and some at sea in their fishing sampans, most of whom ironically were ethnic Japanese. Rumours were rampant about spies and sabotage, and of Japanese citizens being sent away to relocation camps. On the whole the Japanese wanted to show their loyalty to the United States and many Nisei volunteered to serve in the European theatre, forming the famous 442nd Battalion that fought so bravely in Italy and with such a great loss of lives. Among them was Samuel Sakamoto, husband of my good friend, Edna Sakamoto. A quiet gloom settled over the city and even the skies remained cloudy and depressing for weeks. It was not until after the Battle of Midway that the heavens seemed brighter and our spirits lighter. During the war years we found it so stifling with all windows covered to ensure total darkness that we chose to go to bed early and spend our waking moments listening to the radio. Amos and Andy and Allen's Alley were my favourite programmes. Occasionally I could catch Tokyo Rose's propaganda over the air.\n\nIn 1945 I was granted a leave of absence from work and clearance from the military to leave for the mainland to visit Mrs. Johnson. I left on 16 March 1945 on a small vessel, the S.S. Permanente, which was escorted by an armed submarine chaser. Because of the threat of being torpedoed, everyone was required to wear trousers and to carry an emergency kit. About twenty hours out to sea, an alert sounded. Although most of the passengers kept calm, my roommate became hysterical. She was a Jewish woman taking her infant daughter back to New York, leaving her husband, a defense worker, in Honolulu. It was rumoured that an enemy submarine had been sighted. Fortunately nothing happened. It took us eight days to cover a distance that normally took four and a half days. I left San Francisco for Lincoln, where I stayed with Mrs. Johnson for three months. While there, on 12 April 1945, we heard the sad news of President Roosevelt's death over the radio. I took this opportunity to visit Dora, Tso-chien and Eugene in Chicago before", "txt_file_path": "txt/dfo323lmgvd/RAS-1988.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ft84gb83q", "rank": 0 }, { "id": 211591, "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": 6, "title": "RAS-1989", "content_text": "CONTENTS\n\nPRESIDENT'S REPORT\n\nHON. TREASURER'S REPORT\n\nHON. LIBRARIAN'S REPORT\n\nARTICLES:\n\nDan Waters\n\nLIBRARIES\n\n138 1937. vii\n\nAR\n\nIn the Steps of Lu Pan: Reminiscences of Building in Hong Kong\n\nK.J.P. Lowe\n\nHong Kong, 26 January 1841: Hoisting the Flag Revisited\n\nKeith Stevens\n\nThe Jade Emperor and his Family, Yu Huang Ta Ti\n\nKeith Stevens - Fukienese Wang Yeh (Ong Ya [Hokkien])\n\nP.H. Munro-Faure\n\nThe Kiukiang Incident of 1927\n\nA.D. Blackburn\n\nHong Kong, December 1941 July 1942\n\nChan Ka-yan\n\nJoss Stick Manufacturing: A Study of a Traditional Industry in Hong Kong\n\nP.H. Hase\n\nCheung Shan Kwu Tsz, An Old Buddhist Nunnery in the New Territories and its Place in Local Society\n\nJ.H. Haan\n\nThalia and Terpsichore on The Yangtze, Survey of Foreign Theatre and Music in Shanghai 1850-1865\n\nFred Dagenais\n\nJohn Fryer's Early Years in China: I. Diary of His Voyage to Hong Kong\n\nChan Wing-hoi\n\nThe Dangs of Kam Tin and Their Jiu Festival\n\nxxi\n\nxxiii\n\n8\n\n18\n\n34\n\n61\n\n77\n\n94\n\n121\n\n158\n\n252\n\n302\n\nNOTES AND QUERIES:\n\nE. Sinn\n\nNotes on the Robert Hart Papers at the University of Hong Kong Library\n\n376\n\nP.H. Hase\n\nA Song from Sha Tau Kok on the 1911 Revolution\n\n382\n\nP.H. Hase\n\nThe Mutual Defence Alliance (Yeuk) of the New Territories\n\n384\n\nP.H. Hase - More on The Man the Emperor Decapitated\n\n388\n\nIssei Tanaka\n\nThe White Tiger\n\n389\n\nKeith Stevens - British Chinese Labour Corps Labourers Buried in England\n\n390\n\nAnthony Siu Kwok-kin\n\nThe History of Hong Kong: From A Village to A City\n\n391\n\nAnthony Siu Kwok-kin\n\nHistorical Records\n\nAnthony Siu Kwok-kin\n\nBOOK REVIEWS\n\nTai Yu Shan from Chinese\n\n394\n\nA Tung Lo Wan\n\n399\n\n400\n\nV", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211669, "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": 84, "title": "RAS-1989", "content_text": "59\n\ndeities are not pestilence deities. The confusion has been compounded by the Fukienese themselves when over the years they unconsciously accepted all deities bearing the honorific Wang Yeh as protectors from epidemics.\n\nNOTES\n\nThe term Wang Yeh is best translated perhaps as 'The Excellencies'. It was a title given to imperial princes or lords, and interestingly it was also a term used by robbers for their brigand chief. See Plates 9-14 for illustrations to this article.\n\n2 There has long been controversy whether the Pestilence Wang Yeh are shen (Supernatural beings, spirits or deities) or kuei (shades of the human dead and pejoratively used for ghosts, spectres and demons). One god carver in Singapore explained that Pestilence Wang Yeh are \"half-deities\", (pan shen) that is half-shen and half-kuei. However, whilst a number of Pestilence Wang Yeh have ferocious faces, the great majority are portrayed as standard deities with no indication of demonic characteristics. An elderly and authoritative Fukienese god carver in Singapore explained in hushed tones that the Pestilence Wang Yeh are neither gods nor demons, are feared but not revered, and not only protect against plague but also cause it. They are, he repeated, semi-deities from the lower echelons of the bureaucracy of the Afterworld who do not like the human world and therefore cause trouble and bring calamity and misfortune. However, if prayed to they are quite prepared to care for devotees who seek protection. For this reason, more often than not the scale of devotion and offerings to the Pestilence Wang Yeh is greater than that provided to more powerful but orthodox gods.\n\nE\n\nDoolittle J. Social Life of the Chinese 2 Vols: New York: (1865).\n\nA god carver in Singapore suggested that Pestilence Wang Yeh have been given surnames so that no particular surname group is left without a specific deity to worship.\n\nThe only time that all images can be guaranteed to be on their altar in their temple is during the temple's annual festival.\n\nThe altar of Chu Wang Yeh in a temple in Lukang, Taiwan was destroyed by a flood some fifteen years ago. Of the three Wang Yeh images in the temple at that time (Chu, Ting and Nieh) only one image, that of Chu, was recovered. Although a new temple has been built for the three but only containing one image, the one of Chu recovered from the flood, devotees have largely stopped away. They seem to have lost confidence in deities who were unable to protect themselves against disaster.\n\n7\n\n**At Cheung Chau Island in Hong Kong in the afternoon of the third day (of the chiao festival of ritual purification held every ten years) a ('paper boat') ritual to chase away the Demon of Pestilence is performed. A Taoist issues orders to a Heavenly Envoy to carry off the boat and puts the Demon of Plague on a boat and leaves it in the outer seas. The Heavenly Envoy, like the King of Ghosts (Yenlo Wang), has a fierce-looking face. It is an image of about one metre high and the boat is a small one of about one and a half metres long. A Taoist lifts the Heavenly Envoy to a stage in the matshed theatre and chants a question-and-answer song which instructs the Heavenly Envoy. Having finished that, the villagers then put the Heavenly Envoy into the boat loaded with offerings. The boat is taken to the sea shore and left on the waters.\" Tanaka Issei: \"The Jiao festival in Hong Kong and the New Territories\", The Turning of the Tide Religion in China Today: Hong Kong Branch, Royal Asiatic Society, and Oxford University Press (Hong Kong); (1989), p. 287.\n\n8 There is a K'ang Yuanshuai, ie Marshal K'ang, on several Taiwanese altars where he", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211687, "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": 102, "title": "RAS-1989", "content_text": "HONG KONG, DECEMBER 1941 — JULY 1942\n\nA. D. BLACKBURN*\n\n77\n\nThe following is an account of the personal experiences of my wife and myself at Hongkong during the Japanese attack and afterwards.\n\nI was still in Queen Mary Hospital when hostilities began. My leg had so far recovered that I was able to hobble about on crutches and the doctor had decided that he could now safely proceed to operate on my ear which had become completely obstructed with scar tissue. The operation was fixed for 8 a.m. on December 8th. I was waiting to be taken to the theatre when, almost exactly at 8 a.m., the wailing of the sirens and the noise of planes announced the beginning of the blitz and the operation had to be abandoned.\n\nMeanwhile my wife was at the War Memorial Nursing Home recovering from an operation for appendicitis. All patients whom it was possible to remove were evicted from the hospitals to make room for war casualties. My wife was turned out on December 10th and I on December 12th and Witham (Tea Adviser to the Chinese Government and a friend of ours) arranged for us to be billeted with him and his wife in their flat on the Peak, which the Hongkong Government had declared an evacuation area. There we stayed throughout the hostilities.\n\nThere was fairly heavy artillery fire and air bombing but the Japanese seemed to be concentrating on military objectives (particularly Mt. Austin barracks and two field gun batteries in our neighbourhood), and civilian property around us was not\n\n* Editor's Note. Sir Arthur Blackburn was Counsellor of the British Embassy in Chungking in 1941. On June 29th, 1941, his house there was totally destroyed by a Japanese bomb. Two people were killed, and fifteen injured, including Sir Arthur, who received injuries to his knee and ear. The injury to the ear required operation, as did the injury to the knee, which had become infected. Sir Arthur and his wife were evacuated to Hong Kong to enable these operations to take place, arriving at the end of November, 1941. Sir Arthur was a witness to the Japanese attack on Hong Kong in December, 1941, and he and his wife were interned from January 22nd to the end of July 1942 in Stanley Camp. He and his wife with other captured diplomatic staff were then repatriated, leaving Shanghai on August 17th, 1942. Sir Arthur was asked by both the Foreign Office and the Red Cross to report on conditions in Hong Kong and in Stanley Camp. These reports were completed by the end of September, 1942, even before the Blackburns docked in England. Because of the general interest of these reports, and particularly because of their contemporary character and absence of post-war hindsight, it is felt useful to print them here. The Journal owes copies of these interesting documents to the kindness of Mr. C. Blackburn.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211768, "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": 183, "title": "RAS-1989", "content_text": "158\n\nTHALIA AND TERPSICHORE ON THE YANGTZE A SURVEY OF FOREIGN THEATRE AND MUSIC IN SHANGHAI 1850-1865\n\nJ. H. HAAN\n\n\"Thanks for the merry laugh that cheered our hearts\n\nFor loud applause that bade us top our parts. For mirth, that taking all things for the best\n\nMade even a blunder seem a clever jest'.\"*\n\nThus an epilogue to an evening of theatrical entertainment in 1852 that was given for the foreign community of Shanghai, and it sums up nicely the attitude with which generally speaking the efforts of the local amateurs were greeted. What happened on the stage in this outpost of Western civilisation may not have been very exciting or very daring but still it seems interesting enough to go into in more detail than has been done before now.2\n\n1. Some notes on foreign life in Shanghai\n\nUntil the first Anglo-Chinese War of 1839-1842, foreigners were severely limited in China. In fact only one port, Canton, was open for external trade and merchants had to reside part of the year in the so-called foreign factories. After the war several treaties were concluded with Western nations (England, France, United States) in which the right of foreigners to settle themselves in a number of cities on the China Coast was granted.\n\nAmong these cities was Shanghai, and it was not long before a predominantly British community came into being. A Foreign Settlement was delimited, Land Regulations (a kind of constitution) were issued in 1845 and 1854, a Municipal Council of foreign merchants was formed as early as 1846,3 houses in colonial style were built, roads and a race course laid out, a drainage scheme begun and a home-like church erected. To the south of the Settlement the French had their own Concession, while to the north an American settlement gradually developed. Problems abounded, sometimes caused by the obstructions of foreign residents;\n\nOrdinary reference notes are indicated thus: (1); notes in which additional information is supplied thus: (1x).", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211770, "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": 185, "title": "RAS-1989", "content_text": "160\n\nminority in the foreign community.' The effects of this discrepancy on the local dramatic scene will be dealt with later.\n\nBy far the greater part of those who came out to China were active as merchants or mercantile assistants; in general, they were in their late twenties or early thirties, and lived together in the hong of their firm. During business hours they traded in silk, tea, opium, and sundries; leisure was sought mainly in sports: racing, fives, bowling, cricket; by some in the Shanghai Library (established 1849), or the North China Branch of the Royal Asiatic Society (founded 1857). All, however, seemed to love the amateur theatricals that were put on several times a year.\n\nII. Theatrical Criticism\n\nIn order to appreciate the information that has come down to us about the theatre in early Shanghai, some attention should first of all be paid to the way in which contemporaries wrote about it. (For reviews see the Calendar of Performances).\n\nThe main, in fact the only, source as regards the early history of the foreign settlement in Shanghai is the “North China Herald”, a weekly that was founded in August 1850. A daily edition, the “North China Daily News” was begun in 1864, but the surviving copies date back only as far as July 1866. Other papers were published in the period under discussion, notably the \"Shanghai Recorder\" (1862-1869), but of these too all trace is lacking, with the exception of one volume (1865) of the \"Shanghai Commercial Record”, the overland edition of the \"Shanghai Recorder\". So we have perforce to rely mainly on the \"North China Herald\"; and, to be sure, a worse source can be imagined. In its pages at the least we find the facts about which plays were performed and what kind of musical entertainment was enjoyed. That is, until about the beginning of 1866, for after that date there is a noticeable decrease in theatrical notes. Then one has to resort to the Daily News.\n\nAll articles, which could be as long as a column, were anonymous, or, in a few cases, signed with an initial or a pseudonym. Not that it matters very much, for generally speaking the critic, if we may call him so, went to considerable lengths to avoid any harsh treatment of the amateurs on the stage. Apparently it was not deemed proper to pull the rug from under a handful of well-meaning gentlemen who devoted their", "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": 211773, "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": 188, "title": "RAS-1989", "content_text": "163\n\nconcert. Everything was conducted in a quiet gentlemenly manner so that we imagined ourselves in a drawing room more than in a theatre. There was no attempt at grandeur of display (...) which characterises too much the quasi musical taste of the day where the composition of the author is sacrificed frequently to the execution of the performer and the audience is led to think more of the latter than of the former**. \"The \"Shanghai Commercial Record\" reported in a similar laudatory way about the Annual Volunteer Concert on February 15, 1865: “We fancy few home concerts could show anything better; amateur concerts we are sure rarely could\".20\n\nHowever, about professional musicians, and those formed the majority of performers, the critic sometimes made no bones about his disapproval: speaking of a recital given by a Professor Shonbrun on the piano in March 1859, he was \"sorry to say we have no great opinion of his powers; the skill and artistic feeling which would be highly respectable in an Amateur reflect no especial credit on a professional player'\"; at the same time **the Amateurs who assisted Mr. Shonbrun did their share well and merit great praise\". Thus the line was drawn, at least by this particular reviewer.\n\nIII. The Companies\n\nA. Theatrical\n\n**21\n\nWriting about the theatrical companies that performed in Shanghai during the period 1850-1865, a distinction must be made between those that were got up from among the local residents, those that were initiated by the military garrison, and those that were of a professional, travelling nature.\n\nThe Local Companies\n\nOn November 15, 1866, it was proposed at a meeting of the Dramatic Corps of the Infantry and Rangers of the Shanghai Volunteers Corps that “a Dramatic Society be formed\",22 and hardly a month later the Shanghai Amateur Dramatic Corps was established on December 7.23 Its objects were stated to be \"the encouragement and maintenance of an amateur theatre in Shanghai; the maintenance of a theatrical library and the management of funds for theatrical purposes\". There were to be no honorary members but only those who were willing to be active", "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": 211775, "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": 190, "title": "RAS-1989", "content_text": "165\n\nunanimous voice of the Community in wishing that the Corps would again favour us with their highly agreeable representations”.30\n\n―\n\nA new venture in local companies was started in 1864 when, after the troubles of the Taiping rebellion, the Shanghai Volunteer Corps which had taken part in the defence of the Settlement apparently had enough superfluous energy to direct their efforts into more peaceful ventures. On March 30, 1864, Kenney's Raising the Wind, Jerrold's Cool as a Cucumber and Coyne's Duck Hunting were the three pieces given.\n\nSeveral more performances followed in 1864 (April 25, May 26) and 1865 (March 21, May 8, December 14). Not to be outdone by their colleagues, the Mounted Rangers, part of the S.V.C. and formed in 1862, decided to put on theatricals too. May 24, 1865 saw their first moves on the stage with Planché's The Knights of the Round Table and Mayhew's The Wandering Minstrel.3\n\n31\n\nLater performances were given on November 11 and 20, 1865, and January 12 and March 28, 1866. It was these two groups that in 1866 resolved on the foundation of the Amateur Dramatic Corps.\n\nAnother local company saw the light in June 1864: The Amateur Burlesque Company Ltd. Whether they were not satisfied with the existing conditions of the theatre in Shanghai or whether the demand for Thespian evenings was so great cannot be ascertained; in any case it was announced that **although the theatrical season has closed, the approach of the hot weather warning us against crowded assemblies, a number of gentlemen have formed themselves into a burlesque company**. But the heat was no deterrent and on June 28, 1864 Lacy's The Silent Woman and H.J. Byron's Ill Treated Il Trovatore came off with considerable success, so much so that \"many of the audience were disposed to believe that they were witnessing a display of professional talent\". The society proved not to be a one-day affair, for it gave a number of other representations in 1864 and 1865.\n\nThe actors in it probably consisted mainly of British and Americans; of another company that was also established in 1864 it may safely be assumed that only compatriots were members, viz. the Portuguese amateur dramatic club. Although the Portuguese population of Shanghai was small (the census of 1865 showed a total of 110, including 14 women and 15 children) this was apparently no hindrance to the staging of plays", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211776, "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": 191, "title": "RAS-1989", "content_text": "166\n\nin their own language. On April 18 1864 the first evening took place at which “the arrangement of the costumes and acting were all good and amply repaid a visit, even by those who may not understand the Portuguese language”. Two more performances are recorded of this company (October 15 and December 22 1864).\n\nWith respect to the financial side of the societies' activities not too much can be said with certainty. Expenditure included the rent of a godown to be fitted up as a theatre, scenery, etc. (see below: V. The Theatres). Evidently, entrance fees covered part of these expenses, the members themselves probably paid an annual amount, and furthermore there are some indications that at least a number of performances were for subscribers. Thus, speaking about an amateur evening on February 13 1863, the Herald added that a repeat would take place on the 17th at \"which the public that is non-subscribers will be admitted\". Earlier, in 1859, in a letter to the Editor, a \"Member of the A.D.C.\" complained about the liberties taken by some residents with the subscription circulars: “A wag has amused himself (and himself only) by converting quite a large number of 5 tael subscriptions into 15 and has thereby caused not only great confusion, but some unpleasantness”.36\n\n―\n\n―\n\n3\n\nSuch confusion could easily be tolerated in the all too numerous farces that were put up on the stage, but when it came to realities it was clearly considered to be just as well as to put them down...\n\nGarrison theatricals\n\nFrom time to time the season was enlivened by non-resident amateurs, Naval vessels of several nations that called at the port of Shanghai were sometimes the scene of an unusual crowding of merchants and marines when performances were given on board ship. Thus on October 8 1857 the \"Union Theatrical Company of the U.S.S. San Jacinto\" delighted the public with three farces.37 A year later, September 28 1858, the crew of H.M.S. Retribution entertained a large portion of the foreign community: The quarterdeck was converted into a rotunda tastefully decorated with national and other flags raised nearly to the height of the mizzentop forming a spacious and airy salon. The stage, raised to a convenient height for the audience, was adorned with a well-executed proscenium, the orchestra being in front, all en règles\".38 The piece selected was even of a higher quality than the usual fare, viz. Sheridan's", "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": 211780, "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": 195, "title": "RAS-1989", "content_text": "170 \n\nB. Musical \n\nMany of the theatrical entertainments of the amateurs were varied with musical interludes; sometimes the piece itself required an orchestra and for all these purposes resort was, of course, made to non-professionals. Just as with the dramatic companies, the orchestral accompanists were engaged on an ad hoc basis. As a result quality differed; occasionally the Herald thought the music \"first rate\"; then again, in 1856, it was of the opinion that \"the music was ineffective\", and seeing the underlying weakness, it advised that some combination of the musical talents of the place might be made with advantage”. \n\n55 \n\nSome years later, in 1861, in a letter to the Editor by one signed \"Philharmonic\" the subject was again broached; it had occurred to him \"how much gratitude the amateurs of Shanghai could evoke if it were possible for them to form a vocal or instrumental association to give occasional subscription concerts\", and, tongue in cheek perhaps, he added that “probably nowhere out of the profession is there so much musical talent to be found as in Shanghai and certainly nowhere an audience better also to appreciate that talent” \n\n56 \n\n― \n\n(1.9.1880) \n\nWith the arrival in 1864 of Jean Rémusat (11.5.1815) things began to look better. Rémusat was a French flautist of considerable fame. He had entered the Paris Conservatoire at the age of fifteen, but had spent most of his professional career in London before coming to Shanghai. Among others he had starred in the Promenade Concerts that were organised by Louis Jullien in the Drury Lane Theatre. According to a contemporary, Rémusat was \"fort intelligent” but “un peu excentrique”, and his colleagues must certainly have thought so when he told them that he would sail off to Shanghai to live there till the end of his days. Whatever his motives, cultural life in the Yangtze port was boosted by Rémusat. He gave concerts in Shanghai (of which only one, however, has been chronicled in the Herald: May 10, 1866) and Macao (on June 3 and 17, 1866). And, to return to the subject of organised music, he inaugurated the Philharmonic Society, probably in late 1866 or early 1867. \n\nIn the meantime, apart from the music incorporated in an evening of theatricals, concerts and recitals were given. Again, a distinction must be made between local amateur performances, those that were given by members of the military forces, and the travelling professional musicians. \n\nPage 195\n\nPage 196", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211784, "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": 199, "title": "RAS-1989", "content_text": "174\n\nunfortunate that practically always only their stage names are known, making it impossible for us to identify any well known local citizens who were maybe also active in the municipal administration or social clubs. Not all pseudonyms were as transparent as Mr. Beverley Newcome, Mr. Circular Roller and Mr. Pickwick, nor so ludicrous as **Mr. Caput as Head Manager, Mr. Work-em-hard as stagemaker and Mr. Llanfair P.G. as the stagesweeper,” but we can never be sure about the real identity of most actors. Still, in a few cases the true names of participants were given (see: Calendar, 13.2.1863, 26.3.1863). With the managers of the companies things stood no better: the names have come to us of a Mr. Doldrum, Horatio Buskin and Peter Proteus, but they are mentioned here merely for curiosity's sake. In some instances the performers were nothing loath to adopt the names of well known contemporaries. Thus the orchestra at a theatrical night was reputedly conducted by the “Veteran Melodist Sir George Smart,” who indeed was a conductor, organist and composer (1776-1867), certainly not in Shanghai but in Britain, where he had conducted, among other performances, the first performance of Beethoven's Ninth Symphony in 1826. Another example was the appearance of \"our old friend Mr Bravo Rouse\". Rouse, always nicknamed Bravo Rouse, had been the originator of the Grecian Saloon in 1838, the precursor of the music hall.77\n\n**76\n\nOne feature that should be highlighted is the absence of ladies on the stage until 1876. On April 18 of that year Shanghailanders witnessed their first amateur actress in T.W. Robertson's School.” Before that, however, there may have been attempts to break the male monopoly in the theatre, to judge from a short remark in the local satirical magazine **Puck, or the Shanghai Charivari”** in 1873: “We hear that the actresses of the Dramatic Club bitterly resent the movement that has lately been made by the ladies of Shanghai in the direction of amateur theatricals as they consider their rights infringed. We however think differently; the presence of these fair debutantes if of more frequent occurrence [my emphasis — JH] would tend to inspire the male actors, and while we should certainly have fewer sticks on the stage, we might have more matches”. Not that Shanghai in this respect lagged behind the amateur dramatic societies in other Far Eastern ports: Yokohama introduced women in 1878, Hong Kong in 1879 and Singapore in 1884.82\n\n20\n\nAs far as Shanghai is concerned the reason for the lack of women on the stage is not difficult to find. Their general paucity in the Settlement", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211785, "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": 200, "title": "RAS-1989", "content_text": "175\n\nwas enough to account for that. In addition quite a few women were the wives of missionaries, and in religious circles suspicions about the theatre in general and the role of females in particular often still lingered on. This was indeed so conspicuous that the list of \"contributors\" in the first issue of \"Puck\" (April 1, 1871!) mockingly included: “Our Dramatic Critiques will be undertaken by the Missionary Body who are so frequently absent from the Performances and will therefore be impartial judges of the merits of the Performances\". And then, of course, it may just have been possible that the taipans did not like to see their wives before the footlights with other men.