RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1975 https://digitalrepository.lib.hku.hk/catalog/j0995146d NOTES AND QUERIES 305 and 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. It 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. As 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. Chief Marshal T'ien's titles He is known by many titles, the following being the most common: a) T'ien To Yuan Shuai (田都元帥) b) San T'ien To Yuan Shuai (三田都元帥) c) San T'ien To Ch'ien Sui (三田都千歲) T'ien, the Chief Marshal The Chief Marshal, Tien the third (brother) The Imperial Prince, Tien the third (brother) d) To Yuan Shuai (*) The Chief Marshal e) T'ien Kung Yuan Shuai (田公元帥) Duke T'ien, the Marshal f) T'ien Hsiang Kung (田相公) T'ien the Minister g) Chen Hua San T'ien To Yuan Shuai (探花三田都元帥) The Graduate T’ien* * Chen Hua (T'an Hua) - the third level of Imperial graduate in the chin shih or doctoral examination at the Capital. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 197 from 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). 23.1.1856 (Wedn) E. MAYHEW: "Make your Wills” (1836) T: Farce (1 act) W. BROUGH: "No 1 Round the Corner" (1854) T: Farce (1 act) J.M. MORTON: "Whitebait at Greenwich" (1853) T: Farce (1 act) C: Amateurs F: Music Th: D N: 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). 21.2.1856 (Thur) — J.S. COYNE: "The Infanticidal Farce" (1846) T: Farce (1 act) Mrs. C.G.F. GORE: "A Good Night's Rest" (1839) T: Farce (1 act) J.M. MORTON: "Slasher and Crasher" (1848) ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 241 Aurora Floyd Burlesqued: W.B. Gill; 19.4.1865. The Babes in the Wood: J.H. Byron; 17.4.1865. A Bachelor of Arts: P. Hardwicke; 10.2.1858, 8.5.1865. Betsey Baker; J.M. Morton; 23.3.1853. Binks the Bagman: J.S. Coyne; 8.10.1857. The Birthday: T.J. Dibdin; 9.2.1858. Black-eyed Susan: D.W. Jerrold; 28.3-5.4.1865. Bombastes Furioso: W.B. Rhodes; 28.1.1851, 5.5.1858. The Boots at the Swan: C. Selby; 14.12.1865. Box and Cox: J.M. Morton; 15.5.1854, 18.2.1857. The Bride of Abydos: H.J. Byron; 22.10.-28.10.1864. Bullrick at Kroll: N.N.; 28.3.1864. Camille: A. Dumas Jr; 27.3.1865. A Capital Match: J.M. Morton; 23.4.1857, 3.12.1864. Charles the Second: J.H. Payne; 16.3.1858. Cinderella: H.J. Byron? T. Taylor?; 12.11.-18.11.1864, 28.4.1865. The Colleen Bawn: D. Boucicault; 25.4.1865. A Conjugal Lesson: H. Danvers; 26.3.1857. Conrad and Medora: W. Brough; 12.E.-18.E.1864. Cool as a Cucumber: M.W.B. Jerrold; 26.3.1857, 30.3.1864, 4.4.1864. Crinoline: R.B. Brough; March 1863; 16.3.1863, 1.4.1864. The Daughter of the Regiment: E. Fitzball? 15.4.1865. A Dead Shot: J.B. Buckstone; 11.4.1865. The Debut: N.N.; 1.4.1864. Delicate Ground: C. Dance; 13.2.1864. Diamond cut Diamond: W.H. Murray; 12.12.1850. Done on both sides: J.M. Morton; 10.2.1858. The Dragon of Wantley: H. Carey & J.F. Lampe; 26.1.1852. Duck Hunting: J.S. Coyne; 30.3.1864, 4.4.1864, The Dustman's Belle: C. Dance; 9.2.1858. Faint Heart never won Fair Lady: J.R. Planché; 8.10.-14.10.1864, 14.12.1865. A Fast Train! High Pressure!! Express!!!: J.M. Maddox; 8.3.1854. A Fearful Tragedy in the Seven Dials: C. Selby; 15.2.1860. Fitzsmythe of Fitzsmythe Hall: J.M. Morton; 26.3.1863. The Flowers of the Forest: J.B. Buckstone; 28.3.-5.4.1865. Fra Diavolo: H.J. Byron; 15.10.-21.10.1864. The Frantic Husband: N.N.; 26.4.1865. The Golden Farmer: J.C. Cross? B. Webster? 8.10.1857, A Good Night's Rest: C.G.F. Gore; 21.2.1856. The Goose with the Golden Eggs: A. Mayhew & H. Sutherland; 13.2.1863, 17.2.1863, 26.4.1865 The Governess (Die Gouvernante): T. Körner; 28.3.1864. Grimshaw, Bagshaw and Bradshaw: J.M. Morton: 2.6.1859. The 'Green' Bushes: H.J Byron: 30.9.1865. A Hard Struggle: J.W. Marston; 12.11.-18.11.1864. The Harvest Home: A.F.F. von Kotzebue; 28.3.1864. The Haunted Inn: R.B. Peake; 6.5.1852. The Heir at Law: G. Colman the Younger; 21.4.1851. ================================================================================