\n\nReading about the early Thespian evenings one may nonetheless be fooled into thinking that women had in fact taken their place on the stage. In the circumstances it was only natural that the \"actresses” should be called \"Miss\" or \"Mrs.\", but what should we think about the glowing term in which one of them, a “Mrs Nesbit” (was this stage name a pun on the rather well-known British actress Louisa Nisbett?) was described on more than one occasion:\n\n“The acting of our charming favourite Mrs. Nesbit, as Mrs. Lullaby [in Henry Danvers' A Conjugal Lesson, on March 26, 1857 – JH] left nothing to be desired. It was perfect of its kind and were it not that she gave a too vivid, and, it may be, truthful portrait of that dread of club-haunting bachelors like ourselves, the matrimonial chamber, we could on the instant have made Mrs. Nesbit the offer of our hand”.* Stronger even, on February 16, 1859:\n\n#\n\n\"But where shall we find words to express our admiration of Mrs. Nesbit, that beautiful Nesbit, who, blessed with an incomparable modiste, displayed so many feminine graces, such latent charms, as effectually to revive the enthusiasm of our younger days and cause us to run round the stage door in the hope of once more beholding so fair a 'genius of the lamps'.\n\n* 34\n\nAnd in an epilogue to the evening of May 26, 1864, the ladies were again put under the spotlight:\n\n\"But stay! The Ladies' praises must be sung. These Belles were surely meant to be well rung. There's Wiggins, Lizzie, Baby, only choose.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211787, "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": 202, "title": "RAS-1989", "content_text": "177\n\n'Tis not in mortals to command success\n\n89\n\nAnd that the actors had in general nothing to fear from the public has already been shown and is testified once more by a contemporary: \"The scenery was rude, the action imperfect, but a good-natured audience showed that charity which covers a multitude of sins and seldom failed to enjoy themselves\".\n\nV. The Theatres\n\n90\n\nThe localities in which all performances took place were adorned with high-sounding names like the Theatre Royal, the New Theatre Royal, the Olympic Theatre or the Lyceum Theatre. And though it is evident that in this way it was hoped to conjure up visions of their namesakes in the British capital, realities were quite different. It was only in 1867 that a theatre worthy of the name was opened in Shanghai; it was called the Lyceum Theatre, like its predecessor. But that was, as all the ones that went before, a mere refitted and redecorated warehouse, or, to use the local term, godown. Nevertheless, it is worthwhile to trace the vicissitudes of these \"Thespian Temples\".\n\nAs was the case with the theatrical companies that were formed anew every season, the \"pretty little theatres\" too had to be rented each year. This did not mean, however, that the buildings changed all the time; on more than one occasion the same godown was used for several seasons. Yet it is difficult to get a clear picture because the information given in the local paper is often very scanty with respect to addresses; in fact, in only one instance has a road been named, so one has to rely on other sources in order to establish the location of the theatres.\n\nA.\n\nSeasons 1850-1851 and 1851-1852: The Theatre Royal or New Theatre Royal (both names were used). No address can be fixed. For the opening performance of the season 1851-1852, on January 26, 1852, the theatre had been \"tastefully refitted and decorated; a very pretty drop scene of the Port of Leghorn added\". The painters were active this season, for on the evening of March 24 \"a new drop scene of the Bay of Naples adorned the proscenium\". The previous one had been \"transferred to decorate the walls of the theatre\". Furthermore, it was contemplated to \"paint a series of Italian scenery and in due time the whole theatre will...", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211788, "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": 203, "title": "RAS-1989", "content_text": "178\n\nbe embellished by a variety of cosmoramic views which will add much to its beauty\" 92\n\nThis process was continued and another new drop scene, “A View of Palermo\" was unveiled on May 6, 1852.93 Thus everything was done to turn the godown into something that resembled a theatre.\n\nB.\n\nOf course it would be more or less a waste if everything had to be demolished because the lease of the building could not be extended. Yet that was possibly the case, for during the season 1852-1853, after many doubts whether any theatricals would be given at all, the Imperial Theatre became the scene; it can only be guessed if this was the same as the Theatre Royal.\n\nC.\n\n94\n\nFor subsequent years we are on somewhat firmer ground.* The seasons 1853-1854, 1856-1857 and 1857-1858 came off in the same building, viz. a godown in the Commercial House or Commercial Hotel compound that was situated at the northwestern corner of Park Lane (Nanking Road), and Church Street (Kiangsi Road) (the names of the roads were, in 1864-1865, changed from the old \"homelike\" ones; Park Lane, Church Street, Mission Road, etc. into ones more in tune with local conditions: Nanking Road, Kiangsi Road, Foochow Road, etc.).† Despite the fact that the theatre was housed in one and the same building throughout this period it bore several different names. It was called the Tae Ming Theatre (i.e. Great and Bright Theatre) 1853-1854; once the name Old Theatre was attached to it (1856), then it was called the Theatre Royal (1857-1858). There was some political irony involved when the Herald announced that on March 8, 1854 the Tae Ming Theatre had opened \"under a concession from and immediate patronage of the Tae-ping-wong\" (the leader of the Taiping movement). Because of the change of regime in the native city the name \"Imperial\" Theatre was mockingly considered a little inappropriate.\n\nOriginally the stage was rather small, but later it was \"extended in the rear and the wings thrown back, giving a larger area for action\".95\n\n* See Map at Appendix III.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211789, "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": 204, "title": "RAS-1989", "content_text": "179\n\nAs was common, it was occasionally furbished up, not always to the taste of the critic who at one time in 1857 feared the decorations \"threatened to overwhelm me with a fall of flowers and garlands from the roof\". This was not at all what a member of the amateur company wanted to hear and he acidly reacted that \"as your 'witty (?) contributor' complained of being so uncomfortable amongst the roses which surrounded him, it has been proposed and seconded by one of the ladies he admires so much |Mrs. Nesbit, cf. Calendar, 26.3.1857 — JHJ to put in a few thistles for his especial benefit, should he ever honour our private theatricals with his presence”. \n\nThe theatre was also used for a number of recitals, the acoustics reportedly being good.\n\nD.\n\nFor some reason or other (had the Commercial House temporarily closed down? cf note 94) the godown theatre could not be put at the disposal of the amateurs during the 1855-1856 season so they had to look elsewhere. They were saved by the firm of Cramptons, Hanbury & Co who agreed to lease one of their godowns to the A.D.C. It was very probably situated on Church Street (Kiangsi Road) and for the opening night on January 23 1856 a drop scene of the Lake of Geneva had been painted which aroused \"a general murmur of admiration and applause\".\n\nWith the sale by public auction of the Commercial Hotel (cf note 94) in November 1858 the fate of the Theatre Royal was also sealed, and not only of the theatre itself but of the scenery and properties too, for a reporter of the Herald saw a few days after the sale \"the mangled remains of Palaces and Cottages, of Bombastes' Wood [from Bombastes Furioso — JHJ] and Captain Copp's tavern [from Charles II — JHJ] lying in sad ruins in the open air\".\n\nE.\n\nSic transit gloria mundi, but, not deterred, the Thespian society managed to obtain a new building which was proudly called The New Theatre Royal. Once again we are at a loss where to find it, no information whatsoever appearing in the Herald. It was larger than the previous house, which was deemed all right for theatricals but much less so for solo", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211790, "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": 205, "title": "RAS-1989", "content_text": "180\n\nTOT\n\nconcerts. For the performance on the first night, February 16 1859, the artists had prepared a drop scene representing \"a most romantic spot on the banks of the Lago Maggiore\". Italy obviously continued to stimulate the imagination.\n\nF.\n\nBut whatever its qualities a long lifetime was not allotted to this theatre; after the last night in June 1859 it was pulled down, and once more a new shelter for Thalia had to be secured. Where it stood, we have no idea; even a proper name was not given, but on February 15 1860 the opening night of the season took place.\n\nG.\n\nDuring the Taiping ravages of the years 1860-1861, numerous Chinese fled to the Settlement and a huge building speculation developed, everyone trying to get rich by erecting the most flimsy structures for the refugees. Because of this it cannot have been easy for the amateurs to rent a godown to set up a new theatre in 1863. But, as usual, they succeeded in their efforts and another Theatre Royal enriched the streets of Shanghai, though which one it is impossible to say. There is, however, an interesting description of the interior in the Herald of February 14, 1863:\n\n\"The audience part of the house consists of a dress circle and pit, the former enclosed with scarlet decorations, and the latter arranged with rows of good strong forms. The proscenium is plainly ornamented, with two 'guardian angels' on each side, and surrounded by a design having the flags of all nations combined round the British crown with the motto Unitate Fortior' underneath. These we understand were painted by a gallant captain [Hamilton, of one of the military regiments – JH] besides the drop scene, which is exceedingly well done and represents, if we are not mistaken, the Lake of Lucerne embosomed in the mighty Alps. The house was well lit up and the footlights were brilliant”.\n\nH.\n\nThe capacity of the house was given as about two hundred and fifty.\n\nThe following season, 1863-1864, saw, on February 10 1864, the opening", "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": 211792, "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": 207, "title": "RAS-1989", "content_text": "182\n\n500 or 600 p.a.), without any prospect of being able to use it the subsequent season. Apparently it was also the custom to sell all the scenery, etc., at the end of the season and this too could only be done at a heavy loss (for 1865 it had cost Tls. 2,400 and fetched but Tls. 200).109 In order to investigate the feasibility of a permanent, i.e., stone, theatre, a provisional committee was appointed in September 1866.10 The chances of realising the object in view did not seem very rosy though. At a meeting of the committee held on November 10, 1866, it was decided that the \"circulation of a subscription list towards a permanent theatre should be deferred for the present\" and instead guarantors for the construction of a temporary theatre (i.e., one of wood, which was much cheaper) should be sought.11 In this they were successful and on November 16, it was announced at a meeting that Tls. 3,500 had been subscribed. This, however, was not deemed sufficient to cover all the expenses and an amended motion was adopted stating that instead of fitting up a godown, a temporary theatre, on the plans submitted to the meeting, be built and fitted up, provided a sum of Tls. 6,000 be guaranteed within a week\".12 And despite the rather severe limitations under which a number of merchants had to operate due to the collapse of the building boom - an adjourned meeting was informed on November 22 that this sum had indeed been guaranteed.\"\n\nThe new theatre would be built in wood and was designed by a local architect, Mr. William Kidner; originally it would contain 700 seats, but this was considered too much, 500 or 600 being enough. The firm of Dent & Co. showed itself willing to provide a plot of land for the sum of Tls. 250 annually and the cost of the theatre itself was estimated at Tls. 3,900. Some months later, on March 1, 1867, the wooden Lyceum Theatre opened on Yuanmingyuan Road* (later, Museum Road), with Morton's Whitebait at Greenwich and Faust and Marguerite (author not mentioned: F.C. Burnand?, T.W. Robertson?, J. Halford?).\n\nOne may well ask why the foreign residents had not found the courage and the money to erect a really “lasting structure\" for, naturally, wooden buildings were prone to fire and it should come as no surprise that the \"temporary'' theatre proved to be very temporary indeed, for on March 2, 1871, it burned down. Once again a substantial sum of money had been wasted on what turned out to be an ill-advised scheme. Sadder and wiser, it was finally decided in 1872 to construct a brick theatre on an adjacent site on Museum Road, stage entrance on Yuanmingyuan Road. On\n\n*This is the theatre marked \"b\" at Appendix III.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211793, "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": 208, "title": "RAS-1989", "content_text": "183\n\nJanuary 27 1874 William Suter's Incompatibility of Temper and Tom Taylor's Masks and Faces or Before and Behind the Curtain opened the season in the New Lyceum Theatre. This one lasted much longer than its predecessor, indeed, until 1929 when it was sold to be resuscitated in the French Concession in 1931.\n\n——\n\nBut to return to pre-1867 conditions, some final notes should be added. Shanghai saw its first tentative steps in lighting its streets with gas in 1865 which was no luxury as the state of the roads was often rather dubious. Lighting in the theatre therefore, both the auditorium and the stage, was by means of either candles or oil lamps, the danger and inadequacies of which require no further comment.\n\n—\n\nRegulation of the climate in the hall was also difficult. Temperatures in Shanghai can be as low as 12°C in January and as high as 40°C in June-August. In order not to deter the audience, heating had to be provided in winter, which was duly advertised: \"Thoroughly warmed with splendid stoves\", whereas in summer which was certainly in the early years an unusual time for entertainment - one could read that \"to obviate the excessive heat of a crowded house, the Company beg to state that they have had two large Punkahs hung and have otherwise improved the ventilation\" (a punkah was a large rectangular fan suspended from the ceiling and moved by servants).\n\nPerformances started generally at 8 o'clock or 8.30 (even 9) (1864-1865) and entry prices were $3 for the best seats and $2 for the other ones (back seats and gallery) (The Mexican dollar, one of the currencies used in Shanghai, fluctuated in value, but may be said to have been worth about 4/6 during these years — so no \"shilling gallery\" here).\n\nIn addition to the godown theatres there were a number of other localities where artistic entertainment occurred in 1865. On February 23 1865 a concert was given at the Astor House Hotel. This hotel had been founded by an American, D.C. Jansen, in 1860 and it was situated in a part of the Settlement known as Hongkew (or American Settlement), north of the Soochow Creek, near the bridge. It was destined to become one of the most famous hotels in Shanghai and it was rebuilt several times. But in 1865 it was still a low construction. Other concerts, on October 17 1864, February 15 and March 1865, were given at the Shanghai Club, a redoubtable pillar of society located at the southern end of the Bund where it was opened in 1864. It was built in a neoclassical", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211794, "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": 209, "title": "RAS-1989", "content_text": "184\n\nstyle which distinguished it from the hongs by which it was surrounded. Finally there was a musical evening at the Town Hall of the neighbouring French Concession in early February 1865. The \"Hôtel Municipal” was erected in 1864 and stood at the Rue du Consulat, between the Rue de l'Administration and the Rue du Nord.\n\n117\n\nPlaybills were used to advertise the performances in the Settlement (of Calendar, 23.4.1857). Early this century there still existed such a bill dating from 1853, but I have never seen one. They were printed at one of the printing offices in Shanghai. The main ones were those of the North China Herald (Custom House Road - Hankow Road) and of the London Missionary Society which had a large compound on Temple Road (Shantung Road). The printing press of the latter of course mainly turned out religious publications in Chinese, but though the missionaries may not have been regular patrons of the theatre, one source states that playbills for their performances had been printed at \"the Missionaries' house\"\n\nVI. The Audience\n\n**119\n\n120\n\nThe subject of the audience has already been touched upon several times and it is clear that the public, on the whole, liked what it saw and saw that it liked. This did not mean that all entertainments drew heavy crowds. Usually the dramatic companies had a full house, but the interest in music was decidedly less. Whereas Thalia enjoyed at times so many ardent admirers that some were obliged to stand the whole evening, her colleague often had to content herself with the cream of society. But there was always an excuse, or so it seems, for the small numbers in the concert hall; either it was the \"wretchedly wet state of the weather' or the heat:\n\n122\n\nor maybe parsimony prevented people from going, for when M. & Mme Simonsen (violin and singing) gave a recital in May 1865 they failed to draw a large public, but when the admission price was reduced to $3 a full audience was presented. 12 This brings to mind a story of a much later period when the famous Scottish comedian Sir Harry Lauder had the audacity to raise the by then apparently immutable prices of $3-5 by a dollar and had to face a near empty auditorium.\n\n124\n\n121\n\nBearing in mind the population structure in the Settlement the audience, of course, consisted for the greater part of men. This, however, was all the more reason to note the attendance of the ladies. Time and", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211795, "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": 210, "title": "RAS-1989", "content_text": "185 \n\n* 125 \n\nagain attention was drawn to the presence of the \"beau monde”, the “beau sexe”, “all the beauty and fashion” and “our fair friends whose elegant evening costumes gave quite a brilliant aspect to the scene”. Seeing these representatives of the opposite sex on the front bench could not fail to inspire the performers with the desire to excel**. And who would disagree with that? \n\n- \n\nIt is well known that in Britain theatre audiences had for decades been heavily lacking in decorum; talking, eating, shouting, abusing the players. Things had turned to the better around the middle of the century and it seems that the Shanghai public was good mannered in so far as that can be said of any audience at all, for regular theatregoers will sadly have to admit that instances still abound today in which potentially glorious moments have been spoilt by some uneducated patrons. It may be assumed that the distraction caused by the public's behaviour in the mid 19th century was still worse than it is today. Then e.g. it was quite in order to talk during a concert or recital, albeit with a lower voice than during the interval. Real music lovers must have been driven mad by such chatter and it can hardly be imagined that it was appreciated by the performer. But, after all, such evenings were social occasions as much as artistic ones and the latest gossip had in some way to be exchanged. To be sure, such behaviour is not mentioned in the local paper, but there is little reason to believe that things were much better in Shanghai than in, say, London. \n\nT \n\n> \n\nOnly a couple of times is indecorous conduct reported in the columns of the Herald. Thus, on February 10 1864 \"the audience was riotous in the extreme and displayed the worst possible taste in exciting themselves to increase the confusion on the stage\" 127. The result was that at a subsequent performance the ladies shone by their absence** (see also: Calendar, 10.2.1864, 13.2.1864, 4.3.1864). Possibly this rowdyism was caused by the bad acting, but more likely a section of the large vagrant population which created some headaches for the ordinary residents during those years had a hand in it. Earlier the Herald had thought it wise to invoke the Earl of Chesterfield whose letters to his rascal son attempted to teach him the elements of good taste. And though the book had been published as long ago as 1774, the lessons contained in it were obviously considered still to be valid in 1858 when on February 10 the critic “noticed that several ladies on entering were kept some time in doubt as to where to find accommodation and were at length consigned to the back seats, while a lot of the 'lords of creation'\n\nPage 210\n\nPage 211", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211796, "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": 211, "title": "RAS-1989", "content_text": "186\n\nwho evidently had no 'tender cares' to occupy them, manfully maintained their seats in front, and remained so spellbound as to forget entirely the courtesies of gallantry and good breeding. We are of opinion that a perusal of Lord Chesterfield's 'Hints' might be a useful exercise for such as have no innate impulses to enable them to understand and practice what is conveyed in the phrase 'Place aux Dames' when those fair patronesses choose to honour public entertainments with their presence\".\n\n129 Once front seats were shunned by ladies, but that was not the case in mid-century Shanghai. In the Regulations to be Observed on the Evenings of Performances at the Shanghae Theatre printed in the North China Herald of February 14, 1857, it was even stipulated that, \"after the front row had been set apart for the exclusive accommodation of H.B.M. Consul and the French and American Consuls, the seats numbered 2 to 6 will be reserved for ladies, and the gentlemen who escort them.\"\n\nVII. The Plays\n\nFrom the references above, and even more from the Calendar of Performances, it will be clear that the dramatic fare in Shanghai consisted for the greater part, nay for nearly one hundred percent, of pieces that could easily amuse the people. That is to say: farces, comediettas, burlesques, melodramas, burlettas, musical comedies or whatever name may be invented for the genre. There is no space here, nor is it within the scope of this Survey, to give an analysis of these plays, so I shall keep myself to some general remarks.\n\nMost pieces that were performed dated from the 19th century, but there were some from the previous one, like Henry Carey's The Dragon of Wantley (1737), a short three-act opera with music by John Frederick Lampe which burlesqued the Handel style works which were then in vogue (but hardly a century later); and James Townley's (or was it David Garrick's?) High Life below Stairs which one rather antiquarian critic thought \"worth whole bales of farces of the 'Box and Cox' pattern\". Sheridan's The Rivals (1775) was also on the programme several times (although not on that of the local amateurs) but it is remarkable (and, considering the travesties that were common, maybe just as well) that a classic comedy like Goldsmith's She Stoops to Conquer was not tackled.\n\n130\n\nOf contemporary authors the most prolific was John Maddison Morton and it should cause no surprise that his plays took top of the bill: no", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211799, "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": 214, "title": "RAS-1989", "content_text": "AN EPILOGUE\n\nBy a lady, on the night of May 6 1852\n\n“Most courteous friends, whose presence here has been\n\nThe inspiration of our Mimic Scene\n\nSo ready to be pleased, so slow to chide\n\nMethinks your patience has been often tried\n\nBy dull forgetfulness, by blundering guesses\n\nLost cues, spoiled jokes, ill fitting scenes and dresses.\n\nThanks for the merry laugh that cheered our hearts\n\nFor loud applause that bade us top our parts.\n\nFor mirth, that taking all things for the best\n\nMade even a blunder seem a clever jest.\n\nFor kindness that made all our labour less\n\nAnd added double value to success.\n\nAccept with these our brief adieux we pray\n\n'T is thought expedient why I need not say\n\n(A lady's never asked to give a reason)\n\nTo close our Theatre for the busy season!\n\nWe trust we only part awhile however\n\nTo meet you here ere long, as kind as ever\n\nWhen we again your tried support may claim\n\nAnd prove that to deserve it is our aim.”\n\n189", "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": 211803, "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": 218, "title": "RAS-1989", "content_text": "193\n\nC: Amateurs\n\nF: Prologue, music\n\nTh: Theatre Royal (A)\n\nN: First performance of the season\n\nR: The proscenium had been adorned with \"a very pretty drop scene of the Port of Leghorn\". The report was in general terms only; both pieces were cleverly and effectively sustained”, During the interval “a most effective Irish song was sung and the orchestra under the veteran melodist Sir George Smart gave unqualified satisfaction* (NCH 31.1.1852).\n\n23.2.1852 (Mon)\n\nT. MORTON: “A Roland for an Oliver\" (1819)\n\nT: Farce (2 acts)\n\n\"No!\" by W.H. MURRAY or F. REYNOLDS\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music\n\nTh: Theatre Royal (A)\n\nN: Second performance of the season\n\nR: Tonight there was a \"numerous attendance of the beau monde, but not so much as on the previous occasion\". A Roland for an Oliver was \"an old established favourite and we need only say that the scenery was admirable, the ladies well dressed, the bride quite lovely and the whole went off amidst enthusiastic cheers and bursts of applause”. The other farce \"No!\" was \"replete with fun and sly sarcasm on unequal matches between lovely young wives and gentlemen rather the worse for wear\". Somewhat contradictorily the critic continued, \"it decidedly exhibited much more spirit than its precursor and was hailed accordingly with more enthusiasm and good will\".\n\nThere was also “a solo on the pianoforte by a young lady, her first appearance, as we believe, on any stage. The rapidity of her fingering, the clearness of her touch and what is so frequently wanting with many performers, her musical emphasis, were striking. We hear that the young lady graduated at the Conservatoire at Paris and her style is characterised by that brilliancy and distinctness so marked in performances at that capital”. No more was heard of this pianist; as to her name and career we are left in the dark. Was she the wife of a local merchant or a touring artist? Or was the \"lady\" in this instance too, a “gentleman\"?? (NCH 28.2.1852).\n\n24.3.1852 (Mon)\n\nG. COLMAN Jr: \"The Review\" (1800)\n\nT: Musical farce (2 acts)\n\nR. AYTON: \"The Rendezvous\" (1818)\n\nT: Operetta (1 act).\n\nC: Amateurs\n\nF: Music\n\nTh: New Theatre Royal (A)\n\nN: Third performance of the season\n\nR: For the occasion a new drop scene, depicting the Bay of Naples, had been painted. Apart from the plays \"a company of excellent jugglers amused the visitors, with a good display of surprising feats of sleight of hand\". Possibly these were Chinese, for in the announcement (NCH 20.3.1852) it was stated that there are several parties endeavouring to obtain Native Conjurers for the next theatrical night\".\n\nOf course the whole “went off with much eclat, the characters were well sustained and admirably dressed, the scenery as usual very good and the music first rate” (NCH 27.3.1852).", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211804, "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": 219, "title": "RAS-1989", "content_text": "194\n\n6.5.1852 (Thur)\n\nJ.M. MORTON: \"Attic Story\" (1842)\n\nT: Farce (1 act)\n\nR.B. PEAKS: \"The Haunted Inn\" (1828)\n\nT: Farce (2 act)\n\nC: Amateurs\n\nF: Music, i.a. selections from Mozart's “Le Nozze di Figaro\" and other operas. Epilogue.\n\nTh: New Theatre Royal (A)\n\nN: Last performance of the season\n\nR: Again there was a new drop scene. \"A View near Palermo, a very pleasing view of an Italian villa with the bay and hills in the background\". The pieces were \"well performed and excited much merriment, especially the mistakes of the Attic Story\" (NCH 8.5.1852).\n\n27.1.1853 (Thur)\n\nD. BOUCICAULT & C. MATHEWS: \"Used Up\" (1846)\n\nT: Comedietta (2 acts)\n\nG.A.A. BECKETT: \"The Turned Head\" (1834)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nTh: Imperial Theatre (B)\n\nN: First performance of the season\n\nR: After not a little uncertainty about the state of affairs respecting the theatre, finally the management for the new season was laid in the hands of Horatio BUSKIN (a compound pseudonym: Horatio, from Hamlet; Buskin, the boot worn by Greek actors) who succeeded \"Doldrum\".\n\nFor a \"very good attendance graced by many of the beau sexe\" the evening \"came off with great éclat\" (NCH 22, 29.1.1853).\n\n23.3.1853 (Wedn)\n\nJ.M. MORTON: \"Betsey Baker\" (1851)\n\nT: Farce (1 act)\n\nW. BROUGH: \"Apartments\" (1851)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Prologue; comic songs\n\nTh: Imperial Theatre (B)\n\nR: In the presence of the British Superintendent of Trade and Governor of Hong Kong, Sir George Bonham, Betsey Baker turned out to be \"a most decided and palpable hit, received throughout with shouts of laughter and applause\". Bonham was in Shanghai on his way to Nanking which had been taken by the Taipings on March 19. The Rebellion had a profound effect on the foreign community and although the Taipings enjoyed for some time a lot of sympathy, on this occasion they were satirised in a **most original and witty Prologue**: \"The Manager appeared before the curtain, in a state of intense excitement, informing the audience of mutiny in the corps! Dreadful consequences!! No performance!!! What could be done!? Then arose such a \"Row and Bobbery\" [Bobbery: an Anglo-Indian word meaning 'noise, disturbance' - JH] led by those who were in the secret and poor Horatio BUSKIN could scarcely be heard amidst the crash of broken glass and was almost unable to face the shower of oranges aimed at his devoted head. An amiable conspirator elevating himself on a bench expressed most loudly and eloquently his indignation at this state of affairs; however, after a parley with the Manager, he proposed a compromise, and the curtain was drawn up exposing the corps evidently in a state of 'Rebellion'. Fortunately they would listen to reason and the 'refractory members' agreed to 'go on' for this occasion, and the Manager retired with...", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211805, "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": 220, "title": "RAS-1989", "content_text": "195\n\nhis alarm allayed amidst the warmest applause from the audience for his clever and successful \"sell\". In addition the editor wrote that this Prologue afforded H. E. more valuable hints how to treat the Rebellion than all the suggestions that have been submitted to him since his arrival. Apparently Bonham was \"so much delighted that we are not without hopes a report on the performances may form the subject of his first despatch from Shanghae”. So much for modesty. As regards the performances themselves, the writer had it in confidence from a tall whiskered male who occupied a front seat disguised in a dress coat, that although Hong Kong theatre is now more conveniently lit up in the Victoria Theatre in acting Shanghae would not suffer by comparison\". \"That treaty port chauvinism was not lacking even at that early stage was made clear when the visitor insisted that our Head Actor has been brought from Hong Kong”. Despite his earlier lukewarm praise he must have made some sour remarks too, for the editor wrote that \"except as to the heroine, his critical skill was evidently at fault in discriminating the excellences of the other performers in Betsey Baker; and all he could be got to say regarding Apartments was something about Mr. and Mrs. Keeley having many worse imitators” (Robert Keeley, 1793-1869; and Mrs. Keeley (Mary Ann Coward), 1806-1899: famous British actors). (NCH 26.3.1853).\n\n5.5.1853 (Thur)\n\nG.A.A. BECKETT: \"Siamese Twins\" (1834)\n\nT: Farce (1 act)\n\nR. BUTLER: \"The Irish Tutor\" (1822)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by the band of the Susquehanna\n\nTh: Imperial Theatre (B)\n\nN: Final performance of the season\n\nR: The close of the season by the amateurs who called themselves the \"Lily Troupe\" for a \"bumper house\"; with some “admirable music by the Band of Susquehanna\" — a steamer belonging to the U.S. Japan Squadron. (NCH 7.5.1853).\n\n8.3.1854 (Wedn)\n\nJ.M. MADDOX: “A Fast Train! High Pressure!! Express!!!\" (1853)\n\nT: Farce\n\nW.B. BERNARD: “A Practical Man\" (1849)\n\nT: Farce\n\nC: Amateurs\n\nP: Music\n\nTh: Tac Ming Theatre (C)\n\nR: At the start of the evening a, for part of the audience at least, unexpected treat was in store: “On the rising of the curtain a ludicrous incident quite upset our friend BUSKIN. He was set down to enact \"Colonel Jack Delaware\" (in A Fast Train — JH) but a storm met him as soon as he appeared on the stage and he was fairly hissed off when a stranger leapt over the footlights and announced his intention of supporting the character. The curtain dropped and after a short delay the volunteer Yankee came forward, dressed in the most extravagant fashion and took up the part with great spirit\". Was the leading actor-manager really taken by surprise? This could hardly be, and it must be assumed that it was, like the \"rebellion\" before, a set up. At any rate the \"interloping Yankee was enrolled in Buskin's company. The musical department was sustained by \"Messrs Thalberg and Koenig with their usual talent and success\". Both these noms de théâtre were after well known musicians: Sigismund Thalberg (1812-1871), a Swiss pianist and composer; and Friedrich Koenig, a German violinist. (NCH 11.3.1854).", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211806, "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": 221, "title": "RAS-1989", "content_text": "196\n\n22.3.1854 (Wedn)\n\nJ.V. BRIDGEMAN: \"I've Eaten My Friend!\" (1851)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"A Most Unwarrantable Intrusion\" (1849)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"The Two Bonny Castles\" (1851)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music\n\nTh: Tac Ming Theatre (C)\n\nR: Was the new member perhaps \"Mr Mercury WARREN\" who scored such a great success in I've Eaten My Friend! as Hezekiah Jellytop? \"The refined sensibility of the character was portrayed with a power and intensity which mark Mr. Warren as one of the true sons of Thespis. How shall we describe the horror when the internal evidence of a pie revealed a clue to the whereabouts of his departed friend\".\n\nIn the second piece, An Unwarrantable Intrusion \"the part of Ashplant was performed by a gentleman whose via comica and power of communication were unmistakable. He completely embodied the character and infused life and vigour into his conception of it**.\n\nUntil now, even the stage names of the actors had scarcely been mentioned in the reviews, but tonight we learn that in The Two Bonny Castles Messrs Bravo ROUSE, Mercury WARREN, and Horatio BUSKIN excelled as well as the ladies who acted with great spirit and sustained the dignity and elegance of the sex with most admirable effect\" (Bravo ROUSE was a borrowed alias).\n\n+\n\nAmong the musicians was again \"Herr KOENIG\" who \"brilliantly executed\" on, presumably, the violin. (NCH 25.3.1854).\n\n15.5.1854 (Mon)\n\nC.W.S. BROOKS: \"Anything for a Change\" (1848)\n\nT: Comedietta (1 act)\n\nJ.M. MORTON: \"Box and Cox\" (1847)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: \"A Grand Ethiopian Entertainment\" with the \"Virginian Minstrels\"\n\nTh: Tac Ming Theatre (C)\n\nN: These performances, the last of the season, had originally been announced for April 5; on that date would also have been played J.T.G. Rodwell's farce A Race for Dinner. The evening was postponed, however, because of the Battle of Muddy Flat on April 4, 1854.\n\nR: Some of the local celebrities definitely could not go wrong, witness the following remark in the Herald: \"As we dropped in for half an hour we cannot speak of the concluding (Box and Cox) but, as our favourite Mr. VERDENT and the clever Mr. WARREN enacted parts in it, we have no doubt it must have told on the audience\". Earlier that night Mr. Bravo ROUSE and Mr. WARREN had starred in Anything for a Change (probably as Swoppington and Honeyball).\n\n19.5.1855 (Sat)\n\nA \"Soirée Musicale Dansante\" by officers of the U.S.S. \"Powhatan\" with an \"Ethiopian Concert by the Minstrels of the Powhatan\" and a burlesque on Bulwer-Lytton's The Lady of Lyons. H.J. Byron wrote a burlesque with the same title, but according to HED, the first performance took place on February 1, 1858.\n\nR: In the Survey, it was pointed out that the officers of naval vessels sometimes entertained the local foreign residents. The first of these occasions occurred on board the Powhatan, an American warship that took part in the Japan expedition, on the eve of her departure.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211807, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 222, "title": "RAS-1989", "content_text": "197\n\nfrom Shanghai on the 20th. Despite that, the \"soirée\" was \"kept up to a late hour with great spirit\". The programme consisted of tunes by Dabney, de Costa and Tripp: one of them was called \"Japanese make yourselves ready\" (NCH 26.5.1855).\n\n23.1.1856 (Wedn)\n\nE. MAYHEW: \"Make your Wills” (1836)\n\nT: Farce (1 act)\n\nW. BROUGH: \"No 1 Round the Corner\" (1854)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"Whitebait at Greenwich\" (1853)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music\n\nTh: D\n\nN: Once more politics crept into the theatre since, due to the Anglo-French campaigns in the Crimean War, \"the proscenium was very tastefully emblazoned with the arms and ciphers of the Allies”. The drop scene now represented the \"Lake of Geneva with the far famed Castle of Chillon” (far famed because of Lord Byron's poem \"The Prisoner of Chillon\"). For a change the Herald allowed itself some criticism of the amateurs, but about the costumes only: \"We are perfectly aware of the great difficulties which beset the wardrobe department of the Theatre here, but still we think that two or three alterations might be made with advantage. It must be remembered that the assumption of a part on the stage requires the submergence of the individual into his assumed character. Proteus must not be more unlike his last shape than the actor must be unlike his mere self and the difficulty of effecting this is enormously increased by an appearance in every-day costume. In melodramatic pieces some decided change is absolutely necessary because success depends on the power of exciting the sympathies of the audience for the various situations of the actors and it is quite impossible that the desponding accents of one young gentleman or the grasping villainy of another (both of whom we know to be very good fellows and far from desponding or hypocritical characters) in the garb of 1856 can excite these sympathies. In Farce it is less important because the effect depends upon a successful appeal to our sense of the ludicrous and this may be done by situations which are quite within the range of every-day life. (...) It also struck us that a little more attention to the chronology of dress would be attended with increased effect; there were two or three anachronisms: for instance the mob cap of Mrs. Foreright (a most admirable 'make-up' by the way) hardly accorded with the modern elegance of Clara; or the venerable beard of the implacable Mr. Ireton with the modern costume of his disinherited son. It is astonishing how greatly unity in these matters adds to the effect of such performances and in spite of the difficulties of such performances and in spite of the difficulties of securing dresses we think a consultation between the Manager and the performers might produce a harmony which would be attended with the best effect”. The music too was thought to be \"ineffective\", but for the remainder it was, as usual, amusing, with Whitebait at Greenwich as the hit of the evening. The character of Buzzard — by no means a graceful one — was played with great effect and we heartily congratulate Mr. SLOWCOME upon the power he displayed\". In Make your Wills the reviewer could not \"forbear mentioning the excellent impersonation of Joseph Bragg by Mr CLAY\" (NCH 26.1.1856).\n\n21.2.1856 (Thur)\n\n—\n\nJ.S. COYNE: \"The Infanticidal Farce\" (1846)\n\nT: Farce (1 act)\n\nMrs. C.G.F. GORE: \"A Good Night's Rest\" (1839)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"Slasher and Crasher\" (1848)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211808, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 223, "title": "RAS-1989", "content_text": "198\n\nT: Farce (1 act) C: Amateurs\n\nF: Music\n\nTh: D\n\nR: This was the last theatrical entertainment organised by Horatio BUSKIN and he could look back on a successful \"career\" as manager. Only the music had flagged of late (tonight \"a buzz in a box near the proscenium represented the music — we were ten feet away from it and it was therefore lost upon us\" the days of \"Sir George Smart and Messrs Thalberg\" and \"Koenig\" were over).\n\n—\n\nTo make up for these shortcomings \"Mr. CLAY as Honeybun (in the Infanticidal Farce) was, as he always is, first rate\". In Slasher and Crasher the public witnessed the debut of \"Miss Polly DEXTER as Rosa, affording hope of a new evening star of the first magnitude\" (NCH 23.2.1856).\n\n14.8.1856 (Thur)\n\nN.N.: The Nigger Doctor and his Patient Patient or the First Lesson in Surgery\n\nT: Negro farce\n\nC: Travelling American Company (Messrs Baker, Woodward and Montgomery) Th: Old Theatre (C)\n\nN: The whole evening was announced as a \"Grand Ethiopian Musical Soirée\"\n\nR: An advertisement only was published in the NCH of August 9. In it the above mentioned gentlemen (formerly of the New York Serenaders) praised their performances as having been \"the theme of universal admiration during the past four years throughout the East Indies as well as the Australian Colonies\". In addition to the farce, the programme consisted of \"Negro songs, interspersed with willy saying and doings peculiar to the African race in America\".\n\n19.9.1856 (Fri)\n\nConcert by Ali Ben Sou Alle and some local amateurs.\n\nInstruments: Turkophone, \"Turkophonini\", clarinet, piano.\n\nProgramme:\n\nG. ROSSINI: Two overtures. V. BELLINI: Selections from \"La Sonnambula\". F. MENDELSSOHN-BARTHOLDY: \"The Fairest Flower\" (song). Some German songs, The \"Shanghai Redowa Walse\", Medley of English, Scottish and Irish airs. Th: N.N. (C)\n\nR: Tonight was the occasion of the first real concert in the Settlement's history. It was given by Mr. ALI BEN SOU ALLE, a Turk who, after a study at the Conservatoire de Paris, had been appointed Directeur de Musique de Marine in Senegal (which had been French since 1871) in 1844. In 1847 he returned to Paris to enter the orchestra of the Opéra Comique, but the following year he went to London where he found employment in the orchestra of Her Majesty's Theatre at the Haymarket. He learned to play some instruments that had been invented by Adolphe Sax, the Belgian musician (1814-1894) and thereafter he made an extensive tour to Australia, Java, Singapore, Manila and China (CM 16, 10, 1856). In Hong Kong and even Canton he had appeared in August and October 1856 (CM 7.8. 14.8. 21.8. 16.10.1856). In between he gave two recitals in the Yangtze port. In the Survey it has already been stated that the soloist entertained the public with performances on several instruments that had been rechristened Turkophone and Turkophonini: in reality they were the Saxophone and (probably) the soprano saxophone. Well may we ask how these instruments, which were only of recent origin (1840s), were received by an audience completely unused to their sound. The artist interpreted a selection from Bellini's \"La Sonnambula\" on the \"Turkophone\" and the critic wrote that \"the compass of the instrument is very great but we confess to some disappointment as regards its quality of tone, and correctness of tone also, in some few notes, and altogether we think it an imperfect instrument", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211810, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 225, "title": "RAS-1989", "content_text": "200\n\nrash decision to marry the first that came\". Another actor who was to become a local Roscius. Mr. Phunago BRUSHWOOD, \"gave the somewhat unusual stage character of a double-faced farmer (Wurzel) all the selfish cunning and irritable tone which it needed\". Other parts were taken by Miss Polly DEXTER, Mr. HEAVISWELL, Mr. Jehoshaphat SNAKES and Mr. PLEADWELL (as the lawyer!).\n\nIn Box and Cox Messrs PROTEUS, BRUSHWOOD and Mrs. CLAY \"kept the audience in a roar\" (NCH 22.2.1857).\n\n3.3.1857 (Tue)\n\nDramatic readings from Charles Dickens by Mr. Benjamin SEARE. Th: C\n\n―\n\nR: In the Herald of February 28 it was announced that \"we are apprized by 'Circular' that an entertainment of a novel character in Shanghai, but one which has greatly attracted the fashionable and literary world elsewhere, will be given by Mr. Scare in the Hall of the Shanghai Theatre on Tuesday Evening next the 3rd prox. The subject - The Early Writings of Charles Dickens is a theme affording scope for great versatility of talent. (...) The Community are much indebted to Mr. Scare for his gratuitous offer of an evening's intellectual amusement to diversify and enliven the monotony of Shanghai life. The Circular notifies that the divertissement will commence at half past 8 & precisely, that no personal invitations will be issued and that a syllabus of the Lecture will be placed in each seat for the use and acceptance of its occupant”. Then, in the issue of March 7, a report was published: \"A large and select circle of residents had met in the New Theatre\". It became a kind of one man show by Mr. Seare, as the \"requirements of versatility and mimic power were most successfully supplied. (...) The lecturer was perfectly at home in each and all of the various characters as they turned up, passed from one to another with an ease that was admirable and portrayed each with a force of comic power which elicited much applause, and, to select the most appropriate compliment we can bestow, did justice to the author. All in all the audience was \"kept in a roar”. Mr. Seare concluded with some general remarks on the necessity of some recreation of this kind in a community so distant from home and so isolated and comprising at the same time so much intelligence and ability\" (NCH 7.3.1857). One wonders how Mr. Seare was able to give these lectures free of charge; had he been a touring artist that would of course have been impossible. But as it turns out he was a mercantile assistant in the employment of Gilman & Co (this according to the Shanghai Almanac for 1858). In May 1865 he gave another performance (see 27.5.1865). No further details are available about the programme, but no doubt the characters from The Pickwick Papers figured largely in it. Who, after all, can resist Mr. Pickwick, Mr. Jingle and Sam Weller? Dickens himself began readings from his own works one year later, in April 1858, in Britain and the United States.\n\n26.3.1857 (Thur)\n\nJ.B. BUCKSTONE: \"A Kiss in the Dark\" (1840)\n\nT: Farce (1 act)\n\nM.B.W. JERROLD: \"Cool as a Cucumber\" (1851)\n\nT: Farce (1 act)\n\nH. DANVERS: \"A Conjugal Lesson\" (1856)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nTh: N.N. (CH\n\nR: In a witty mind \"The Man on the Bund\" informed us that \"by way of introduction there was a kiss — and in the dark too! — perhaps the sweetest kiss of all, administered with enviable gusto by Mr. SNAKES as Fathom. Mrs. Pettibone submitted to it with less indignation than the fact of her being so much respected led us to suppose. But then, it was to punish the odiously jealous Mr. Pettibone who would insist on making\n\nPage 225\n\nPage 226", "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": 211815, "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": 230, "title": "RAS-1989", "content_text": "205\n\nN: First performance of the season\n\nR: Alter the usual doubts about the formation of a theatrical company for the season, two plays were given this evening. The theatre had been redecorated and there was a new drop scene, not quite to the liking of the critic though: \"however picturesque and attractive the drop scene may be it ought not to absorb the attention of the onlookers to the exclusion of other objects quite as attractive and much more interesting\". Considering how much stage furniture was normal at that time, this performance must have been very crowded!\n\nOne of the plays, Done on Both Sides, also came in for some sharp remarks, yet this time there was no public outcry in the Herald. But for the remainder the principal character, Henry Jasper (in A Bachelor of Arts) was most successfully personated by Mr. NEWCOME who greatly excelled his efforts on a former occasion and succeeded in placing himself in the foremost ranks of our genteel comedians. Not less finished and effective was the acting of Mr. PICKWICK, in the character of Mr. Thornton. It would, indeed, be difficult to conceive a more quiet and judicious representation of the intelligent, gentleman-like, elderly merchant and man of the world than this performer succeeded in giving. \"Mr. PICKWICK as one of the new members of the corps, we look upon as a decidedly valuable acquisition\". And of course there was that \"first star of the galaxy\" Mrs. NESBIT as Emma Thornton with her \"astonishing powers of portraying the multifarious and often uncomprehensible traits of character which make up that delightful enigma 'woman'\". In Done on Both Sides \"our old favorite Mr. BRUSHWOOD appeared in the character of Pygmalion Phibbs, a veterinary Surgeon\" (NCH 13.2.1858). For behaviour of some members of the public see Survey.\n\n16.3.1858 (Tue)\n\nJ.H. PAYNE: \"Charles the Second\" (1824)\n\nT: Comedy (2 acts)\n\nH. LILLIE: \"As Like as Two Peas\" (1854)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by Messrs Phu & Mor; a selection of overtures and operatic morceaux\n\nTh: Theatre Royal (C)\n\nN: Second performance of the season.\n\nR: Again one of the pieces, As Like as Two Peas, was not quite up to the standards of the reviewer: \"what was successful in creating laughter was due to the acting, certainly not to the play\". Mrs. NESBIT got some competition tonight for an \"actress of much promise made her debut before the Shanghai audience [Miss WALTERS – JHJ]. The lady-like manner and finished toilette of the new candidate created quite a sensation\". Payne's Charles the Second was far more to the taste of Herald: \"On this occasion the corps took a large step backward — not, we would for an instant wish to infer, in point of ability, but merely in point of time. Hitherto their efforts have been enlisted upon contemporaneous subjects upon the manners and custom of the present day (this was not quite true, see e.g. 21.4.1851 and 26.1.1852). Their characters have been taken from the sunny side of Regent Street or the genteel suburbs of Clapham and exhibited on the stage in the costumes to which the genius of living tailors has brought us, and which we, in our foolish vanity, may consider elegant and becoming, but which, it is mortifying to think, will furnish a subject of lively mirth and ridicule to our great-grandchildren. The comedy selected went back to the time of Charles II and was illustrative of the manners of himself and his court. The scenes were laid in Whitehall and Wapping; and the characters were the courtiers of the merry Monarch and the occupants of a hostelry. The mise-en-scene, considering the means the amateurs have at command, was very well arranged and the two royal and noble revellers, together with the attendant Page and Lady Clara, were dressed with great elegance and effect.", "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": 211817, "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": 232, "title": "RAS-1989", "content_text": "207\n\nplays; the wood scene we thought very effective and true to nature\". This is one of the few times that at least some slight attention is paid to the staging of a piece. (NCH 8.5.1858).\n\n28.9.1858 (Tue)\n\nR.B. SHERIDAN: \"The Rivals” (1775)\n\nT: Comedy (prologue, 5 acts, epilogue), and two other, unnamed, light pieces\n\nC: Officers of H.M.S. Retribution\n\nTh: On board ship\n\nR: This must have been a long night for in addition to Sheridan's The Rivals (a full-length five-act comedy in which Mrs. Malaprop was played by \"Mrs. Taylor\") there were two other light pieces of which the titles have not been recorded. Small wonder then that \"our reporter did not wait to see as the hour was late and he had to rise early to see the comet\" — which had first been observed on September 15. (NCH 2.10.1858)\n\n2.10.1858 (Sat) and\n\n6.10.1858 (Wedn)\n\nConcerts by Mr. Martin Simonsen, violin, and some local amateurs.\n\nProgramme:\n\nCharles Auguste DE BERIOT (1802-1870): Seventh air with variations, Martin SIMONSEN: \"Sounds from Home\", Heinrich Wilhelm ERNST (1814-1865): **Andante” (= Elegie?), N. PAGANINI: \"Carnival of Venice\", Some German songs.\n\nTh: Theatre Royal (C)\n\nR: That the scarce recitals by professional musicians did not draw the same public attention as the amateur actors has already been pointed out in the Survey. On October 2 the attendance was not large, but for the sixth \"a considerable improvement\" was observed and it was hoped there would be a full house on the 12th so that the artist would not be left **with cause to regret his visit to this remote place”. The critic, \"'T.\", gave himself an air of the specialist when he wrote that \"though we do not find any attempt at the dignity and breadth of style which are the characteristics of the greatest performers of the age, we are glad to recognise an execution at once brilliant and lively and in some respects really astonishing\"; and he regarded Mr. SIMONSEN as \"a worthy member of that particular school of which De Bériot was one of the brightest ornaments (De Bériot was a famous violinist who had been forced by illness to end his career in 1852). It must be assumed that the writer had heard other musicians in Europe — where else? — with whom he could draw a comparison. These were the days without radio, gramophone or compact disc! He was apparently a lover of more serious music, for he added wrily: \"We presume it is necessary occasionally to introduce pieces of a light and striking character, but for our own part we deprecate the production of such solos as 'Life on the ocean' **. As to those who assisted Mr. SIMONSEN \"T.\" found it **creditable to this small Settlement that it can produce so able and numerous a body of amateurs who evidently study music for its own sake. We venture to ask them to persevere — it is a science which will amply reward its followers, which will repay a thousandfold its earnest students\". (NCH 9.10.1858). In well-to-do circles in Britain a musical education was considered a mark of good breeding and probably a number of residents had acquired their instrumental skill in youth. Others could profit from the piano lessons that were advertised in December 1858: they were given \"at moderate charges\" and persons interested should apply to \"D.D. at Mr. W.H. Moore's, Hongkew\". Why all would-be artists in Shanghai were so mysterious about their true names remains an enigma. The initials D.D. do not suit any of the residents in the *Shanghai Almanac for 1858'. W.H. Moore is listed in it as a pilot.\n\nT", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211818, "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": 233, "title": "RAS-1989", "content_text": "208\n\n12.10.1858 (Tue)\n\nConcert by Mr. Martin Simonsen\n\nN: No review was published.\n\nMr. Simonsen had also visited Hong Kong; there he had given his last recital on September 20, 1858 (CM 23.9.1858).\n\n16.2.1859 (Wedn)\n\nT: Comedy (2 acts)\n\nJ.M. MORTON: \"Whitebait at Greenwich\" (1853)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by the band of H.M.S. Highflyer\n\nTh: Theatre Royal (E)\n\nR: For the first night of the amateur season \"a very numerous audience was collected and the presence of nearly all the beauty and fashion (we allude to the eccentricities [what may these have been? - JH] of masculine as well as to the elegancies of feminine costumes) of Shanghai imparted to the front benches a very brilliant appearance, which was further enlivened by the smiling faces of two or three laughing cherubs whom we detected nestling under the maternal wing\". For the occasion the drop pictured \"a very faithful (our travels in Italy enable us to state) representation of a most romantic spot on the banks of the Lago Maggiore\". Sink or Swim was found to be a \"dull plagiarism upon our old favourite 'Used Up'\" but it passed off with the utmost special due to the talents and exertions of the actors\", among whom \"Mr. PETREL's Mr. Scampley struck us as well conceived, a swindling roué's impertinence dashed by a sense of uneasiness\", Mr. FARREN (again a stage name after a London actor: William Farren, 1786-1861) sustained Lord Yawnley \"admirably\" and Mr. PICKWICK displayed as Adam Stirling all \"the quaint humour of his immortal ancestor\". Miss WALTERS, however, was thought to have been less fit for the part of Mrs. Stirling. She did not upon all occasions evince that grave decorum which usually characterises the British matron\". Morton's Whitebait at Greenwich was, as on January 23, 1856, a hit. This time Mr. PICKWICK took the part of Benjamin Buzzard in a \"quiet and most natural style of acting\". Mr. Phunago BRUSHWOOD - \"an actor of the Keeley-Robinson school, possessing a racy humour of his own\" played John Small and it was \"a gem of low comedy\". Of course there was Mrs. NESBIT, as well as Miss WALTERS whose portrayal of the servant maid came off much better than her Mrs. Stirling: \"we do not wonder at Mr. Buzzard's having been caught by her saucy face and bright complexion\" (NCH 19.2.1859). (Robert Keeley, 1793-1869, and Frederick Robson, 1821-1864, were both well known low comedians in Britain).\n\n22.2.1859 (Tue)\n\nConcert by Prof. Shonbrun, piano, and some local amateurs.\n\nTh: Theatre Royal (E)\n\n+\n\nR: The concert was given in the (New) Theatre Royal of the amateur dramatic corps, but acoustically it was not very satisfactory. No wonder that many of Mr. SHONBRUN's best efforts and most brilliant passages did not fully reach the audience\", an audience which was not very numerous in the first place, which too has its influence on the sound. For the following concert it was foreseen that \"a small scene will be erected and the wings closed in\".\n\nFor the time being the critic refrained from any strictures on the soloist, except that he hoped that \"on the next occasion Mr. Shonbrun will lead us to a higher class of pianoforte music than that put forward on Tuesday last\". It will come as no surprise that there was a eulogy on the amateurs who participated: \"the tenor solos were given with taste and genuine voice and the recall with which he was unanimously favoured was well merited\". (NCH 26.2.1859).\n\nT", "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": 211820, "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": 235, "title": "RAS-1989", "content_text": "210\n\nBagshaw and Bradshaw, the critic had to admit that \"what it was all about we were utterly unable to discover\" (NCH 4.6.1859).\n\n15.2.1860 (Wedn)\n\nL.S. BUCKINGHAM: \"Take that Girl Away\" (1855)\n\nT: Comedy (2 acts)\n\nC. SELBY: \"A Fearful Tragedy in the Seven Dials\" (1857)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nTh: N.N. (F)\n\nN: First performance of the season\n\nR: The new theatre was only a small one and therefore it was announced in the Herald of February 11 that \"admission will only be given to ticket holders. Tickets will be distributed with the Bills to the various Hongs and any Gentleman who may be accidentally omitted will be supplied on written application to the Manager\". From time to time politics continued to turn up in the playhouse. It was the time of the English and French wars in China; the United States was not taking part in them, only sharing in the spoils, yet the following remark closed the review: \"We beg permission to observe that we should have been glad to have seen the 'Star Spangled Banner' floating over the proscenium along with the colours of France and England. All honour to the Anglo-French Alliance! But our American cousins form, in every respect, so important a section of this community that the absence of their flag on an occasion like Wednesday evening would seem to be a discourtesy of which we feel very sure that the worthy management never was intentionally guilty\". Tonight, and on March 15, the faces of Messrs. PICKWICK, BRUSHWOOD, and TINTINNABULUM as well as that of Mrs. NESBIT were absent from the stage; others like Miss WALTERS and Mr. PETREL had remained. Making their debut were Mr. ADOLPHE, \"gifted with both self-possession and a good voice\"; Mr. WITHAM who, as Cuttle (in Take that Girl Away) \"displayed a steadiness and a clearness of enunciation calculated to make him a valuable actor in 'utility' parts\"; and Mr. NATIVE whom the reviewer thought \"better fitted to shine as a sentimental than as a grotesque lover\". Miss WALTERS was \"dressed to perfection, played as well as ever (can we say more!) and was charmingly feminine\". In A Fearful Tragedy in the Seven Dials, there was the first night of Mr. C. AITCH as Slumpington for whom **a great future success in 'character parts' was predicted. These hopes were not realised, however, for I have not found his name again. For the umpteenth time, the Herald judged the pieces that were represented weak - to put it mildly. (NCH 18.2.1860).\n\n15.3.1860 (Thur)\n\nT. TAYLOR: \"Still Waters Run Deep\" (1856)\n\nT: Comedy (3 acts)\n\nJ.M. MORTON: \"Poor Pillicoddy\" (1848)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by the band of H.M.S. Imperieuse\n\nTh: N.N. (F)\n\nN: Second performance of the season\n\nR: This second night took place in a house that was \"crowded in every part\" and proved \"in every respect highly successful\". The \"Man on the Bund\" had no longer a say in the theatrical reports, and the piece about which he had been so dissatisfied (see 23.4.1857), Still Waters Run Deep got a far better critique now: \"in that scene in the second act in which the villain Hawksley is unmasked, the interest was raised to an exciting pitch and sterling dramatic ability displayed by the performers\". No actors were mentioned, but in Poor Pillicoddy, a \"young gentleman made his first appearance", "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": 211825, "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": 240, "title": "RAS-1989", "content_text": "215\n\nProgramme:\n\nC.M. Von WEBER: \"Der Freischütz\", overture; by Messrs Essex and Ewing, piano. Sir Henry BISHOP: \"Foresters sound the cheerful horn“ (glee). Heinrich PROCH (1809-1878): \"Within the grove's deep shadow\", a song by Mr. J.P. Tate, W.A. MOZART: String quartet No 7 by Messrs Tate and Howell (violin). Ewing (viola) and Essex (cello). William HORSLEY (1774-1858); \"By Celia's Arbour\" (glee), F. MENDELSSOHN-BARTHOLDY: \"Andante, presto and allegro vivace\" (from?) by Messrs Essex and Howell. Ibidem: “Andante and finale\" (from?), by Messrs Essex and Howell, Sir Henry BISHOP: \"Sleep gentle lady\" (glee), William Vincent WALLACE (1813-1865); **The Bellringer\", a song by Mr. Essex, F. von FLOTOW: “Allessandro Stradella\", fantasia, by Messrs Essex and Howell, William HORSLEY: \"See the chariot at hand\", song, L. van BEETHOVEN: \"Egmont\", overture, played on two pianos by Messrs Essex and Ewing.\n\nTh: Theatre Royal (G)\n\nR: This was the first occasion on which the names of the amateur musicians who entertained the public were mentioned. Some can be traced in the **Shanghai Almanac for 1862”. others belonged to the military forces. Thus the names have come to us of the following gentlemen: H. Cope and E.C. Essex (both of Geo. Barnett & Co). D.A.C.G. Ewing. F.R. Gantwell (Silk broker), A.A. Hayes Jr (of Olyphant & Co), Howell, Inglis, J.M. Nixon (of Blain, Tate & Co). J. Priestley Tate (of Blain, Tate & Co; Municipal Council member 1861-1862) and J. Wheatly (of Reiss & Co). In general the Herald was very satisfied: \"It was pleasing to see the gentlemen who volunteered to throw aside for the nonce the cares of business and entertain con amore their less gifted fellow residents with a charming chamber concert. Everything was conducted in a quiet gentlemanly manner so that we imagined ourselves in a drawing room more than a theatre. There was no attempt at grandeur of display or extraordinary performance on special instruments which characterize too much the quasi-musical taste of the day where the composition of the author is sacrificed frequently to the execution of the performer and the audience is led to think more of the latter than the former\". These were rather stringent remarks for someone living in an area where very few opportunities arose to compare musical qualities of instrumentalists. Yet the argument of faithfulness to the author's or composer's intentions crops up from time to time and that was obviously regarded as important by the Herald. Unfortunately the acoustics of the theatre were not of the very best so that \"Mr. TATE's delicate tenor voice (in the song by Proch) could not fill the house sufficiently for all to hear the diminuendo passages of his beautiful voice\". (NCH 18.4.1863). The Lancashire Relief Fund had been established in order to help those in Britain who had become a victim of the stoppage of cotton imports from the Southern states of America (due to the Civil War), with the result that numerous labourers in the mills were laid off.\n\n29.4.1863 (Wedn)\n\nPerformances by the amateurs of the Royal Artillery.\n\nNo titles of plays were recorded.\n\nTh: Theatre Royal (G)\n\nR: In consequence of the \"great success\" a \"Second Fashionable Night” would be given on May 4th (NCH 2.5.1863).\n\n4.5.1863 (Thur)\n\nAs on 29.4.1863.\n\n1.8.1863 (Sat)\n\nThe last of a series of performances by Mr. Smythe's company. Soloists: Miss Amelia Bailey (singing) and Martin Simonsen (violin) Th. N.N. (H)\n\nPage 240\n\nPage 241", "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": 211830, "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": 245, "title": "RAS-1989", "content_text": "220\n\nR: In the advertisement it was stated that tickets could be obtained from Messrs Lane, Crawford & Co, G.A. Bretts' Auction Room and Astor House Hotel. Lane, Crawford was a general store that had been established in Kiangsi Road (ex Church Street) since June 1862. The Astor House Hotel was situated in Hongkew (see also Survey).\n\n17.6.1864 (Fri)\n\nPerformance by Messrs J.R. Black and Marquis Chisholm (piano)\n\nTH: N.N. (H)\n\nN: Benefit for Mr. Chisholm\n\nR: John Reddie BLACK (1827-1880) was born in Scotland, but went to Australia to earn a living as a singer in the goldfields. After arriving in Japan, 1861, he became the editor of some English newspapers and from 1876-1880 he edited several papers in Shanghai. In 1864 he still managed to combine his two vocations. His entertainment was \"composed of songs interspersed with anecdotes and conversation of the most lively description which he varied every evening. He has a splendid voice and sings with great taste and feeling\" (NCH 4.6.1864). His accompanist on the piano was Mr. L.C. PHILIPPS (cf. 1.4.1864), but the latter died of cholera and his place was taken by Mr. Marquis CHISHOLM who was no newcomer to the Shanghai public. On June 17 he played a fantasia on Japanese airs, composed by himself. As a matter of coincidence there was \"an absence of ladies, many of whom are at present rusticating in Japan\", but for the other evenings \"the audience has always comprised the majority of the ladies resident in the Settlement\". Evidently this had come to be considered as most desirable, perhaps to lend an air of respectability to the performance. (NCH 11, 18.6.1864).\n\n22.6.1864 (Wedn)\n\nH.J. BYRON: \"Il Treated Il Trovatore\" (1863)\n\nT: Burlesque extravaganza (1 act)\n\nC: Shanghai Amateur Burlesque Company\n\nF: Music by the Rhenish Band\n\nTh: Olympic Theatre (H)\n\n+\n\nR: The first night of a new company, the \"*Shanghai Amateur Burlesque Company\" and, if we may believe the Herald, the Shanghai world \"was completely taken by surprise. So minute an acquaintance with stage proprieties was shown that many of the audience were disposed to believe that they were witnessing a display of professional talent”. (NCH 25.6.1864).\n\n29.6.1864 (Wedn)\n\nH.J. BYRON: \"Ill Treated 11 Trovators\" (1863)\n\nT: Burlesque extravaganza (1 act)\n\nT.H. LACY: \"A Silent Woman\" (1835)\n\nT: Farce (1 act)\n\nC: Shanghai Amateur Burlesque Company\n\nF: \"New burlesque music\" by the Rhenish Band\n\nTh: Olympic Theatre (H)\n\nR: This is one of those increasing occasions in which only a short summary was published in the Herald, while the full report had appeared in the North China Daily News, no longer extant for this year. In any case the hope was expressed that more would be seen of the company \"as soon as the cool weather sets in\" (NCH 2.7.1864). According to the advertisement, tickets were obtainable from Lane, Crawford & Co (see 13.6.1864), Hall & Holtz (Ship chandler, general store and bakers; at the corner of Foochow Road (ex Mission Road) and Kiangsi Road (ex Bridge Street); MacKenzie & Co (shipchandlers, general store and general agents on the Yangkingpang in the French Concession); the Astor House Hotel; and Phillips Restaurant (Phillips, Moore & Co, Nanking Road-ex...)", "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": 211838, "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": 253, "title": "RAS-1989", "content_text": "228\n\nTh: Lyceum Theatre (1)\n\nN: Rose Edouin's benefit\n\nR: SCR 22.4.1865; no review.\n\n1.4.1865 (Tue)\n\nJ.B. BUCKSTONE: \"A Dead Shot\" (1827) T: Farce (1 act)\n\nJ. KENNEDY: \"Sweethearts and Wives\" (1823)\n\nT: Comedy (2 acts)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Mr. T. Andrews' benefit\n\nR: SCR 22.4.1865; no review.\n\n13.4.1865 (Thur)\n\nJ.B. BUCKSTONE: \"The Rough Diamond\" (1847) T: Farce (1 act)\n\nH.J. BYRON: \"The Bride of Abydos\" (1858)\n\nT: Burlesque extravaganza (1 act)\n\nJ. OXENFORD: \"I couldn't Help It\" (1862)\n\nT: Farce (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Julia Edouin's benefit\n\nR: SCR 22.4.1865: no review.\n\n15.4.1865 (Sat)\n\nH.J. BYRON: \"The Maid and the Magpie\" (1858)\n\nT: Burlesque burletta (1 act)\n\nThe Daughter of the Regiment\n\nNumerous pieces with this title are mentioned in HED; possibly by E. FITZBALL (1843; new version in operatic style (1847)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Miss Tilly Earl's benefit\n\nR: SCR 22.4.1865; no review.\n\n17.4.1865 (Mon)\n\nH.J. BYRON: \"The Babes in the Wood\" (1859)\n\nT: Burlesque (1 act)\n\n\"Aurora Floyd\". For possible authors see 26.11.1864,\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Miss Lizzie Naylor's benefit\n\nR: About \"Aurora Floyd\"\n\nthe Record was very satisfied and it thought that it exhibited the Company to the best advantages. CRESWICK as Hargreaves acted one of the most repulsive characters ever put on the stage with consummate tact. Aurora allowed ROSE EDOUIN to be seen to advantage; and in one or two scenes her acting rose to a high point of dramatic effect. Mr. GILL as Grub was capital and was assisted excellently by Miss NAYLOR who as Mary sustained one of her best characters. This lady acts such pieces with a spirit and ease seldom seen and reminds us strongly of Miss Saunders\" (SCR 5.5.1865). The reference to Miss Saunders may have been to Ann Mathew Saunders, died 1891; or Charlotte Saunders, d. 1899.", "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": 211840, "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": 255, "title": "RAS-1989", "content_text": "230\n\nN: J.B. Creswick's benefit\n\nR: For the second time a scene from Shakespeare could be seen in Shanghai: now it was act V from Richard III in which the king is confronted with the ghosts of his victims, lights his enemies ('A Horse! A Horse! My kingdom for a horse!') and is finally killed. In what kind of version it was played must be a matter of conjecture, although the worst days of adapting, cutting and rewriting Shakespeare's dramas were over. The Record found it \"somewhat disappointing. Richard was too declamatory and an evident appearance of striving for effect predominated\". Who personated the role of Richard III was not stated, but as it was Mr. CRESWICK's benefit it may have been him. The Frantic Husband went off well, with Tilly EARL as the \"Injured wife\". Miss NYE as Mrs. Alibi and Mr. GILL in the leading parts (SCR 5.5.1865).\n\n27.4.1865 (Thur)\n\nNo titles were given, but probably:\n\nJ.H. PAYNE: 'T was (* (1825)\n\nT: Farce (1 act)\n\nJ.T. RODWELL: \"The Young Widow\" (1824)\n\nT: Farce (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Miss Nye's benefit\n\nR: Miss NYE was described by the Commercial Record as a \"ladylike and pleasing actress\" who had a good house. \"The performance was light and amusing. She acted neatly and with pleasing unconsciousness of doing so. This actress will some day occupy a position which will still further develop her as a personifier of light and agreeable parts\" (SCR 5.5.1865).\n\n28.4.1865 (Fri)\n\nM. BARNETT: \"The Serious Family\" (1849)\n\nT: Comedy (3 acts)\n\n\"Cinderella\"; by H.J. BYRON? T. TAYLOR!\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (D)\n\nR: In Cinderella, a burlesque, Miss NAYLOR once again “looked and acted with well assumed demeanour\" one of the ugly sisters of the heroine. The latter part was possibly played by Mrs. GILL, \"the most accomplished of the troupe. She pays great attention to dress (...) and there is a quiet repose in her manner that is not easy to attain and only adds to the effect and spirit of her acting“. Miss Tilly EARL also took one of the parts; she was \"vivacious and fascinating\". Only the singing was \"not so good as usual, but one of the fair warblers was suffering from a cold\" (SCR 5.5.1865).\n\n29.4.1865 (Sat)\n\nH.J. BRYON: \"Aladdin or the Wonderful Scump\" (1861)\n\nT: Burlesque extravaganza (1 act)\n\n\"The Lady of Lyons\". Arthur either LYTTON or BYRON.\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nR: This was the farewell performance of the Company as well as Mr. Henry Birch's benefit. BIRCH was described as \"an old hand on the boards of the theatre. He has acted with many well known celebrities and to a certain extent still retains the manner of a school now almost extinct. The Company had left a good impression, although the Record's critic occasionally thought the actors deficient in making “a lucky hit by the casual introduction of a remark. They depend in some instances too much on the prompter and considering the case they act with one another this should not be\" (of the Herald's\n\nPage 255\n\nPage 256", "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": 211844, "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": 259, "title": "RAS-1989", "content_text": "234\n\nin 1846 and kept by the London Missionary Society. (NCH 25.11.1865; SCR 24.11.1865).\n\n14.12.1865 (Thur)\n\nJ.M. MORTON: \"Woodcock's Little Game” (1864)\n\nT: Farce (1 act)\n\nJ.P. PLANCHE: \"Faint Heart never won Fair Lady\" (1839)\n\nT: Comedy (1 act)\n\nC. SELBY: \"The Boots at the Swan\" (1842)\n\nT: Comedy (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nF: Prologue spoken by Edward Lawrance and Mr. Groom\n\nTh: Lyceum Theatre (1)\n\nN: First performance of the season by the S.V.C.\n\nR: Again only stage names were used in the review.\n\nIn Morton's piece, Woodcock's Little Game, Woodcock was played by Mr. DOLEFUL who had \"evidently elaborated the part with great care.\" His only drawback was \"a certain monotony in gesture\". Another central character was Mrs. Colonel Carver, \"inimitably performed by Mrs. St. CHAWLES. The majestic lady's make-up was characteristic and costly and many of her attitudes and tones reminded us of Miss Snowdon [Mary Jane Chippendale, 1837-1888; but she made her debut only in 1863 JH] whose imposing personation of similar female parts has assisted so many Haymarket triumphs\". Exceptionally some slight attention was also paid to the staging when the critic wrote about the second scene that the \"occasional glimpses of the whirling waltzers and partners-seeking promenaders were skilfully managed\". In Faint Heart never won Fair Lady Mr. DOLEFUL again took a leading part, that of Ruy Gomez. However, the Herald was not inclined to accept this gentleman's reading of the character without some exception, as a greater prominence might have been given to the comic element. Lightness, vivacity and élan are indispensable in all characters written, as this one was, for Charles Mathews. However, as he had appeared in a humorous part before, Mr. DOLEFUL was perhaps anxious to show his versatility\". Travesty abounded: \"The most difficult part was essayed by Miss SOFTLY [as Charles, the King of Spain, a role cast for an actress JH]. For a man to play a lady's part is hard, for a lady to play a man's part is not easy, but for a man to play a man's part as a lady would play it is hardest of all. Charles II, the mischievous, frolicsome schoolboy at large, newly awaking to a sense of royal responsibility, has been a favourite part with some of our cleverest and prettiest actresses and Miss SOFTLY held her own when compared with these formidable competitors\"\n\nAbout the Boots at the Swan the reporter confessed that \"we are inclined to think this piece has been acted enough\" (but hardly in Shanghai where it was on the boards for the first time). \"The elaborate mimicry of the inimitable ROBSON made the deaf Boots as popular with the London public as Sam Weller had been before him, but a peculiar talent alone can render Jacob Earwig interesting to an audience ten thousand miles away from the little theatre in Wych Street* (i.e. the Olympic Theatre in London). (Henry Morley wrote about Robson in this part, 1857: \"Mr. Robson, although deaf, is humorously wide awake. He is the Boots who is brisk and alive to all the humour of the street, who would be preternaturally knowing if he could but hear what people say. In word and look and action he is more the gamin than the simpleton. The extravagance of a most laughable farce is heightened by him to the utmost and there is not a long face to be seen while he is busy on the stage\"\n\n***\n\n136)\n\nBut, to continue with the Herald: \"FUNNYDOG, the new low comedian, is a valuable accession to the company. His stable yard dress, wooden attitude and imperturbable face formed a perfect study for Leech and Cruikshank, and the finish with which he played the long, and we confess to us tiresome, drunken scene shows", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211854, "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": 269, "title": "RAS-1989", "content_text": "art \n\nof \n\nFrench \n\nconcession \n\nYANG KIM PANG \n\nGATE \n\nSTREET \n\nRace course \n\nTEMPLE \n\nBARRIER \n\nCHURCH \n\nNOISSIW \n\nROAD \n\n244 \n\nROAD \n\nROAD \n\nROADE \n\nROAL \n\nNORTH \n\nBRIDGE \n\nTHE \n\nSTREET \n\nᄆᄆᄆ \n\nBUND Shanghai Club \n\nWONG \n\n- \n\nPOO \n\nAVENUE \n\nS \n\nCONSULATÉ \n\nOf \n\nBRIDGE \n\nSTRECT \n\nKIRK \n\nROAD \n\nCHURCH \n\nROAD \n\nSOD CHOW \n\nAmerican \n\nROAD \n\nCREEK \n\nVoĮsseɔuo; \n\nAIVER \n\nTHE \n\nb Theatre Royal \n\nTae-ming Theatre \n\nOlympic Theatre \n\nd \n\nLyceum Theatre \n\nAppendix I!! \n\nPlan of Shanghai \n\nBUND \n\nPart \n\nStar \n\nHouse \n\nHotel", "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": 211858, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 273, "title": "RAS-1989", "content_text": "248\n\n39 NCH 14.3.1863.\n\n40 NCH 2.5.1863.\n\n41 NCH 17.6.1865, 24.6.1865.\n\n42 NCH 28.3.1863.\n\n43 For minstrel shows see: Engle; Toll.\n\n44 NCH 13.2.1864.\n\n43\n\n46 NCH 7.5.1864. cf Dictionary of National Biography, Suppl. 2, Vol. I, p. 545. Here it is mentioned that the touring group was disbanded in 1863, but this is obviously incorrect.\n\n47 NCH 15.2.1862. Could it be that the originator of this Company was the same as \"G.B.W. Lewis\", who built the Astley Amphitheatre in Melbourne in 1854? Cf MacGuire, p. 97, n. 1.\n\n43 NCH 19.11.1864.\n\n49 Smith, p. 243.\n\n50 SCR 5.5.1865.\n\n51 NCH 14.1.1865.\n\n52 SCR 25.1.1865. Probably they first tried their luck in Macao, but there the public interest was very small on February 11 and the next day the performance had even to be cancelled (BGM 13.2.1865).\n\n53 of Appleton, p. 54; about the decline of the benefit system see Troubridge, p. 87ff. 34 Performance 24.3.1852. NCH 27.3.1852.\n\n53\n\n36 NCH 26.1.1856. NCH 28.2.1861. Letter to the \"Daily Shipping & Commercial News\" 27.12.1861; see also NCH 9.10.1858.\n\n47 Carse, p. 70; this was in the 1851-1852 season. Biographical data are given in Fétis, Vol. VII, p. 229; Born in Bordeaux, 11.5.1815; he was admitted to the Conservatoire de Paris, 25.10.1830, where he became a pupil of the famous flautist Jean Louis Tulou. In 1832 he won the first prize in a competition for his qualités précieuses: beau son, reticulation brilliante dans les traits et belle manière de phraser. He spent part of his life in Britain, where he was engaged as the first flautist of the \"Théâtre de la Reine\". This should not read Queen's Theatre (as it is translated by Riemann and others), but Her Majesty's Theatre at the Haymarket. In Fétis it is stated that the theatre closed in 1853; in fact it closed for the season 1852-1853 (Howard, P. 111). Rémusat subsequently returned to France to become a member of the Théâtre Lyrique orchestra (Théâtre de la Gaîté-Lyrique?). Pougin, in the Supplement (Vol. II, p. 403) however doubts this: \"Je ne sais si le fait est exact; en tout cas Rémusat n'aurait pas tardé à retourner en Angleterre, car en 1856 j'ai connu cet excellent artiste à Londres où il occupait une brilliante situation\". He died in Shanghai 1.9.1880. Besides being a soloist he composed a number of concertinos, fantasias, etc for his own instrument.\n\n58 Supplement to Fétis by Pougin, Vol. II, p. 403. of note 57.\n\n59 BGM 4.6.1866, 18.6.1866.\n\n60 Lang, p. 51.\n\n61 A concert of the Philharmonic Society on 26.2.1867 is mentioned in NCH 23.3.1867.\n\n42 NCH 26.2.1859.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211860, "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": 275, "title": "RAS-1989", "content_text": "250\n\nadvertisement announcing the auction the ground lot was No 32; this can be found on a plan of the Settlement in the archives of the London Missionary Society (Central China, Incoming Letters, Box 1, Fold. 2. Jack D). That the theatre was in a godown adjoining the Commercial House is mentioned in an advertisement for a book auction that was to take place there (NCH 1.7.1854) and another adv. in the NCH 9.8.1856 (“Old Theatre on the premises of the 'Commercial House').\n\n95 NCH 18.4.1857.\n\n96 NCH 25.4.1857.\n\n97 NCH 2.5.1857.\n\n98 According to the Shanghai Almanac for 1855 Crampton's had rented lots 43 and 77. The plan in the L.M.S. archives shows these to be between Church Street and Bridge Street.\n\n26.1.1856.\n\n99\n\n100 NCH 1.1.1859.\n\n101 NCH 26.2.1859.\n\n102 NCH 19.2.1859.\n\n103 NCH 29.10.1864; adv. NCH 7.5.1864.\n\n104 NCH 26.11.1864.\n\n105 Cordier, III, col. 2232.\n\n106 NCH 2.10.1852.\n\n107 NCH 4.12.1852.\n\n108 NCH 28.5.1864.\n\n109 Information supplied at a meeting 16.11.1866; of NCH 24.11.1866.\n\nNCH 22.9.1866.\n\nNCH 17.11.1866.\n\n112 Minutes in NCH 24.11.1866.\n\n113 NCH 24.11.1866.\n\n114 For a brief survey of the Lyceum Theatre see: Shanghai-t'ung, p. 487-491.\n\n115 NCH 3.12.1864.\n\nNCH 25.6.1864.\n\n117 Darwent, p. 99; cf also Maybon & Fredet, p. 264-265. Wright, p. 390.\n\n119 White, p. 23. In the archives of the L.M.S. there are, in the correspondence, a number of references to printing activities, but they of course focus on religious tracts, etc. Only in some instances is there mention of \"commercial papers printed\" or \"Job work\" (letter 19.4.1853; Box 1, Fold. 4, Jack A).\n\n120 NCH 7.5.1853.\n\n121 NCH 12.3.1859.\n\n122 NCH 1.8.1863.\n\n123\n\n124 NCH 13.5.1865, 20.5.1865.\n\nof Pal, p. 121.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211951, "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": 366, "title": "RAS-1989", "content_text": "341\n\nis performed by the men. Each member (or each group of them) take turns to organize the annual celebration. The organizer would collect the rent, buy the offerings, and keep the balance. He might, through a bidding system, let some other member take care of the business. The profit was incentive for a member to take up the responsibility. Each of the interested members would quote a price for the offerings and the one who offered the lowest price got the job. He made a profit from the difference between the bidding price and the cost.\n\nAmong the ritual associations, I have more information about the Hung-Sing associations, the two Cheun-Fu associations, the two Yi-Chung associations, and the Ngau-Wong associations. The Hung-Sing association membership corresponds to a certain extent to the village of Shui Tau in which the Hung-Sing temple is located. Each of the others named above had members in different villages. But there seems to be an important difference between the two Cheun-Fu Wui and the others: the former were rich men's clubs and the latter poor men's, which in one case has members from among the non-Dang villagers of Sha Pui Leng.\n\nTHE JIU FESTIVAL\n\nVI. ELEMENTS OF THE FESTIVAL\n\nA. Overview\n\nThe main part of the festival in 1985 was a seven-day period in which Taoist rites were conducted and puppet theatre performances given, followed by a separate period in which opera performances were given. But if the preparations are to be counted as well, the events spread over a period of almost a year. The preparation started in the first month of the lunar calendar, when 60 men were selected by divination as ritual representatives (yun-sau) to represent the community in the rites. The villagers responsible then consulted an expert to choose auspicious dates, times and directions for the various events, which included two preliminary Taoist rites near the middle of the year. They also had to contract for and supervise the construction of temporary structures for the celebration, and to hire opera and puppet theatre troupes and Taoist ritual specialists, among others, for services. In addition, they had to make arrangements with various government agencies, such as the police, and the fire services.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211952, "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": 367, "title": "RAS-1989", "content_text": "342\n\nThe festival was estimated to cost a total of more than one million dollars. The opera cost $357,000, paper images $150,000, temporary structures $150,000, and the puppet theatre $110,000. The opera was paid for, as is the tradition, from the funds of two lineage trusts, those of the Naam-Kai jou and Ching-Lok jou. Each contributes $180,000. For the other expenses, each of the villagers paid a subscription of $300, with the no. 1 to no. 15 ritual representatives each paying an extra $500,\n\n50\n\nThe main participants were the Dang villagers of Kam Tin. For the purpose of organizing the jiu the villagers were divided into five gu sections. Each section corresponded to a village, except that the Tai Hong gu included, besides Tai Hong Wai, Ko Po, Kam Hing Wai, Tsi Tong Tsuen and Tai Hong Tsuen. Also taking part were the villagers of Ying Lung Wai, the settlement of the second branch of Hung-Yi's lineage outside the heung of Kam Tin. They paid half subscriptions and got the last three places among the 60 ritual representatives. Some of the non-Dang residents in the heung also participated. Those include the Sa Bui Leng villagers and post-War and later immigrants from China who operated farms and shops in Kam Tin. These \"outsiders\", however, could not become ritual representatives. The ritual representatives were to stand for all the villagers in the Taoist rites and in some of the rites the villagers performed on their own. There were also religious activities conducted by every household. At three points of the festival, i.e. the opening day, the main day, and the concluding day, every household came, family by family, to worship at the various ritual sites, and a priest visited each house on the last day to purify the family altar. In addition, each and every person was named in the ritual memorials which were read aloud and sent by fire to heaven, with a copy posted in the ritual area for all to read and check.\n\nMany other villagers in the area were also peripherally involved. They offered their congratulations by having fa-paai banners set up in the festival site, and by paying a formal visit to the site on the main day with their lion/unicorn dances. To wait to receive them the elders of Kam Tin lined up in cheung-saam,\n\nB. Ritual Area\n\nThe festival site was beside the Jau and Wong Temple. A large paang temporary structure was erected. Outside the main structure were three small linked temporary structures for first-aid, the fire services, and the", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211953, "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": 368, "title": "RAS-1989", "content_text": "Ching Lok Ancestral Hail\n\nFaan Posts\n\nSite for fetching water\n\nFaan Posts\n\nN\n\nMau Ging Tong) Ancestral Hail\n\nJau & Wong Temple\n\nSite for posting the name list\n\nPaak Mou Seung Wing used as kitchen\n\nGeneral Gods\n\nJade Emperor & City God\n\nFaan Posts\n\nA\n\n8\n\nSite for offering to gods\n\nGuardian Gods Yau-Saan Daai Si Wong Gwon Yam\n\nCompartment for villages\n\nCompartment for villages\n\nC\n\nAncestral altar\n\n0\n\nPuppet altar Theatre\n\nA-B-C-D Main paang Later used for opera\n\n(Map taken from Tanaka 1989)\n\nThe Kam Tin Jiu Festival Ground\n\n343", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211960, "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": 375, "title": "RAS-1989", "content_text": "350\n\nworld by first fixing them in the arms of a mounted paper horse rider known as gung-chou, who served as a messenger, and then burning the three (horse, rider, and memorial) together. The other form, known as bong, was posted in a rite on the main day of the festival on a wall, and remained there until the conclusion of the ritual.\n\nThe scripture chanting/Repentance session took place before the Three Pure Ones three times a day. The manual used was the common Jade Emperor's Repentance Scripture. The sessions were very short. The one I timed lasted only fifteen minutes. The other daily rite was the procession of offerings, which started at the Taoist altar with worship of the Three Pure Ones, then visited all the five faan posts, all the temporary altars and the Jau and Wong Temple, the guardian gods of the paang, and the yau-saan. The procession included flags and banners, and was preceded by a man holding a \"spirit summoning flag\". At each spot it stopped at, the priests briefly chanted and made offerings.\n\nThe other (and longer) rites involved a lot of chanting and singing, which, in many cases, nobody could hear clearly. The amplified music of the puppet theatre drowned out any other sound. The only exception was a scholar of religion from the Chinese University of Hong Kong who had the high priest carry a wireless microphone for him and who could therefore listen to the priests' words from a headphone radio and compare them with the manual. My descriptions of the Taoist rites, therefore, are often interpretations of what I saw and heard on the basis of past experience and manuals. 63\n\nE. The Participants List in the Taoist Rites\n\nOf the elements of the rites, the villagers probably knew most about the Memorials in their different forms. The women villagers in general knew less about the festival (or they pretended to). When I asked some elderly ladies at the ritual site what da-jiu was all about, they explained that it was heui-lok promised to Jau and Wong, to commemorate them. They suggested that I should ask elderly men instead. It was men who knew more about these things. The knowledge was handed down from one generation to another. But I overheard, during the opening rite, the same group of elderly ladies asking themselves how many priests were reading the Memorial (the one to be burnt). They observed that there was too much noise for them to hear the reading. They explained to me that the names of all the villagers (yan-hau) were being read. The priests\n\nPage 375\n\nPage 376", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211962, "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": 377, "title": "RAS-1989", "content_text": "352\n\nF. Theatre\n\nAfter the seven-day rites period, the main paang was modified for use as the opera theatre. The raised area originally partitioned for the Taoist rites, puppet plays and the ancestral altar was converted into the opera stage. The ancestral tablet of Hung-Yi and the statue of Gwun-Yam were moved into the smaller paang for the general gods. The rest of the main paang became a raised audience seating area divided into left and right halves. The right half was for Bak-Bin and the left for the Naam-Bin. Here Bak-Bin included Ying Lung Wai. There was also a clear partition of each half into two sections. One section was for males and the other for females. Between the seating areas for Naam-Bin and Bak-Bin was a separate area, the front part of which was seating for guests, and the rear part of which was left empty, probably for standing audience.\n\n64\n\nIn the afternoon before the first opera performance, the rite of exorcism, Jai Baak-Fu, was performed by the opera players on the stage. To the accompaniment of percussion patterns played on large cymbals, gongs, and drums, a man in black fought with a yellow \"white tiger”. Although the opera troupe's ritual practice was to perform this ritual only at places where there had never been any theatrical performance before, the Dangs, for the sake of safety, made a special request and paid the troupe an additional fee to have the rite performed.\n\nThe allocation of theatre seats caused some conflicts among the villagers. I had been told that the seating was allocated on the morning of 24th December, and a chu was allocated seats according to its position in the jiu Memorial. A young man from Shui Tau told me that a fight almost broke out on account of the seating arrangements. There was hot disagreement between some youngsters of Wing Lung Wai on one side and those of Kat Hing Wai on the other. There were more than ten of these young villagers from each of the two villages who were quite ready to fight.\n\n65\n\nSome others solved their seating problems in a more peaceful manner. I learned about the case of a Kat Hing Wai family which was not one of the ritual representatives and had therefore been allocated seats very far from the stage. But the eldest son of the head of the family managed to purchase some seats for his parents to express his filial piety. Another Kat Hing Wai villager had asked him (the son) for a loan of a few", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211966, "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": 381, "title": "RAS-1989", "content_text": "356\n\nvice-chairmen are the no. 1 to no. 15 ritual representatives, and the other members of the committee the no. 16-60 ritual representatives.\n\nI saw parts of two of the Committee meetings, one before the festival and another before the Opera performance period. Both took place at the Jau and Wong Temple. There were about 60 men who attended the first meeting. At the end I noticed that a group of younger men (aged about forty) stayed on outside the temple and talked. They told one another that in this new era everything had to be done in accordance with the law. They also said that they should have invited the Governor of Hong Kong himself. But they should have made arrangements earlier. The second meeting was announced by notices on the village notice board as a meeting to discuss who was going to present \"coloured flags\" (formal tokens of thanks) on the main day of the opera performance. It mentioned that the original idea was to have the head of lineage do it, but he complained that he was too old to do so much walking. About 100 men were present. They first went through some ding-hau population records for each village, in all likelihood prepared for the festival. They probably used them for allocating seats in the theatre. Then they talked about the arrangements for Guests Seats on the main day of the performance.\n\nC. Leadership\n\nOne of the senior priests complained that in this festival nobody was able to take the responsibility for decisions, hence the confusion and additional trouble for the priests. I heard two of the ritual representatives making the same comment. I also have some firsthand experience of the state of near anarchy when I asked the chairman, Dang Saak-Luk, to whom the Museum's formal request for permission for video-taping should be addressed. He emphasized that the letter should be to all the members of the committee rather than to himself as Chairman.\n\nThe absence of authority probably had to do with the current situation of local politics rather than \"traditional ways\".\n\nBefore the opening ceremony a Liaison Officer from the District Office came with the Chairman of the Rural Committee to give an \"order\": seats reserved for the principal guest and nine other guests for the secular opening ceremony were to be labelled clearly. The Chairman of the Rural Committee, a man of about fifty, commented that now that he was", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211978, "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": 393, "title": "RAS-1989", "content_text": "368\n\nSung, Hok-p'ang et. al. (1984), pp. 1-9.\n\n1973 \"Legends and stories of the New Territories: Kam T'in', JHKBRAS xiii, 1973, pp. 28-40.\n\n1974 \"Legends and stories of the New Territories: Kam T'in\", JHKBRAS xiv, 1974, pp. 160-185.\n\nTaga, Akigoro Tanaka, Issei\n\n1982 Chugoku Sofu no Kenkyu, vol. 2, Tokyo.\n\n1985 \n\nTsui, Bartholomew\n\nWatson, Rubie S.\n\nWolf, Arthur P. (ed.)\n\nA Chiu 亞潮(?) baai 拜 baai-san\n\nBaak Mou-Seung Ú Baak-Ging\n\nBaishe Zhuan\n\nLineage and Theatre in China. Interdependence of Festival Organization, ritual, and theatre in the lineage society of South China, Tokyo.\n\n1989 Village Festivals in China: Backgrounds of Local Theatres. Tokyo\n\nforthcoming\n\n\"Daojiao Yili ya Jishen Kiju zhijian de Guanxi”,\n\nforthcoming\n\n\"Taoist Ritual Books of the New Territories\".\n\n1985 Inequality Among Brothers: Class and Kinship in South China, Cambridge University Press.\n\n1974 Religion and Ritual in Chinese Society, Stanford.\n\nGLOSSARY\n\nchiu-gaan chiu-dou * Chiu-Yip #\n\nchu 柱\n\nChuk Yuen 竹園\n\nChung E\n\nChung Yeung 重陽\n\nChung-Saan\n\nU\n\nBak Bin 北便\n\nBak Dai 北帝\n\nbei 陂\n\nbong 榜\n\nBou-Dak Chi #AM\n\nbui\n\ncha-gwo 茶果\n\nChan Gau 陳九\n\nChan 陳\n\nchau-san\n\n+\n\nChenghua 成化\n\ncheun-ding\n\nT\n\ncheun-fu 巡撫 Cheung-Cheun Yun cheung-saam Chi-Naam Ching Ming U Ching-Lok\n\nChung-Yut Я\n\nchyun 村\n\nDaai-Si Wong ✰±\n\nDaai-Wong E\n\ndaai-yan ★A daai-yau daam\n\ndaam-jung da-jai 打仔 da-jiu 打醮 dan 躉 Dang 鄧\n\nDang Chung 鄧璁 Dao 道 da-saat\n\nDei-Jong Wong E", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211989, "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": 404, "title": "RAS-1989", "content_text": "379\n\nThe Morning Post, Jan 1, 1901\n\nCover Page of La Politique de Pe'kin BM7 Jun, 1914, with\n\nSir Robert Hart on it\n\n1 booklet \"Topside Galan\" illustrated by Bessie L'E. Pirkis, in water\n\ncolour (MS)\n\n10 Chillon College Magazine, Vol II: XI XII (2 copies); Vol III: I,\n\nII, IV, VI, VII, VIII: VOL IV, 1\n\nSchool reports, 1937\n\nBundles of theatre programmes and theatre tickets\n\nMinutes of the Seventh Annual Meeting of the Board of Managers of the\n\nPeking University, January 16, 1906 (University Press)\n\nMisc. clippings, newspapers and magazines\n\nLoose papers, some with Robert's childish scribbling for Granny Some calling cards\n\n3 menus\n\nHong Kong and Shanghai Bank to Lady Hart, 29 Oct 1906\n\n5 photographs in an envelope addressed to E Prince (?) Hart Esq. 1 poem (MS)\n\nInvitations\n\nPostcards to Hart (Moore to Hart, 3 Aug 1909), Lady Hart (5), Bruce\n\n(1), Robert (6)\n\nBOX 5\n\nBundle of misc. letters to Robert\n\nBundle of misc. letters to Mr. & Mrs. Bruce Hart Bundle of misc. letters to Carrie and others\n\nMisc. clippings, scribbling, empty envelopes, etc. Robert Bredon to Lady Hart, 7 Sept 1911 27 May 1912 Bundle of papers for learning meaning and pronunciation of Chinese\n\ncharacters (MS)\n\n1 printed address accompanying the Testimonial to Sir Robert Hart GCMG. with Sir Robert Hart's Reply (Peking, 22 Aug 1890)\n\n1 printed letter, E.B. Drew to Alex. Jamieson, 28 August 1890 Letters to Lady Hart from various persons and institutions mainly\n\nregarding her finances\n\n1 typed letter to Editor of The Times, \"The China Crisis”, from H.\n\nCrouch Batchelor\n\n5 letters to Hart\n\nLetters from Hart", "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": 212114, "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": 56, "title": "RAS-1990", "content_text": "Table | Comparison of three Lam Tsuen Jiao Bulletins\n\n \n \n 1963\n 1972\n 1990\n \n \n Total no. of pages\n 20\n 20\n 64\n \n \n Colour\n black & white [b/w]\n b/w\n colour\n \n \n Content (columns relating to)\n 1\n 3\n 6\n \n \n the community\n \n \n \n \n \n the opera\n 1\n 5\n 6\n \n \n greetings from:\n 1\n 1\n 9\n \n \n commercial organizations\n 7\n 6\n 2\n \n \n the community\n \n 2\n 4\n \n \n other communities\n \n \n 4\n \n \n individuals\n \n \n \n \n \n Government officials\n \n \n \n \n \n Advertisements\n 21\n \n \n \n \n Committee members\n \n \n \n \n \n Photos:\n \n \n \n \n \n other community members\n 3\n 3\n 43\n \n \n guests\n \n 4\n 3\n \n \n community\n \n \n \n \n \n opera performers\n 4\n 9\n 20\n \n \n Sources:\n \n \n \n \n \n Lin Cun [Lam Tsuen] Xiang Taiping Qingjiao Shenghui Tekan (Lam Tsuen, 1963) Renzhi nien Lin Cun Xiang Taiping Qingjiao (Lam Tsuen, 1972)\n \n \n Gengwu nien Lin Cun Xiang Shinien Yijie Taiping Qingjiao (Lam Tsuen, 1990)\n \n\nc. Approaches to the study of Hong Kong Jiao Festivals\n\nIn general, Saso's \"cosmic renewal\" is the view most commonly accepted by researchers of Hong Kong Jiao festivals. Instead of looking at the rituals, there is a strong tendency to study the social and organizational aspects of the festival.\n\nTanaka recorded more than 14 different Jiao festivals in his three comprehensive volumes on Chinese ritual theatre.* Starting from the quest to uncover the origin and the route of diffusion of Chinese ritual theatre, Tanaka gradually moved his focus to social and structural complexities of the Jiao festival. This shift in focus is likely to have resulted from his expanding his scope from immigrant", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212115, "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": 57, "title": "RAS-1990", "content_text": "34\n\nsocieties to indigenous agricultural communities. His second book concentrated on descent and territorial groups and ritual theatre. It analyzed the basic structure of worshipping groups, examined their organizational concepts and the structures of rites and customs, and, finally, speculated on how different aspects of rites and operas are reflected unconsciously.\" In his 1985 book Tanaka analyzes different festivals celebrated in the New Territories. He categorized those festivals which focus on the worship of “local deities” as “Gaishin Saishi\" (Worship of external deities). Such festivals are organized according to the territorial connections of different groups. Contrasted to this, he uses the term \"Naishin Saishi\" (worship of internal deities) to describe festivals dedicated to ancestors.\" Tanaka attempts to establish a theatrical and worshipping strata which is closely related to the complexity of a society's structure. The structural complexity of a society can be examined by three indicators: the society's worshipping area, members and economic capabilities. The rural communities are categorized into different levels according to complexity. In the lowest level is the single-lineage village community where conservative Confucianist rites are performed during worshipping. As the structure of community becomes more complicated the role of recreational theatre becomes more important, and the emphasis on traditional rituals declines. Jiao festivals celebrated by village alliances or market town districts are placed by Tanaka in the most complex stratum.\n\n41\n\nAn undeniably significant contribution of Tanaka's work to the study of Jiao festivals is his detailed information. His books provide field records which are invaluable to students of the festival.\n\nFaure, in his study of Chinese rural societies in the New Territories, sees the festival as a means to set up community bonds. Recognizing the complexity of the festival, he concentrated his interest on how the territorial community is represented in the Jiao festival **through the layout of the (festival) ground, through the interaction between the priests and the villagers and through the villagers' own rites\".\n\n42\n\nClose to Faure's study on the Jiao festival is Segawa's work on the Ha Tsuen Jiao festival. He illustrated a “dualism\" in the villager's world. This he refers to interactions between and coexistence of the secular and sacred world, and between the local deities and the higher level gods, the great and little traditions of Chinese culture. Through", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212123, "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": 65, "title": "RAS-1990", "content_text": "42\n\ndisasters. the second is for those who died because of plague. The final reason is to thank the benevolent governors Wang Lai-ren and Zhou You-de of the beginning of the Qing dynasty. In my opinion, all these reasons can be integrated into the first one.\n\n(d) Chan Wing-hoi \"The Tangs of Kam Tin and their Jiu festival\", Journal of the Hong Kong Branch of the Royal Asiatic Society, Vol. 29 (1989) 302-375, a rich and detailed account of the lineage, its temples and villages, and the festival which draws them together.\n\nDr. Faure gradually switched his interest to the Pearl River Delta while Prof. Tanaka, as I was told, is now looking at Sichuan province. Talk on publishing a book on Hong Kong Jiao festivals has been going on for years by members of the \"Research Circle of the Regional Society of Southern China''. In 1990, the editorial board of the society set up a schedule to compile a book focusing on the Jiao festival. It is expected that papers on various aspects will be completed by the end of April 1991. (Correspondence from the society dated 28.12.1990)\n\nSchipper, Kristofer M., \"The Written Memorial in Taoist Ceremonies\" in Wolf, Arthur P. (ed.) Religion and Ritual in Chinese Society (Stanford: Stanford University Press, 1974), 324,\n\nFor example, according to Chan Wing-hoi, villagers of Shek O celebrated their 16th Jiao in 1986 (Chan, 78). The Dengs in Kam Tin claimed to have celebrated their Jiao since 1684 (Tanaka, 918).\n\nSee for instance Basel Mission Archives, doct. Al-6, No. 51 (1869), and doct. Al-7, No. 51 (1870) and Der Evangelische Heidenbote, July 1867, in which a missionary describes how he was forced to go to the Magistrate to get his support before he could avoid having to pay his share of the Jiao expenses. All these cases are from Hsin An County. The Sha Tin poem will, it is hoped, shortly be published by Dr. P.H. Hase.\n\nThese two series are part of the 15 series of historical documents collected by Dr. D. Faure and others in the New Territories. Copies of the collections are kept in the libraries of CUHK, Hong Kong University, Sha Tin Regional Council Library, and Institute of Oriental Culture, Tokyo University.\n\n31\n\nTanaka Chugoku no Sozoku to Engeki [Lineage and Theatre in China] (Tokyo Univ. Press 1985), 608. Jiao festivals celebrated by the powerful communities in Hong Kong like Kam Tin, Ha Tsuen, Lung Yeuk Tau etc., were all performed by the Zhengyi Taoist group, led first by the late Master Lin Pei and now by Master Chan Kau. Another Zhengyi Taoist group is led by Master Chan Wah. However, many Taoist priests work for both groups. There are also other Taoist groups who performed for the Jiao festivals, like a Cantonese group which performed for Ho Chung and a Heklo group for Cheung Chau. In 1983, four out of five Jiao festivals were performed by monastery Taoists. It is not clear whether it was because of tradition or out of economic reasons. A comparison of the two Taoist groups has yet to be made.\n\n14 Choi Chi-cheung **Sho matsuri no jinmei risuto ni mirareru shinzoku ban'i” [Kinship as seen in the name lists of Jiao festival] Bunka Jinnú Gaku 5 (1988): 131, table L. 35 **Shinshi men\" [Section of Believers] in Fanling Wenxian (Historical Literature of Fanling) vol. 8. This brief account records details of the arrangement of the Jiao area, including the contents of couplets, names of deities invited, location and direction of matshed stages, and the sacrifices prepared etc.. See n. 32 for the depositories of Fanling Wenxian.\n\n36 See (1972) Lin Chuan [Lam Tsuen] Xiang Taiping Qingjiao huiyi jilubu in Dapu [Tai Po] Wenzian [Historical Literature of Tai Po] vol. 1. (see n. 32 for depositories)\n\n37 Tanaka Issei's three books, all published by the Tokyo Univ. Press are: Chugoku Saishi Engeki Kenkyu [Ritual Theatres in China] (1981), Chugoku no Sozoku to Engeki [Lineage and Theatre in China) (1985), and Chugoku Kyoson Saishi Kenkyu: Chihogeki", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212124, "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": 66, "title": "RAS-1990", "content_text": "no Kankyo [Village Festival in China: Background of Local Theatres] (1989). The Jiao festivals studied by Tanaka are as follows:\n\n \n Communities\n Year\n \n \n Cheung Chau\n 1979\n1979, 1983\n \n \n Recorded in\n 1981:74-99\n1985:227-302\n \n \n Ha Tsuen\n 1981\n \n \n \n 1985:199-226\n \n \n Hung Hom, Kowloon *1\n 1978-80\n \n \n \n 1981:771-780\n \n \n Kam Tin\n 1985\n \n \n \n 1989:915-996\n \n \n Lam Tsuen\n 1981\n \n \n \n 1985:359-528\n \n \n Leung Shuen Wan, Sai Kung\n 1980\n \n \n \n 1981:99-113\n \n \n Lin Fa Tei *2\n 1967\n \n \n \n 1985:558-572\n \n \n Lung Yeuk Tau\n 1983\n \n \n \n 1985:609-720\n \n \n Sha Tin, Kau Yeuk\n 1985\n \n \n \n 1989:1041-1112\n \n \n Sha Tin, Tai Wai\n 1987\n \n \n \n 1989:977-1040\n \n \n Sha Tin, Tin Sam\n 1986\n \n \n \n 1989:1040\n \n \n Tai Po Tau\n 1985\n \n \n \n 1985:121.131-138\n \n \n Tuen Tsz Wai\n 1986\n \n \n \n 1989:817-913\n \n \n Yuen Long\n 1983\n \n \n \n 1985:139-198\n \n \n 43\n \n\n*1: From the context, this festival, held on the 14th of the seventh moon, can be best seen as a ghost festival organized by the Hoklo dialect group.\n\n*2: Tanaka did not attend this festival. Analysis of the festival was mostly based on the 1967 account collected by H. Baker.\n\nSee map for the location of places.\n\nJH Tanaka, Ritual Theatres, 5.\n\n班 Tanaka, Lineage and Theatre, 11.\n\n40\n\nfbid., i-ii.\n\n41 Tanaka, Village Festival, i-iij.\n\n42\n\nFaure, David, The Structure of Chinese Society: Lineage and Village in the Eastern New Territories, Hong Kong (Hong Kong: Oxford Univ. Press, 1986), 81.\n\n4.3 Segawa, Masahisa, \"Daa Chiu: matsuri ni arawareru Hon Kon no mura no sugao” [Da Jiao: facets of villages in Hong Kong as shown in the festivals] Kikan Minzoku Gaku Ethnography Quarterly 33 (1985): 21-35.\n\n14\n\nSegawa, Masahisa \"Ta-tsiu [Da-Jiao], feuds, and village alliances: the case of Pat Heung\" (unpublished manuscript, 1991).\n\n45 Choi, Chi-cheung, “Chi o urai ekibyo o harau taihei shinsho\" [Jiao festival: to wash: the land and remove illness] Kikan Minzoku Gaku 40 (1987): 90-105.\n\n4\n\n40\n\nChoi, Jiao festival\", 1046.\n\n47 Choi, \"Kinship\", 147-149.\n\n4#\n\nThough Tanaka wrote that only a few communities in the New Territories celebrated the festival during his seven and a half years' observation (Tanaka, Lineage and Theatre, 608), we are still unclear as to how many communities continue to celebrate it. For instance, the Cheung Long Wai case was not mentioned by any informants. It was known only by an occasional visit to the village. A likely source is the Police since theoretically every festival celebrated in Hong Kong has to receive permission from the police for security measures. The district offices in the New Territories are another source of information. Certainly there were in the past other celebrations which have now ceased for one reason or another (e.g. at Sha Tau Kok, Shuen Wan and Ta Kwu Leng).\n\n49 Segawa, \"Daa Chiu', 35.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212250, "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": 192, "title": "RAS-1990", "content_text": "THE OFFERING TO THE WHITE TIGER\n\nIN CANTONESE OPERA\n\nSAU Y. CHAN*\n\n169\n\nIntroduction\n\nSymbolically, the White Tiger is a mystic figure in Cantonese folk religion. Though it can also bring merits to people, it is often referred to as a fierce devil. Thus the ritual known as zae bak fu (Offering to the White Tiger) should be held from time to time so that the harm caused by the White Tiger could be minimized. It is performed in a variety of Cantonese folk religious practices and a comparatively more elaborate form of the ritual has been preserved in the tradition of Cantonese opera, where it is also called zuk bak fu (capturing the White Tiger), zae toi (offering to the performing stage), po toi (breaking or initiating the performing stage), da mau (beating the cat) and occasionally as tiu coi sen (dance of the Deity of Fortune) and tiu jyn tan (dance of the Jyn Tan deity). As it has often been criticized as a superstitious act in mainland China, troupes there have, according to some informants, ceased to perform this ritual in recent decades. Nowadays this operatic form of White Tiger ritual is mainly preserved by troupes performing in Hong Kong, Singapore and Malaysia.\n\nI\n\nThe Exorcistic Function of the Offering\n\nAccording to interviews with many Cantonese operatic employees, whenever a theatre, whether temporary or permanent, is built on a piece of land that has never been used for such a purpose, the performing stage is called a sen toi (new stage) and the White Tiger ritual has to be performed for the protection of members of the troupe and the community which hires the troupe. It is believed that a tiger turns white when it reaches the age of 500. It would then make use of people's mouths to harm other people. Before the ritual is done, if one calls the name of another person, or simply talks, the words will be made use of by the White Tiger and the one who responds will be harmed. In the past, disasters such as the flooding, collapse and\n\n* Music Department, the Chinese University of Hong Kong.", "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": 212258, "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": 200, "title": "RAS-1990", "content_text": "177\n\n(mouth) from the character get di (fortune) should not be completely joined, so that the \"mouth\" is an \"open\" one. In this way, the troupe members are freed from the curse of \"not being able to open the mouths\", which implies that the actors could not sing or speak, that the troupe would become unemployed, and that the members would have to suffer from starvation. In case the stage is a \"new\" one, the hoi bet ritual has to be carried out by the actor who is to play the Deity of Fortune.\n\nFrom these taboos and religious practices, one might easily deduce that Cantonese operatic employees are highly superstitious. However, without understanding the function behind these practices, such a judgement would be nothing more than a subjective evaluation.\n\nIn his Exorcising the Trouble Makers: Magic, Science and Culture (1983), the anthropologist Francis L.K. Hsu has pointed out that religion and superstition are indispensable in every culture, including those praised as “civilized” and others criticised as “primitive”, and that it is not always easy to draw a distinction between science and religion. According to Hsu, a community which believes in science would dress-up their religious beliefs and superstitious practices in the form of science, and similarly, a community which inclines towards religion and superstition would interpret its empirical and scientific experience in the form of religion (Hsu 1983:129).\n\nTraditionally, Cantonese operatic troupes are often hired to perform for festivals, birthdays of both ghosts and deities, and an elaborated Taoist ritual known as da ziu k (rite of purification). In fact, before permanent theatres became an additional context of Cantonese operatic performances in the late 19th century, for most Cantonese operatic troupe members, ritual performance had been their major source of employment. Even in modern Hong Kong, every year over two-thirds of the total productions are staged in a ritual context.\n\nIn the late Qing Dynasty and even up to the early 20th century, ritual performances were held in temporary theatres built with palm leaf mats, bamboo and wood poles. Modern ritual theatres replace mats with tin sheet. When a troupe is hired to perform a series of ritual plays, the temporary theatre becomes not only their performing venue but also their living quarters.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212259, "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": 201, "title": "RAS-1990", "content_text": "178\n\nAs a major form of entertainment business, a troupe has to reinforce a set of management rules, probably through trial and error, accumulation and empirical experiments, to maintain harmony among its members and keep the theatre in good conditions. But having to perform day after day and year after year in temporary structures, which could be situated in an isolated area miles away from local residences, and having to spend so much time travelling from village to village, it is understandable that troupe members might easily incline towards religion and in this way \"dress\" their empirical rules.\n\nFunctionally, the taboo of restricting the activities of the troupe employees in the vicinity of the \"new stage\" will help to ensure the health and safety of the employees as the firecrackers and joss sticks, and the burning of the mock money, form a kind of fumigation process which cleans the air and scares away snakes and other harmful rodents which might infest a plot of uncultivated land. The practice of writing an \"open mouth\" also serves to remind the employees of the importance of singing and speaking well in their performances.\n\nIt has long been the traditional aesthetics of Cantonese opera that a performance is evaluated first in its sing (sound), then in the sik (appearance) and last in its ngae (art and technique). The taboos related to the opening and shutting of mouths also reflect this consciousness of the primary importance of \"oral activities\".\n\nAs fire has been and still is a major threat to the temporary theatres, Cantonese operatic employees worship the deity Wa Gwong (literally \"bright and brilliant\"), who is also the deity of fire, as the profession's major patron deity. Undoubtedly, paying respect to this deity reminds the troupe members of their major threat.\n\nSimilarly, the reasons for placing joss sticks at the edge of the front stage are twofold. Firstly, the action itself arouses the actor's awareness of the danger of falling down. Secondly, the lit joss sticks placed there serve as a marker for the stage edge, so as to facilitate the actor's keeping away from it.\n\nThe practical functions of the taboos and religious practices which have been adopted by Cantonese opera employees might well suggest that such taboos and practices were originally products of repeated empirical trials, which have gradually been accumulated in", "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": 212414, "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": 356, "title": "RAS-1990", "content_text": "333\n\ntheatre-going society of pre and post-war London, personified by Noel Coward. Indeed he belonged to that world.\n\nBeaton was an extremely talented man - a man of the theatre (as stage designer); and of films (as artistic designer). He was also an extremely brilliant portrait photographer of celebrities - politicians, film and stage stars, beautiful aristocrats - and a sharp autobiographer.\n\n―\n\nOxford University Press have, indeed, performed a public service in re-printing these two books, products of the propaganda arm of the Allied War effort in World War II. They capture in words and pictures the exotic and heroic backdrop of places and people - the military, of course, but also the peasant men, women and children of the two main theatres of war in the Far East, South East Asia and China. The words of Beaton's travel diaries and pencil sketches provide marginal observations to the photographs which, in most cases, \"speak for themselves\" in usually the direct language of propaganda. (However, it must be admitted that exposures of the manly heroic breasts of the soldiery record as well Beaton's sexual ambivalence, which doubtless lies at the heart of his creative genius).\n\nIt is interesting to note that at the time, in 1942, when these War Correspondent's despatches were being executed, Beaton was anguishing over the artistic dilemma of whether to carry out the assignment, principally as a photographer war-artist, or whether to pursue his more artistic endeavours.\n\nIn conclusion, it is perhaps unfair to Oxford, when they have done a very good job with an introduction by the Keeper of Photographs at the Imperial War Museum, London, illuminating the context of these now exceptional picture archives of the war - for this reviewer to feel a slight pang of disappointment with the reprints when compared with the originals. There the typography, design and format provide an additional dimension of insight into the ethos of that dramatic period of history.\n\nALAN BIRCH\n\nNancy Tapper, Bartered Brides: Politics, Gender and Marriage in an Afghan Tribal Society Cambridge, Cambridge University Press, 1991, xx + 309pp. Bibliography, Index.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212532, "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-1991", "page_number": 86, "title": "RAS-1991", "content_text": "66\n\nsucceeding years.\n\nThe significant turnabout of Sino-American cultural relations, especially arts exchanges, came in 1979 when some ten American performing groups came to China for public appearances while some Chinese groups toured the United States. There were also exchanges of arts educators and prominent artists in that year, some of whose tours were sponsored by the Center for United States-China Arts Exchange, an institution established to that end on 1 October, 1978.\n\nA little earlier there had been a little-publicized thaw in 1978, when a Chinese American's Chinese-style paintings were exhibited in Beijing and the China Film Export and Import Corporation (CFEIC) made its first purchase of an American movie, the Convoy, directly from an American company. Subsequently, the CFEIC purchased a film, Future World, and accepted a gift, the Nightmare, in 1979. In 1979 all three movies were shown to the public. The Chinese television stations soon followed suit by buying a 17-episode TV series which, according to the contract, was to be allowed three transmissions in China in the next four years. On the American side, an American company purchased 14 Chinese movies in 1979 in a single deal.\n\nThe rise of Chinese interest in American arts was also demonstrated in another field, the theatre. In December 1979, a play adapted from an American movie Guess Who's Coming to Dinner was staged by the Chinese Youth Theatre in Beijing. The fever over American arts inaugurated in 1979 was increasingly developed in the following two years. In 1980, 13 American performing arts groups appeared on Chinese stages while the number climbed to 22 in 1981, a record which still stands today.\n\nAfter this high-point, the inflow of American culture fluctuated depending on several factors. In 1983 there was a slight increase followed by a downturn in 1984. In 1985 there was again a revival of American cultural influx.\n\nThe first major group of Chinese artists arrived in the United States in 1980, following a major event in the previous year. As appearances of Chinese artists in the States are more difficult to trace, especially for researchers in China, the statistics in this paper can only reflect major artistic events. In this case, the figures show a slight increase generally.", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 212544, "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-1991", "page_number": 98, "title": "RAS-1991", "content_text": "78\n\nproblems were blamed no longer on the Cultural Revolution activists and the Gang of Four, but also on those presently in power and those in power before the Cultural Revolution.\" With the emergence of **exposure literature**, artists and writers began to experiment with new forms. Wang Meng, for example, writing less on political issues and more on the emotions and relationships of everyday life, experimented with a variety of styles, including stream of consciousness. His short story, The Butterfly, in which he successfully used the technique of stream of consciousness, won him national recognition.\n\nThe If I Were Real episode turned out, however, rather differently. In terms of interaction between political developments and those of art and literature in the post-Mao era, probably no other single instance can provide as much insight as the play If I Were Real does. By comparing it with Wang Meng's experiments and with a later case, the Bitter Love episode, conclusions about how much artists and writers could push politically and artistically can be better tested.\n\nIf I Were Real was initially a play script depicting a young man who deceives officials in Shanghai, by pretending to be the son of a high military officer in Beijing. Because of his supposed good connections, the young man is granted all kinds of privileges, from theatre tickets to having a “friend”, who was actually himself transferred from a farm to Shanghai. When he is finally caught, he protests that he has done nothing wrong. He explains: “If I were really the son of some high party official, then whatever I have done would be considered legal.\" Thus the playscript went beyond criticism of the Gang of Four to criticize the current system.\n\n1920\n\nAs for the form, the experimental side of If I Were Real was shown in its actual staging. Audiences participated in the whole process at the beginning of the play. Pre-planned, the play begins later than the set time. When the audience grows impatient and asks why it has not started, one actress would appear in the name of the theatre manager to tell them that they cannot begin until some important “officials\" arrive. Then the audience would grow even more impatient and protest against the inequality of treatment. Then those \"officials\" would appear, among them is the \"son\", and soon some \"policemen\" follow up to arrest him and explain the story to the audience. Of course, all of the people involved are performers.", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 212562, "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-1991", "page_number": 116, "title": "RAS-1991", "content_text": "96\n\nThe interest of the Chinese in American culture was surprising. For example, between 1979 and 1986, 13 American plays were produced by Chinese theatres, including Arthur Miller's Death of a Salesman. The production of Death of a Salesman was not, in fact, an American event because all the people involved directly in the staging were Chinese, except for Arthur Miller who directed the play, and it was a production of the Beijing People's Art Theatre. Nonetheless, it was seen as a symbol of Sino-American affinity and cooperation. The opening night performance in Beijing was attended by the American ambassador to China, and David Rockefeller, Jr. In the Chinese press, the production of the play was hailed as \"the most significant cultural event in China since the Cultural Revolution\".38 This interest in American cultural events in China actually upgraded the intensity of American cultural presence.\n\nOn the other hand, the American involvement in China's arts education was massive and intensive. In 1985, for instance, the number of Americans teaching in Chinese arts institutions roughly equaled the total of artists from all other countries serving in similar capacities. In sum, the eight years between 1979 and 1986 saw an influx of American culture nurtured by as well as resulting from the disproportionate interest of the Chinese in the United States and its culture.\n\nAt the beginning of the process of diplomatic normalization and in the two years following it, China's external relations were almost monopolized by developing the American linkage. The much-publicized visit of Deng Xiaoping to the United States, the signing of dozens of agreements between the two governments, the massive arrival of Chinese students on American campuses, the exchanges of delegations, and the encouragement of non-governmental contacts by the governments and so on, all helped make the impression on the Chinese that the United States was the best in everything and the American linkage was the only relationship to be valued. In the first two years following normalization, an average of 100 Chinese delegations visited the United States monthly.\" Furthermore, the use of arts exchanges to consolidate the general relationship and to win U.S. economic and technological cooperation made arts exchanges a handmaiden of politics.\n\nIn specific terms, when a major American cultural event took place in China, it was praised all around for political reasons, while the necessary objective evaluations of the quality and the artists involved were rarely or sometimes never provided. The flaws in the BSO's", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 213162, "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-1993", "page_number": 230, "title": "RAS-1993", "content_text": "212\n\nIn 1914, the opium concession had been taken over by the Hong Kong Government and a policy for the discontinuance of the trade was pursued. But its use was not fully prohibited until after World War II,\n\nIt must be stressed that much of the information recorded in this short paper was by word of mouth. Over time facts can, of course, become distorted.\n\nHong Kong was affected directly but little by the First World War. 'But there were great celebrations, a two-day public holiday, a victory parade and a fireworks display (which cost HK$2,000) when it was over,' Mr. Lee told me.\n\n'We lived on the first floor of a three-storey building in Pottinger Street. There was a printing workshop on the ground floor.'\n\nAccording to Mr. Lee, his home was not far from the old Victoria Theatre, which stood in Pottinger Street. This was sometimes attended by Sir Francis May, the then Governor of Hong Kong (1912 to 1919). There were more street traders in those days, shouting out and advertising their wares.\n\nTo give a further idea of what Hong Kong was like in 1920, during World War One, the number of sedan chairs peaked at 1,215; whereas the number of rickshaws did not peak until 1924, with 3,411. In 1920, private cars numbered 351, up from 24 in 1914.\n\nI have always complimented Mr. Lee on his English. He, in turn, gives credit to his Chinese primary school teacher in Hong Kong. 'He was strict. But I learned my English grammar from him. Americans do not teach grammar,' he insists.\n\n‘I used to delight in taking a sentence to pieces and analysing it. We also studied the 'Four (Chinese) Books.'\n\nBecause his father, as a businessman in the fields of jewellery and cosmetics, spent 10 years in Australia as a young man, there was only one other child, Mr. Lee's elder sister. Mr. Lee's father was one of the two founders of the Sincere Department Store in Hong Kong. Father died at the age of 36, and filial Mr. Lee gives great credit to his mother, ‘a remarkably capable woman. She brought us up. I owe her a lot,' he told me.", "txt_file_path": "txt/dfo323lmgvd/RAS-1993.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833t302", "rank": 0 }, { "id": 213479, "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": 75, "title": "RAS-1995", "content_text": "43\n\nTHE PEKING OPERA\n\nD.H. LIU\n\nIt may sound strange to many that the Peking Opera originated, not from Peking, as it is generally believed, but from the obscure county towns of Huang Po (黄陂) and Huang Kong (黄冈) in the Hupeh Province on the upper reaches of the Yangtze River. From its early beginning as local, folk song amusement of surrounding areas, it gradually gained popularity and traveled beyond the provincial boundary to Peking where it settled down and prospered during the reign of Emperor Chien Lung (A.D. 1751-1795)\n\nAs the troupe travelled on its way to Peking, it absorbed many of the methods and techniques of different theatrical groups, notably, the K'un Chu (昆曲) and the Hwei Ban (徽班) with one sole dogma it has persistently adhered to the original dialect of the Hupeh Province in its performance up to the present day.\n\nThe Stage in the Early Times:\n\nAt the beginning, the stage was a very simple structure with no proper sitting arrangement for the audience. People would sit around a square-shaped table with two persons on each side. I remember that, when I was a boy, the first theatre we had in Yienta (烟台) where I was born, was called the Tan Kwei Tea House (谭家祠茶馆). People went there to watch the opera and at the same time, enjoy a cup of tea. Why not? People were out to enjoy themselves. I still remember how people would enter the theatre and leave it at will. You sat at the table watching the play, drinking Chinese tea and cracking melon seeds, all at the same time. You will say that this would divert the attention of the audience from what was going on on the stage. Why worry? If the actor or actress was good, the audience, of course, would automatically stop drinking tea and pay close attention to the stage!\n\nI still remember that, in those happy days, the theatre waiters would throw a hot towel to you from a distance of ten feet to wake you up when you were tired. What a wonderful idea!\n\nPage 75\n\nPage 76", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 213482, "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": 78, "title": "RAS-1995", "content_text": "46\n\nThe Play Writers of the Peking Opera\n\nMost of the early play writers of the Peking Opera were uneducated men with little knowledge of Chinese history. Some of the cues used in the play are risqué, vulgar and very, very rough. We do have our own Shakespeares in the T'ang or Sung Dynasties and their plays are among the best written literature of the times, but the general public would not go to their shows because they could not understand the literature - and the plays died a natural death. It is exactly the rough language of the later age that the people could understand, that made them flock to the theatre to see them.\n\nSome of the Funny Things You See in the Peking Opera\n\nWhy should a man's whiskers be three feet long from his chin almost to his knees? Why should an official, or a warrior, or a country squire wear such clumsy shoes with paper soles about two inches thick? Human nature! Once I heard an American cut an album whose main theme was:\n\n\"Anything you can do, I can do better.\"\n\n11\n\nFrom the very beginning, we didn't have any sharp art critics who would condemn these anomalies. Theatre, like politics, if not held in check at the beginning, can be a dangerous thing.\n\nThe Prop and the Gesture\n\nYou will notice that all Chinese theatres have a scarcity of theatre props. They make use of certain movements of the body or gestures to indicate any situation or event. This is because it is much cheaper. For instance, you cannot bring a horse to the stage, so the actor holds a horse whip (an ornamental one) to indicate that he is riding a horse. The following are more examples of the same:\n\n(1) when the actor enters a house, he lowers his body, and steps over something. That means \"stepping over the threshold.\"\n\n(2) when he enters the room, he makes some movements with both hands in the air. That means \"latch up\" or \"lock up\" his room.\n\n(3) if he holds a candlestick, or if someone else carries a paper lantern, it shows that it is night time.", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 213483, "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": 79, "title": "RAS-1995", "content_text": "(4) if he treads \"in the air\", this means ascending the staircase. (5) when two men are holding an oar - this indicates the existence of a pontoon bridge for someone to use it to get to a nearby boat or sampan.\n\n(6) two big flags, each bearing the imprint of a wheel, held by a man or woman in each hand, with a noble lady in the middle, indicates that the lady is sitting in a chariot.\n\n(7) punishment or degradation of an official or scholar is indicated by \"taking away his hat\".\n\n(8) if a man wears a heavy balaclava, that means he is on a long distance trip or in severe cold.\n\n(9) there is no eating scene in Peking Opera. Drinking wine is denoted by raising the wine cup, with the right hand, to the lip, and hiding the movement by raising the sleeve of the left arm.\n\n(10) a man without a hat, constantly swinging his hair from side to side or tapping his finger on his forehead, or the constant rubbing of hands means he is in trouble and does not know how to get out of it.\n\n(11) why does an important figure walk from the back of the stage to the centre in a funny gait? This is because the Chinese theatre usually has no curtain, as the Western theatre does, so he has to perform the action in a dignified way.\n\n(12) wiping the eye with the sleeve denotes that the actor or actress is weeping or crying. I don't know why, but possibly handkerchiefs were not used in China in former times.\n\n(13) you will find that, in some of the play, a chair is used to represent the front door of a house or cave house.\n\n(14) a painted cloth screen, with an opening in the middle, represents the city wall and the entrance to the city.\n\n(15) you never see a man sleeping on a bed with a pillow. To portray that he is sleeping, he always sits upright in a chair, with his day clothing on, behind a cloth screen.\n\nThe Painted Face Actors\n\nHow much do you know about these painted Faces? From behind these facades, how much can you make out of it, to foretell the kind of character or personality of the man the actor is trying to represent on the stage? The following few hints maybe of help for you to understand the character of the man in history that the actor is portraying.", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "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": 213491, "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": 87, "title": "RAS-1995", "content_text": "55\n\npoor doctor escaped to Taiwan on some other score.\n\nThen we learned that the famous playwright Woo Tzu-kwong () married the actress Hsin Fung-hsia () and the couple live happily together until now. It is fair to say that the theatrical people in China, including those actors and actresses, are living a stricter moral life than their counterparts of the European and American origin. I hope that, one of these days, the social differences will be swept away so that men and women can live a non-hobbled life as anybody else.\n\nThe Applause and the Booing\n\nApplause by hand clapping is only a recent invention to the theatres in China. In the old days, applause came spontaneously from the audience when the public felt the singing or acting was beautifully done by yelling the word “Hao” (好) in the third tone. Booing was seldom practiced except for the following few reasons:\n\n(a) when the singer missed or could not keep up with the rhythm or beat of the music;\n\n(b) when the hat fell off from the actor's head to the ground; \n\n(c) in a fighting scene, when his spear, or weapon, fell to the ground.\n\nCoincidentally, booing is delivered by yelling the same word “Hao\" (好) in a different tone, the fourth tone, pronounced as ().\n\n\"The Patron Saint” of the Theatre\n\nYou have probably heard that in China, every trade has its quasi-deity who is worshipped with reverence. The position of this quasi-god equals, in status, the “Patron Saint\" in the Western world.\n\nIn the theatrical profession, they worship Emperor Xuan-zong (玄宗) of the Tang Dynasty - his real name is Li Long-ji (). Xuan-zong is his reigning name.\n\nHe was an exceptionally talented man, possessing charm and charisma. In the second year of his reign, he established, within his palace, a school which he called the \"Pear Garden”, to teach young and talented men and women how to sing and to put on a show. Up to this day, people like to refer to theatrical men and women as \"disciples", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 213492, "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": 88, "title": "RAS-1995", "content_text": "56\n\nof the Pear Garden\" (T).\n\nThis Chinese version of Don Juan lived an absolute profligate life. In his later years, he lavished much of his love on a country-bred beauty called Yang Yu-huan (E) and neglected his State's affairs, which brought about his downfall. In 755 A.D., one of his trusted lieutenants named An Lu-shan (I), a half-Turk, half-Sogdian, revolted. The poor Emperor had to flee from Ch'ang An (E), his capital, with just a few escorts, including his immediate family and a few soldiers, heading for Szechwan (PTI). When the entourage arrived at a place called Ma Wei Po (5), the escorting soldiers refused to go any further and demanded that the Emperor get rid of the concubine Yang. The Emperor had to give in and act accordingly. At last, a general named Kwo Tzi-yı (97) put down the rebellion and restored peace to the land. The Emperor Xuan-zong lost his throne to his son.\n\nIf you ever go to Xian (1) in the Shaanxi Province, you will find a bathhouse called Hwa Ch'ing Chih (#) in the suburb where Yang Yu Huan used to bathe. The area has been restored and kept in good condition to this day.\n\nTaboos\n\nThere are many, many regulations and taboos in the Chinese theatrical circle, including the Peking Opera group. Some of these taboos help to keep smooth the running of the theatre as an orderly institution; otherwise, chaos would reign. For instance, the actors and actresses are not allowed to sit on the trunks of other performers. Once I had the privilege of visiting the backstage of a Peking Opera theatre. There were rows and rows of heavy trunks on the floor where the stage clothing was stored. Some of the actors or actresses were doing their make-up. Layers and layers of stage clothing were neatly folded and stacked in the trunks. There was order and neatness everywhere. Imagine, in the absence of taboo and regulations, what the situation would be. It could be a madhouse where everyone was fighting to have the right kind of clothing to go on the stage, and when they finished acting, they would just throw things around.\n\nI know one or two other taboos, of which everyone, yes everyone, has to observe, such as you should never utter the word “Geng\" \"E”", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 213493, "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": 89, "title": "RAS-1995", "content_text": "57\n\n19\n\non the stage and never mention the word \"Meng\" when back stage. What do you do when you have to use the forbidden words in a specific place? You simply substitute, as in the first place, the word “Geng” with the word “Jing”. So instead, the actor will sing, in one play \"Ting qiao lou da chu jing,\" which means \"When I heard the Drum Tower strike the first hour ..\" You will note that in the script the word \"Geng\" remains, but when the singer sings it, he immediately changed it to “Jing” in order to comply with the Taboo. There is no singing back stage, so when someone struck up a conversation with someone else and needed to use the word \"Meng\", you simply say “Da Huang Liang” instead. I have asked many people inside the profession, but no one can tell me why it is so and who started it.\n\nFinal Word of Appraisal\n\nI have written so many paragraphs of anomalies in the setting and acting of the Peking Opera - the question arises as to why the Chinese people still flock to see it. The answer is that the Opera gives them \"beauty\" - beauty in singing, beauty in the acting, beauty in the story as written and acted upon. (Sometimes, though, the beauty is far fetched and subject to logical questioning.) This is why some of the audience will go back to see the play a hundred times and never get tired of it. Certainly, in their heart, they have some fondness toward the acting, the singing which they want to enjoy, which they could not do without, like drugs. In China, we have a word for this kind of mentality, we call it \"itching\". They go back to see the same play many, many times in order to “quench” their itching.\n\nThen what about the anomaly?\n\nIn the psychology of the theatre goers, the whole play is a fake, not the real thing and if there is some small misinterpretation of the story, or the wrong costume the actor wears on the stage, why worry. As long as their \"itching\" is touched and satisfied, everything will be just fine.\n\nA Word of Thanks\n\nOn June 16, 1991, the Shenyang Beijing Opera Troupe was in town for a nine-day performance at the City Hall in Hong Kong. My friend,", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 213494, "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": 90, "title": "RAS-1995", "content_text": "58\n\nMiss Elsa Bueanaventura, had never seen a Peking Opera before and was anxious to see one. She asked if I could go with her and explain some of the things to her. I agreed and chose Sunday, June 16 to go. Before we went there I wrote most of the parts of this essay and three synopses of the three plays that happened to be staged that day as a guide, namely:\n\n(1) The Reunion at Gucheng (#)\n\n(2) The Story of the Black Pot (??) \n\n(3) The Trial by Three Judges (###)\n\nAfterwards, I found this guide contained much valuable information for the initial theatre goers, too good to be thrown away. Consequently, I wrote several additional paragraphs to complete this essay. Thanks are due to Mr. and Mrs. Albert Neudeck, Mr. Yeh Yuen-chang and Rev. Kerry Schottelkorb for correcting and polishing my English to make it readable.\n\nNOTE\n\nIt happened that only these three plays were staged that day. They were good plays and the actors and actresses did an excellent job, but the plays lack the universal appeal of the general theme of this article so they are excluded from this rendering.\n\n!\n\nPage 90\n\nPage 91", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 213630, "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": 226, "title": "RAS-1995", "content_text": "200\n\n3\n\nand four belong to German prisoners. The remainder are Allied servicemen's graves. The headstones, including those of the Chinese Labour Corps members, are of the usual Portland Stone with the Commonwealth War Grave standard segmental curve on the top (see Plates 1 and 2). This distinguishes them from graves for civilians which are curved but with a piece notched out at each top corner. Stones for Royal Air Force graves are 'winged', with curved tops sweeping upwards slightly at each side.* Few if any of the Chinese who served in Europe in the First World War, one assumes, were Christians. There are no crosses on their gravestones.\n\nOf the two Chinese graves in this cemetery one is unnamed (see Plate I), although there is an army number. This is not unusual. When Chinese labourers were first recruited, pigtails, which could still be found in China at the time, were cut off. Thumbprints were then taken and numbered wristlets were riveted on. The inscription on the first gravestone reads, in Chinese and English, 'Faithful unto death'. The second headstone (see Plate 2) is in memory of Wong Fuk-hing with the proverb, 'A good reputation endures forever.' Wong came from Shan Tung Province, Yeung Sun county. A Chinese person's native place is important enough to be inscribed on his or her headstone. Traditionally, Chinese like to be buried on their native soil.\n\nNot far from Foncquevillers Military Cemetery is an old farm house which, in 1916, stood near the front line of the First Battle of the Somme, the largest land battle Britain has ever fought. Some 57,470 British soldiers were killed on July 1, 1916, the first day of this action. The cellar at the time, linked by a tunnel to the trenches which crisscrossed the area, served as a battlefield operating theatre. On March 19, 1916, two British soldiers were shot at dawn, close by, for desertion. Although my son and I visited this old house owned by Avril Williams, which now serves as a guest house and English tea rooms, she was unfortunately not at home. Her daughter showed us around.\n\nThe chief reason that Avril Williams came here, from England, was so she might visit and tend the graves of those who fought and died: 'So we might continue to live the way we do.' On the headstone of Private George Palmer's grave, who was killed in 1917, a request from his mother is inscribed.", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 213906, "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-1996", "page_number": 258, "title": "RAS-1996", "content_text": "232\n\nDuring the many dynastic changes since its foundation its existence has been chequered by a number of misfortunes. Hung Wu, the first emperor of the Ming, rebuilt its shattered walls and refurbished its many rooms. It was fit and proper that the main building should be in Peking, but Hung Wu, unable to forget that Nanking had become the capital of his choice, also built and endowed a sister institution in that city. With the advent of the Manchu dynasty in 1644 this last foundation ceased to exist.\n\nOur story now turns to backstage of a temporary side street Ch'aochou opera theatre in Singapore's Chinatown. The mat shed theatre over a framework of bamboo was a standard construction seen from time to time when a side street would be taken over and the theatre erected for a few days whilst virtually non-stop opera would be performed and relayed by an external tannoy system to ensure that everyone within earshot, and not just the audience sitting on stools and benches before the stage, would not miss a note.\n\nThe old man in charge of backstage, surrounded by crates containing the robes, head-dresses, beards and other accoutrements for the players, had his own special easy chair, a folding canvas camp chair, alongside the portable altar or shrine suspended from a lateral bamboo facing forward. The two images of deities had been removed and placed on a folding table together with standard offerings beneath the shrine.\n\nThe interior of the red portable shrine was concealed by two hanging red curtains, some two foot wide and the same in height, denying any view of the contents. The two deities, virtually identical images of youths swathed in red robes and wearing red embroidered trousers, were articulated to permit the robes to be slipped over the arms before being buttoned up the front.\n\nOn closer examination the three characters embroidered on the front top of the red curtains hanging before the shrine described it as the Han Lin Academy. This title in such an unexpected place is extraordinary. The old man was at first unwilling to explain its significance and then under a little pressure confirmed that he did not know. Nor did any of the cast. Can any reader cast light on the reason for this title being given to a backstage shrine?", "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641", "rank": 0 }, { "id": 214517, "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": 375, "title": "RAS-1998", "content_text": "344\n\nAlthough our Qingdao guide accompanied us throughout the trip, we were met off the ferry in Dalian by another guide - Ying, an expert on the local attractions, although she quickly learned, as had her Qingdao colleague before her, that she was surrounded by a bit more expertise than she found in the average tour group.\n\nYing and Jack, the driver, very quickly learned that her new brood had another difference. She greeted us at the ferry pier by saying: \"I suppose you would all like to go to lunch now?\" This was met by a resounding answer in the negative. Having been jolted about on the boat we were not immediately interested in food.\n\nDalian city tour\n\nInstead we asked for the bus to go round some of the streets in the old Russian quarter. Specifically, we pointed out the photographs in \"Far from Home\" and said that we would like to see those and see them we did.\n\nThe People's Theatre looks a bit more garish these days, and has been turned into a Blackpool-like amusement hall. However, the majority of what we had come to see was there waiting for us, looking as splendid and impressive as we had hoped. Zhongshan Square (the former Great Square of the original Russian plan) still contains all the solid bank buildings from many years ago. All are now Chinese banks, but clearly recognisable are the buildings from all the old photographs. The square also includes one of Dalian's three former Yamato Hotels, now glorying in the name of the Dalian Guest House. Do not be put off by this name, however it is far from being a bed and breakfast in Bognor. The wrought iron canopy leads you into one of the most impressive marble lobbies of any hotel I have seen. Our experience in Yantai leads me to believe that the term \"guest house\" is reserved for the grandest of available accommodation, reserved for the party's great and good.\n\nFor me one of the most distinctly Russian buildings, and one that features prominently in \"Far from Home\", is located just on the far side of the Victory Bridge (rather a practical name - not sure who's victory over whom), on the road leading north-west from Zhongshan Square.\n\nPage 375\n\nPage 376", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214749, "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-1999", "page_number": 164, "title": "RAS-1999", "content_text": "128\n\nclaim that the defenders faced shortages in ammunition, notably for mortars. However, the movement of the defenders' guns within the defence perimeter throughout the Battle was rather hectic, aided by at least 20 armoured cars and more than 3,000 motor cars and 600 trucks. This indicated that the artillery arm of the garrison was playing a key role in prolonging the duration of the defence. Therefore, the effective firepower of the defenders did not appear to be as weak as frequently represented in publications up to now on the Battle of Hong Kong. The story of the defence of Hong Kong apparently could well have been distorted in favour of the winner.\n\nConclusion: a Plea for Further Research\n\nThe above points are just informed speculation and the Battle of Hong Kong is certainly an under-researched military episode in the Second World War. This being the case, it should be just a matter of interest not only to those directly involved.\n\n...\n\nIn broad historical terms, the significance of the Battle of Hong Kong should not be limited to a matter of war relics or past history. It has implications for the post-war political development of Hong Kong, a living issue that affects the present both physically and socially. We have mentioned the credibility of the defence of Hong Kong as a matter of responsible government and a matter of fact but not as an apology for British colonialism. There are still unknown numbers of unexploded bombs, both Japanese and Allied, yet to be unearthed in highly congested urban sites. There are also quite a number of old people in Hong Kong (and elsewhere in Asia) who still hold Japanese military currency, forced upon them when their convertible currencies were expropriated during the occupation, in the vain hope of obtaining compensation by the Japanese government (Keniti; Kobayasi Hideo and Isida Jimtarou, 1995).\n\nThe military aspects of the fighting itself should be interesting case study materials for the military scientist. Many other questions remain unanswered. The size and role and size of the \"fifth columnists\", the tactics of the Japanese and the useful value of occupied Hong Kong to the Japanese are just a few examples. Though these questions for a minor theatre of war may not catch the attention of those who are only interested in the broad-brush views of Liddell Hart (1970), they should", "txt_file_path": "txt/dfo323lmgvd/RAS-1999.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/s178b887x", "rank": 0 }, { "id": 215049, "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": 145, "title": "RAS-2000", "content_text": "Entertainment at the open air theatre of the Labour Corps at Enaples, France\n\n23/6/1918\n\n(by courtesy of the Imperial War Museum, London, Q9007)\n\n101", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215119, "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": 215, "title": "RAS-2000", "content_text": "172\n\nof\n\n17\n\nGuo Ziyi, born in Wenzhou in Zhejiang province ca. AD 700 and only deified many years after he had fled from Guo's service [Illustration 8].\n\nGuo, after a dream, became suspicious of Wen's powers to perform miracles, and Wen, realizing the danger he was in, fled and became a butcher. When a heavenly messenger revealed to Wen the evil of taking life, he gave up slaughtering animals and entered a monastery. Later, he moved to a temple dedicated to Tai Shan, the Lord of the Underworld, where he became the senior medium and communicated with the souls of the dead. He was renowned for his ability to bring rain and help devotees stricken by drought.\n\nEpilogue\n\nThese nine individuals, an omnipotent Chinese emperor, and a hero, and general, believed to have been the emperor's personal physician; a powerful victorious general with immense progeny; a garrison commander and the city mandarin who died in defence of an imperial stronghold; and four minor soldiers, referred to as generals who also died for the emperor, have been deified with their images placed on popular religion temple altars within limited areas of south-east China and Taiwan, their legends being eagerly retold by temple custodians and devotees.\n\nThe Rebellion has held Chinese imaginations for centuries - mainly, it would appear, because of the story of the fall of the emperor's concubine bringing to its listeners a mixture of sadness and anger at the weakness of character shown by the emperor.\n\nA Chinese Biographical Dictionary published in 1898 in London by Bernard Quaritch\n\n2 In Hunan province and the Yangzi valley in general, Lao Lang, the patron of the theatre, of musicians and actors, has been identified in a number of places as a deified human named Zhuang Zong. He was said to be the patron of Peking opera but only of such groups touring central China. His image in Hunan portrayed him as a clean-shaven, white-faced young man without any special", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215195, "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": 291, "title": "RAS-2000", "content_text": "SOME THOUGHTS ON HAN SUYIN'S A MANY SPLENDORED THING\n\n'Love is a Many Splendored Thing'\n\nPETER HALLIDAY\n\n255\n\nAs I have said before, I believe, generally, that editors should edit, rather than write, but I should like to share the following with you all.\n\nA few weeks, or so, after I arrived in Hong Kong in the fall of 1967, I was taken to the movies by what had now become a new friend. The motion picture we saw that Saturday afternoon - I remember the circumstances with undiminished clarity - was Love is a Many-Splendored Thing, starring William Holden (born William Franklin Beedle Jr., 17 April 1918 - 16 November 1981) and Jennifer Jones (born Phyllis Flora Isley, 2 March 1919). For a reason that is not central to this Note, the movie made a very deep impression upon me and I have to confess that, as we filed out of the movie theatre, I wept unashamedly.\n\nIn 1972, or thereabouts, I was contentedly idling away an hour or so, browsing in the old YMCA bookshop in Salisbury Road - to this day still a particular pleasure (browsing, that is) - when I came across a book entitled A Many-Splendoured Thing by Han Suyin (born Elizabeth Kuanghu Chou, 12 September 1917). Memories of the old motion picture came flooding back. Could this be the book behind the film or vice versa, I wondered?\n\nHan Suyin, circa 1950", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215239, "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": 16, "title": "RAS-2001", "content_text": "Imperial Ideals and Chinese Practical Common Sense in Chan Lau Kit-ching and Peter Cunich (eds.), An Impossible Dream: Hong Kong University from Foundation to Re-establishment, 1910-1950 (Hong Kong: Oxford University Press, 2002). Governor Frederick D. Lugard and the Hong Kong Chinese featured prominently in this article (ahylin@hkucc.hku.hk).\n\nProfessor Norman Miners, was the former Head of the Department of Politics and Public Administration, University of Hong Kong. He is probably best remembered for his seminal work The Government and Politics of Hong Kong, first published in 1975, which ran to five editions.\n\nRobert Nield, F.C.A., F.H.K.S.A., is a certified public accountant and was a former partner with PricewaterhouseCoopers (Hong Kong). He is a Vice-President and the Treasurer of HKBRAS (hiflyer@netvigator.com)\n\nKirsty Norman is an active member of HKBRAS.\n\nKeith Stevens, B.A., served with the British Army and the Foreign & Commonwealth Office until his retirement in 1991. He is an authority on Chinese temples and deities, and Chinese history, and has written prolifically on these subjects. His articles are noted for the splendour of the illustrations (keith.stevens@chgods.freeserve.co.uk).\n\nDr Elizabeth Kenworthy Teather gained her B.A.(Hons) and Ph.D. in the Department of Geography at University College London. She is a Fellow of the Royal Geographical Society. Born in Britain, she spent some years overseas as a teenager (Iraq and Cyprus), emigrated to New Zealand in 1973 and moved to Australia in 1984. She joined the Department of Geography and Planning at the University of New England, NSW, Australia, in 1988. She has a second Honours degree in Theatre Studies completed in 1986, and is also a Licentiate of the Royal Schools of Music (Singing - Performance). From 1995-1997, 1999-2000 and 2001-2002 she was Scholar in Residence, David C Lam Institute for East-West Studies, Hong Kong Baptist University\n\nDan Waters, M.Phil., Ph.D., is a retired assistant director of education of the Hong Kong Government. He has written prolifically on the culture and history of Hong Kong. He is the immediate past-president of HKBRAS (benefit@netvigator.com).\n\nJenny Welch, M.A., now lives with her husband in Hong Kong having spent a number of years in Singapore, Sri Lanka, Nigeria and Australia. Her interests include French culture and language, China and the Chinese, porcelain and history.\n\nxiii", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 }, { "id": 215352, "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": 129, "title": "RAS-2001", "content_text": "77\n\na] Changhua Laoye Shen\n\nIt\n\nseen in Singapore on a Hainanese wayyang street theatre altar connected in some way with the major China-wide deity Hua Guang Dadi.\n\nb] As with small folk religion temples in all southern Chinese communities there are very minor deities on their altars about whom nothing is known. The following stand on a side altar in a small Hainanese temple on the Tampines Road in Singapore and are largely ignored though they are prayed to by a few devotees, more in passing rather than specifically for protection:\n\nmain deity: The Marquis of the Heaven of the Buddhas, Fo Tian Houwang\n\nSoldier astride a red horse, wearing green and gilt armour, with a pink face, black beard and a sword raised in his right hand.\n\nflanked by: Shata Zunwang Qi Guan\n\nand\n\nSoldier astride a white horse, with green-gilt robes, black beard, brown face and sword raised in his right hand.\n\nYongmeng Yatou Wang San Guan\n\nSoldier astride a black horse, with green-gilt robes over his armour, black bearded and a sword raised in his right hand.\n\nConclusion\n\nThere are some seventy to eighty major Han Chinese folk religion deities to be found in every part of China, and Hainan is no exception. However, in Hainan as in every local community, be it province, county, town or village, and even ethnic group, there are also local deified heroes and worthies not seen beyond their immediate area.\n\nTaken all in all, the range of deities on Hainanese altars is much the same as in all the other southern Chinese Han ethnic group temples. Hainanese communities, however, do have a number of uniquely Hainanese cult deities both on Hainan island as well as within Hainanese communities in south-east Asia. Although their legends are unique to", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 }, { "id": 215775, "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": 74, "title": "RAS-2002", "content_text": "However, in response to a petition by European merchants in 1835 to the EIC against piracy, some action on the part of the Indian government was taken, through the use of steam warships (for example, the Diana and HMS Wolf). These ships were effective in fighting piracy, and according to LA Mills, 'piracy in the Straits greatly decreased for several years... Conditions never became as serious as they were before 1836.'38\n\nHowever, Turnbull says that these measures only gave temporary relief and that, within a few years, the position deteriorated. Moreover, in the 1850s, a new breed of pirates began to haunt the merchants' commerce. They came from China, and the Chinese imperial government was too weak to suppress them. The main theatre of Chinese operations was the Gulf of Siam, although many vessels were captured near Singapore.40\n\nThe Indian government did not pay much attention to the problem as it was involved in the second Anglo-Burmese war at that time, and as Calcutta had passed no laws to detain suspicious vessels, there were no legal means to curb piracy. In 1857, the Indian legislative council had passed an inadequate law which permitted the right of search, but did not solve the problem of proving intent. No improvement was made to the naval force in the Straits Settlements in the last ten years of Indian rule, which consisted of only three gunboats (a 'lilliputian fleet'41).\n\nEventually the Chinese pirates were gradually eliminated from the Straits waters as a result of a series of treaties and agreements between China and other western powers (such as with Prussia 1861, Denmark 1863, the Netherlands 1863, Spain 1864, Belgium 1865, Italy 1866, and Austria-Hungary 186942), the contents of which included co-operative measures to wipe out piracy. The Hong Kong 'Ordinance for the suppression of piracy' was the first real blow delivered against Chinese piracy.4\n\nThe Indian government played a minimal role with regards to the combat of piracy in the Straits. The problem was brought under control through a list of other factors, including foreign treaties and ordinances, and hence, the merchants' complaints were not without reason, as little credit can be attributed to the Indian administration in this respect.", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 215802, "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": 101, "title": "RAS-2002", "content_text": "34\n\nBETWEEN THE NINE DRAGONS AND A DIVINE WIND: HOW HONG KONG'S WEATHER MIGHT HAVE AFFECTED AN ALLIED INVASION TO RETAKE THE TERRITORY*\n\nCHOHONG CHO\n\nSynopsis\n\nIn the War in the Pacific during World War II, the question of whether or not to engage Japan directly in China was a major one for Allied planners. If the Japanese weren't enough of a problem, an age-old factor - the weather - certainly would have provided the Allies with additional concerns. The Pacific and Asia are home to some of the most extreme weather in the world.\n\nHong Kong, a possible target in any Allied campaign in China, played host to some of this extreme weather. What this study attempts to do is to consider how Hong Kong's adverse weather conditions could have affected an Allied operation to recapture it from the Japanese.\n\nBackground\n\nAfter Hong Kong fell to the Japanese in December 1941 and Great Britain was expelled from the Pacific, only the U.S. was left to face Japan in this theatre. The U.S. itself was in bad shape, as most of its Pacific Fleet had been mauled at Pearl Harbor. On the Asian mainland, Japan was still busying herself with China and Britain. A stalemate had developed with the former, while the latter was being pushed out of Burma into India.\n\nHowever, the U.S. Navy's (USN) aircraft carriers were not caught in the Pearl Harbor debacle, and during much of 1942, they bore the brunt of the action against the Imperial Japanese Navy (IJN) in the Pacific. In a series of three engagements with the IJN (at Coral Sea, Midway, and Guadalcanal), with inferior numbers accompanied by\n\n*The author would like to thank Mr. Ko Tim-keung for bringing a draft of this article to the attention of the Hon. Editor, and Professor Elfed Roberts for his comments on an early version of the draft.", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 215825, "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": 124, "title": "RAS-2002", "content_text": "57\n\nbut it was harder to replace soldiers with combat experience.\n\nBecause the weather changes from day to day, so must the extent to which it could influence the approval or rejection of a certain operation in war. Hong Kong's weather, as formidable as it was, could not by itself determine if it merited recapture or not. Nor could any objective's weather be the lone factor. If it was, then many of the war's campaigns would not have taken place. If the control of a specific territory was judged crucial, then the powers concerned would do anything within their capacity to seize or retain it.\n\nNo place in the world has perfect weather at any time of the year. In Hong Kong's case, its worst weather occurs during the middle of the year. Had a Hong Kong operation taken place, Allied planners would have naturally preferred that it take place towards the end of the year. That would give the Allies up to six months of relatively trouble-free weather with which to work.\" A Hong Kong operation was bound to include amphibious landings, and these were very susceptible to bad weather. It was important for the Allies to gain at least a foothold on land, as it would give a political and psychological boost to the Allied war effort, as well as put them in a better position militarily vis-à-vis Japan. The China Coast was a perimeter within Japan's empire, and any breach made here would accelerate Japan's demise. So that first foothold was vital, just as it was equally vital for the Japanese to prevent it. In Japan's history, foul weather had worked in her favour when she had to defend against an amphibious invasion, so it wasn't unprecedented for the weather to play a decisive role in war. For the Allies, the last thing they would want was to see a Hong Kong operation in progress be thwarted by a non-human entity like the weather. Such a contest would be a no-win situation for the Allies.\n\nIn the end, the Allies never carried out any landings on any port on the China Coast. Their destruction of the IJN and blockade of Japan by sea and air was so complete that they didn't have to worry about the Japanese in China, which remained a secondary theatre at the end of the war. Hong Kong's weather was never specifically mentioned as a factor, but was probably on the minds of some Allied planners after the poundings their navies had taken in the last months of the war. Hong Kong returned to British, and eventually Chinese, rule, and was fortunate to have not undergone a destructive campaign for it to change hands again.", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 215941, "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": 240, "title": "RAS-2002", "content_text": "174\n\nwhich the Police Commissioner handed over $20,000 without question when advised of the plot, though it was claimed that the bribe money came from the Shanghai triads leader Tu Yueh Sheng, then a refugee, albeit wealthy, in Hong Kong. Whatever the truth behind the story, it gained currency as it made the escape of General Yee and Admiral Chan Chak palatable to colonials by portraying it as an honourable act by the British to reward Yee for his assistance in saving them.\n\nIt was almost certainly also a smokescreen to disguise the removal from Hong Kong of something important to the British. MacDougall claimed in 1942 that he had not planned to go but had been persuaded at the last moment by senior government officials. MacDougall however was circumspect, careful not to betray sensitive information in an open letter. He could, however, say that during the last two years his work had 'become increasingly political in character. Officially neutral in the Sino-Japanese War, I had nevertheless behind the scenes consistently exerted what influence I possessed toward blocking and hampering the propaganda and other activities of the Japanese and the adherents of the Wang Ching Wei....I had worked very closely with Chinese organisations and did all in my power, consistent with the interests of the Colony, to aid them.' It should also be noted that he was not an officer of the colonial establishment but belonged to the Ministry of Information. He was to return to Hong Kong on liberation to reinstate the administration. While no high-profile officers escaped with the Chan Chak group, it is probable that some were carrying information. There were men from Army, Navy, and Air Force, and they were chosen for the mission, only one man being a \"guest.\"\n\n* xviii Major Goring was to spend much of the war attached to various strategic planning groups in the China theatre.\n\nThe extent of KMT activity in Hong Kong was considerable. Hong Kong was a sort of open house where all factions of Chinese politics from left to right could operate, as long as they were discreet. Overt acts of terrorism and subversion in other colonies, like the Malayan federation, were suppressed. The territory was also the port through which arms and armaments flowed into China. Technically this was in breach of the Hague Convention as Britain was supposed to be neutral, but there were ways of smuggling and circumventing the system. Baileys, the Hong Kong shipyard, built river gunboats that were outfitted with guns once they entered China. The same technology that enabled\n\nPage 240\n\nPage 241", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 215949, "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": 248, "title": "RAS-2002", "content_text": "182\n\nstatus, since there were 'so many other senior officers working in the area,' and he saw it as ‘axiomatic that all branches of the service will cooperate and pool their information.' The new section was to have 'full authority to control the movements of all Europeans whether military or civil who had escaped.' Having left Hong Kong less than a month earlier, having by his own admission no knowledge of escape and evasion organisations, he was now to command, and to 'have authority to add to his strength such British or Chinese as are available.' The full story of the BAAG is too complex to tell here, but the transition was not seamless. By 16th May 1942, Ride was given the letter he wanted stating 'from the time of escape until they reach Chiyang all escapees of whatever rank and whatever service will come under your command.' This should be made clear to them at first responsibility. xxii This included the men who had spent so long setting up the groundwork, who had met the Ride group and brought them to safety.\n\nAnother even more fundamental change in direction was the change in emphasis from a general resistance function to an organisation primarily for the escape of Prisoners of War, and particularly of Europeans at that. Ride consistently thought in terms of mass escapes from camp, larger scale and more spectacular than the Chan Chak escape. In the summer of 1942, he planned the escape of 500 or more POWs by junk, and as late as September 1943 proposed paying millions to guerrillas to conquer Canton so an airborne assault of paratroopers could descend on Hong Kong to free the POWs.**** The gathering of intelligence and support of other forms of resistance were corollary to this basic function. An analysis of why the escape of POWs became the central focus of British activity in the Hong Kong region when it was not of paramount military strategic value in the overall conduct of war in the theatre is again beyond the scale of this piece. However, it illustrates that the plans British military strategists had developed to challenge Japanese occupation and to continue the struggle by alternative methods had to adapt to new conditions. SOE and SOE related agencies were by no means silenced in China but continued to play a very important role, even around Hong Kong. The chrysalis opened, but what emerged had to shape itself to a new situation.", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 216424, "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": 183, "title": "RAS-2003", "content_text": "133\n\nContraband of ordinary commodities such as flour, clothes, etc., may be transported at the risk of the owners, to the ports of belligerent countries.\n\nIn the event of the necessity arising of landing any cargo passing through a Chinese port, the same will be landed and stored at the expense of the owners.\"\n\nArguments arose over whether foodstuffs being exported from China to Japan for consumption by civilians should be considered as contraband of war as they could be used for military purposes. It was agreed that with formal consular certificates, certifying that the goods were not destined for the theatre of war, and stating clearly that the goods were shipped at the owners' risk; foodstuffs could be exported to Japan.\n\nThe day-to-day involvement of the Chinese population and their reaction to foreign soldiers\n\nTheir land and people suffered hardships, casualties, and financial losses without any thought being given to them by the Westerners or the combatants. It has been quite surprising just how few references to China and the Chinese there were in contemporary Western writings.\n\nChinese physical involvement was marginal. Apart from individuals being employed by both sides as spies, bands of Chinese mounted guerrillas were employed by both belligerents; some under Japanese leadership made Russian lines of communication dangerous and effectively tied down ever larger Russian forces. Yuan Shikai, the Viceroy of Chih-li, turned a blind eye to these and similar activities and made every effort to co-operate with the Japanese. Although the Russians were aware of this policy, there was little they could do about it. They did, however, take it out on any individual or groups of Chinese in territories under their control who appeared in any way acting for or sympathising with the Japanese.\n\nBritish illustrated periodicals tended to portray Chinese as ‘exotic and different, something sinister or inferior.' The same journals included not only sketches from their correspondents capturing the gruesome nature of the war in all its chaos, cruelty, and destruction but also photographic images.", "txt_file_path": "txt/dfo323lmgvd/RAS-2003.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2v242g390", "rank": 0 } ]